English (Option A), Junior Cycle - Higher Level - Paper

Key Messages for
Mock Examinations
2022-2023
1. Offering second exam papers (option B)
Terms and
in eight Leaving Cert subjects.
2. Exams can be scheduled from January
23rd to a school-created timetable.
Conditions
3. Sample mock papers available online
only, to reduce our carbon footprint.
Terms and conditions

when downloading
Examcraft mock exam papers
I understand that:
1. The papers and marking schemes viewed will be for my personal professional consideration and will not be
shared with other parties.
2. If I print the papers, I will keep them in a securely locked press when not in use.
3. I will not photocopy or distribute the paper to students.
4. A watermark will be printed on the papers and marking schemes with my name, e-mail, school name and
telephone number, which will allow me to be identified if the paper becomes available online.
5. Mock exam cannot take place before the 23rd January 2023.
By proceeding to view our sample papers online, you are agreeing to the above terms and conditions.
Part of the Examcraft Group T: 01 808 1494 F: 01 8307464 E: info@examcraft.ie www.examcraft.ie

Interested in
Correcting
Mock Papers?
We are now recruiting
teachers of Junior Cycle
and Leaving Certificate
subjects to correct our
mock examination
scripts in 2023.
Apply Here
Please consider joining our correction team, even if

it’s only to correct a set number of scripts, in order to
return scripts to students in a timely fashion.
Leaving Certificate Junior Cycle

• Irish • Agricultural Science • Irish • Religion
• English • Accounting • English • French
• Maths • Business • Maths • German
• Geography • Economics • Geography • Spanish
• History • LCVP • History • Graphics
• German • Engineering • Home Ec • Wood Technology
• Spanish • Technology • Science • Engineering
• Home Ec • Con. Studies • Business • Applied Technology
• Biology • Politics & Society • Music
• Physics • Computer Science
Any questions, please email correctors@examcraft.ie

Thanking you in advance, The Examcraft team.
Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1
*W4FC*
PLEASE USE BLOCK CAPITALS WHEN COMPLETING THE INFORMATION BELOW.

If you do not have your student ID number, please check with your teacher.
Student ID:
STUDENT
First name:
Last name:
Title (Mr, Mrs, Ms):

TEACHER
Last name:
Pre-Junior Cycle Final Examination 2023
English
(Option A)
For examiner's use only
Higher Level Section and answer Marks
1.
2 hours 2.
A
3.
180 marks 4.
5.
B 6.
7.
8.
C 9.
10.
11.
D
RobertSchool use- Oatlands
Atkinson only: College - 60050E - robert.atkinson@oatlands.net - 1 12.
Total
Spelling Waiver Granted
*01*
The theme of this examination paper is

Courage and Perseverance
Instructions
There are four sections in this examination paper.
Section A Giving Thoughtful Value Judgements 60 marks 4 questions

Section B Understanding and Appreciating Character and Action in Drama 45 marks 3 questions
Section C Exploring New Worlds in Non Literary Texts 35 marks 3 questions
Section D Identifying Characteristics of Media Texts 40 marks 2 questions
Answer all 12 questions.
When answering on studied material, you must use texts in line with what is prescribed for 2023.
The questions do not all carry equal marks. The number of marks for each question is stated at the
top of the question.
You should spend about 40 minutes on Section A, 30 minutes on Section B, 25 minutes on Section
C and 20 minutes on Section D.
When answering on studied material, you must use texts in line with what is prescribed for 2023.
Write your answers in the spaces provided in this booklet. You may lose marks if you do not do so.
You are not required to use all of the space provided. You should read each question in full before
beginning your response.
Extra pages are provided if needed. Label any extra work clearly with the question number and
part.
You may only use blue or black pen when writing your answers. Do not use pencil.
This examination booklet will be scanned and your work presented to an examiner on screen.
Anything that you write outside of the answer areas may not be seen by the examiner.
*02*
Section A Giving Thoughtful Value Judgements 60 marks
Suggested time for Section A: 40 minutes
Here is the British Poet Laureate, Simon Armitage’s, poem about the invasion of Ukraine, written in
solidarity with those under fire.
Resistance
It’s war again: a family over buckled bridges

carries its family out of a managing cases and bags,
pranged house balancing west and east -
under a burning thatch. godspeed.
The next scene smacks It’s war again: the woman in

of archive newsreel: platforms black
and trains gives sunflower seeds to the
(never again, never again), soldier, insists
his marrow will nourish
toddlers passed
over heads and shoulders, the national flower. In dreams
lifetimes stowed let bullets be birds, let cluster
in luggage racks. bombs
burst into flocks.
It’s war again: unmistakable
smoke False news is news
on the near horizon mistaken with the pity
for thick fog. Fingers crossed. edited out. It’s war again:
An old blue tractor an air-raid siren can’t fully

tows an armoured tank mute
into no-man’s land. the cathedral bells -
let’s call that hope.
It’s the ceasefire hour:
godspeed the columns
of winter coats and fur-lined
hoods,
the high-wire walk
*03*
Question 1 (10 marks)
What symbol or image stands out to you most in this poem? Use evidence from the poem to
support your answer.
Optional Rough Work
*04*
Based on your reading of the poem, why do you think the poet has chosen to write about the
invasion of Ukraine? Include two reasons for your opinion.
Optional Rough Work

2
*05*
(a) Write out the line from the poem that contains each of the poetic devices listed below.
(b) Explain what the poet is trying to express to the reader in each line.
Metaphor
(a)
(b)
Rhyme
(a)
(b)
Alliteration
(a)
(b)
*06*
Simon Armitage aims to get the readers or listeners of the poem to have an emotional connection
with his poem. Choose a poem you have studied that you have an emotional connection to.
(a) Describe the emotion you experienced when reading the poem.
Optional Rough Work
*07*
(b) Discuss how the language and imagery used by the poet impacted on your emotional response.
Optional Rough Work
*08*
Section B Understanding and Appreciating Character and Action in Drama

45 marks
Suggested time for Section B: 30 minutes
This excerpt is from the play adaptation

of the novel To Kill a Mockingbird by
Harper Lee. The play tells us the story of
a lawyer, Atticus Finch, who is defending
an innocent black man, Tom Robinson,
for the rape of a white girl. Scout is the
nine-year-old daughter of Atticus and
she is accompanied by her friend and
neighbour, Dill, who is seven years old.
They have been at the trial unbeknownst
to her father and have left the courtroom
as Dill is upset. The children meet a local
man called Dolphus Raymond, who
explains the situation to them.
Scout: Dill, come on out under the trees. Heat got you, I expect.
Dill: It was just him I couldn’t stand.
Scout: Who, Tom?
Dill: That old Mr. Gilmer doin’ him that a way, talking so hateful to him—
Scout: Dill, that’s his job. Why, if we didn’t have prosecutors—well, we couldn’t have defense
attorneys, I reckon.
Dill: I know all that, Scout. It was the way he said it made me sick, plain sick.
Scout: He was supposed to act that way, Dill, he was cross—
Dill: He didn’t act that way when—
Scout: Dill, those were his own witnesses.
Dill: Well, Mr. Finch didn’t act that way to Mayella and old man Ewell when he cross-examined
them. The way that man called him ‘boy’ all the time and sneered at him, an’ looked around at the
jury every time he answered—
Scout: Well, Dill, after all he’s just a Negro.
Dill: I don’t care one speck. It ain’t right. Somehow it ain’t right to do ‘em that way. Hasn’t anybody
got any business talkin’ like that—it just makes me sick.
Scout: That’s just Mr. Gilmer’s way, Dill, he does ‘em all that way. You’ve never seen him get good
‘n down on one yet. Why, when—well, today Mr. Gilmer seemed to me like he wasn’t half trying.
They do ‘em all that way, most lawyers I mean.
Dill: Mr. Finch doesn’t.
Scout: He’s not an example, Dill. He’s—he’s the same in the courtroom as he is on the public
streets.
Dill: That’s not what I mean.
*09*
Dolphus: I know what you mean, boy. (Mr. Dolphus Raymond peered around the trunk at us). You
aren’t thinhided, it just makes you sick, doesn’t it? Come on round here, son, I got something
that’ll settle your stomach. Here, take a good sip. It’ll quieten you.
Dolphus: Hee, hee.
Scout: Dill, you watch out now.
Dill: Scout, it’s nothin’ but Coca-Cola.
Dolphus: You little folks won’t tell on me now, will you? It’d ruin my reputation if you did.
Scout: You mean all you drink in that sack’s Coca-Cola? Just plain Coca-Cola?
Dolphus: Yes, ma’am. That’s all I drink most of the time.
Scout: Then you just pretend you’re half—? I beg your pardon, sir. I didn’t mean to be—(Dolphus
chuckles to himself). Why do you do like you do?
Dolphus: Wh—oh yes, you mean why do I pretend? Well, it’s simple. Some folks don’t—like the
way I live. Now, I could say the hell with ‘em, I don’t care if they don’t like it. I do say I don’t care if
they don’t like it, right enough—but I don’t say the hell with ‘em, see?
Dill and Scout: No, sir.
Dolphus: I try to give ‘em a reason, you see. It helps folks if they can latch onto a reason. When I
come to town, which is seldom, if I weave a little and drink out of this sack, folks can say “Dolphus
Raymond’s in the clutches of whiskey—that’s why he don’t change his ways. He can’t help himself,
that’s why he lives the way he does.”
Scout: That ain’t honest, Mr. Raymond, makin’ yourself out badder’n you are already—
Dolphus: It ain’t honest but it’s mighty helpful to folks. Secretly, Miss Finch, I’m not much of a
drinker, but you see they could never, never understand that I live like I do because that’s the way I
want to live.
Scout: Why are you telling us all this?
Dolphus: Because you’re children and you can understand it, and because I heard that one. (he
jerks his head at Dill)—things haven’t caught up with that one’s instinct yet. Let him get a little
older and he won’t get sick and cry. Maybe things’ll strike him as being—not quite right, say, but he
won’t cry, not when he gets a few years on him.
Dill: Cry about what, Mr. Raymond?
Dolphus: Cry about the simple hell people give other people—without even thinking. Cry about
the hell white people give colored people, without even stopping to think they’re people too.
Scout: Atticus says cheatin’ a colored man is ten times worse than cheatin’ a white man. Says it’s
the worst thing you can do.
Dolphus: I don’t reckon it’s—Miss Jean Louise, you don’t know your Pa’s not a run-of-the-mill man,
it’ll take a few years for that to sink in—you haven’t seen enough of the world yet. You haven’t
even seen this town, but all you gotta do is step back inside the courthouse.
Scout: C’mon Dill. You all right now?
Dill: Yeah. Glad t’ve metcha, Mr. Raymond, and thanks for the drink, it was mighty settlin’.
Scout: Shoot, we missed it. Atticus is halfway through his speech to the jury.
*10*
What does Dolphus Raymond tell us about the character of Atticus Finch? Support your response
with evidence from the drama.
Optional Rough Work
*11*
Based on your reading of this play, explain two things that a director could do to stage this extract
in an imaginative way. You may refer to:
● Lighting
● Movement
● Props
● Costumes
● Characterisation
● Technologies to project imagery
● Or any other ideas that could help with staging.
Optional Rough Work
*12*
Scout and Dill learn that appearances can be deceptive; that things are not always as they seem.
They realise that Dolphus Raymond is projecting an image of himself as a drunk but they learn that
this is not the case.
Choose a character from your studied drama that has a realisation about the world they live in.
Describe a key moment in which they have to take action about something they have learned, and
outline what happened because of that action.
Name of Character:
Key Moment:
Optional Rough Work
*13*
*14*
Section C Exploring New Worlds in Non Literary Texts 35 marks

3
Suggested time for Section C: 25 minutes
The following extract is taken from travel writer Rosita

Boland’s “Elsewhere”, which reveals how exploring
the world, and those we meet along the way, can
dramatically shape the course of a person’s life. In this
extract, Rosita recounts a death-defying bus journey
through Pakistan.
Pakistan, 1995
After a few days spent exploring Karimabad, Baltit and

Gulmit, I took the nice bus back to Gilgit. Through some
grapevine process, Muhammad had known I’d made it
safely to Karimabad. He was still a bit mad at me.‘ Crazy! You crazy, Rosita!’ He scolded me, while
getting my rucksack out of the cupboard, where it had been stored in my absence. My former
room was still empty. He carried my rucksack across the garden. ‘Where you go next?’ He looked
back at me warily, wondering what new unsuitable plan I was scheming. ‘ Skardu,’ I said. ‘Don’t
worry, Muhammad, I’m going to take the bus there.’
Skardu, the capital of Baltistan, is 170 kilometres south-east of Gilgit. I was still enthralled by the
vertical landscape of the Karakoram, and wanted to spend more time among the mountains.
Expeditions started out to K2 from Skardu. I had a vague idea in my head of absorbing some sense
of the possibilities of adventure just by being there. My guidebook told of incredible scenery,
and villages untouched by modernity. An air route to Islamabad had only been established in the
1960s. The road I was about to travel, the Indus Highway, was completed in 1985. The knowledge
that it was only a decade since Baltistan had had a road to connect it with the wider world was
somehow intoxicating. This was not a world I knew anything about.
Two days later, I was aboard the local bus from Gilgit to Skardu. I had said goodbye to Muhammad
a second time, telling him I’d be back in a week or ten days. This time, though, I took my rucksack.
One thing I had learned in northern Pakistan was that the word ‘Highway’ bore no relation to
what I knew as highways. The further we travelled along the grandly named Indus Highway, the
less it even resembled a road, far less a broad and surfaced piece of infrastructure. We were on
an unsurfaced track, which had no protective barriers, and the track was now following the Indus
River. Not alongside it, but far, far above: hundreds of metres above the gorge.
Slowly, the road began to take on the sensation of fiction. It was literally carved out of the side of
a mountain gorge. From where I sat, in my unluckily scenic right-hand seat, the bus appeared to
be levitating in thin air, so narrow was the road, and so close were the wheels to its bare edge.
Far above us on the left, the gorge walls extended upwards hundreds of metres to a strip of sky as
defined and narrow as a runway. We started to hit the hairpin bends, the bus labouring and the
brakes screeching as we rounded each dreadful turn. I stared transfixed out the window. I did not
want to believe my eyes. The landscape was almost savage in its nightmarish beauty. I was barely
able to comprehend its vast, surreal scale. Outlandish, I thought. Not of this world.
*15*
Among the dark shadows cast by the mountain walls, and the black of the stone, the villages of
Thowar and Basho glowed with the luminosity of tiny chips of emeralds. From their location in the
gorge, I realised, the people in those villages would never see either sunrise or sunset. The sky was
a strip between the walls of the gorge high above. The only time sunlight would hit the villages
was when the sun was directly overhead. I thought of the children who had gestured to me. What
was it like to live in a landscape that was vertical, and where there were no horizons? I imagined
them growing up fearless of vertigo, playing their games on those tightropes of land, dreaming of
someday seeing the sky in its entirety. It kept my mind off the road for at least five minutes.
‘Not good,’ a man beside me said, twisting into the aisle to look. “Why?’ I said immediately, my
heart beginning to beat faster. ‘We cannot wait here long,’ he explained. ‘We are still four hours
from Skardu. The driver has to get to Skardu before dark. He cannot drive this road in the dark.’
The bus driver got out and conferred with some men, indicating a small gap they had opened up
between the rock-fall and the very edge of the track. In rising terror, I saw that he intended to try
and get the bus through this space, which looked no wider than a wheelbarrow. The driver got on
again, and revved up. Everyone fell silent. I had never been on an Asian bus before where everyone
suddenly stopped talking; in itself, a deeply unsettling sign. It was not just my palms that were
clammy, but my spine, all the way up to my neck. The bus jerked forward. The driver drove on to
the pile of rocks on the left side of the cleared space; the gorge lay below on the right. The bus
was now tilted at an angle of about 35 degrees towards the gorge, and, apart from the supplies
that had been offloaded at Thowar and Basho, many sacks of cargo remained tied to the roof. We
edged forward. The bus groaned, struggling with gravity.
In those moments, I truly believed death was imminent. I was paralysed with terror; fearing the
wheels’ loss of purchase, and the freefall of the bus into the gorge below. I was utterly overtaken
by a sensation of horror and impending disaster. I thought I was going to black out. I closed my
eyes. I couldn’t look out the window any longer. In those moments, when I believed we were all
at risk of dying, scenes from my life did not flash before me. I did not see Jake’s face, or anyone’s
face: the image that came into my head was the wholly banal one of the unfinished cup of coffee
I had left behind at the Madina earlier that day, because I was running late; an image that seemed
to me now had come from another, different world that had existed before I had got on the bus.
Then all four wheels of the bus thumped down together. There followed another four hours in this
terrible journey. I lay against the window, stunned at simply being alive. The bus stopped at an
army checkpoint. Painted on a gable wall in large faded white letters, five words in English spelt a
surreal, arcane* greeting to Balistan. They read: Welcome to the World Without.
Glossary
Arcane = Dark/Forbidding
*16*
Match the words closest to their meaning by writing A, B or C in the box provided.
1. Enthralled
A. Bored
B. Fascinated
C. Undivided
2. Levitating
A. Settling
B. Resting
C. Hovering
3. Outlandish
A. Plain
B. Outrageous
C. Ordinary
4. Luminosity
A. Concealing
B. Gloomy
C. Dazzling
5. Imminent
A. Advancing
B. Unlikely
C. Doomed
*17*
In your opinion, is Rosita Boland courageous or foolish or neither in this diary extract? Give two
reasons for your response.
*18*
Rosita Boland has become an avid fan of traveling around the world and writing about the
experiences and the people she meets on her journeys.
You have decided to go on an adventure of your own. Write a blog about your experience,
including information about your destination, the people you meet, and the things you see and do
there. (Write a least three blog entries).
Optional Rough Work
*19*
*20*
Section D Identifying Characteristics of Media Texts 40 marks
Suggested time for Section D: 20 minutes

Examine the following two television advertisements carefully.
Advertisement A
Advertisement B
*21*
Based on your examination of both advertisements, which image tells you more about the story, the
characters, or the genre (type) of the programme? Give two reasons for your response.
Optional Rough Work
*22*
As protagonists, both Loki and Ms Marvel face challenges that ultimately influence the plot of their
story.
Identify the main protagonist or antagonist of your studied film, and using at least two key
moments, explain how they influenced the plot of the film.
Name of film:
Name of protagonist or antagonist:
Optional Rough Work
*23*
*24*
Additional writing space. Label all work clearly with the question number and part.
*25*
Additional writing space. Label all work clearly with the question number and part.
*26*
Blank Page
*27*
*W4FC*
Acknowledgements
“Resistance” by Simon Armitage www.simonarmitage.com/wp-content/uploads/Resistance-by-

Simon-Armitage.pdf
Image from British Library of Jug. www.twitter.com/DigiArchaeo/status/1507334641421852682
Excerpt from “To Kill A Mockingbird” Play, The Trial Scene. www.cbsd.org/cms/lib/PA01916442/
Centricity/Domain/1611/trial%20script%20TKM.pdf
Still from “To Kill a Mockingbird” play, West End. www.playbill.com/article/read-the-reviews-for-

rafe-spall-in-to-kill-a-mockingbird-in-londons-west-end
Excerpt from Rosita Boland’s “Elsewhere”. www.penguin.co.uk/articles/2019/05/elsewhere-rosita-

boland-extract
Image of “Elsewhere” text. www.rte.ie/culture/2019/0701/1059518-elsewhere-by-rosita-boland-

read-an-extract/
Advertisement for Loki. www.rottentomatoes.com/tv/loki/s01
Advertisement for Ms Marvel. www.flipgeeks.com/entertainment/brand-new-marvel-studios-ms-

marvel-has-just-arrived
*28*
23
ACCESS SAMPLE SECOND EXAM SCHEDULE EXAMS AFTER
PAPERS ONLINE FROM PAPER IN 8 LEAVING JAN 23RD TO YOUR
MID-NOVEMBER CERT SUBJECTS SCHOOL’S TIMETABLE
Mock Exam Papers 2023
Higher quality and faster NEW JUNIOR CYCLE
turnaround of corrections
ONLINE CORRECTIONS
Dear Mock Exam Secretary,

Firstly, thank you for your support over previous mock
examination cycles and hope that you will put your trust in
us again in 2023.
While schools are generally happy with our correction service,
two areas for further improvement have been highlighted:
• Consistency of quality.
• A faster turnaround time.
With a totally paper-based system, and given the turnaround expectations of schools, it is very difficult to introduce paper-based
process innovations which would make a meaningful difference to either of these areas.
For this reason, we have decided to implement an online corrections system for the Junior Cycle papers for the coming mock
examination cycle which will address your concerns in the following ways:
1. Quality 2. Speedy Turnaround

We are implementing system checks Once the papers are scanned by our team, they
to ensure that all correctors are will be immediately queued for correction, which
marking scripts to an agreed standard means no posting of scripts, no missing boxes
as set out by senior correctors. and no long waits for results for students.
Online corrections is a significant investment for Examcraft and it is Thank you again for continuing to place your trust in
designed to ensure that your students can have greater reliability on Examcraft; the Examcraft team look forward to working
the marks that they receive. with you in 2023.
In planning this innovation, we are ensuring that schools, teachers
and mock examination secretaries will have very little additional work.
There is a brief outline of the changes on page 3, but we will explain Philip O' Callaghan
them in more detail closer to the beginning of the mock cycle. Managing Director of the Examcraft Group
What will online corrections at Junior
Cycle mean for your school?
The main benefits that online corrections will bring to your school are greater consistency in the quality of corrections and
a faster script turnaround time.
In order for this to happen, we will be asking for your co-operation as follows:
After ordering the papers, and if you opt to have the scripts corrected, you will be asked to register
the students and their teachers according to the instructions we will provide.
Other than that, there will be no change for you. There will, however, be a change in how these
scripts are returned to the teachers and students.
Once an envelope is corrected, the teacher will be notified by email that the corrected scripts are
available to view online. Instructions will be provided to teachers on how they can be accessed.
The teacher will review the scripts and then release them online to the students. The students will
then get an email advising them on how they can view their individual scripts.
We are excited about this innovation, as we believe it will lead to enhanced quality and efficiency of the corrections service.
While it is our plan to implement this for all exams in 2024, implementing it at Junior Cycle ensures that individual schools
and the Examcraft organisation can embed any learnings before we roll it out for the highest-stake exams in 2024.
I trust that you will support us as we embark on this journey of digital transformation which is designed to ensure you,
your school and your students will have a better mock examination experience in the years to come.
STEP 01 STEP 03
Register students STEP 02 Exam papers are STEP 04
and their teacher Students sit returned to Examcraft Once papers are corrected,
for corrections. their exams as normal. teachers are notified by email
as normal. and can review the scripts
online and release to students.
89F Lagan Road, Dublin Industrial Estate, Glasnevin, Dublin 11

T: 01 808 1494 | E: info@examcraft.ie | www.examcraft.ie
THE
ULTIMATE
REVISION
SERIES
Junior Cycle Success
Revision Book Series
The Junior Cycle Success series

reduces students’ stress by:
• Providing a clear overview of the course and what
they have to learn.
• Showing them how to prepare for their CBAs and
final exam.
• Breaking each subject down into topics.
Each book covers
• Giving sample questions and answers for each topic. the entire course,
with all strands and
• Using easy-to-follow language and graphics.
LEARNING
• Providing QR codes to access additional online resources. OUTCOMES
ADDRESSED
Click here to find out more
4schools.ie @theexamcraftgroup

English (Option A), Junior Cycle - Higher Level - Paper

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

English (Option A), Junior Cycle - Higher Level - Paper

Uploaded by

Copyright:

Available Formats

Key Messages for

Terms and conditions

3. I will not photocopy or distribute the paper to students.

Part of the Examcraft Group T: 01 808 1494 F: 01 8307464 E: info@examcraft.ie www.examcraft.ie

Please consider joining our correction team, even if

Leaving Certificate Junior Cycle

Any questions, please email correctors@examcraft.ie

PLEASE USE BLOCK CAPITALS WHEN COMPLETING THE INFORMATION BELOW.

Title (Mr, Mrs, Ms):

Pre-Junior Cycle Final Examination 2023

The theme of this examination paper is

There are four sections in this examination paper.

Section A Giving Thoughtful Value Judgements 60 marks 4 questions

Answer all 12 questions.

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Section A Giving Thoughtful Value Judgements 60 marks

Suggested time for Section A: 40 minutes

It’s war again: a family over buckled bridges

The next scene smacks It’s war again: the woman in

An old blue tractor an air-raid siren can’t fully

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Question 1 (10 marks)

Optional Rough Work

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Question 2 (10 marks)

Optional Rough Work

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Question 3 (15 marks)

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Question 4 (25 marks)

Optional Rough Work

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Optional Rough Work

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Section B Understanding and Appreciating Character and Action in Drama

Suggested time for Section B: 30 minutes

This excerpt is from the play adaptation

Question 5 (10 marks)

Optional Rough Work

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Question 6 (15 marks)

Optional Rough Work

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Question 7 (20 marks)

Optional Rough Work

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Section C Exploring New Worlds in Non Literary Texts 35 marks

The following extract is taken from travel writer Rosita

After a few days spent exploring Karimabad, Baltit and

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Question 9 (10 marks)

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Question 10 (20 marks)

Optional Rough Work

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Section D Identifying Characteristics of Media Texts 40 marks

Suggested time for Section D: 20 minutes

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

Question 11 (15 marks)

Optional Rough Work