![]() I’ve already addressed this with my Year 11 class and explained to them that I want them to do less but better, so that they can still reach the highest levels. The example was a top level 6 and showed me that how I have been teaching the essay skills might have been too complicated. This was useful as we all were able to consider different elements of the exam and look at how students were structuring their essays.įor the Anthology the top response was structured like this: Both poems were introduced in the introduction and a clear focus on what the student thought about both poems was written, the focus on poem 1 that was printed was detailed with reasons why, methods and context included across two paragraphs, then the poem 2 focus was one paragraph that explicitly made links back to poem 1 in the paragraph. Why I love…Comparison Collection Power & Conflict AQAįirst, we did a CPD exercise in our last faculty meeting where we looked at the secure AQA GCSE examples for literature in the team and gave feedback to each other about what we noticed about the different levels and how to move students up the levels in our teaching. I’ve done loads of examples that use this format in the past and I will still use the examples but when I’m teaching essay skills for this, I’m a lot more pared down than in the past. Then, there is little to no time to finish the essay. Then, to be able to write well for 45 minutes to cover the three ideas means that essentially you are looking at 5mins planning, 5 mins intro and 35 minutes divided by 3 for the main paragraphs, which is not a lot of time to really do the ideas justice. For a start coming up with three ways to compare linked to the question is really quite challenging. However, I’ve been mulling this over and think it is too much to ask. ![]() Traditionally, I have taught the poem and then taught the following essay structure: Intro with 3 ideas linked to the question, Main Paragraphs linking to each main idea in the introduction that compares meaning, effect, context, connotations, intentions with multiple evidence, a comparative point and then the same again in the same paragraph, then a conclusion that briefly summarises the main similarities and differences. This dynamic creates tension and appeals deeply to the reader's sense of pathos, particularly as these heroines typically tend to be orphaned, abandoned, or somehow severed from the world, without guardianship.Dual-essay-structure-extract-storm-1 Downloadįor some time now, I’ve been thinking about the way that I approach the Anthology essay writing and wondering if I have over complicated it. Virgin in distress: With the exception of a few novels, such as Sheridan Le Fanu’s "Carmilla" (1872), most Gothic villains are powerful males who prey on young, virginal women (think Dracula).They can take many forms, such as dreams, spiritual visitations, or tarot card readings. Omens: Typical of the genre, omens-or portents and visions-often foreshadow events to come.The panic, terror, and other feelings characters experience is often expressed in a way that's overblown and exaggerated in order to make them seem out of control and at the mercy of the increasingly malevolent influences that surround them. Melodrama: Also called “high emotion,” melodrama is created through highly sentimental language and instances of overwrought emotion.In some works, these supernatural features are later explained in perfectly reasonable terms, however, in other instances, they remain completely beyond the realm of rational explanation. The paranormal: Gothic fiction almost always contains elements of the supernatural or paranormal, such as ghosts or vampires.These (mostly) men of the cloth are often portrayed as being weak and sometimes outrageously evil. ![]() Clergy: Often, as in "The Monk" and "The Castle of Otranto," the clergy play important secondary roles in Gothic fare.Other settings may include caves or wilderness locales, such as a moor or heath. As Gothic architecture plays an important role, many of the stories are set in a castle or large manor, which is typically abandoned or at least run-down, and far removed from civilization (so no one can hear you should you call for help). Setting: The setting of a Gothic novel can often rightly be considered a character in its own right.Atmosphere: The atmosphere in a Gothic novel is one characterized by mystery, suspense, and fear, which is usually heightened by elements of the unknown or unexplained.
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