Edexcel GCE English Language and Literature Advanced Subsidiary

Unit 1: Exploring Voices in Speech and Writing

Time: 2 hours 15 minutes

Part 4: Exemplar scripts WWW EBI Using your coversheets effectively

(1ai)Feature 1: Filler Example: Its moulded to your erm to fit your ear. Feature 2: Tag question Example: Can you hear me Feature 3: Repetition Example: nothing (2) nothing (ii) A filler is used to allow the person time to think and correct themselves if they have made an error. Repetition is often used to emphasise something that is said. It can also show that the participant is not paying full attention.

Question 1a ii asks candidates to comment on the function of two of their selected features within the extract.

Question 1a ii asks candidates to comment on the function of two of their selected features within the extract.
Feature 1: Self repair Example: Its moulded to your erm to fit your ear. Feature 2: Voiced pause Example: D: It needs to arm fit into. Feature 3: Latch on Example: J: // doesnt work D: // lets have (ii) The voiced pause that D says is as she is fitting her mothers hearing aid, and so she is buying time to think of what she is trying to say because her attention is focused on what she is doing, she isnt concentrating on what she is saying. The first latch on occurs when D interrupts J, which suggests she just wants to get on instead of listening to her mother, and is perhaps slightly frustrated, as is a typical relationship between older mothers and their daughters.

1.) What does the second chunky part of the exam require you to do?
This second component of Q1 links to two unseen extracts provided in the Source Booklet. Text B is an extract of a blog posted to a football website and text C is an extract from a travel article. The question asks candidates to examine how the writers: Shape or craft the texts to meet the expectations of their respective audience/purpose/context Employ aspects of spoken language in their texts. Reponses are assessed against AO2 with its specific focus on how structure, form and language shape meaning , and AO3 with its specific focus on the contextual factors which impact on the production and reception of texts . Each AO is marked out of 20, giving an overall maximum mark of 40 for this question.

2.) Annotate the texts with the features you would write about.

Candidate C answer: In text B the writer has taken a fairly laid back approach to the blog being written. Not a lot to talk about today. This approach is fairly typical in an online blog and it is written well with a mixture of fact and opinion. Although it is Goal.com reporting it, and you never know what their sources are. When I saw that this extract was a blog I automatically presumed that a teenager would be writing it but the writer seems to be slightly older and well educated due to the correct grammar, punctuation and the fact that he is experienced with the football leagues. Moving away from the rumor department, the next opponent in the FA Cup is set. The layout of the text is four short paragraphs and one final sentence; these are easy and quick to read which is what the reader wants. The paragraphs are summaries of what has happened which will give the audience the information they need for the match the following day. when Arsenal doesnt have a fixture over the weekend. Tomorrows match The writer uses aspects of spoken language in this text such as colloquial language: doesnt exactly have me fired up, a few rumours to dance around, grabbing silverware. He also uses short sentences after complex and compound sentences to keep the audiences attention: Sheffield United or Hull. At the Emirates., get into shape. And quick. ,FA Cup match. Til tomorrow.

Candidate C answer continued : In text C Simon Calder pulls the audience in straight away and makes it seem like they are on the adventure with him, or that they are on the adventure and he is giving them advice: before you drift off on the Thames-Rhine Express, let me tell you Calder is clearly writing to adults, telling them of his experiences, but also hinting that they try it for themselves: we can tell this by the way he goes into detail about prices and place names. (13.50). Ecuadorian trains: between El Progresso to San Lorenzo. Calder uses light humour, everyone over two is classed as an adult. , which keeps the reader intrigued and also it follows nicely onto his next point about carrying passengers on the roofs of the trains. The fact that carry passengers on the roof and two classes of accommodation fares being identical are written in quotation marks prove that what he is saying is fact. The idea of Calder travelling the world and writing a newspaper article made him seem wealthy, with the presumption that he would travel high class: this is contrasted when he mentions the low cost airlines and the realisation of having to travel on the roof of a train. Although this extract is a piece ot be read by the audience, the simple phrase let me tell you automatically puts a voice in the readers head and adds expression to what he is saying. Some words and phrases he uses suggest him being high class: rarely demonstrate excitement , dramatic developments on the rails in South America.

What mark did you give them?

Candidate C examiner commentary: This response offers generalised and mostly observational comment regarding its address of AO2. For example, there is an attempt to define audience, but the candidate struggles to articulate or develop what they sense (I presumed it was a teenager/ slightly older and well educated due to correct grammar, punctuation...). Comment on structure, form and language is very straightforward and links to how these shape meaning are minimal. There is an awareness of tone /register with generally appropriate exemplification although terminology and comment is basic. There is little consideration of spoken features and a real struggle to find the words to comment on the voice of either writer or his interaction with his readers (Let me tell you automatically puts a voice in the readers head and adds expression to what he is saying/ some words and phrases he uses suggests that he is high class rarely demonstrate excitement...). The response matches the descriptors for a Band 2 response at AO2 and was awarded a mark of 6/20 At AO3 comments lack development and precision. There is a general awareness of context. Comments on Extract B imply awareness that structure/sequence are linked (in a general/basic way) to searching the site (the paragraphs are summaries of what has happened which will give the audience the information they need for the match the following day). Similarly the candidate senses the significance of prices and place names in the travel article but does not really move beyond observation. The response matches the descriptors for a Band 2 response at AO3 and was awarded a mark of 7/20.

Candidate D answer: As a blog, Text B employs aspects of spoken and written language in a mixed mode. The writer uses ellipsis and elision at the same time when he writes doesnt surprise me. These features are common in spoken language we the speaker wishes to convey their ideas quickly and so is often economical with their words. This also gives the blog an informal, chatty tone, which the audience, largely the younger generation, may find appealing. In addition is suggests that the football news is informal and open to discussion, surely the purpose of the blog. The phrase doesnt exactly have me fired up is an example of a colloquialism and adds humour to the text, making it appealing to a web-surfing audience. The shared joke makes the writer seem like a real person and many younger people may find this appealing. Humour also makes the news more enjoyable and so many people may be inclined to learn about their teams through this blog medium rather than by watching Sky Sports or similar television channels. Also, the coda, or signing off, at the end of the blog, Til tomorrow, is a rather informal one. This suggests friendship with the audience and brings the writer closer to the reader. Many readers prefer being talked to rather than being talked at and the informality of the blog makes it seem more like an interesting conversation and less like a dry account of the events of the football match. The writer of this blog wishes to appear informal and the comment although it is Goal.com reporting it shows dry humour and implicitly implies that Offside is a superior, more reliable blog. This may be evidence of a rivalry or topic of humour which many may run consistently throughout these blogs. Again, this may appeal to regular readers and make them feel part of a group of enlightened football fans. As a blog about football, this text is heavily context dependent. The Emirates may not make sense to somebody unfamiliar with the sport and requires the audience to know a few things about the premiership in order to understand. As this blogs target audience is football fans, this should not be an issue. Context dependence is also a recognisable feature of spoken language as, in a conversation, shared knowledge is required for a discussion to take place.

Candidate D answer: Text C is travel writing and, as such, is highly influenced by the semantic field of travel. The proper noun phrase the Thames-Rhine Express is the name of a railway in Europe, which suggests that the article will have railway as its theme. No frills flying is colloquial and therefore more spoken, yet it is appropriate as readers of a travel article are assumed to recognise that the evaluative adverb nofrills means cheap, economy travel. This newspaper article is notably more formal than the previous blog; a feature of this formality being a lack of elision. An exception to this is the imperative in italics at the top, Lets hear it for Latin American railway engineers. This has the effect of the writer speaking, even appealing, directly to the potential reader, thus enticing him to read the article. This would apply even more strongly to a reader who is interested in Latin America, railways, or a combination of the two. However, with regards to the formal tone of the article, this can be attributed to the fact that it is a supplement to a broadsheet newspaper, The Independent, whose readership is likely to be educated people. The last sentence is interesting. Even if youre three years old, is an example of a subordinate clause being used as a full sentence, a feature of spoken language. This short, punchy declarative is almost added to the end of the article as an afterthought, possibly to create humour and possibly to shock the audience. The writer is showing the reader how very different public transport is in Ecuador compared to Britain and this stirs the memorable stereotype of passengers being herded onto buses in the developing world; thus leaving the reader to ponder as to the cultural differences clearly evident.

What mark did you give them?

Candidate D examiner commentary: At AO2 this response offers a well balanced investigation of both extracts with well developed links between form and function. There is consistent exemplification and a good range of terms which are mostly applied with accuracy at word (semantic field of travel...) sentence (the imperative in italics/a subordinate clause being used as a full sentence/punchy declarative...) and whole text level. There is consideration of the audience of both texts and effective- and analytical - exploration of the relationship between writer and reader (shared joke/regular readers/part of a group...). T here is awareness of the features of spoken language employed (ellipsis and elision at the same time doesnt surprise me...) and competent handling of register/tone. The response matches the descriptors for a Band 4 response and was awarded a mark of 18/20. At AO3 the response offers considered comment on the contextual factors that influence the production and reception of the texts. Comment on the blog evidences an awareness of convention and audience expectation such as: speed/economy/informality/humour/community/discussion with appropriate exemplification of the language choices made in this respect. The extended comparison with TV sports, though not fully developed, shows insight. Comment on the travel article is slightly less developed, but there is some real subtlety in the exploration of the informative nature of the text and the devices used by Calder to convey this to his audience. The response matches the descriptors for a Band 4 response and was awarded a mark of 17/20.

Section B exemplar
Candidate G answer: Evelines voice comes across as melancholy and wistful as she becomes lost in her memories. Adjectives like pitiful, melancholy, dark, foolish and dusty are emotive and create a sad voice that turns more agitated to the end of the extract. The sentences become shorter and simple: Escape! She must escape! The sudden impulse of terror reflects the change in her voice and signals the end of her reminiscing. The street organ she hears reminds her of a promise, and it is the realization that she will be breaking it that scares her. Her memories also do this, and the threat of a sacrifice of a life terrifies her. The emotive lexis used in this passage creates a voice that does not want to finish like her mother, for example: life of commonplace sacrifice closing in final craziness Commonplace sacrifice shows us that Eveline sees the womans role in society as a sacrifice and ambitions and hope for the good of the family, something that is all too common. The use of final craziness reinforces this another powerful, emotive noun like craziness shows us how futile her life would be if she stayed. Her mothers foolish insistence combines with this to create her terror. Foolish insistence shows us that Eveline sees her mother as trying to justify her wasted life the emotive lexis continues to create a very intimate, personal voice. Little Chandler in A Little Cloud is also influenced by memories. In contrast to Eveline, Chandler remember his old friend Gallaher with fondness and admiration. The exclamation Ignatis Gallaher on the London Press! followed by the rhetorical question who would have thought it possible 8 years before? reflect the voice of little Chandler talking to himself as he remembers Gallaher. He talks about future greatness and prides himself on knowing he had confidence in Gallaher. future indicates that Chandler had spotted a latent ability in Gallaher, a charisma that Chandler freely uses, remembering his friends charm. This creates an awed, deferential voice that reflects Chandlers positive memories of his friend.

Section B continued
The use of hedges and vague language following the discourse marker In the end, like some shady affair shows us that Chandler is pushing Gallahers more sinister side away and chooses only to concentrate on the positives. The refusal to specify his dealings, shown by the vague language some shady affair, some money transaction reinforces the notion of denial. Chandlers willingness to concentrate on the positives is shown by starting the very next sentence with But. This shows that Chandler is trying to find justification for Gallaher. He is impressed by his bold face. This choice of lexis again gives a positive, proper and manly image to Gallaher and Chandlers voice turns proud when he remembers Gallahers sayings, shown by the flush of pride to his cheek. We can almost hear Gallahers own voice on Chandlers when he repeats Gallahers saying Half time, now, boys. Wheres my considering cap? Chandlers voice is again admirational as he uses the adverb light-heartedly when describing Gallahers reaction to being caught out. It stays admirational as he uses the admirational expletive damn him affectionately, showing that the two men were close. Chandler says you couldnt but admire him for it. The use of the modal verb couldnt is chosen to erase all possibility of not admiring and loving Gallaher. These memories of Gallaher influence Chandler positively and give him confidence, shown by he felt superior to the people he passed as if knowing Gallaher gave him an advantage the word superior indicates this. So strong are chandlers memories of Gallaher that it is almost as if he was walking side by side with him at the moment. Joya portrays life in Dublin as something to get away from Eveline is fixated on escape to a sailor who will take her to Argentina, and Gallaher left Dublin for London and became famous. The lexis used in Eveline like dusty, dark and melancholy create an unpleasant, gloomy picture of life in Dublin, and Chandler simply states it There was no doubt about it. You could do nothing in Dublin. The noun doubt indicates that there is a simple black-and-white truth. The two simple sentences create a determined, final voice that is one of the few completely certain things that Chandler ever says.

So what mark did you give it?

Candidate G examiner commentary: This is a competent response. There is balance between exploration of the extract and the second story (A Little Cloud). Focus on the task and the issue of memory and its influence on voice is reasonably sustained although latter sections drift slightly into the theme of escape/entrapment. At AO1 there is thorough exploration of both stories and the language used in the construction of voice (Adjectives like pitiful, melancholy.../emotive lexis.../the exclamation...followed by the rhetorical question...). Shifts in voice and the triggers for these shifts are identified- and analysed- confidently (The sentences become shorter and simple Escape! She must escape! the sudden impulse of terror reflects this change and signals the end of her reminiscing). Comments on Chandler demonstrate competence in the analysis of spoken language features (the use of hedges and vague language following the discourse marker...). There are appropriate links to memories and how these influence character and voice both in the extract and in the second story (...and awed deferential voice that reflects Chandlers positive memories of his friend) and these links are explored and analysed effectively. Terminology is used accurately and in a good range. There is consistent and fluidly integrated exemplification. There are occasional (minor) lapses but the response is largely well structured and expressed. The response is awarded a mark of 17 for AO1. At AO2 comments on structure, form and language link effectively to how they shape meaning, with particular reference to the voices and the memories that shape them. For example the careful exploration of Evelines attitude towards the remembered sacrifice and craziness of her mother affords insightful comment on meaning and the attitudes of both mother and daughter and is attended by effective and specific analysis. Similarly the structure of Chandlers strategy of denial in glossing the negative memories of his friend is effectively articulated (the refusal to specify dealings, shown by the vague language some shady affair, some money transaction...). Latter comments are less rigorous but the response clearly matches the descriptors for Band 5 and was awarded a mark of 23 for AO2.

Part 3 Revision for Section B The Color Purple

Aspects of voice
the use of first person voices (including stream of consciousness and unreliable narrative voices, child or adult voices) and whether the first person narrative is consistently convincing, or slips into an authorial voice behind the first person narrator the use of third person narrative voice (including the omniscient narrator, the ironic narrative voice and free indirect style) the relationship between the narrative voice, the internal voice of characters and dialogue representations of childrens speech the way dialogue is marked and how this impacts on the text the way the writer has conveyed a sense of spontaneous speech through written monologue or dialogue the way argument or conflict are conveyed in speech the way characters distinctive voices are conveyed the way dialect is conveyed and written, and either used as the narrative voice or within dialogue the use of single or multiple narrative voices the use of letters to establish different narrative voices changes in voice to demonstrate a characters journey of self-discovery aspects of syntax, lexis, phonology, graphology and discourse that contribute to the creation of voice in the ways listed above

AAVE
Features of African American Vernacular English : the omission of the verb to be, except when indicating a progressive aspect something that takes place over time, or with regularity) the unmarked possessive the use of aint as a negative the use of double negatives present tense verbs uninflected for person or number (He say rather than says) altered syntax in questions in a negative construction, an indefinite pronoun such as nobody or nothing can be inverted with the negative verb particle for emphasis (eg Don't nobody know) lexis associated with the American south and so on. 1.) What features of AAVE do you notice in the way Walker constructs Celies voice? 2.) Look at an extract from Netties letters (next slide) to compare with Celies voice.

Comparison of voice: The extracts

Celie Harpo girl daddy say Harpo not good enough for her. Harpo been courting the girl a while. He say he sit in the parlor with her, the daddy sit right there in the corner till everybody feel terrible. Then he go sit on the porch in front the open door where he can hear everything. Nine oclock come, he bring Harpo his hat. Why Im not good enough? Harpo ast Mr. ____ Mr. ____ say, Your mammy. Harpo say, What wrong with my mammy? Mr. _____ say, Somebody kill her.

Nettie By now I am almost crazy. I think Albert told me the truth and that he is not giving you my letters. The only person I can think of who could help us out is Pa, but I dont want him to know where I am. I asked Samuel if he would visit you and Mr. _____, just to see how you are. But he says he cant risk putting himself between man and wife, especially when he dont know them.

Past question 1 The Color Purple: Alice Walker

Extract from Harpo want to know what to do to make Sofia mind (page 35) to Keep talking (page 35). Using this extract as your starting point, you should: x explore how Walker uses the conversation with Harpo to develop Celies voice as she reflects on her own marriage x examine how the relationship between Harpo and Sofia is used to challenge expectations of marriage as the novel progresses. (AO1 = 20, AO2 = 30) (Total for Question 4 = 50 marks)

Past question 2 The Color Purple Alice Walker

Extract from Mr_______ come finally one day looking all drug out. (page 12) to he say, Her cow. (page 13). Using this extract as your starting point, you should: explore how Walkers manipulation of Celies voice conveys the attitudes of the men involved in this transaction examine the methods used by Walker throughout the novel to show how these male attitudes are shaped by the society in which the characters live. (AO1 = 20, AO2 = 30) (Total for Question 4 = 50 marks)

Part 1: What do I need to revise for Section A part a?

Revision for Section A (a i +ii 10 marks)

What types of voice will they ask you about?

In the first section it is likely that you will have a spontaneous conversation to identify and explain the features of. You know from your previous exam that you should not analyse the feature cold. The key terms they are looking for are: interact, speech encounter and CPR: contextual factors, purpose, receiver.

Contextual Factors

Phonology Features Speech Framework

Grammatical Features

Non Verbal Features

Structural Features

T.R.I.P.E?
What are the 4 purposes of speech? What do they mean?
event

Transactional negotiation/getting something done. Referential providing information e.g. giving details about an activity or Interactional exchanges where the main emphasis is social e.g. catching
up on news

Phatic small talk Expressive - conveying and describing feelings

Commenting on Speech
P.E.E-ing on your work in this unit will work just as it did in ELLA1. P. Identify a feature used by a particular speaker in the transcript. E. Evidence the feature, using a quotation. (set out directly as it appears in the text.) E. Explain the purpose behind the feature used by the speaker. E. Explore the effect it has on the speakers status within the exchange control, authority, power. What does it tell us about the thoughts of the speaker? E. Does this feature suit the purpose of the conversation/relationship between participants?

G.A.P
In any text you must always fill in the G.A.P!
Genre type of text and mode Audience who is receiving the information

(gender, age, class etc) Purpose reason for speaking/writing persuade, comment, discuss, argue etc.

You must use this information to then comment on how these factors affect language use in the text e.g. formality/register/use of jargon.

Structure
What do you notice about the flow of the exchange or utterance. Can you identify features such as:
Phatic communication Turn taking Adjacency pairs Divergence/chaining Side sequences Repairs Interruptions

What do these reveal about the speakers and their attitudes to the topic?

Taking Turns
How often, and for how long, does each speaker speak? What kind of contribution does each speaker characteristically make? (question/answer/accusation/joke/agreement/etc) Who get interrupted easily? Who doesnt? Who if anyone controls the turn-taking? Who influences the agenda and changes the topic?

Grammar
Can you identify:
Sentence types/utterances Active/passive voice lexical choices jargon, slang, contractions, ellipsis, colloquialisms Hedges Back channelling Dialect?

What is the effect of these choices? What does it reveal about the speaker and their thoughts?

Non Verbal
Whats not said is just as important as what is said.
Fillers Pauses Intonation Emphasis

Where do these features appear? Who uses them most? What is their intended effect?

 Are there any sounds you can hear when you read the text?
Alliteration Assonance Sibilance Repetition Contractions

Phonology

What are their intended purposes/effects?

Rounding Off
There you have it! An all round framework for analysing speech. G.A.P

STRUCTURE

GRAMMAR

LEXIS

PHONOLOGY

NON - VERBAL

Key Terminology
Register (form appropriate to context) tone (sound of language) Syntax Intonation Tag question Function Utterance Filler Hedge Turntaking Topic management Dominant speaker Agenda Cue Discourse markers Chaining Non fluency features Cooperative signals Adjacency pairs Deixis words that rely on context (also known as deictic language) Prosodic features (volume, pitch, tone, pace, stress) Paralinguistic features (gesture, posture, facial expressions which can be inferred) Dialect, sociolect idiolect Vague language and idioms that kind of thing Use of conjunctions Ellipsis Use of personal pronouns Frequent use of common nouns
Make some cards and test each other

The theory behind it all...

We acquire language Language is innate Our language use changes dependent on context, audience and purpose Politeness principle: - Never impose of your receiver - Always give options to your receiver - Always make your receiver feel good Face theory: - Follow conventions of turn taking - Use terms appropriate to status - Speak to them as reflective of social relationship to them - Use a register in context of the conversation eg: dont use taboo language - Use cooperative principles Keeping it brief...I hate to leave but...

Past Exam Question 1

SECTION A: DIFFERENT VOICES 1 Read Texts A, B and C on pages 24 of the Source Booklet. (a) Text A is a transcript of a spontaneous conversation. (i) Identify three spoken word features in Text A and provide an example from the Text of each language feature identified.
(6) Feature 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................ Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ......................................................... Feature 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................ Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ......................................................... Feature 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................ Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ....................................................... (ii) Comment on the function of any two of the identified features within Text A. (AO1 = 4)

Have a go: Identify the features and their function

A: hiya (1.0) eugh man I feel seriously rough B: well (.) surprise me why dont you you poured a gallon down your neck last night A: yeah (.) dont go there (2.0) I didnt sink half as much as you// B: WHAT _______________________________________ A: another video is it B: mmm (4.0) have you got that um that Bruce Willis one that just came out (.) er cops car chases (.) you know// A://yep (.) on the shelf just by you (.) there you go (.) 2.50 please return it by next Monday (2.0) OK? B: cheers (.) lovely job (2.0) see ya

Past Exam Question 2

1 Read Texts A, B and C on pages 24 of the Source Booklet. (a) Text A is a transcript of a spontaneous conversation. (i) Identify three different spoken word features in Text A and provide an example from the text of each language feature identified. (AO1 = 6)
Feature 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ....................................... Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................ Feature 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ....................................... Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................ Feature 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ....................................... Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................ (ii) Comment on the function of any two of the identified features within Text A. (AO1 = 4)

Telephone transcript between close make friends

S: Well you (.) played brilliantly (.) didnt you H: yes S: well youre in the Burton Mail H: am I S: yes (.) player of the match and all this lot H: really (.) well whats it say S: man of the match and it says (.) H laid all the goals up (.) and this lot (.) so Ill bring this round to you now (.) if you want H: yes I wouldnt mind (.) ta

Part 2: Revision for Section A part b

Type of extracts they could use Revision for Section A (b 40 marks)

What else could I consider in my analysis?

Speech Happens in real time Writing Space bound, static and permanent

Spontaneity and speed make it harder to plan, leading to loser expression and some rephrasing
Clues such as facial expression an paralinguistic features aid vague language Prosodic features are part of effect Slang and obscenity are more likely Suited to social situations where opinions and nuances can be expressed Speech is an event it cannot be unsaid

Planned, therefore more compact expression and complex grammar

More explicit as cannot rely on context No prosody therefore varied grammatical constructions are likely Lexis and grammar tends to be formal Has many spacial features (diagrams, graphs etc) but has limited prosodic features Can be redrafted

Other terminology
Terms of address Topic shifts Homophones (letter/number homphones Gr8) Initialisms Dialogic (more than two participants) Sentence types (declarative, imperative, interrogative) Graphology Persona (projected) Live broadcasts Specalised lexis Adverbials in front of based on place Figurative language blasted it Omission of auxillary verbs Semantic field Embedded dialogue Scripted drama Idiolect, stereotypes Onomatopoeia Invented persona Alliteration Literary devices Metaphorical language First person voice Third person voice Dramatic monologue Omnniscient narrator Multiple voices
Make some cards and test each other

A past question from Edexcel

(b) Text B is a series of text messages and Text C is an extract from a short story. Examine how the writers: shape or craft each text to meet the expectations of their respective audience/ purpose/context employ aspects of spoken language in their texts. In your response you must refer to Texts B and C. (AO2 = 20, AO3 = 20) (Total for Question 1 = 50 marks

Another past question from Edexcel

(b) Text B is a series of messages posted to an online film forum and Text C is an extract from a novel. Examine how the writers: x shape or craft each text to meet the expectations of their respective audience/ purpose/context x employ aspects of spoken language in their texts. In your response, you must refer to Texts B and C. (AO2 = 20, AO3 = 20) (Total for Question 1 = 50 marks How can we adapt these questions for the following texts?

Jane Eyre by Charlotte Bronte

One afternoon (I had then been three weeks at Lowood), as I was sitting with a slate in my hand, puzzling over a sum in long division, my eyes, raised in abstraction to the window, caught sight of a figure just passing: I recognised almost instinctively that gaunt outline; and when, two minutes after, all the school, teachers included, rose en masse, it was not necessary for me to look up in order to ascertain whose entrance they thus greeted. A long stride measured the schoolroom, and presently beside Miss Temple, who herself had risen, stood the same black column which had frowned on me so ominously from the hearthrug of Gateshead. I now glanced sideways at this piece of architecture. Yes, I was right: it was Mr. Brocklehurst, buttoned up in a surtout, and looking longer, narrower, and more rigid than ever.

The blame game Philip Cass A Newspaper report published: 03 May 2002

Philip Cass in Abu Dhabi compares press reports from opposing sides Nobody disputes that by November 29 most of the 500 Taliban prisoners taken to the Qala-i-Janghi fortress had died in the three day battle against Northern Alliance captors and British and American forces. Nor that many of the prisoners were found with their hands tied behind their backs. Nor that there were a number of CIA agents in the prison compound. Nor that many of the prisoners died during the air raids called in by the CIA agents and that one of the CIA agents died. Beyond that, there is little agreement among the media, either about who started the fight or its wider significance. Many journalists in the UK and Europe blamed the event squarely on the US and its allies. Some claimed the air raids killed more people than they should have, while others claimed that a massacre of Taliban prisoners had been ordered by the Americans. Others said the British SAS was involved and should carry a share of the blame. This was not very far from the coverage of the event in the Arab press. The Egyptian weekly Al Ahram described the killings at Qala-i-Janghi as unjustified and deplored the misery that was being visited on the wives and families of Arabs fighting with the Taliban.

From Is This It? Bob Geldoffs biography

The Latin master, Father Lodge, was paranoid about germs. He never went anywhere without a plastic bag and a box of Kleenex. He strode into the classroom like a man with urgent news and threw open every single window. Then began the ritual. With the exactness of a celebrant placing the water and wine on the alter he laid out his equipment. Then he inflated the plastic bag with a brisk shake of his hand and, with the other, extracted a paper tissue from the box. With a practised flourish he blew his nose and then tossed the hankie into the bag and, with a twirl of the fingers, twisted it closed. Ramsay coughed. Ramsay could spit further than anybody else in the class. Ramsay, you butt-sucking puke Yes Father? Stop that coughing. Sorry, Father. Ramsay pretended to stifle another bout. An epidemic of coughs would then convulse the class.

An extract from Funeral Blues - Auden

Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos with muffled drum Bring out the coffin, let the mourners come.
Let the aeroplanes circle moaning overhead Scribbling on the sky the message He is Dead, Put crepe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves.

Shirley Valentine by Willy Russell

Shirley is a middle-aged Liverpudlian housewife. As she prepares her husbands dinner she reminisces over her early years of bringing up her children, who now seem to have little time or understanding for her. Shirley An then our Brian is supposed to say somethin like: Well we must go an find a lowly cattle shed an stay in there. Then hes supposed to go off pullin the donkey, an the Virgin Mary behind him. But he didnt. Well, I dont know if its the Virgin Mary, getting up our Brians nose, because shes spent the whole scene wavin to her Mother or whether it was that our Brian suddenly realized that the part of Joseph wasnt as big as it had been cracked up to be. But whatever it was, instead of goin off pullin the donkey, he suddenly turned to the little Innkeeper an yelled at him Full up? Full up? Full up? But we booked! Well the poor little Innkeeper didnt know what day of the week it was. Hes lookin all around the hall for someone to rescue him an his bottom lips beginnin to tremble an our Brians goin Full up? Ive got the wife outside, waitin with the donkey. Shes expectin a baby any minute now, theres snow everywhere in six foot drifts an youre tryin to tell me that youre full up? Well the top brass on the front row are beginnin to look a bit uncomfortable theyre beginnin to turn an look at the headmaster an our Brians givin a perfect imitation of his father, on a bad day; hes beratin anythin that dares move. The little Innkeepers lip is goin ten to the dozen an the Virgin Marys in floods of tears on the donkey. Well the Innkeeper finally grasps that the script is well out of the window an that he has to do somethin about our Brian. So he steps forward an he says, Listen Mate, listen! I was only jokin. We have got room really. Y can come in if y want. An with that the three of them disappeared into the Inn. End of Nativity play an the end of our Brians actin career.

Passage A below is a transcript from a conversation in which a great uncle describes some of the experiences of his youth to other members of his family. The speaker is from Norfolk.
Well [.] you know I was in the band [.] st faiths band you know [.]well we went a-carol-playing there one [.] just before christmas [2] we went all round st faiths and Newton st faiths [.] and then we went up to the manor [3] and there was a lot a mud up that old loke and ol jack fisher said *.+ i.i.i. ah.h o.o.o. w.wor what about the m.mud [.] he said [.] I g.got some w.water boots on b.but they g.got a h.hole in the bottom [1] course ol jack used to stutter you see [.] anyway, we kept agoing n they called at the kings head and that got on there til past ten and so they said *.+ well wed better *.+ have one more tune before we go home [1] so they played a carol or one or two carols round there *.+ til someone said *.+ you know what you are doing altogether dont ya *2+ what someone said *.+ youre playing to an old haystack [.] huh they said [.] that was a wrong un [.] so we had to pack that up [.] and of course we had to go home cos some of them werent feeling too good *.+ it was dark you know *.+ and we didnt know where we were

Transcript: extract from radio debate The speakers are the questioner from the audience (Sp1), the chairman (Sp2) and the panel of four. Four speakers are named : Professor Halsey (Sp4/PH), David Willets (DW), Glenda Jackson (Sp3/GJ) and Charles Kennedy CK. (The linking of speaker identification with individuals is somewhat provisional) Sp1 how can the labour government believe that at sixteen a person is mature enough to decide if they are homosexual (.) get married or go to war (.) but not old enough to decide if they wish to smoke Sp2 his is the proposal that there is (.) that the ban on teenage smoking may be raised from sixteen to eighteen (.) Professor Halsey PH well I I wasnt aware that there was such a proposal and certainly it would be an example of the enormous distance between the legislature and common practice (.) I I remember starting to smoke at age nine or ten (.) and I I didnt even know what the law was in those days er (.) I am now a reformed smoker and er it seems to me to be a rather stinking habit as a result of erm escaping from it and I er hope that we will use all reasonable means to er persuade people to er be non smokers Sp2 erm(.) Minister you are a (.) unreformed serial smoker (.) whats your view Sp3 er I (.) I think I could question the word serial Sp2 how many a day Sp3 well certainly not the forty I am reported to smoke (.) erm yes I - I - I admit that I am as yet an (.) un-reformed smoker (.) but I was in the House of Commons to assist in this because there are so many areas that you may not smoke (.) but I certainly didnt start at the age of sixteen or indeed at the age of nine (.) I think this is something that warrants examination given that there is a marked increase in smoking among young people and many of them way way below the age of sixteen (.) erm (.) and I think if we can assist young people not getting into this habit which I know from bitter experience is extremely hard to break then I think we certainly should explore every possibility because we are loosing too many people

Transcript : magistrate and defendant

Transcript 31: magistrate and defendant The magistrate M is continuing to ask the defendant D about his refusal to pay adequate support to his wife M do you think that it is a reasonable thing that a wife and your child shall be without support whilst you enjoy the additional pleasure of colour in television in your home (3) does that seem a reasonable thing to do (3) D depends upon which way you look at it dont it M well looking at it from any reasonable point of view is it reasonable for anyone to have the pleasure and the uh luxury of a colour television set when a wife and child could be going without food (6) whichever way you look at it is that reasonable D well I dont know because if I didnt have a colour telly Id just spend my time in the pubs then wouldnt I M well youre not forced to do it I dont have a colour television and I dont spend my time in the pubs theres no compulsion to make you go to the pub because you dont have a colour television (3) besides if you spent your time in the pubs youd only have a pint to to a pint a week to drink D yeh but then Id be forced into having more wouldnt I M you wouldnt be forced into anything nobody can force anybody to drink anything D no I dont agree with you dont agree with you

Transcript : Telling Stories and Jokes

R was that Emma (4.0) D Ive said um I collect them and Ive got millions of = S it was rea quite funny cause when we went to the pictures last night their car M what did you peel off D-s was actually parked behind ours (1.0) is D them on my car that mine S a you shouldnt be parking here ticket D tell us the whole story D and as they said um (.) youre parked in like S what a prohibited place (.) note has been taken D what did you do of your registration (.) S well I wrote a letter to them Cif you do it again we D no before that what did you take off one car D yeah well prosecute you (.) and Id just and put on another cleaned my car (.) beautiful (.) and went for a pizza and we just got one of these M Slabels stuck on (.) God (.) so we went to S ooh (.) oh yes the UCI parked the car and we couldnt M what have you been doing get in at that night so thought wed come S ooh (.) you know if you park in that one back at nine oclock and I peeled (.) well place in the Eagle Centre between us (.) we peeled the sticker off and S- got it and stuffed it on the car next C and they give you a to us M is that all right RC didnt know who it was S yes and they give you one of those really D no (laughs) sticky tickets M umm ( ) is it nice S and R are female, D is Ss boyfriend and C is Rs boyfriend. C yeah All are 18-24 in age. M is the mother of S and R. S well we peeled it off D-s

Speech:
In this speech Mark Antony has come to speak at Caesars funeral. On the one hand hepraises the dead Caesar, but on the other wants people to know that Caesar was ambitious. For Mark Antony, perhaps it is quite useful that he is dead.

Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him. The evil that men do lives after them; The good is oft interred with their bones; So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious: If it were so, it was a grievous fault, And grievously hath Caesar answer'd it. Here, under leave of Brutus and the rest-For Brutus is an honourable man; So are they all, all honourable men-Come I to speak in Caesar's funeral. He was my friend, faithful and just to me: But Brutus says he was ambitious; And Brutus is an honourable man.

Web blogs
Blog by xxxbecka90xxx July 2005 OMG I fink im gonna call Jason! I might as well ask him out I mean he does like me!! But were close m8s I luv him to bitz I just dno if we break up then we cant be m8s after why is my life so complicated!? LoL Help plz Fran94 July 2007 Im 13 and I live with my family in cheshire, I go to a big public secondary school and I love swimming, shopping and reading!! I just got back of holiday to Skiathos, wich is an island in greece! It was gorgeous and hot but no luck where i am now!

Drama script: Hotel Babylon. B is an accountant and A is a the hotel manager.

A: I want you to be as thorough as possible, Miss Marchant. Every bottle, napkin and peanut that cant be accounted for, I want to know about it. B: Before I start a job, I always ask the question, do you trust your staff? A: Mmmm, I used to. B: Well, then, youve been naive. In my experience people are generally bad. They lie, they steal, they copulate. A: Well, Im not sure I should judge them on that basis. B: A sin is a sin, Mrs Mitchell. As well as the audit, would you like me to set any traps? A: Traps? B: I could stick an extra case of wine behind the bar, some steaks in the fridge, see where it ends up in the next audit. A: (smiles)

Sports Commentary
The Commentator Good afternoon and welcome, This is Danny Markey your commentator Welcoming you to this international Between England and Holland, Which is being played here this afternoon At four Florence Terrace. And the pitch looks in superb condition As Danny Markey prepares To kick off for England; And this capacity crowd roars As Markey, the England captain, Puts England on the attack. Straight away its Markey With a lovely pass to Keegan, Keegan back to Markey, Markey in possession now Jinking skilfully past the dustbin And a neat flick inside the cat there, What a brilliant player this Markey is And still only nine years old! Markey to Francis Francis to Markey, Markey is through... No, hes been tackled by the drainpipe; But hes won the ball back brilliantly

Talk shows: Richard Madeley This Morning

Ill tell you one thing (.)( when we moved to London and wed been here for about a month and we were just driving around looking at the sights and we were driving past Buckingham Palace right and Chloes in the back of the car right (.) this is so funny um and she said there it is theres Buskingham Palace woah woah we should open the window oh and the Queen lives there oh look the flags up the Queens in there right now (.) and she said is that the Queens house then (.) and we said yeah and she said ooh fancy building a palace next to the main road

Emails
great to hear from you, you smelly (s)moo-haa wench! (i can call you that now that you're out the country!) guess what? Jess is preggers! with my mutant child * North Gabba Tekno Cru! I'm lost in the E-ther right now! send me a contact address and i'll post you a posty-card from Croydon, possibly with trams on it. i know that would please. Maybe it's pastures anew with your trip abroad, but if you wanted a trick or twono probs- i rekon I could get der at sum point! BOYA! I just wanted this chance.. to say.. how much i really (oh my god, here wE go..) i really miss you and love you! and i've got fancy internet connec' in my bedroom so i'll keep the chat coming so that you can read them from your hand-cranked farmer PC in 'foreign place'. what the men like? dark and lovely? * this statement is a lie, and erronious.

Chat room conversations

Text message poems

Hetty Hughes txtin iz messin, mi headn'me englis, try2rite essays, they all come out txtis. gran not plsed w/letters shes getn, swears i wrote better b4 comin2uni. &she's african
What features of spoken language are present in your texts?

When Roses cease to bloom, Sir by Emily Dickinson When Roses cease to bloom, Sir, And Violets are done -When Bumblebees in solemn flight Have passed beyond the Sun -The hand that paused to gather Upon this Summer's day Will idle lie -- in Auburn -Then take my flowers -- pray!

ACT I SCENE I. A desert place. Thunder and lightning. Enter three Witches First Witch When shall we three meet again In thunder, lightning, or in rain? Second Witch When the hurlyburly's done, When the battle's lost and won.

Drama + plays
Second Witch Upon the heath. Third Witch There to meet with Macbeth. First Witch I come, Graymalkin! Second Witch Paddock calls. Third Witch Anon. ALL Fair is foul, and foul is fair: Hover through the fog and filthy air. Exeunt

Third Witch That will be ere the set of sun.

First Witch Where the place?

Travel writing
The crossing took nearly four hours and it was late evening by the time we chugged into view of the Zanzibar coast. As the first minarets of Stone Town rose from the sea ahead of us, the sun was already sinking into the lisping ocean behind. Yet despite the fading light, the closer we got the more impressive became the features of the Zanzibar seafront. The blur and ache of white resolved itself into a wide sweep of whitewashed buildings, a panorama of arches, lattices and crenulations, extending from the turrets of the old fort to the left, through the classical balustrades of the New Palace and the House of Wonders in the middle, to the slope-roofed warehouses, slave barracks and consulates on the right. We chugged on in towards the harbour area, our speed reduced now to a barely perceptible drift as we spliced through a thicket of dhows, their design unchanged in a single detail since the great Arab traveller Ibn Battuta sailed these seas in the early fourteenth century. I was delighted: this was exactly the sort of Arabian Nights port I had always imagined my princess ruling over. I was woken from my thoughts by a sudden bustle. We were already among the port's wooden jetties and soon I was pushing slowly up a gang-plank against a counter-flow of porters scrambling down in the opposite direction. I fought my way onto dry land, had my passport stamped, and found a place in a clapped out 1950's Chevrolet masquerading as a taxi.