AQA GCSE ENGLISH LITERATURE 8702/1N Paper 1N 19th-century novel Question Paper + Mark scheme [MERGED] June 2022 IB/M/Jun22/E4 8702/1N GCSE ENGLISH LITERATURE Paper 1N 19th-century novel Time allowed: 50 minutes Materials

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AQA GCSE ENGLISH LITERATURE 8702/1N Paper 1N 19th-century novel Question Paper + Mark scheme [MERGED] June 2022 IB/M/Jun22/E4 8702/1N GCSE ENGLISH LITERATURE Paper 1N 19th-century novel Tim... e allowed: 50 minutes Materials For this paper you must have: • an AQA 12-page answer book. Instructions • Use black ink or black ball-point pen. Do not use pencil. • Write the information required on the front of your answer book. The Paper Reference is 8702/1N. • Answer one question. • You must not use a dictionary. Information • The marks for questions are shown in brackets. • The maximum mark for this paper is 30. 2 IB/M/Jun22/8702/1N There are no questions printed on this page 3 IB/M/Jun22/8702/1N Turn over ► The 19th-century novel Question Page Robert Louis Stevenson The Strange Case of Dr. Jekyll and Mr. Hyde 01 4–5 Charles Dickens A Christmas Carol 02 6–7 Charles Dickens Great Expectations 03 8–9 Charlotte Brontë Jane Eyre 04 10–11 Mary Shelley Frankenstein 05 12–13 Jane Austen Pride and Prejudice 06 14–15 Arthur Conan Doyle The Sign of Four 07 16–17 Turn over for question 01 4 IB/M/Jun22/8702/1N Answer one question on your chosen text. Either 0 1 Robert Louis Stevenson: The Strange Case of Dr. Jekyll and Mr. Hyde Read the following extract from Chapter 6 (Remarkable Incident of Dr Lanyon) of The Strange Case of Dr. Jekyll and Mr. Hyde and then answer the question that follows. In this extract, Utterson thinks about his friendship with Dr Jekyll and how it has changed. 5 10 15 20 25 Time ran on; thousands of pounds were offered in reward, for the death of Sir Danvers was resented as a public injury; but Mr. Hyde had disappeared out of the ken of the police as though he had never existed. Much of his past was unearthed, indeed, and all disreputable: tales came out of the man’s cruelty, at once so callous and violent, of his vile life, of his strange associates, of the hatred that seemed to have surrounded his career; but of his present whereabouts, not a whisper. From the time he had left the house in Soho on the morning of the murder, he was simply blotted out; and gradually, as time drew on, Mr. Utterson began to recover from the hotness of his alarm, and to grow more at quiet with himself. The death of Sir Danvers was, to his way of thinking, more than paid for by the disappearance of Mr. Hyde. Now that that evil influence had been withdrawn, a new life began for Dr. Jekyll. He came out of his seclusion, renewed relations with his friends, became once more their familiar guest and entertainer; and whilst he had always been known for charities, he was now no less distinguished for religion. He was busy, he was much in the open air, he did good; his face seemed to open and brighten, as if with an inward consciousness of service; and for more than two months the doctor was at peace. On the 8th of January Utterson had dined at the doctor’s with a small party; Lanyon had been there; and the face of the host had looked from one to the other as in the old days when the trio were inseparable friends. On the 12th, and again on the 14th, the door was shut against the lawyer. “The doctor was confined to the house,” Poole said, “and saw no one.” On the 15th he tried again, and was again refused; and having now been used for the last two months to see his friend almost daily, he found this return of solitude to weigh upon his spirits. The fifth night he had in Guest to dine with him; and the sixth he betook himself to Dr. Lanyon’s. 5 IB/M/Jun22/8702/1N Turn over ► 0 1 Starting with this extract, explore how Stevenson presents Dr Jekyll as a mysterious character. Write about: • how Stevenson presents Dr Jekyll in this extract • how Stevenson presents Dr Jekyll as a mysterious character in the novel as a whole. [30 marks] Turn over for the next question 6 IB/M/Jun22/8702/1N or 0 2 Charles Dickens: A Christmas Carol Read the following extract from Chapter 2 of A Christmas Carol and then answer the question that follows. In this extract, the Ghost of Christmas Past takes Scrooge back to his school. 5 10 15 20 25 “The school is not quite deserted,” said the Ghost. “A solitary child, neglected by his friends, is left there still.” Scrooge said he knew it. And he sobbed. They left the high-road, by a well-remembered lane, and soon approached a mansion of dull red brick, with a little weathercock-surmounted cupola, on the roof, and a bell hanging in it. It was a large house, but one of broken fortunes; for the spacious offices were little used, their walls were damp and mossy, their windows broken, and their gates decayed. Fowls clucked and strutted in the stables; and the coach-houses and sheds were over-run with grass. Nor was it more retentive of its ancient state, within; for entering the dreary hall, and glancing through the open doors of many rooms, they found them poorly furnished, cold, and vast. There was an earthy savour in the air, a chilly bareness in the place, which associated itself somehow with too much getting up by candle-light, and not too much to eat. They went, the Ghost and Scrooge, across the hall, to a door at the back of the house. It opened before them, and disclosed a long, bare, melancholy room, made barer still by lines of plain deal forms and desks. At one of these a lonely boy was reading near a feeble fire; and Scrooge sat down upon a form, and wept to see his poor forgotten self as he used to be. Not a latent echo in the house, not a squeak and scuffle from the mice behind the panelling, not a drip from the half-thawed water-spout in the dull yard behind, not a sigh among the leafless boughs of one despondent poplar, not the idle swinging of an empty store-house door, no, not a clicking in the fire, but fell upon the heart of Scrooge with a softening influence, and gave a freer passage to his tears. 7 IB/M/Jun22/8702/1N Turn over ► 0 2 Starting with this extract, explore how Dickens presents the effects of loneliness and isolation in A Christmas Carol. Write about: • how Dickens presents the effects of loneliness and isolation in this extract • how Dickens presents the effects of loneliness and isolation in the novel as a whole. [30 marks] Turn over for the next question 8 IB/M/Jun22/8702/1N or 0 3 Charles Dickens: Great Expectations Read the following extract from Chapter 27 of Great Expectations and then answer the question that follows. In this extract, Joe says goodbye to Pip after visiting him in London. 5 10 15 20 25 ‘But you are not going now, Joe?’ ‘Yes I am,’ said Joe. ‘But you are coming back to dinner, Joe?’ ‘No I am not,’ said Joe. Our eyes met, and all the ‘Sir’ melted out of that manly heart as he gave me his hand. ‘Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man’s a blacksmith, and one’s a whitesmith, and one’s a goldsmith, and one’s a coppersmith. Diwisions among such must come, and must be met as they come. If there’s been any fault at all to-day, it’s mine. You and me is not two figures to be together in London; nor yet anywheres else but what is private, and beknown, and understood among friends. It ain’t that I am proud, but that I want to be right, as you shall never see me no more in these clothes. I’m wrong in these clothes. I’m wrong out of the forge, the kitchen, or off th’ meshes. You won’t find half so much fault in me if you think of me in my forge dress, with my hammer in my hand, or even my pipe. You won’t find half so much fault in me if, supposing as you should ever wish to see me, you come and put your head in at the forge window and see Joe the blacksmith, there, at the old anvil, in the old burnt apron, sticking to the old work. I’m awful dull, but I hope I’ve beat out something nigh the rights of this at last. And so GOD bless you, dear old Pip, old chap, GOD bless you!’ I had not been mistaken in my fancy that there was a simple dignity in him. The fashion of his dress could no more come in its way when he spoke these words, than it could come in its way in Heaven. He touched me gently on the forehead, and went out. As soon as I could recover myself sufficiently, I hurried out after him and looked for him in the neighbouring streets; but he was gone. 9 IB/M/Jun22/8702/1N Turn over ► 0 3 Starting with this extract, explore how far Dickens presents Joe as a good role model to Pip in Great Expectations. Write about: • how Dickens presents Joe in this extract • how far Dickens presents Joe as a good role model to Pip in the novel as a whole. [30 marks] Turn over for the next question 10 IB/M/Jun22/8702/1N or 0 4 Charlotte Brontë: Jane Eyre Read the following extract from Chapter 23 of Jane Eyre and then answer the question that follows. In this extract, Rochester and Jane have just declared their love for each other. 5 10 15 20 25 30 35 40 ‘No – that is the best of it,’ he said. And if I had loved him less I should have thought his accent and look of exultation savage; but, sitting by him, roused from the nightmare of parting – called to the paradise of union – I thought only of the bliss given me to drink in so abundant a flow. Again and again he said, ‘Are you happy, Jane?’ And again and again I answered, ‘Yes.’ After which he murmured, ‘It will atone – it will atone. Have I not found her friendless, and cold, and comfortless? Will I not guard, and cherish, and solace her? Is there not love in my heart, and constancy in my resolves? It will expiate at God’s tribunal. I know my Maker sanctions what I do. For the world’s judgment – I wash my hands thereof. For man’s opinion – I defy it.’ But what had befallen the night? The moon was not yet set, and we were all in shadow: I could scarcely see my master’s face, near as I was. And what ailed the chestnut tree? it writhed and groaned; while wind roared in the laurel walk, and came sweeping over us. ‘We must go in,’ said Mr Rochester: ‘the weather changes. I could have sat with thee till morning, Jane.’ ‘And so,’ thought I, ‘could I with you.’ I should have said so, perhaps, but a livid, vivid spark leapt out of a cloud at which I was looking, and there was a crack, a crash, and a close rattling peal; and I thought only of hiding my dazzled eyes against Mr Rochester’s shoulder. The rain rushed down. He hurried me up the walk, through the grounds, and into the house; but we were quite wet before we could pass the threshold. He was taking off my shawl in the hall, and shaking the water out of my loosened hair, when Mrs Fairfax emerged from her room. I did not observe her at first, nor did Mr Rochester. The lamp was lit. The clock was on the stroke of twelve. ‘Hasten to take off your wet things,’ said he; ‘and before you go, good-night – good-night, my darling!’ He kissed me repeatedly. When I looked up, on leaving his arms, there stood the widow, pale, grave, and amazed. I only smiled at her, and ran upstairs. ‘Explanation will do for another time,’ thought I. Still, when I reached my chamber, I felt a pang at the idea she should even temporarily misconstrue what she had seen. But joy soon effaced every other feeling, and loud as the wind blew, near and deep as the thunder crashed, fierce and frequent as the lightning gleamed, cataract-like as the rain fell during a storm of two hours’ duration, I experienced no fear and little awe. Mr Rochester came thrice to my door in the course of it, to ask if I was safe and tranquil: and that was comfort, that was strength for anything. Before I left my bed in the morning, little Adèle came running in to tell me that the great horse-chestnut at the bottom of the orchard had been struck by lightning in the night, and half of it split away. 11 IB/M/Jun22/8702/1N Turn over ► 0 4 Starting with this extract, explore how Brontë presents the ways that Jane and Rochester are affected by their strong feelings for each other. Write about: • how Brontë presents Jane and Rochester’s strong feelings in this extract • how Brontë presents the ways that Jane and Rochester are affected by their strong feelings for each other in the novel as a whole. [30 marks] Turn over for the next question 12 IB/M/Jun22/8702/1N or 0 5 Mary Shelley: Frankenstein Read the following extract from Chapter 10 of Frankenstein and then answer the question which follows. In this extract, Frankenstein meets the monster for the first time since its creation. 5 10 15 20 25 30 35 As I said this, I suddenly beheld the figure of a man, at some distance, advancing towards me with superhuman speed. He bounded over the crevices in the ice, among which I had walked with caution; his stature, also, as he approached, seemed to exceed that of man. I was troubled: a mist came over my eyes, and I felt a faintness seize me; but I was quickly restored by the cold gale of the mountains. I perceived, as the shape came nearer (sight tremendous and abhorred!) that it was the wretch whom I had created. I trembled with rage and horror, resolving to wait his approach, and then close with him in mortal combat. He approached; his countenance bespoke bitter anguish, combined with disdain and malignity, while its unearthly ugliness rendered it almost too horrible for human eyes. But I scarcely observed this; rage and hatred had at first deprived me of utterance, and I recovered only to overwhelm him with words expressive of furious detestation and contempt. ‘Devil,’ I exclaimed, ‘do you dare approach me? and do not you fear the fierce vengeance of my arm wreaked on your miserable head? Begone, vile insect! or rather, stay, that I may trample you to dust! and, oh! that I could, with the extinction of your miserable existence, restore those victims whom you have so diabolically murdered!’ ‘I expected this reception,’ said the dæmon. ‘All men hate the wretched; how, then, must I be hated, who am miserable beyond all living things! Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and the rest of mankind. If you will comply with my conditions, I will leave them and you at peace; but if you refuse, I will glut the maw of death, until it be satiated with the blood of your remaining friends.’ ‘Abhorred monster! fiend that thou art! the tortures of hell are too mild a vengeance for thy crimes. Wretched devil! you reproach me with your creation; come on, then, that I may extinguish the spark which I so negligently bestowed.’ My rage was without bounds; I sprang on him, impelled by all the feelings which can arm one being against the existence of another. He easily eluded me, and said – ‘Be calm! I entreat you to hear me, before you give vent to your hatred on my devoted head. Have I not suffered enough that you seek to increase my misery?’ 13 IB/M/Jun22/8702/1N Turn over ► 0 5 Starting with this extract, explore how Shelley presents the relationship between Frankenstein and the monster. Write about: • how Shelley presents the relationship between Frankenstein and the monster in this extract • how Shelley presents the relationship between Frankenstein and the monster in the novel as a whole. [30 marks] Turn over for the next question 14 IB/M/Jun22/8702/1N or 0 6 Jane Austen: Pride and Prejudice Read the following extract from Chapter 3 of Pride and Prejudice and then answer the question that follows. In this extract, Elizabeth meets Mr Darcy for the first time. 5 10 15 20 25 Elizabeth Bennet had been obliged, by the scarcity of gentlemen, to sit down for two dances; and during part of that time, Mr. Darcy had been standing near enough for her to overhear a conversation between him and Mr. Bingley, who came from the dance for a few minutes, to press his friend to join it. “Come, Darcy,” said he, “I must have you dance. I hate to see you standing about by yourself in this stupid manner. You had much better dance.” “I certainly shall not. You know how I detest it, unless I am particularly acquainted with my partner. At such an assembly as this it would be insupportable. Your sisters are engaged, and there is not another woman in the room whom it would not be a punishment to me to stand up with.” “I would not be so fastidious as you are,” cried Mr. Bingley, “for a kingdom! Upon my honour, I never met with so many pleasant girls in my life as I have this evening; and there are several of them you see uncommonly pretty.” “You are dancing with the only handsome girl in the room,” said Mr. Darcy, looking at the eldest Miss Bennet. “Oh! She is the most beautiful creature I ever beheld! But there is one of her sisters sitting down just behind you, who is very pretty, and I dare say very agreeable. Do let me ask my partner to introduce you.” “Which do you mean?” and turning round he looked for a moment at Elizabeth, till catching her eye, he withdrew his own and coldly said: “She is tolerable, but not handsome enough to tempt me; I am in no humour at present to give consequence to young ladies who are slighted by other men. You had better return to your partner and enjoy her smiles, for you are wasting your time with me.” Mr. Bingley followed his advice. Mr. Darcy walked off; and Elizabeth remained with no very cordial feelings toward him. She told the story, however, with great spirit among her friends; for she had a lively, playful disposition, which delighted in anything ridiculous. 15 IB/M/Jun22/8702/1N Turn over ► 0 6 Starting with this extract, explore how far Austen presents Mr Darcy as a proud and prejudiced man. Write about: • how Austen presents Mr Darcy in this extract • how far Austen presents Mr Darcy as a proud and prejudiced man in the novel as a whole. [30 marks] Turn over for the next question 16 IB/M/Jun22/8702/1N or 0 7 Arthur Conan Doyle: The Sign of Four Read the following extract from Chapter 1 (The Science of Deduction) of The Sign of Four and then answer the question that follows. In this extract, Holmes is talking to Watson about a French detective who asked for his help. 5 10 15 20 25 30 35 ‘Oh, he rates my assistance too highly,’ said Sherlock Holmes lightly. ‘He has considerable gifts himself. He possesses two out of the three qualities necessary for the ideal detective. He has the power of observation and that of deduction. He is only wanting in knowledge, and that may come in time. He is now translating my small works into French.’ ‘Your works?’ ‘Oh, didn’t you know?’ he cried, laughing. ‘Yes, I have been guilty of several monographs. They are all upon technical subjects. Here, for example, is one “Upon the Distinction between the Ashes of the Various Tobaccos”. In it I enumerate a hundred and forty forms of cigar, cigarette, and pipe tobacco, with coloured plates illustrating the difference in the ash. It is a point which is continually turning up in criminal trials, and which is sometimes of supreme importance as a clue. If you can say definitely, for example, that some murder had been done by a man who was smoking an Indian lunkah, it obviously narrows your field of search. To the trained eye there is as much difference between the black ash of a Trichinopoly and the white fluff of bird’s-eye as there is between a cabbage and a potato.’ ‘You have an extraordinary genius for minutiae,’ I remarked. ‘I appreciate their importance. Here is my monograph upon the tracing of footsteps, with some remarks upon the uses of plaster of Paris as a preserver of impresses. Here, too, is a curious little work upon the influence of a trade upon the form of the hand, with lithotypes of the hands of slaters, sailors, cork-cutters, compositors, weavers, and diamond-polishers. That is a matter of great practical interest to the scientific detective – especially in cases of unclaimed bodies, or in discovering the antecedents of criminals. But I weary you with my hobby.’ ‘Not at all,’ I answered earnestly. ‘It is of the greatest interest to me, especially since I have had the opportunity of observing your practical application of it. But you spoke just now of observation and deduction. Surely the one to some extent implies the other.’ ‘Why, hardly,’ he answered, leaning back luxuriously in his armchair and sending up thick blue wreaths from his pipe. ‘For example, observation shows me that you have been to the Wigmore Street Post-Office this morning, but deduction lets me know that when there you dispatched a telegram.’ ‘Right!’ said I. ‘Right on both points! But I confess that I don’t see how you arrived at it. It was a sudden impulse upon my part, and I have mentioned it to no one.’ 17 IB/M/Jun22/8702/1N 0 7 Starting with this extract, explore how Conan Doyle presents Holmes as an extraordinary detective. Write about: • how Conan Doyle presents Holmes in this extract • how Conan Doyle presents Holmes as an extraordinary detective in the novel as a whole. [30 marks] END OF QUESTIONS 18 IB/M/Jun22/8702/1N There are no questions printed on this page 19 IB/M/Jun22/8702/1N There are no questions printed on this page 20 IB/M/Jun22/8702/1N There are no questions printed on this page Copyright information For confidentiality purposes, all acknowledgements of third-party copyright material are published in a separate booklet. This booklet is published after each live examination series and is available for free download from www.aqa.org.uk. Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright-holders may have been unsuccessful and AQA will be happy to rectify any omissions of acknowledgements. If you have any queries please contact the Copyright Team. Copyright © 2022 AQA and its licensors. All rights reserved. *226G8702/1N* GCSE ENGLISH LITERATURE 8702/1N Paper 1N 19th-century novel Mark scheme June 2022 Version: 1.0 Final *226G8702/1N/MS* MARK SCHEME – GCSE ENGLISH LITERATURE – 8702/1N – JUNE 2022 2 Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students’ responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students’ scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Examiner. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this mark scheme are available from aqa.org.uk Copyright information AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the centre. Copyright © 2022 AQA and its licensors. All rights reserved. MARK SCHEME – GCSE ENGLISH LITERATURE – 8702/1N – JUNE 2022 3 Statement of importance GCSE English Literature is the study of how writers communicate their ideas about the world, and how readers might respond to these ideas. It aims to develop a critical understanding of the ways in which literary texts are a reflection of, and exploration of, the human condition, the study of which develops empathic understanding of human nature. High-quality English literature is writing which displays recognisable literary qualities and, although shaped by particular contexts, transcends them and speaks about the universality of the human condition. GCSE English Literature aims to enable students to appreciate these qualities, developing and presenting informed, critical responses to the ideas in literary texts and the ways writers present these ideas. It aims to enable students to make links between a variety of written texts and between the text and the context within which it was shaped. Principles of mark scheme construction Each mark scheme is driven by the task and by the statement of importance about GCSE English Literature. It aims to do two things: • to describe typical features of response in order to decide on a mark • to identify typical features of proficiency in order to aid discrimination between levels of performance. Each long form answer mark scheme is constructed using six levels. This is to reflect the ability level of the whole cohort. There are four or five marks within each level to allow for levels of proficiency and to allow for discrimination between levels of cognitive ability across the whole cohort. Each mark scheme places assessment objectives AO1 and AO2 as the key skills. This is driven by the statement of importance of the subject, in that the study of great literary texts is the study of the interrelationship between the reader and the writer of the text and that the communication and reception of these ideas is an inherent feature of English literature. It is also driven by the acknowledgement that GCSE English Literature assesses cognitive levels of ability; the level of response to ideas will have parity with the level of response to the methods of communicating those ideas. MARK SCHEME – GCSE ENGLISH LITERATURE – 8702/1N – JUNE 2022 4 How to apply the mark scheme The mark scheme is constructed using six levels of attainment that span the whole range of ability at GCSE. The descriptors of attainment reference the assessment objectives for that particular question. Examiners are required to use the mark scheme to consider the whole response and decide upon the most appropriate level. The mark scheme provides two descriptors: a description of typical features of a response in each level, and a description of the kinds of skills candidates in that level will be proficient in. This is in order to support examiners in making their judgement of the extent to which the qualities and skills being demonstrated merit a particular level of attainment. As each response being marked is a response to a particular task, examiners are assessing the extent to which the candidate has responded to the task, and also the level of skill that the candidate has demonstrated. Each level has four or five marks available and four or five skills descriptors. Fair application of the mark scheme to all candidates is driven by the descriptors in the mark scheme, and therefore examiners are required to make a judgement about the extent to which a candidate achieves every descriptor in that particular level in order to warrant a mark at the top of that level. If a candidate achieves everything in a level, they should be awarded the mark at the top of that level. Since answers will rarely match a descriptor in all respects, examiners must allow good performance in some aspects to compensate for shortcomings in other respects. Consequently, the level is determined by the ‘best fit’ rather than requiring every element of the descriptor to be matched. Examiners should aim to use the full range of levels and marks, taking into account the standard that can reasonably be expected of candidates after one or two years of study on the GCSE course and in the time available in the examination. If a candidate does not address a particular defining feature of a task, examiners are required to make a judgement about the extent to which other skills can place the response in a particular level, and where the response should be placed. Step 1 Determine a level Start at the lowest level of the mark scheme and use it as a ladder to see whether the answer meets the descriptor for that level. The descriptor for the level indicates the different qualities that might be seen in the student’s answer for that level. If it meets the lowest level then go to the next one and decide if it meets this level, and so on, until you have a match between the level descriptor and the answer. With practice and familiarity you will find that for better answers you will be able to quickly skip through the lower levels of the mark scheme. When assigning a level you should look at the overall quality of the answer and not look to pick holes in small and specific parts of the answer where the student has not performed quite as well as the rest. If the answer covers different aspects of different levels of the mark scheme you should use a best fit approach for defining the level and then use the variability of the response to help decide the mark within the level; ie if the response is predominantly Level 3 with a small amount of Level 4 material it would be placed in Level 3 but be awarded a mark near the top of the level because of the Level 4 content. Step 2 Determine a mark Once you have assigned a level you need to decide on the mark. The descriptors on how to allocate marks can help with this. The exemplar materials used during standardisation will also help. There will be an answer in the standardising materials which will correspond with each level of the mark scheme. This answer will have been awarded a mark by the Lead Examiner. You can compare the student’s answer with the example to determine if it is of the same standard, better or worse than the example. MARK SCHEME – GCSE ENGLISH LITERATURE – 8702/1N – JUNE 2022 5 You can then use this to allocate a mark for the answer based on the Lead Examiner’s mark on the example. You may well need to read back through the answer as you apply the mark scheme to clarify points and assure yourself that the level and the mark are appropriate. Indicative content in the mark scheme is provided as a guide for examiners. It is not intended to be exhaustive and you must credit other valid points. Students do not have to cover all of the points mentioned in the indicative content to reach the highest level of the mark scheme. An answer which contains nothing of relevance to the question must be awarded no marks. Rubric infringements GCSE English Literature is a skills-based subject and, as such, best-fit is the most appropriate means by which the candidature can be fairly and equitably rewarded for their achievements at the end of their course of study. However, a mark scheme also has the function of assessing the extent to which each response meets the requirements of the relevant elements of the particular specification. Therefore, where a response is judged not to have addressed a defining feature of a particular task, such as: Paper 1N 19th century novel – response to extract and whole text then this would be classed as a rubric infringement and could, as referenced in the mark scheme, be ‘capped’ at the top of Level 2. Cases of rubric infringement will always be referred to a senior associate who will review the response in order to make a judgement about the totality of the response and therefore the validity of cap application. Supporting documentation Standardising scripts would provide exemplification of attainment in order to guide examiners towards the process of discerning between levels of attainment and to aid judgement about the positioning of each response in terms of a final mark. Exemplification documents, including indicative content, definitions of key descriptors in the mark scheme and exemplification of these descriptors, provide more detailed guidance to examiners on how to judge the relative qualities and skills being demonstrated by each candidate. Defining context (AO3) AO3 is the understanding of the relationship between the ideas in the text and the contexts of the text. The range of contexts and relationships that is most relevant as part of AO3 will depend on the text, the author and the task. In teaching and assessing AO3, teachers and students can consider context in a flexible way, depending on the text itself and whichever contexts are the most relevant for that particular text. These contexts may relate to the relationshi [Show More]

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