Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
UNIT 1 – PAPER 02
3 hours
INSTRUCTIONS TO CANDIDATES
SECTION A
MODULE 1 – DRAMA
EITHER
1. “The theatrical appeal of Much Ado About Nothing lies mainly in Shakespeare’s use of war as
a device for exploring relationships about love.”
OR
2. “In Much Ado About Nothing, Shakespeare uses spectacle to mask deceit and villainy.”
Discuss the extent to which you agree with this statement. Total 40 marks
OR
3. “In Henry IV, Part 1, Shakespeare’s dramatic representation of power deflects attention from
the violence that characterized that historical period.”
OR
4. “Henry IV, Part 1 has no entertainment value; Shakespeare merely rehashes history.”
Discuss the extent to which you agree with this statement. Total 40 marks
SECTION B
MODULE 2 – POETRY
EITHER
5. “It is mainly the poet’s control of form that enables the powerful depiction of human issues.”
With reference to at least THREE poems by ONE British, American, OR Postcolonial poet that
you have studied, discuss the validity of this statement. Total 40 marks
OR
With reference to at least THREE poems by ONE British, American, OR Postcolonial poet that
you have studied, discuss the extent to which you agree with this statement.
Total 40 marks
SECTION C
EITHER
7. “The timelessness of a work of fiction depends on the writer’s ability to effectively manipulate
narrative techniques to reinforce themes.”
With reference to ONE Caribbean AND ONE British, American, OR Postcolonial work of
fiction that you have studied, discuss the validity of this statement. Total 40 marks
OR
8. “It is through narrative techniques that the prose writer magnifies the tension between characters’
personal ambitions and the demands of society.”
With reference to ONE Caribbean AND ONE British, American, OR Postcolonial work of
fiction that you have studied, discuss the extent to which you agree with this statement.
Total 40 marks
END OF TEST
The Council has made every effort to trace copyright holders. However, if any have been
inadvertently overlooked, or any material has been incorrectly acknowledged, CXC will be
pleased to correct this at the earliest opportunity.
02132020/CAPE/2010