‘Society and the Individual’

Unseen Prose Non-Fiction – Component 2 (Section A)

Name:………………………………………………………………………………………………………..

Component 2: Varieties in Language and Literature

Component 2 focuses on the ways in which different writers convey their thoughts or ideas on a theme in
literary and non-fiction writing. Throughout this course, you have developed your understanding of how
writers use language techniques and literary devices to craft their work and communicate ideas or issues,
making connections between texts as well as looking at the significance and influence of the contexts in
which they were produced and received.

In addition to the study of ‘The Great Gatsby’ and ‘Othello’, with a focus on the theme of ‘Society and the
Individual’, you will also be expected to read widely across a range of non-fiction genres in preparation for
responding to an unseen extract in Section A of the examination. This will be the focus of this module.

Section A involves the analysis of one unseen extract. You are expected to present an organised, fluent
commentary on the writer's choice of structure, form and language, making inferences on how these
authorial choices are shaped by the attitudes, values and ideas detectable in the text, and from their wider
knowledge of any contextual forces exerting pressure upon the writing. You should show evidence of
broad understanding of the theme ‘Society and the Individual’ in your analysis, using it to enrich the
specific discussion of the passage presented for analysis. Where have you used these skills, previously?
Whereas Paper 1 focuses on the creation of ‘voices’ in speech and writing, Paper 2 focuses more on how
writers convey themes and issues in texts.
For this section, you
will be assessed on
Assessment
Objectives 1, 2 and 3
– all of which should
be familiar to you, by
now. Take a moment
to remind yourselves
of them and to
underline the
keywords. How have
you used these skills,
previously?
 MARK SCHEME:

EXEMPLAR QUESTION:
 Lesson 1:
L/O: What is the range of non-fiction text types that we might encounter and what features of a text define
or signal its generic form?

DO NOW:
 Mind-map the range of non-fiction texts types that you have already encountered, both on this course
and externally. Can you match any of these types of text to aspects of our theme of ‘Society and the
Individual’?

TASK 1:
JIG SAW!
The aim of this activity is that you develop familiarity with a range of non-fiction text types that you might
encounter and gain confidence in the analysis of these texts.

● Below is a set of non-fiction genre cards, focused on the time periods: 19th century, 1900–1940, 1941–
1980, 1981–2014, with the following suggested genres:
 travel writing
 autobiographies/biographies
 obituaries
 letters
 diary/journal entries
 articles/reportage
 speeches
(This is not an exhaustive list of non-fiction genres, but provides enough range for this activity)

Each student selects a card and is tasked with finding one example of a text in that genre and time period,
based around our theme (Society and the Individual). You may even find more than one text in order to
contribute to a class Anthology of non-fiction texts for unseen practice.

You should independently annotate your texts (using the exemplar below as a guide), considering mode,
audience, purpose, relevant literary/linguistic features and theme.

You will then form genre specialist groups to discuss your annotations, and comment on any
similarities/differences over time for your genre and how the theme is presented.

You will then be “jigsawed” into time period groups, bringing together a range of genres from a specific
period – no more than four students in a group! For example: students who worked on 19th-century travel
writing, autobiographies/biographies, letters and articles; student who worked on 19th-century obituaries,
diary/journals, speeches; and repeat groupings for other time periods.

Each specialist teaches their group about the features of their text and develops further understanding
through discussion about the similarities and differences of the treatment of the theme in their group.
EXEMPLAR ANNOTATION
Lesson 2:
L/O: how is the theme of ‘Society and the Individual’ presented in a range of texts?

DO NOW: Using the format below, create an exam-style question for each of the texts that you sourced
and annotated, in the anthology. Remember that the focus is ‘Society and the Individual’. Hand them to
your teacher, once you have finished, clearly stating which text the question relates to.

Critically evaluate how the writer conveys…

In your answer, you must comment on linguistic and literary features and relevant contextual factors.

TASK 1:
Split up in to groups of 4. Go over the texts in your anthologies, teaching the ones you sourced, and
ensuring that all annotations are complete. You must ensure you are clear on the MAP for each text, along
with the language choices made by writers or speakers to conform to a generic convention and meet the
expectation of the target audience.
 Discuss the similarities and differences of the treatment of the theme of society and the individual,
across time periods and genres.

TASK 2:
Choose one of the texts and a corresponding exam-style question. Plan your response.

TASK 3:
Write a response to the question, discussing the presentation of the theme ‘Society and the Individual’,
ensuring you focus in on the language choices made by writers or speakers to conform to a generic
convention and meet the expectation of the target audience.

PEER ASSESS:
Using the mark scheme, swap your work with a partner and have a go at peer assessing their work. WWW?
EBI?
Lesson 3:
L/O: what language choices are made by writers or speakers to conform to a generic convention and meet
the expectation of the target audience?

DO NOW:
For each of the genres, match them to the conventions used you can use each convention multiple times.

First person
Second Person
Third person
Facts and statistics
Biographies Figurative language
Past Tense
Autobiographies Noun Phrases
Active verbs
Articles / Reportage Passive verbs
Diaries / Journals Informal register
Headline
Travel Writing Rhetorical devices
Spoken language features
Speeches Deixis
Reflective tone
Obituaries Phatic talk
Letters Synecdoche
Narrative style
Self-referential language
Adjacency pairs
Discourse markers
Chronological structuring
Anecdote
Repetition

TASK 1:
Go back through your first set of unseen texts. Organise them into individual genres, spanning from the
18th Century to the present day. Notice how each text conforms to the generic conventions of their genre.
Discuss the similarities and differences of the genres, across time periods, with a partner.

TASK 2:
Below is an exemplar text. Identify the genre (mode) and the generic conventions associated with the text.
Who is the target audience for this piece and what is the purpose? Highlight and annotate the language
(both linguistic and literary) choices made in the text and then answer the question below:
 What language choices are made by writers or speakers to conform to a generic convention and
meet the expectation of the target audience?
Finally:
How confident do you now feel in tackling this aspect of the exam?
 What language choices are made by writers or speakers to conform to a generic convention and
meet the expectation of the target audience?

Homework:
Create a glossary (including definitions) of all of the linguistic and literary terms that you have learnt, over
the past two years.
Due: next lesson.
Independent Learning Task:

Creating a grid like the one below, list the genre conventions that you identify in each text in your unseen
anthology. Note the similarities and differences between the genres, across time periods.

MODE: 19th 1900- 1941- 1981- Similarities/Differences

Century 1940 1980 Present
Day
Obituaries
Speeches
Travel Writing
Diaries / Journals
Articles /
Reportage
Letters
Autobiographies
Biographies

Lesson 4:
L/O: how can we understand the importance of context to inform understanding of the text? What is the
importance of contextual factors in shaping the content of a text?

DO NOW:
Let’s share our findings, from your independent learning task, as a class, and compile a joint grid.

Task 1:
Look back at the Marilyn Monroe extract.
 What information is provided to help us understand its context?
 Using your grid to help you, identify the genre conventions that you would associate with this mode
of text and time period.

Task 2 – extended paragraph writing

What is the importance of the contextual factors in shaping the content of this piece? What does it help us
understand about the time period in which it was written, and the attitudes towards mental health?

Finally:
Why is it important that we identify the context of a piece, when it is first presented to us? How might we
do this?
Lesson 5:
L/O: how is a text structured to meet the conventions of the genre, the expectations of the audience and
the objectives of the writer?

DO NOW:
Unscramble these structural techniques:

nipgararahigp
lchroologican
ycllicac tjuxtaposiio
nx
elinar

yxntas ramfentedg

Task 1: read the Examiner's Report and highlight any reference to structure:

THE EXAMINER’S REPORT:

Summary of SECTION A:
Stronger answers looked at the unseen text as a whole and were able to discuss it as a complete piece of
writing, rather than as a series of techniques to be identified without any developed analysis of the shaping
of the piece.

There was evidence of candidates using the rather limiting approach of working chronologically through
the extract, sometimes paragraphing their own work in accordance with the structure of the passage and
offering an explanation of the content. A further danger of this approach is that, if the candidate is pressed
for time, the final paragraphs of the extract are neglected. This was most problematic in the extracts for
‘Society and the
Individual’ and ‘Crossing Boundaries’, in which vital clues to the overall mood and tone of the pieces were
placed in the concluding paragraphs.

While many lower and lower-middle band candidates are able to detect a fair range of linguistic and
literary features in the paragraphs they worked through, and offer mostly accurate definitions of
terminology, there was not always evidence of an ability to articulate the effect of such techniques.

The most successful answers discussed the implications of specific lexical and syntactical choices and
showed how attitudes could be conveyed precisely through tone. They were able to move beyond feature-
spotting and to explore shifts in register, as well as comment on the effect of irony and humour. They were
also clearly familiar with the genres of the pieces and how conventions and expectations were exploited for
particular effects.

 Why do you think the structure of a text is an important aspect to analyse? And, why is the
structure of our writing important in terms of the way we approach our own response?

Task 2:
Using your anthologies as a stimulus, note how different texts can be structured to meet the conventions
of their genre. Add these notes to your graphs.
Challenge: the way a text is structured obviously changes from genre to genre, but does it change across
time, within each genre?
Task 3:
Look at the exemplar text, below. How is it structured to meet the conventions of the genre (you will first
need to identify the genre), the expectations of the audience and the objectives of the writer?
 Once we have discussed the text, write your response to the question and be prepared to feedback.

An extract taken from Katie Price’s 2016 autobiography, ‘Reborn’.

'This is what's going to happen,' I explained to Kieran very matter of factly. To my surprise he agreed to go
through with it. But as soon as the guy arrived Kieran announced he was going to the gym while the
equipment was being set up. Now I know he'd read up on ways to cheat a lie detector test. He'd escaped
to neck Red Bull and run on the treadmill so he could get his heart rate up and change his breathing. Talk
about deluded! Even the lie detector guy commented on how bad it looked that he'd gone to the gym in
the first place. When he did reappear Kieran looked casual, like he didn't have care in the world. He even
had me fooled. Why doesn't he look scared? I kept thinking. I'd be shitting myself!
Next was the pre- test interview where the polygraph test was explained. We also discussed the questions
that I wanted to ask as I'd been told I was only allowed three. That was frustrating. I had so many going
round my head. In the end, I narrowed it down from . . . ooh . . . around 100! Overall I was pleased with the
questions I chose and Kieran . . . well, Kieran didn't have a say in the matter.
When it came to it, I wasn't allowed in the room while the test was being conducted. Apparently,
everything had to be done in a controlled environment. Obviously I was the least controlled person there,
so I sat outside with Gaylin by my side. I swear to God, it was the longest hour of my life. A monitor was
clipped on to Kieran's finger to measure his pulse, and a strap placed around his chest to measure any
changes in his breathing. Attached to his upper arm was an inflatable cuff, like doctors use when they're
measuring your blood pressure, and all the wires fed into a laptop computer. The guy told me afterwards
that Kieran was calm and collected throughout the whole process. He answered clearly and with no
hesitation. So here's what I asked:
1. Apart from the one time Kate knows about, have you passionately kissed Jane? Kieran answered 'No'.
2. Apart from kissing, have you engaged in any sexual activity with Jane? Kieran answered 'No'.
3. Since you've returned from Cape Verde have you had any contact with Jane? Kieran answered 'No'.
The results were analysed on the spot and I was told the outcome there and then. The expert's conclusion
read: 'It is the opinion of the examiner that Kieran Hayler was not being truthful during this examination.'
Gotcha!
Lesson 6:
L/O: how are the literary and linguistic conventions applied in a range of exemplar text types and what are
the effects they produce?

DO NOW: get in to pairs. You will each be allocated an extract to read and annotate, thinking about the
literary and linguistic conventions (don’t forget to think about structure!) and the effects they produce. Be
prepared to feedback to the class.

TEXT A:
TEXT B:
TEXT C:
TEXT D:

Feedback Task:
Split up and teach your text to someone else. Keep going until you have been taught and annotated all four
texts.
Points of analysis:
Based on your learning, this lesson, respond to the following question:
In a text of your choice, how are the literary and linguistic conventions applied and what are the effects
they produce?

L/O: how are the literary and linguistic conventions applied in a range of exemplar text types and what are
the effects they produce?
Lesson 8:
L/O:
 how can I use a range of literary/linguistic terminology and integrate this effectively into my
analysis?
 how can I select and structure evidence into a coherent argument or written response which meets
the Assessment Objectives for this component?

DO NOW:
Read this exemplar text. Highlight and annotate a range of literary/linguistic features, using correct
terminology (use your glossaries to help), as you go along.

Text A: This text is an edited extract taken from an eye-witness account by a Japanese journalist of the
effect on the city of Hiroshima after the explosion of the atomic bomb in August 1945. The atomic bomb
was dropped by a United States aircraft on Hiroshima in August 1945 and World War 2 ended shortly
afterwards.

[….] The atomic bomb dropped on Hiroshima killed between 70,000 and 80,000 people and injured more
than 70,000 others.

On August 6th there wasn’t a cloud in the sky above Hiroshima, and a mild, hardly perceptible wind blew
from the south. Visibility was almost perfect for ten or twelve miles.

At nine minutes past seven in the morning an air-raid warning sounded and four American B-29 planes
appeared. To the north of the town, two of them turned and made off to the south, and disappeared in the
direction of the Shoho Sea. The other two, after having circled the neighbourhood of Shukai, flew off at
high speed southwards in the direction of the Bingo Sea.

At 7.31 the all-clear was given. Feeling themselves in safety people came out of their shelters and went
about their affairs and the work of the day began.

Suddenly a glaring whitish pinkish light appeared in the sky accompanied by an unnatural tremor which
was followed almost immediately by a wave of suffocating heat and a wind which swept away everything
in its path.

Within a few seconds the thousands of people in the streets and the gardens in the centre of the town
were scorched by a wave of searing heat.

Many were killed instantly, others lay writhing on the ground screaming in agony from the intolerable pain
of their burns. Everything standing upright in the way of the blast, walls, houses, factories and other
buildings, was annihilated and the debris spun round in a whirlwind and was carried up into the air. Trams
were picked up and tossed aside as though they had neither weight nor solidity. Trains were flung off the
rails as though they were toys. Horses, dogs and cattle suffered the same fate as human beings. Every
living thing was petrified in an attitude of indescribable suffering. Even the vegetation did not escape.
Trees went up in the flames, the rice plants lost their greenness, the grass burned on the ground like dry
straw.
Beyond the zone of utter death in which nothing remained alive houses collapsed in a whirl of beams,
bricks and girders. Up to almost three miles from the centre of the explosion lightly built houses were
flattened as though they had been built of cardboard. Those who were inside were either killed or
wounded. Those who managed to extricate themselves by some miracle found themselves surrounded by
a ring of fire. And the few who succeeded in making their way to safety generally died twenty or thirty days
later from the delayed effects of the deadly gamma rays. Some of the reinforced concrete or stone
buildings remained standing but their interiors were completely gutted by the blast.

About half an hour after the explosion whilst the sky all around Hiroshima was still cloudless a fine rain
began to fall on the town and went on for about five minutes. It was caused by the sudden rise of over-
heated air to a great height, where it condensed and fell back as rain. Then a violent wind rose and the
fires extended with terrible rapidity, because most Japanese houses are built only of timber and straw.

By the evening the fire began to die down and then it went out. There was nothing left to burn. Hiroshima
had ceased to exist.

Glossary
Petrified – changed into a stony substance

TASK 1:
Here is the exemplar question that links to the above text:

Society and the Individual

Critically evaluate how the writer conveys his response to this event.
In your answer, you must comment on linguistic and literary features and relevant contextual factors.

 Highlight the key word in the question, as you would in the exam. What is the question asking of
you?
 Remind yourself of the assessment objectives:

 How are the assessment objectives reflected within the question?

TASK 2:
Read the exemplar response, below.
 First, highlight and annotate the range of literary/linguistic terminology that has been integrated
into this analysis. Second, mark where the response hits each assessment objective, in the margin.
 Do you feel this candidate has been able to select and structure evidence into a coherent argument
which meets the assessment objectives for this component?
 Using the mark scheme at the start of this booklet, decide what level and mark you would award.
EXEMPLAR RESPONSE A
Society and the Individual

Text A uses many linguistic features typical of a factual historic account yet it also relies on certain features
of journalistic writing given the author of the text. Also we can highlight the personal connection the author
has with the incident through his emotive lexical choices, which probably results from the eyewitness
nature of the account. A combination of all these contextual and linguistic features enables the writer to
convey his response to the atomic bomb.

Firstly given the account form of Text A the author uses factual information to set the scene for the reader
and inform of the damning effects of the atomic bomb. The numerical lexis, “70,000 and 80,000” achieves
the informative purpose of the text yet also conveys the horrific consequences of this act of warfare which
in turn conveys the event in a shocking way. The writer continues to use facts to inform the reader of the
event in question, “on August 6th,” and “At 7:31.” These prepositional phrases not only convey information
but they also emphasise the magnitude of the event given that the author remembers minute details of the
day. These details and facts echo the journalistic format of an account, linking directly to the author’s
profession.

However as the article progresses the facts disperse and adverbial phrases are used instead, “about half an
hour,” “some of.” These estimations represented by the adverbs reflect the degree of chaos that ensued in
Hiroshima after the dropping of the atomic bomb. The lack of accuracy and certainty is representative of
the atmosphere and situation in this town; this also represents the author’s distress and his inability to
focus on minute details when faced with such destruction.

The writer also conveys his response to this event through an asyndetic list of nouns, “walls, houses,
factories and other buildings.” Through this linguistic device we get an impression of the magnitude of
destruction due to the list suggesting an on-going list of concrete nouns that were “spun around.” Also as
all of these objects are typically strong and robust concrete nouns the writer highlights that nothing could
withstand the power of the atomic bomb. Once again this device conveys the chaos and trauma of the
event whilst simultaneously conveying the writer’s disbelief at all these objects being “annihilated.” As all
this destruction is detailed here the writer whether consciously or not creates sympathy for the town of
Hiroshima and subsequently presents them as the victims and America as the persecutors for causing such
atrocity. With regard to this it is clear why Japan surrendered in WW2 shortly after this event, due to the
absolute devastation that swept their nation as symbolised by the asyndetic list quoted above.
The writer conveys the event in question as one filled with fast paced action through his use of dynamic
verbs, “killed,” “annihilated,” “disappeared,” “burned.” These construct the action of the text which given
the form of event and text we would expect. Also the fact that these verbs are presented in the past tense
highlights the respective outlook on the event and is a common linguistic feature of journalistic accounts
reflected in the writer’s profession. These verb choices not only contribute to the action of the event but
they also increase the pace of the text by detailing the events; this is also common of a retelling and is
especially common of a formal account. The verbs quoted above also construct a semantic field of warfare
and death, a key journalistic device that reflects the subject matter presented. This feature also aids in
presenting the horrific nature of the event and the writer really conveys the extent of death and horror
brought about by the bomb through these linguistic choices. As the semantic field infiltrates the article with
death and war it reflects how death and war infiltrated Hiroshima not just at the time of the attack but also
for a considerable time afterwards. It may also reflect the mindset of the writer; his verb choices reflect how
his society and himself have been plagued by warfare and death because of this attack. Once again this
presents Hiroshima as a victim and illustrates the consequences of WW2.

The writer also uses many adjectives in his account in order to intensify the description and portray the
event as realistically as possible, “searing,” “intolerable,” “glaring whitish pinkish.” These pre-modifying
adjectives are used by the writer for dramatic effect -something key to newspaper articles- hence reflecting
his journalist profession once more. The two adjectives “whitish pinkish” which premodify the noun phrase
“light” explore the indescribable nature of the atomic bomb. Unlike the polished description we may
normally expect from a journalist this description is uncertain and inaccurate; this represents the horror of
the event as it shows the writer unable to comprehend and describe the events unfolding in front of him. In
conjunction this reflects the inconceivability of the attack and transmits the disbelief and uncertainty
present at the time.

To conclude, through the writer’s linguistic choices we are informed of the event in question yet also gain a
sense of the context at the time. It is evident that Japan is defeated in the war by this attack and as a result
we may sympathise with them due to the writer’s portrayal of the atrocity. Overall the writer conveys his
response to the event clearly in order to inform his reader yet he simultaneously portrays the high levels of
emotion about the attack; both of these in turn allow us as readers to explore and relate this to the context
of the event.
 Marker’s Comments:
Clear, organised and fluent with effective transitions. Supporting examples are linked to their effects.
Understands genre and context. Not a deep, probing analysis.

Level 4 – 13 marks
Discriminating controlled
application
• Applies controlled
discussion of concepts What could this candidate
and methods supported have done to achieve a level 5,
with use of discriminating top mark score?
examples. Controls the
structure of response Read over your mark scheme
with effective transitions, and highlight the areas for
carefully-chosen development, for this
language and use of candidate.
terminology.
• Analyses the effects of WWW?
linguistic and literary EBI?
features and of the
writer’s craft. Shows
awareness of nuances
and subtleties.
• Provides discriminating
awareness of links
between the text and
contextual factors.
Consistently makes
inferences about how
texts are produced and
received.

Independent Learning Task:

Respond to the following question, keeping our learning objectives in mind:
 how can I use a range of literary/linguistic terminology and integrate this effectively into my
analysis?
 how can I select and structure evidence into a coherent argument or written response which meets
the Assessment Objectives for this component?

Society and the Individual

 Read Text A, below.
Critically evaluate how the writer conveys her impressions of Chappaqua.
In your answer you must comment on linguistic and literary features and relevant contextual factors.
Text A: The following text is an extract from a lengthy journal written by a young American woman during a
vacation in 1873 which describes a summer spent in Chappaqua on the East Coast of America.
Lesson 10:
L/O: how can I apply the mark scheme to peer assignments and justify the marks awarded?

DO NOW: swap your response with a partner.

 Using a pink highlighter, mark any errors with spelling, punctuation and grammar.
 Using a red pen, mark the AOs, as you spot them, and, using the mark scheme, award your partner
a level (and a mark, if you feel confident enough).
 Give your partner a WWW and an EBI, using the language of the mark scheme.

TASK 1:
 Swap back and correct the errors, marked in pink.
 Read over your partner’s comments carefully and write yourself one target to keep in mind, for the
exam.

TASK 2:
Look at the indicative comment, below. What points could you have added to your own writing?
Independent Learning:

Using your partners comments and the indicative comments above, improve a section of your response,
aiming for a level 4 or 5.