Comparative 6th Year English Higher Level Michael Ruaidhri Deasy & Gavin Cowzer - The Dublin School of Grinds
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th
6 Year
English
Higher Level
Michael Ruaidhri Deasy
& Gavin Cowzer
Comparative
Part 1
No part of this publication may be copied, reproduced or transmitted in any form or
by any means, electronic, mechanical, photocopying, recording, or otherwise, without
prior written permission from The Dublin School of Grinds.
Ref: 6/eng /h/mrd/ Comparative Part 1
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2
DSOG Easter 2018 8pg A4 FINAL PRINT.indd 2 02/02/2018 14:37The Comparative Study
Introduction and approach……….………………………………………3-15
Overview and modes of comparison
How to compare
Basic paragraph structure and checklist
Cultural Context ..……………………………………………….……..…16-24
General Vision/Viewpoint……………………………………………..…25-34
Literary Genre……………………………………………..…………..….35-47
Exemplar material……………………………………………………….48-56
Sample Answers
Exemplar Material
©The Dublin School of Grinds 2 Deasy & CowzerThe Comparative Study The comparative study question is worth 70 marks. 17.5% of your total result. You should spend 70 minutes on this section. 10 minutes planning and 60 minutes writing. You will have a choice of 4 questions. You will pick one. Aim to write a minimum of 5A4 pages The main thing to remember for this section is you are being tested on your ability to plan and structure an answer in which you compare the three texts you have studied, not on how well you know the texts. You should study the three texts concentrating on the three modes of comparison: ©The Dublin School of Grinds 3 Deasy & Cowzer
The Comparative Modes for Examination in 2018 are:
Higher Level (i) Cultural Context
(ii) General Vision/Viewpoint
(iii) Literary Genre
For each of these areas you should have 3/4 key moments from each text that
demonstrate the points you have to make about these areas.
As with all sections the most important thing is to answer the question directly
and clearly. Avoid summarizing the story and ensure you always engage with
the question and texts- personalize it and make it interesting.
©The Dublin School of Grinds 4 Deasy & CowzerHOW TO COMPARE A note of caution: A number of approaches have been put forward as frameworks as to how exactly this is meant to be done. This may mean that your teacher has advocated a very rigid framework within which they expect you to write. It is possible that from your own research you have been hearing contradictory messages about how this is meant to be done. The confusion that surrounds this is a reflection of the gradual shifts that have occurred in how this course is to be approached. Until recently examiners were asked to expect a comparison in every paragraph. This meant that in a single paragraph you were expected to refer to all three texts. This meant that any in depth reading of moments in a text meant that paragraphs were running to a page and a half in length. This really rigid framework has been loosened more recently. Examiners have been told to accept students separating different texts into different paragraphs as long as there are clear links being developed. Skip a line when moving on to a new point. This is a very strong paragraph break and will signal to your examiner that you wish to look at another aspect of the question or that you are moving to another text but staying on the same point. ©The Dublin School of Grinds 5 Deasy & Cowzer
o You must link the texts in every paragraph. Unless you are starting a
new point/section in your comparative in which case your first
paragraph refers back to the question. The next two paragraphs for the
other two texts begin with links. (This is if you are doing all three texts
in one essay – the 70 mark essay- and are happy to give each text its
own paragraph).
o If comparing two texts in one paragraph use connectives to move
between texts. E.G. Similarly
o If you write about one text in one paragraph and then move to a
sifferent text in the next paragraph it is crucial that your opening line of
the second paragraph begins with a linking sentence (This is similar
to… or This stands in contrast to…).
o When comparing you should look at the similarities (compare) and the
differences (contrast). Both are valid.
o When comparing two texts using linking language you may be able to
deal with two texts in one paragraph. This is appropriate if the question
asks you to deal with one text alone (30 mark) and compare and
contrast your other two texts.
o When comparing all three texts it may be appropriate to deal with how
two texts are similar in one paragraph before moving onto a second
paragraph to deal with how the third text stands in contrast to the first
two texts. This second paragraph will use one of the linking phrases
below as the opening line to make the comparison explicit.
©The Dublin School of Grinds 6 Deasy & CowzerThe Key Moment: This is the single most important aspect to sorting out your comparative. In your Single text (probably Shakespeare) you are expected to quote liberally as you make your points. As you can also be asked how the author uses language to tell the story this is even more important. With the comparative this need to quote is not really there. It can help to add authority to your answers but it is not a requirement. For example in an essay on the theme of the influence of the past on the present the following quotation might be helpful: "So we beat on, boats against the current, borne back ceaselessly into the past." This is the final line of the novel and as Fitzgerald’s last words deserves to be given due consideration. Check the final description image in all of your texts. What is the final idea the author wished to convey. Is it uplifting? As it is the final line it is menat to resonate and last in the reader’s memory. However the quote in itself is not as useful as explaining the context of the line. The context is the key moment. This allows you to consider the meaning of a moment within the context of the novel thereby showing an in depth consideration of the novel as a whole. This will add to the body of the essay. In other words use the key moment to look at the piece as a whole. ©The Dublin School of Grinds 7 Deasy & Cowzer
Worked Example: In ‘T.G.G.’ Fitzgerald explores how we, as human beings, are created by our experiences. It is the influence of these moments within our pasts that shape us as human beings. In the final moment of the novel Nick Carraway our narrator meets Tom Buchanan on 5th avenue in New York. Tom is described as stopping and looking into the windows of a jewelry store. Tom knows that he has been lessened in Nick’s eyes by his treatment of Gatsby. Nick tells us that he initially refuses but finally shakes Tom’s hand but it is clear that he holds him in contempt. Fitzgerald shows that the events leading to Gatsby’s death will continue to haunt both men. Tom does not accept responsibility for telling Wilson where Gatsby lived thereby causing his death. His selfishness is made evident that he can only see the effect on himself of the events surrounding Gatsby’s death. The fact that Tom is seen as looking into the windows of the jewelry store is in my opinion crucial to understanding the message of the novel. We know that Tom used his wealth to convince Daisy to marry him by buying her a string of pearls valued at $350,000. Fitzgerald is suggesting, in my opinion, that Tom will continue to act selfishly and will refuse to learn from his experience and is again looking for an expensive gift for the mistress he has found to replace Myrtle Wilson. Although clearly emotionally affected by his experiences Tom has refused to learn from them. Nick however has come to understand the emptiness at the heart of the lives of the super-rich during the Jazz age. Because of this Nick rejects the society he had hoped to join and leaves New York. Once this key moment has been examined in depth the key is then move to another key moment in one of your other texts that is either comparable or that stands in contrast to this one while staying focused on the same theme. ©The Dublin School of Grinds 8 Deasy & Cowzer
Linking Language:
In order to make sure that you are staying focused on making comparisons
you should try to use some of the following phrases in your answer:
When making connections between similar aspects of texts:
o I noticed in both x and y that…
o This situation in x is very like the part in y where…
o Joe in x reminds me of Mary in y where he says…because he
does…because they both…
o This way of thinking/behaving is typical of both x and y.
o When we turn to y again we see/find…
o In much the same way…
o Character x behaves in much the same manner.
When recognizing differences between texts:
o However, in y
o …. unlike what happens/ transpires in X
o What a contrast to X where…
o This stands in marked contrast to …
o X differs from y in that….
o X shows us…whereas y…
©The Dublin School of Grinds 9 Deasy & CowzerWhen showing that similarities/differences need to be
qualified/explained:
o This situation also crops up in y, but things work out differently…
o Although x and y deal with a similar theme, x treats it tragically but y
treats it more light-heartedly.
o X and y deal with similar problems, but x’s world is very different to y’s
o In both texts, you see into the hero’s mind; in x this is done through first
person narrative, whereas in y…
o X and y both deal with…but they offer strongly contrasting points.
Other phrases/words to use/ Connectives:
Contrast: On the other hand, however, whereas, in comparison to, in contrast
to, meanwhile,
Comparison: Similarly, also, comparably, In common, I noticed in both….
©The Dublin School of Grinds 10 Deasy & CowzerLinking words help you to connect ideas and sentences, so that people can follow your ideas. This will aid your coherence mark. Giving examples For example For instance Namely Adding information And Furthermore In addition Moreover As well as Apart from Also In addition to Too Besides Summarising In short To summarise In brief To conclude In summary In conclusion Sequencing ideas The former, … the latter Firstly, secondly, finally Lastly The first point is The following Giving a reason Due to / due to the fact that Because of Owing to / owing to the fact that Since Because As Giving a result/Conclusion ©The Dublin School of Grinds 11 Deasy & Cowzer
Therefore So This means that Consequently As a result Contrasting ideas But However Although / even though Despite / despite the fact that In spite of / in spite of the fact that Unlike In theory… in practice Nevertheless Nonetheless While Whereas … ©The Dublin School of Grinds 12 Deasy & Cowzer
Basic paragraph structure of your comparative essay
Point answering the question or linking to previous paragraph as comparison or
contrast.
Key moments which demonstrate the point you have made in this paragraph.
Explain how evidence backs point being made. (Either establishing how text 1
shows point of make comparison to text 1 in precious paragraph)
Personal engagement/thoughts on the point/key moment.
Comparative Study Checklist
o Plan your answer carefully.
o Never tell the story.
o Always check the question before you begin…are you answering all
parts?
o Always answer the question asked.
o Always compare.
o Always engage with the texts.
o Always use key moments to demonstrate your points.
NOTE: You will be rewarded for engaging with the texts. This means you should
always mention what your opinion is/what you think/how your opinion changed after
studying the texts etc.
It is important you do this as well as just comparing the texts!
©The Dublin School of Grinds 13 Deasy & CowzerWhat the examiners are saying: “The Comparative Study is one of the areas where candidates have an opportunity to demonstrate skills in critical literacy. It is possible for candidates to challenge, wholly or in part, not only the premise put forward in questions but also the views and opinions they encountered in the course of studying texts. Many candidates showed evidence of critical engagement with the texts they had studied and a mature critical literacy was seen in the work of some candidates. Examiners were pleased when they saw candidates trust in their own personal response and demonstrate a willingness to challenge the ‘fixed meaning’ of texts. The best answers managed to remain grounded, both in the question asked and in the text. Examiners reported that examples of under-achievement in the area of comparative studies could often be attributed to a loss of focus in terms of the requirements of the task. Some candidates did not show evidence of ‘reading’ in an astute and reflective manner. The quality of evidence cited to support an opinion was a significant discriminator used by examiners.” How can we demonstrate to the examiner that we have critically engaged? ©The Dublin School of Grinds 14 Deasy & Cowzer
Narrative writing- Elements of Narrative
Summary/Self-Test – Refer to Paper 1-Part 1 Narrative writing handout
The language of storytelling:
A narrative is a description of a sequence of events. The two types of narrative
structure are…
A narrator is a storyteller. The two types of narrator are…
ALL NARRATIVES MUST HAVE
• C= Character revealed through 4 main techniques/methods?
:
• S= Setting- Quality description uses three techniques?
• P = Plot Drama is created by?
• T = Theme- Definition
Think about how a writer
Introduces and develops a character- allows us to relate to the characters
Creates/describes a setting – this will affect characters attitudes and behaviours
Moves the plot forward – central to sustaining our interest in narrative
Challenges the reader to question the ideas explored in the text. What ideas or issues
are explored? What attitudes are revealed?
©The Dublin School of Grinds 15 Deasy & CowzerTHE CULTURAL CONTEXT This section is asking you to study the society of the text, what it would be like to live there, and how the society affected the main characters. This section looks at the effect of the society on characters. Essentially you are being asked how does the setting influence the characters and the plot line. What does it contribute to our understaning of the main themes of the text. A useful way of looking for the importance of the Cultural context is to ask yourself in what way does the setting impose limitations on characters. This is one of the most important ways that the cultural context helps to shape the General Vision of a text. It a character is placed in opposition to the prevailing moral codes of their society how does it affect how we feel? It all depends on who we have sympathy for? Think about the differences between: Dublin today, Dublin 30 years ago and Delhi today. What ways are the characters’ lives affected by the world that they inhabit. ©The Dublin School of Grinds 16 Deasy & Cowzer
When revising this mode ask the following questions:
What would it be like to live there?
What parts of the world made you feel uncomfortable? What elements were
particularly pertinent to me as a young man or woman?
What are the rules and customs of this society?
To what extent was the rule of law or the state evident? Does society police
itself? In what key moments is this made eveident?
Who has power in this society/who makes the rules?
Does money/wealth confer power? How far is this true of our world? Is social
class important in dictating who has/ has not power?
What are the roles of men and women in this society?
Consider gender in terms of relationships. Romantic/ Parental/ Friendships.
Does CC unite or prevent characters from forming positive relationships?
©The Dublin School of Grinds 17 Deasy & Cowzer Is family important?
To what extent are characters fulfilled by the relationships with family?
How does the society affect how the characters behave? Are they forced to
rebel? How does this make you feel? Did they succeed within society or are
they forced to leave?
How do the characters socialise? Are characters able to form relationships
quickly or easily?
Thinking ahead to your comparative essay, the points you may base paragraphs on
may come from:
©The Dublin School of Grinds 18 Deasy & CowzerParagraphs/points to raise and compare when looking at a society
• Isolation/community
• Class
• Morality
• Gender
• Economics/money
• Power
• Conflict- war, violence etc.
. Crime, punishment, law and order
©The Dublin School of Grinds 19 Deasy & Cowzer©The Dublin School of Grinds 20 Deasy & Cowzer
Aspect What is it like to live there? Rules/customs
Text 1
©The Dublin School of Grinds
Text 2
21
Text 3
My
thoughts/fe
elings
Deasy & CowzerRoles of men and women?
©The Dublin School of Grinds 22 Deasy & CowzerAspect Who exerts power
and how do they do it?
Text 1
©The Dublin School of Grinds
Text 2
23
Text 3
My
thoughts/fe
elings
Deasy & CowzerAspect Family/social units
The characters behaviour and how it is affected by society
Text 1
©The Dublin School of Grinds
Text 2
24
Text 3
My
thoughts/fe
elings
Deasy & CowzerGENERAL VISION/VIEWPOINT From Examiner guidelines: “The term, The General Vision and Viewpoint, may be understood by candidates to mean the broad outlook of the authors of the texts and/or of the texts themselves as interpreted and understood by the reader.” The general vision/viewpoint therefore is either, or a combination, of two things: 1. The overall feeling that the text creates in the reader/viewer. 2. The main idea/attitude the author/director is trying to create. It is important to be clear as to what the general vision and viewpoint of the text is but also to deal with ‘how’ the vision is communicated. The key therefore is to look at the insights that the author offers on life through their exploration of the various aspects of narrative. (C+S+P=T) You will find that much of the same material that you have prepared for the theme question can be applied here. However you must maintain focus on your emotional response. For example you have prepared the theme of the past influencing the present and you have key moments that show this as being a preoccupation of the authors you have read. You can then adapt this to the G.V. question by considering the effect that this moment is intended to have on the reader and more particularly on you. If a character succeeds in transcending a past experience and achieves personal development we will feel uplifted. If the character fails we will feel downcast. “Fitzgerald presents us with a very pessimistic view on life. This is most clearly seen in the number of instances he shows characters trapped by their past. Many of the characters in the novel are deeply psychologically scarred by their experiences.” ©The Dublin School of Grinds 25 Deasy & Cowzer
Preperation:
The key is to look at the opening of all three texts.
Ask yourself what is the dominant emotion you feel?
Look for 2 further key moments per text that reveal the authors development
of the general vision.
Finally consider the endings of the three texts.
Did the feeling at the beginning of the novel change? Did central character
succeed? Do you think of the people and the world in a more positive light having
read the text? Did you disagree with the author’s outlook?
It can be helpful to stay focused on a central theme and focus on the authors attitude
towards that theme. Do they think that people can overcome their past/ overcome
class prejudice/ succeed in creating an identity for themselves that they are
comfortable with?
V.V.N.B. The risk here is that your examiner thinks that you are writing a pre
prepared answer for theme and not adapting it sufficiently. To avoid this you
must keep returning to the emotional effect of the text on you as a reader. In
order to do this use the synonyms given below throughout your essay.
Linking language is as above.
©The Dublin School of Grinds 26 Deasy & CowzerWhen revising this mode ask the following questions:
What general feeling are you left with at the end of the text?
Was this how you expected the text to end?
Did the text start with the character in a bad situation and then show him or her
succeeding in overcoming these obstacles or was it the opposite?
What aspects of the text made you feel this way at the end of the text?
Did a character you connected with fail or succeed?
What aspects of life do the authors/directors concentrate on? And why? What are
they trying to show about life? These themes will often reflect the general vision? If
an author is preoccupied with our inability to move beyond our social class/ gender
role/ past experience that would reflect a negative G.V.
What images stay with you most strongly? Concentrate on opening and closing
images? Do they reflect the narrative trajectory? (Things start well and finish badly
of start badly and finish well)
©The Dublin School of Grinds 27 Deasy & Cowzer What in your view were the key moments? These can be small moments that you
identify as being major shifts in the story? Think about how an author might try and
reflect that a moment can change a characters life.
Is the central vision of the text light or dark at the start of the novel? Are the central
characters hopeful/Optimistic as the text starts? Are there hints that the plot will
destroy central character? (Sense of foreboding/ Foreshadowing)
Is the central vision consistent throughout the text or does it change?
What, do you think, is the author’s view of his/her characters? Is the author
sympathetic to all the characters? Does he have a character or characters who
©The Dublin School of Grinds 28 Deasy & Cowzerrepresent a way of behaving that the author wishes to portray as
offensive/immoral?
How is the general vision/viewpoint articulated through the characters? How do
characters express their own outlook on life? Does this reflect how the author
feels?
What happens if you compare the author’s presentations of the characters in two
or more texts?
©The Dublin School of Grinds 29 Deasy & CowzerSome helpful synonyms: Optimistic Pessimistic Positive Negative Light Dark Hopeful Disheartening Encouraging Discouraging Cheerful Depressing Demoralising The opening sequence of the play is largely optimistic. I felt that the treatment of the father son relationship was negative throughout the novel. The author offers us an encouraging vision of how individuals can grow and develop. I found the ending of the Film to be hugely encouraging. The central character has achieved personal growth and is now in a position to make a positive contribution. What a depressing ending to the play. Our central character cannot achieve growth within this cultural context but instead must leave. However a glimmer of hope is offered to the viewer by… This was a truly uplifting ending to the text. The author left me feeling demoralized at the end of the novel. In contrast to this a much more cheerful outlook can be seen in … . ©The Dublin School of Grinds 30 Deasy & Cowzer
Aspect Outlook on life. Attitude to characters and dilemmas they face. Is the text
Is the text optimistic or pessimistic? Does it compassionate or not? Are the characters close or distant?
celebrate or lament the human condition?
Text 1
©The Dublin School of Grinds
Text 2
31
Text 3
My
thoughts/fe
elings
Deasy & CowzerAspect Moral ambivalence: does the text leave certain Moral stance: does the text support/condemn certain
issues unresolved/undecided? actions/values/characters?
Text 1
©The Dublin School of Grinds
Text 2
32
Text 3
My
thoughts/
feelings
Deasy & CowzerAspect Your own personal response to the Reflection of the time in which it was created; is the
vision and viewpoint. text time bound or does it have relevance today?
Text 1
©The Dublin School of Grinds
Text 2
33
Text 3
My
thoughts/feelings
Deasy & CowzerAspect Important key moments which demonstrate points made above.
Text 1
©The Dublin School of Grinds
Text 2
34
Text 3
My thoughts/feelings
Deasy & CowzerLITERARY GENRE
The way in which a story is told
You need to focus on a variety of vehicles/techniques through which stories might be
carried:
Characterisation - character groupings, costume, casting, description, lighting, facial
expression, close up, narrative voice- perspective, use of dialogue, monologue,
soliloquy, aside, incidental detail,
Setting - imagery and symbol, music, colour, lighting, pathetic fallacy, landscape,
backdrop, stage,
Plot-line - dramatic techniques, flashbacks linear/ non-linear, tension, suspense,
conflict (internal/external) resolution (epilogue?), narrative framing
This mode of comparison asks you to demonstrate an in depth understanding of how
stories work. Do you understand narrative writing? What adds to the interest is that
you are doing so across different forms.
Your examiner will be impressed if:
1. You show that different forms can achieve the same goal using different
techniques. Show your examiner you have considered the important aspects of
the different narrative forms.
2. You can communicate that despite using different forms stories have some
things in common especially if they are from the same broad style or genre.
From the examiner’s guidelines:
1. “Indicate aspects of the narrative which they found significant
and attempt to explain fully the meaning thus generated.”(DES English Syllabus 4.4.1.)
2. “Outline the structure of the narrative and how it achieves
coherence within its genre.”
©The Dublin School of Grinds 35 Deasy & CowzerGenre: (Style or category) A literary genre is a category of literary composition.
Genre is a label that characterizes elements a reader can expect in a work of
literature. The major forms of literature can be written in various genres. Genre is a
category characterized by similarities in style, or subject matter
Genres may be determined by literary technique, tone, content, or even (as in the
case of fiction- Novella/Short Story) length. The distinctions between genres and
categories are flexible and loosely defined, often with subgroups.
Often teachers will choose three texts that are unified by a single theme as opposed
to fitting into one genre. Your texts do not need to be from the same genre to be
compared. Remember contrasts are a valid way of making comparison. (E.G.
Comparing memoir to historical fiction could reveal interesting differences in
interpretation.) Different genres will focus on different elements of narrative. (Thriller
will focus on plot, Coming of age will focus on character change).
Some helpful genres:
Tragedy,
Comedy,
Romance,
Literary fiction - any fiction that attempts to engage with one or more truths or
questions, hence relevant to a broad scope of humanity as a form of
expression
Historical,
Psychological drama,
Historical fiction – story with fictional characters and events in a historical
setting
Horror – fiction in which events evoke a feeling of dread and sometimes fear in
both the characters and the reader
Bildungsroman (novel of formation, novel of education, or coming-of-age story)
literary genre that focuses on the psychological and moral growth of the
protagonist from youth to adulthood (coming of age), in which character change
and identity formation is extremely important.
Drama– stories composed in verse or prose, usually for theatrical performance,
where conflicts and emotion are expressed through dialogue and action
©The Dublin School of Grinds 36 Deasy & Cowzer Biography/autobiography– narrative of a person's life; a true story about a real
person
Memoir– factual story that focuses on a significant relationship between the
writer and a person, place, or object; reads like a short novel
Narrative nonfiction/personal narrative– factual information about a significant
event presented in a format which tells a story
©The Dublin School of Grinds 37 Deasy & CowzerWhen revising this section ask yourself the following questions:
What category or genre does the text belong to? What are the
characteristics that define this genre? You may need to research this if it is
not included below.
What are the differences between reading a novel, watching a film or
attending a play? How does this change the audience’s experience?
What are the similarities between reading a novel, watching a film or
attending a play? What is it that interests us about stories? How is it that we
can suspend our disbelief?
©The Dublin School of Grinds 38 Deasy & Cowzer How does a novelist or short story writer tell a story differently from a
playwright or a director? What elements needed to be focused on? Are
there any advantages to this?
Who is narrating the story? What point of view is it being told from? Does
this remain constant within your text? How does this affect your relationship
with the characters?
What are the characters like? How are they described or portrayed? Focus
on characterization. Think about how the characters are revealed? Can you
see the same characteristic in characters across your three texts? Is this
characteristic communicated in the same way? Actions?
Compare the style of writing or directing in each text. Which do you prefer?
Are you aware of the author? Does the writer draw attention to the story
telling? Was it naturalistic?
©The Dublin School of Grinds 39 Deasy & Cowzer How is imagery used? Especially Pathetic fallacy?
How is atmosphere created and communicated? Choose key moments and
consider atmosphere (emotion).
How are the texts organised/structured? Chronologically/ flashbacks? What
is the advantage of the different narrative structure used by the authors?
What is the tone of each text? What is the overarching emotion? How is this
conveyed/
©The Dublin School of Grinds 40 Deasy & CowzerLITERARY GENRE Genre of the text How a novel/play/film tells its Type of Text
story
©The Dublin School of Grinds
TEXT 1
41
TEXT 2
TEXT 3
My thoughts/
Reflections/
Opinion.
Deasy & Cowzer
When revising you should fill out the box below to gather your ideas and points.LITERA Narrator Characteristics of the genre
RY
Narrative Structure
GENRE
©The Dublin School of Grinds
TEXT 1
42
TEXT 2
TEXT 3
My
thought
s/
Reflecti
Deasy & Cowzer
ons/
Opinion
.LITERARY Main imagery patterns Characterisation
GENRE
©The Dublin School of Grinds
TEXT 1
43
TEXT 2
TEXT 3
My
thoughts/
Reflections/
Opinion.
Deasy & CowzerLITERARY Tone of the piece
GENRE
Key moments which demonstrate the above
points
©The Dublin School of Grinds
TEXT 1
44
TEXT 2
TEXT 3
My
thoughts/
Reflections/
Opinion.
Deasy & CowzerThings to mention during the comparative study answer:
When referring to a novel:
o Plot
o Character
o Setting
o Atmosphere
o Description
o Dialogue
When referring to a play:
o All of the above
o Acting
o Background
o Props
o Lighting
o Movement on stage
When referring to a film:
o All of the above
o Mis-en-scene (everything in the frame)
o Camera angles and position
o Special effects
o Sound and music
©The Dublin School of Grinds 45 Deasy & CowzerWHAT THE COMPARATIVE QUESTIONS WILL FOCUS ON
1. Your understanding of each mode
2. How each mode is demonstrated in the text
3. How the mode affects your enjoyment/understanding of the text
4. How each mode is demonstrated through key moments.
What exactly is a key moment?
A key moment is a specific part of the text that you use to prove your point.
A key moment should be detailed and specific.
Typical key moments to study:
The opening and closing scenes of the text
A major turning point for the central character.
Moments which you think demonstrate the writer/director’s skill.
FINAL TIPS:
o Compare in every paragraph
o Engage with the texts- I thought, I noticed, it changed my opinion, I
learnt, I now believe etc.
o Always demonstrate your points using a key moment.
o 1 point per paragraph- show how this point is dealt with in at least
two of your texts then move on to next paragraph and next point.
©The Dublin School of Grinds 46 Deasy & CowzerReminder- 10 steps on how to plan and prepare:
1. Write out the question
2. Underline the key words.
3. Ask yourself what is the question asking you to express an opinion on?
4. Mind map the key words.
5. Decide on your opinion- what are you going to argue?
6. Organise your points- how will you prove your argument/opinion?
7. What proof (quotes/key moments) will you use?
8. Layout your paragraphs
9. Get writing.
10. Remember PQE and always check your points prove your opinion.
©The Dublin School of Grinds 47 Deasy & CowzerSAMPLE ANSWERS Every year the text prescribed for the Comparative Study change. There are also a huge number of combinations that can be picked. The sample answers below are included to help you understand the structure and shape of a comparative answer. Look out for how the candidate focuses on the question and regularly makes comparative points, backed up by clear key moments. The General Vision and Viewpoint ‘Each text we read presents us with an outlook on life that may be bright or dark, or a combination of brightness and darkness.’ In the light of the above statement, compare the general vision and viewpoint in at least two texts you have studied in your comparative course. (70) For the purpose of this essay I will be comparing The Playboy of the Western World by JM Synge (PB), Wuthering Heights by Emily Brontë (WH) and Strictly Ballroom directed by Baz Luhrmann (SB). In each of the three texts the characters are faced by trials and tribulation of life. It is through their dealing with them that we are presented with a dark or bright outlook on life. In (PB) the overall outlook on life is dark. The characters are unkind, uncaring and selfish. Although there is a bright patch in the love affair of Pegeen Mike and Christy Mahon and also many humourous moments we can’t escape from noticing the underlying dark harsh world, which remains unchanged by the events of the play. In complete contrast we have (SB). This is most definitely a film with sunshine bright angle on life. Although darkness does exist in the film, in the form of the corrupt president Barry Fife good wins out in the end. The opposite is the case with (WH) which is most definitely a dark novel yet again containing moments of happiness. Like when Mr Earnshaw dies Nelly overhears Catherine and Heathcliff consoling each other, ‘the little souls consoling each other with better thoughts than I could have hit on.’ From the beginning of (PB) [we] get a very dark, pessimistic view of life. We meet Pegeen who is preparing for her wedding. We rapidly realise that Pegeen does not love her fiancé Shawn Keogh nor even like him. She is only marrying him because the choice in the area is extremely limited. How could she love Shawn Keogh, he is a meek cowardly individual afraid of his own shadow. ‘I’m afeard of Father Reilly.’ In the ©The Dublin School of Grinds 48 Deasy & Cowzer
beginning of (SB) contrasts hugely to that of the (PB). We are introduced to the heightened artificial, fantastical world of ballroom dancing in a mockumentary style. Shirley Hastings speaks to the camera about the tragedy of Scott dancing new steps. We are given flashbacks of the event. Although it does show pessimism due to the shallowness of the characters there is definitely an air of humour about it. All that is important to these people is winning. ‘Scott: I just want to know what you thought of the steps. Liz: I don’t think. I don’t give a shit about them. We lost.’ On a much heavier and realist level WH darkness and pessimism is part of the fabric of (WH) from the begining. Mr Lockwood the new tenant of Thrushcross Grange visits Wuthering Heights the home of his new landlord Heathcliff. He receives a gruff welcome from Heathcliff whilst he unchains the gate. Lockwood notes the harshness and rawness of the landscape. Which is a prime example of pathetic fallacy on Brontë’s part. Catherine herself even refers to ‘My love for Heathcliff resembles the eternal rocks beneath, a source of very little delight but necessary. Nelly, I am Heathcliff.’ In each of the three texts a new character enters each of which have contrasting effects on the respective worlds they enter. In (PB) the young handsome Christy Mahon enters. He brings excitement and live [life] into this dark harsh corner of the world. He is a new romantic figure whom Pegeen falls madly in love with. He too loves her deeply. For a time this pessimistic sad world is brightened. For the first time we see Pegeen truely happy. ‘and to thinks its me Christy Mahon taling sweetly. And I the fright of seven towns over for my biting tongue.’ In (WH) similarly we have the entry of a male, Heathcliff. He has hugely contrasting effects on the world he enters. He inspires undying pure love with Cathering whilst simultaneously fuels utter hatred in Hindley, due to jealously. Contrastly totally to the previous two in (SB) we have a female, Fran, who enters the film. She is a beginner dancer of Spanish origin. She has a completely positive effect of the film. She teaches Scott ‘a life lived in fear is a life half lived.’ She gives him the belief that they can dance their own steps and over come the corrupt dance federation. They achieve these and in doing so they release Doug and Shirley who ‘lived their lives in fear’. (PB) ends darkly espically for Pegeen who loses the lover of her life. ‘Oh I’ve lost his surely I’ve lost the only true Playboy of the Western World.’ With perhaps the except of Christy who becomes a new man and who heads home to Munster as ‘King of all fights’ the world is left unchanged. Most definitely a place with a dark outlook on life. Contrasting wholly is (SB) which ends on an extremely positive note. Fran and Scott ©The Dublin School of Grinds 49 Deasy & Cowzer
falll in love, the corrupt Barry Fife is exposed and everyone dances to the song ‘Love is in the Air’. A truely bright ending, (SB) being quite similar to (WH) in this incidence. There is finally the happy union of the ancient Lintons and Earnshaws in the marriage of young Cathy and Hareton. There is also comforting sense that Catherine and Heathcliff are finally together. ‘They’s Heathcliff and a woman yonder.’ Therefore I believe that yes indeed each text we read does present us with an outlook on life. However after studying the three texts on my comparative course I conclude that no text can be fully optimistic, bright or pessimistic dark. It is a complex combination of both. P 18/21 C 16/21 L14/ 21 M 05/ 07 Total mark awarded ex 70: 53 Comment: • Clear and sustained engagement with the task • Candidate structures the answer in a careful, coherent fashion • Some points might have been developed more fully • Some flaws in language control ©The Dublin School of Grinds 50 Deasy & Cowzer
Literary Genre “The creation of memorable characters is part of the art of good story-telling.” Write an essay comparing the ways in which memorable characters were created and contributed to your enjoyment of the stories in the texts you have studied for your comparative course. It will be sufficient to refer to the creation of one character from each of your chosen texts. Literary genre is the manner in which the text is told. The texts which I have studied as part of my comparative analysis are the romantic satire “Strictly Ballroom”(SB), a film by Baz Luhrmann, the gothic bildunsroman “Wuthering Heights” (WH) a novel by Emily Bronte, and the modern dram [drama] “Philadelphia Here I Come” (PHIC) a play by Brian Friel. All three of my texts make use of genres such as romance and drama, however, no two authors use the same methods in creating these genres. Through the clever creation of memorable characters and diverse plots the authors all display the art of good story-telling. In my answer I wish to focus on the aspects of narration and narrative techniques, imagery and symbolism and character creation. In my opinion these aspects greatly contribute to and enhance each of my texts. Narration and narrative techniques play a vital role in the successful creation of characters and development of plot in each of my texts and add to my overall understanding and enjoyment of each text. All three of my texts employ different methods of narration to tell their story. In SB, Luhrmann utilises omniscient narration by using the camera and showing all points of view instead of focusing on the view of one particular character. Similarly, Friel employs omniscient narration to allow us to witness many of the characters viewpoints in PHIC by using stage directions. Unlike my other two texts, Bronte uses a much more complex and multi-layered type of narration in WH which allows her to develop a more intricate plot. In each of my texts the type of narration chosen by the author is effective in creating both the characters and the storyline. Luhrmann uses the camera in SB to his advantage as he can create characters by using high or low angle shots. Luhrmann can, therefore, influence how a character is portrayed. For example, Barry Fife is shown in a darkened office as there is an extreme close up on his mouth. This clearly establishes him as the evil villain within the story. Similarly, Friel also uses omniscient ©The Dublin School of Grinds 51 Deasy & Cowzer
narration to develop his plot. Like Luhrmann, Friel uses omniscient narration, however he also employs the use of dual character in Private Gar and Public Gar. This gives added depth and humour to an otherwise banal plot as eccentric Private Gar can mock the characters around him ‘Screwballs’ and also show deep emotional feeling. In the same way, Bronte’s narration complements her plot as it allows her to develop complex characters. Unlike the other two texts, Bronte is completely reliant on the written word so she must depend on passionate description to accentuate her characters. Through descriptive narrative we see Heathcliff is a “fierce, wolfish, pitiless man”. All of my texts employ the use of flashback as a narrative technique to enhance their storylines. In SB, we witness the 1967 flashback and the Waratah Dance Championship so that we become aware of the characters’ past and can, therefore, better understand there present situation. Friel uses flashback in the same way as Luhrmann as he portrays flashbacks of Kathy Doogan and of Aunt Lizzie’s visit, both events which are essential to understanding the present circumstances of Gar’s departure for America. Although both texts employ flashback, I feel that Friel does so much more naturally. Friel makes use of the fluid areas of the stage to present flashbacks which are provoked often by Gar’s music. Unlike Friel, Luhrmann uses the camera to jump back in time effortlessly and without warning. In the initial mockumentary scene, we are unaware that we are witnessing flashback until we are brought back to the present day. Unlike these two texts, WH does not employ a number of consequential flashbacks but instead makes her narrative one continuous flashback which begins when Lockwood arrives at Wuthering Heights. Overall it may be said that all three texts use excellent narrative structures to bring their memorable characters to life. Bronte, like Friel employs two main narrators, Nelly and Lockwood to give both a realistic and relatable quality to her plot. By studying these types of narration I have been able to fully enter and enjoy each of my texts. Imagery and symbolism is used by each of my authors to clearly depict the lives of characters and the obstacles which they face. All three of my texts employ the use of two different houses to depict the clearly different ways of living within the texts. In SB, Luhrmann creates a clear distinction between the home of Scott and Fran. Scotts home is pink, flamboyant and covered in trophy which show a clear obsession with winning and no evidence of filial love. Opposite to this is Fran’s home which is more ©The Dublin School of Grinds 52 Deasy & Cowzer
subdued and humble but much more loving. Fran’s home is both literally and symbolically on the ‘wrong side of the tracks’. Comparitevely, Bronte also illustrates two completely different homes, families and ways of living. Thrushcross Grange is a “splendid dwelling” which is “carpeted with crimson” and echoes the class, education and sophistication of the Lintons. On the other hand, Wuthering Heights, like Fran’s home, is much more dark and seems to represent a family which is much more free- spirited, it is a “perfect misanthropists heaven”. Unlike my other two texts, Friel does not create two polar homes in PHIC. Instead Friel juxtaposes Gar’s current life in the isolated town of Ballybeg with the prospects and vitality he will face when he reaches America. In all three texts the different ways of living become emblematic of the memorable characters which the author creates in their stories. Fran in SB is paralleled by her home as she is initially timid and shy a “beginner dancer” who falls victim to the much more domineering and manipulative Shirley Hastings. Bronte uses the same technique as Luhrmann and mirrors her characters with their homes. The Lintons of Thrushcross Grange are much more well-mannered and sophisticated while Heathcliff and Cathy from WH are wild and free-spirited and often very domineering. Similarly, Friel contrasts characters within Ballybeg with those outside. The O’Donnells are said to be “like to peas in a pod” while the Gallagher girls of Bailtefree are the exact opposite as they are “always laughing or crying …you know, sorta silly”. The window is also a symbol utilised by my authors to show isolation and separation. In SB, we are shown in the opening sequence a group of women ‘caged’ behind a glass window. This symbol, therefore, immediately creates the idea that the woman’s role is subservient to the man’s in Ballroom dancing. Doug is also panned down with the camera and shown through a window which shows his isolation and separation from the dancing world which has stifled his creativity. In the same manner, Bronte successfully uses the window symbol to portray the separation of Cathy and Heathcliff and Heathcliff’s ultimate isolation. As Cathy is welcomed into the Linton home, Heathcliff is left outside to look upon their family through a window. In contrast, Friel does not employ the symbol of the window directly. However, a comparison may be drawn as by the use of Private Gar, Friel offers us a ‘window’ into the mind and thoughts of Gar. Just as in my other two texts Friel shows the explicit isolation of a character as Gar pleads with his father silently to “make one unpredictable remark”. ©The Dublin School of Grinds 53 Deasy & Cowzer
By analysing the use of imagery and symbolism within my three texts I have come to realise that authors can use similar symbols in many ways to effectively create memorable characters and so successfully tell their story. Character creation is pivotal to the overall development of any plot and my three texts use diverse methods of character creation in order to complement their individual stories. Each of my texts employs a number of dramatic characters within their plot. Characters such as the hot-tempered Cathy in WH are comparable to Shirley Hastings in SB as both authors make them extremely flamboyent and eccentric. This is paralleled by Friel in PHIC as Private Gar proves an extremely dramatic character. The text is more minimalistic than the other two, however it is no less dramatic because of the use of the highly-strung and intriguing character we see in the mind of Private Gar. Each of my texts also employs the use of somewhat exaggerated characters in their story-telling. In SB, Luhrmann creates over-the-top characters which stem from the fairytale genre who are sometimes very unbelievable. For example, when Ken Railings glids in and asks Liz to be his dance partner because his partner has “broken both her legs”. Similarly, Bronte’s narrators may be said to be exaggerated characters that are somewhat unbelievable. Nelly Dean, who is a servant living in poor conditions outlives many of the other wealthier characters in the novel who would have had better health and homes. Unlike my other two texts, Friel maintains a sense of realism in his characters which compounds both his themes and characters. All three of my texts employ thought-provoking antagonists. In SB, Luhrmann immediately establishes Barry Fife as “evil villain” and does not dwell on motives as he stays within the cliché fairytale genre. Contrastingly, Heathcliff is a much more complex antagonist. Unlike Luhrmann, Bronte explores the motives behind the actions of Heathcliff. We are inclined at time to sympathise with him, however, his actions towards the younger generation make him a true villain. “We’ll see if one tree wont grow as crooked as another with the same wind to twist it”. In contrast, Friel shows no outright antagonist however it seems that Gar himself (Public) seems to repeatedly stifle and disregard the wishes of Private by his total lack of communication with his father and he is, therefore, an antagonistic force to the progression of the plot. From studying the Narration, Imagery and Symbolism and Character Creation of my three texts, I have gained a better understanding of Literary genre. The creation of ©The Dublin School of Grinds 54 Deasy & Cowzer
memorable characters by each of my authors is testament to their unique and outstanding ability as excellent story-tellers. I feel by studying Literary Genre it has enriched my experience of each text and the techniques and methods which the authors used to create it. P 21/21 C 21/21 L 21/21 M 6/7 Total marks awarded ex 70: 69 Comment: •Sustained engagement with the task •Focused points supported by detailed reference •Comparative approach throughout ©The Dublin School of Grinds 55 Deasy & Cowzer
List of prescribed texts for the Leaving Certificate English examination of June 2018. Texts chosen for study must be from this list. At Higher Level a play by Shakespeare must be one of the texts chosen. This can be studied on its own or as a text within the comparative study. At Ordinary Level the study of a play by Shakespeare is optional. 1. One text for study on its own from the following texts: BINCHY, Maeve Circle of Friends (O) BRONTË, Emily Wuthering Heights (H/O) FITZGERALD, F. Scott The Great Gatsby (H/O) GAIMAN, Neil The Ocean at the End of the Lane (O) MILLER, Arthur All My Sons (H/O) NGOZI ADICHIE, Chimamanda Americanah (H/O) O’CASEY, Sean The Plough and the Stars (O) RYAN, Donal The Spinning Heart (O) SHAKESPEARE, William King Lear (H/O) One of the texts marked with H/O may be studied on its own either at Higher Level or at Ordinary Level. One of the texts marked with O may be studied on its own at Ordinary Level. 2. Three other texts to be studied in a comparative manner, according to the comparative modes prescribed for this course. Any texts from the list of texts prescribed for comparative study, other than the one already chosen for study on its own, may be selected for the comparative study. At Higher Level and at Ordinary Level, a film may be studied as one of the three texts in a comparative study. Only texts identified on the list as films may be studied as films. ©The Dublin School of Grinds 56 Deasy & Cowzer
The Comparative Modes for examination in 2018 are:
Higher Level (i) The Cultural Context
(ii) General Vision and Viewpoint
(iii) Literary Genre
Ordinary Level (i) Social Setting
(ii) Relationships
(iii) Hero, Heroine, Villain
List of Texts prescribed for comparative study, for examination in the year 2018.
AUSTEN, Jane Emma Y
BINCHY, Maeve Circle of Friends
BRONTË, Emily Wuthering Heights
COLLINS, Ciarán The Gamal
CHBOSKY, Stephen The Perks of Being a Wallflower
CUARÓN, Alfonso (Dir.) Children of Men (Film) Y
FITZGERALD, F. Scott The Great Gatsby Y
GAIMAN, Neil The Ocean at the End of the Lane
GAUTREAUX. Tim The Next Step in the Dance
GREEN, John The Fault in Our Stars
HARDY, Thomas The Mayor of Casterbridge
HAZANAVICIUS, Michel (Dir.) The Artist (Film) Y
HITCHCOCK, Alfred (Dir.) Rear Window (Film)
HOLMES, Alex (Dir.) Stop at Nothing: The Lance Armstrong Story (Film)
HOOPER, Tom (Dir.) Les Misérables (Film)
IBSEN, Henrik A Doll’s House Y
KEANE, John B Big Maggie
©The Dublin School of Grinds 57 Deasy & CowzerKEEGAN, Claire Foster Y
KINGSOLVER, Barbara Flight Behaviour
McCABE, EUGENE Death and Nightingales
McDONAGH, Martin A Skull in Connemara
MILLER, Arthur All My Sons Y
MILLER, Madeline The Song of Achilles
NGOZI ADICHIE, Chimamanda Americanah
O’CASEY, Sean The Plough and the Stars Y
ORWELL, George 1984 Y
PEACE, David The Damned Utd
REITMAN, Jason (Dir.) Juno (Film)Y
RYAN, Donal The Spinning HeartY
SALVATORES, Gabriele (Dir.) I’m not Scared
(Film) SATRAPI, Marjane Persepolis
SHAKESPEARE, William King Lear
Macbeth
SIMPSON, Joe Touching the Void
SOPHOCLES Antigone
VÁSQUEZ, Juan Gabriel The Sound of Things Falling
ZUSAK, Markus The Book Thief
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