Cambridge A Level English - Language AS and A Level (from 2014) 9093 — 2015 Oct/Nov Paper 3 · Variant 2

This document consists of 5 printed pages and 3 blank pages and 1 insert. DC (LEG/FD) 97914/4 © UCLES 2015 [Turn over Cambridge International Examinations Cambridge International Advanced Subsidiary and Advanced Level * 2 4 1 3 4 1 8 1 6 9 * ENGLISH LANGUAGE 9093/32 Paper 3 Text Analysis October/November 2015 2 hours 15 minutes No Additional Materials are required. READ THESE INSTRUCTIONS FIRST An answer booklet is provided inside this question paper. You should follow the instructions on the front cover of the answer booklet. If you need additional answer paper ask the invigilator for a continuation booklet. Answer two questions. You should spend about 15 minutes reading the passages and questions before you start writing your answers. Both questions carry equal marks. You are reminded of the need for good English and clear presentation in your answers. The number of marks is given in brackets [ ] at the end of each question or part question.

2 9093/32/O/N/15 © UCLES 2015 1 The following text is an article from the “Health” section of the Malaysia Star newspaper in its on-line version. The writer is reporting a possible breakthrough made by medical researchers investigating new pain-killing drugs. (a) Imagine you work for a drug company who will be conducting medical trials of the new pain- killing drug made from snail venom. The company will need to find volunteers willing to try the drug. You have been asked to produce a leaflet explaining the advantages of this new drug. The leaflet will be read by doctors and patients. Write the text for the first part of this leaflet in 120–150 words, basing what you write on the information and ideas in the article. [10] (b) Compare the style and language of your script with the style and language of the original on-line article. [15] Snail venom for pain An experimental drug made from snail venom has shown early signs of promise in numbing pain, raising hopes in the hunt for new, non-addictive medications, say researchers. The drug, which has not been tested yet on humans, was judged to be about 100 times more potent than morphine or gabapentin, which are currently considered the gold standard for chronic nerve pain. The active ingredient, conotoxin, comes from carnivorous cone snails, which are common in the western Pacific and Indian Oceans. The marine animals can reach out and stab prey, injecting a venom that paralyses fish long enough for the snail to eat it up. “A tiny protein derived from the snail’s venom has formed the basis of five new experimental compounds,” said lead researcher Professor David Craik of the University of Queensland in Australia. A preliminary study using one of these new compounds on laboratory rats “appeared to significantly reduce pain”, said a press statement released ahead of Professor Craik’s presentation at an American Chemical Society meeting in Dallas, Texas. “This is an important incremental step that could serve as the blueprint for the development of a whole new class of drugs capable of relieving one of the most severe forms of chronic pain that is currently very difficult to treat,” he said. Animal venoms are poisons that can block certain channels in the nervous system, and act differently than opioid painkillers such as morphine and hydrocodone, which carry the risk of addiction and death from overdose. Pharmaceutical companies have begun investigating venoms in recent years as potential sources of new drugs for managing neuropathic pain, which affects 15% of the US population and can arise from cancer, AIDS, diabetes, and other debilitating diseases. One conotoxin-derived drug, ziconotide, has already been approved for human use. However, it is not available in pill form and must be infused directly into the lower part of the spinal cord. The five new compounds Professor Craik and his colleagues are developing would be taken orally. “We don’t know about side effects yet, as it hasn’t been tested in humans. But we think it would be safe,” he said, adding that human trials are at least two years away. 5 10 15 20 25 30

3 9093/32/O/N/15 © UCLES 2015 [Turn over 2 Texts A and B both relate to learning to sail. Text A is an extract from a booklet giving advice to teachers and other adults on how to teach children to sail. The advice is provided in the form of guidance notes. Text B is a transcription of part of the sound-track for a training video designed to teach sailing to beginners. The presenter (Xavier) and a sailing expert (Juan) are watching a beginner (Pilar) sailing solo for the first time. Compare the language and style of the two extracts. [25] Text A VSULW VDLO PDVW KXOO GDJJHUERDUG ERRP UXGGHU PDLQVKHHW Guidance notes for adults helping to run introductory sailing sessions for pupils Introductory activities • Dry land session first for complete beginners, on grass or sand. • Demonstration by someone competent before children’s first sail, naming main parts of boat. • Demo with child from group on board, then swap roles as a confidence-building exercise. • Flexibility with the above is needed to take into account weather, site, own and children’s previous experience. • Getting in and out of boats using a simple relay race (boats alongside). • Child solo sail – out, turn, back. On return to bank, always park pointing into the wind. Use local indicators to check wind direction – e.g. flags, moored boats or trees. 5 10

4 9093/32/O/N/15 © UCLES 2015 Teaching points • Safety: at all times watch for fingers and hands between boat being sailed in and other boats, or boats and the bank. Also beware of fingers resting on daggerboard. • Communication: can you be heard? Keep to a sensible hailing distance to enable communication and supervision. Use whistle signals. • Need to differentiate between a one-off taster when a quick sail is the order of the day, compared to the first of a series of lessons when more detailed instruction is important to save time at the start of future sessions. • Narrow area restricted for initial sail. Think about how to choose suitable sailing area within site. • When choosing a site it needs to be definable, capable of being marked out in order to make group control possible. • Encourage turning by pushing tiller away as this tends to stop boats going off down- wind too quickly. • All children should get a go, quickly, there and back and change, possibly making the initial sailing trips into relays. Text B Key (.) = micro-pause (1) = pause in seconds // = speech overlap CAPITALS = speaking with raised volume Xavier: this should be a good test to see how much shes learnt (1) OH (.) OVER SHE GOES // Juan: NO (.) shes let out the mainsheet1 to spill wind (.) and now shes under control again Xavier: i really thought she’d gone then Juan: shes all right (.) its quite a steady tack2 around the windward mark (.) now that shes reaching (1) hmm (1) she should have raised the daggerboard a little Xavier: now (1) is she ready for the gybe3 Juan: no (.) i dont think shes ready quite yet (.) shes got a few things to sort out first and (1) oh thats DEFINITELY not right (1) she wants to RAISE the daggerboard not lower it Xavier: a bit of confusion there about which way to turn the tiller Juan: yeah (.) but shes round safely (.) she should be looking where shes going now Xavier: instead of sorting out all the rope Juan: yeah (1) okay (1) now shes off really quickly (.) shes got too much power there (.) shes sheeting the sail in instead of easing it out until it flaps and then just pulling it in a little 15 20 25 5 10 15

5 9093/32/O/N/15 © UCLES 2015 Xavier: should she (.) should pilar have let the sail out like that (.) or should she // Juan: no (.) no (1) by letting the sheet go she lost power (.) after the tack she’ll have to pull it all in again to accelerate away Xavier: now shes (.) shes sitting out to balance the wind (1) hmm (.) THAT tack looked okay Juan: yes (.) but she doesnt need that bundle of mainsheet in her hand (1) for this part of the course she should have the daggerboard right down (.) and she could be sailing in slightly shallower tacks towards us Xavier: WHOOPS (1) what happened THERE Juan: well (1) she let the boat heel so far before sheeting out that the boom hit the water and wouldnt go any further. Xavier: it looked like she recovered by leaning out more . Juan: well (.) pilars got a good sense of balance (.) which is always useful when youre sailing (.) now (.) lets look at this gybe to see if its any smoother Xavier: OH YES Juan: yes thats much better Xavier: WOW (1) shes really taking off now Juan: yes (.) the wind is stronger out there (1) considering shes only been sailing for a couple of days shes doing very well Notes 1sheet = technical term for a rope used in sailing. 2tack = turn through the wind. 3gybe = turn away from the wind. 20 25 30 35

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8 9093/32/O/N/15 © UCLES 2015 Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the publisher will be pleased to make amends at the earliest possible opportunity. To avoid the issue of disclosure of answer-related information to candidates, all copyright acknowledgements are reproduced online in the Cambridge International Examinations Copyright Acknowledgements Booklet. This is produced for each series of examinations and is freely available to download at www.cie.org.uk after the live examination series. Cambridge International Examinations is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of University of Cambridge Local Examinations Syndicate (UCLES), which is itself a department of the University of Cambridge. BLANK PAGE

® IGCSE is the registered trademark of Cambridge International Examinations. CAMBRIDGE INTERNATIONAL EXAMINATIONS Cambridge International Advanced Level MARK SCHEME for the October/November 2015 series 9093 ENGLISH LANGUAGE 9093/32 Paper 3 (Text Analysis), maximum raw mark 50 This mark scheme is published as an aid to teachers and candidates, to indicate the requirements of the examination. It shows the basis on which Examiners were instructed to award marks. It does not indicate the details of the discussions that took place at an Examiners’ meeting before marking began, which would have considered the acceptability of alternative answers. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers. Cambridge will not enter into discussions about these mark schemes. Cambridge is publishing the mark schemes for the October/November 2015 series for most Cambridge IGCSE®, Cambridge International A and AS Level components and some Cambridge O Level components.

Page 2 Mark Scheme Syllabus Paper Cambridge International A Level – October/November 2015 9093 32 © Cambridge International Examinations 2015 1 (a) Directed Writing Band 1 9–10 Discriminating sense and understanding of audience, form, purpose, conventions and effects, underpinned by a fluent, highly accurate reworking of the material in a highly appropriate style. Band 2 7–8 Proficient grasp and appreciation of audience, form, purpose, conventions and effects, supported by an informed and engaged reworking of the material in a consistent, appropriate and generally fluent style. Band 3 5–6 Competent understanding of audience, form, purpose conventions and effects, supported by an adequately engaged reworking of the material in a measured style, perhaps containing a few lapses in accuracy and expression. Band 4 3–4 Essentially sound but uneven sense and understanding of audience, form, purpose conventions and effects, supported by some engagement in reworking the material but marked by several lapses in accuracy and expression. Band 5 1–2 Basic and limited sense and understanding of audience, form, purpose, conventions and effects; limited engagement with reworking the material, and marked by frequent lapses in accuracy and expression and/or an inappropriate grasp of intent and style. Band 6 0–1 Wholly inappropriate sense of audience, form, purpose, conventions and effects; brief or confused work and/or marked by very limited accuracy and expression. (b) Commentary on language and style Band 1 13–15 Discriminating, detailed, very comparative and highly informed appreciation and awareness spoken and/or written language; highly focused on effects created by conventions, form and style, purpose; very selective and close references to texts. Band 2 10–12 Proficient, consistent appreciation awareness of spoken and/or written language; analyses texts with good degree of awareness of conventions, form and style, purpose; selective and relevant use of and reference to texts. Band 3 8–9 Steady and mainly focused appreciation and awareness of spoken and/or written language; comments on texts are measured if not fully developed at times and show understanding of conventions, form and style, purpose; some relevant use of and reference to texts. Band 4 6–7 Some engagement and partial appreciation and awareness of spoken and/or written language; occasional but undeveloped comments on some aspects of conventions, form and style, purpose; partial use of and reference to texts. Band 5 3–5 Basic appreciation and awareness of spoken and/or written language; generalised and limited analysis of conventions, form and style, purpose; listing of features without further comment; limited textual reference. Band 6 0–2 Very limited appreciation and awareness of spoken and/or written language; tendency to focus on content or engage in unfocused, fragmented ideas; brief or confused work.

Page 3 Mark Scheme Syllabus Paper Cambridge International A Level – October/November 2015 9093 32 © Cambridge International Examinations 2015 2 Text Analysis and Comparison Band 1 22–25 Discriminating and sophisticated comparative appreciation of forms and conventions of texts, including spontaneous speech; detailed and incisive understanding of effects; highly sensitive to how purpose, context and audience shape meaning; highly perceptive grasp of voice and linguistic techniques. Band 2 18–21 Engaged and consistent response, demonstrating very informed comparative appreciation of forms and conventions of texts, including spontaneous speech; proficient awareness of effects; focused grasp of how purpose, context and audience shape meaning; detailed appreciation of voice and linguistic techniques. Band 3 14–17 Relevant and steady comparative awareness of forms and conventions of texts, including spontaneous speech; controlled and measured awareness of effects; generally informed understanding of effects and how purpose, context and audience shape meaning; competent appreciation of voice and linguistic techniques. Band 4 10–13 Generally relevant and mainly comparative awareness of forms and conventions of texts, including spontaneous speech; reasonable awareness of effects; generally steady understanding of effects and how purpose, context and audience shape meaning; reasonable appreciation of voice and linguistic techniques. Band 5 6–9 Basic awareness of forms and conventions of texts, including spontaneous speech, but lacking a fully comparative approach; adequate awareness of effects; some informed understanding of effects and how purpose, context and audience shape meaning; limited appreciation of voice and linguistic techniques. Band 6 2–5 Rather limited and partial awareness of forms and conventions of texts, including spontaneous speech; a small degree of awareness of effects; general understanding of effects and how purpose, context and audience shape meaning; very limited appreciation of voice and linguistic techniques. Below Band 6 0–1 Minimal awareness of forms and conventions of texts, including spontaneous speech; little awareness of effects; sparse understanding of effects and how purpose, context and audience shape meaning; little appreciation of voice and linguistic technique; very brief / fragmented; very unfocused.