Cambridge IGCSE English - Literature 0486 — 2011 Oct/Nov Paper 1 · Variant 2

This document consists of 7 printed pages and 1 blank page. DC (SM) 31615/3 © UCLES 2011 [Turn over UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education * 3 2 8 1 0 1 7 2 6 0 * LITERATURE (ENGLISH) 0486/12 Paper 1 Open Texts October/November 2011 2 hours 15 minutes Additional Materials: Answer Booklet/Paper Texts studied should be taken into the examination room. READ THESE INSTRUCTIONS FIRST If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, candidate number and name on all the work you hand in. Write in dark blue or black pen. Do not use staples, paper clips, highlighters, glue or correction fluid. Answer three questions: one question from Section A, one question from Section B, and one question from Section C. Answer at least one passage-based question (marked *), and at least one essay question (marked †). At the end of the examination, fasten all your work securely together. All questions in this paper carry equal marks. www.XtremePapers.com

2 0486/12/O/N/11 © UCLES 2011 SECTION A: DRAMA ARTHUR MILLER: Death of a Salesman Either *1 Re-read in Act 1 from ‘Biff: Because I know he’s a fake …’ to ‘Biff: [kissing her ] All right, pal, all right.’ Explore the ways in which Miller makes this such a dramatic and revealing moment in the play. Or †2 How do you think Miller manages to make Bernard such a memorable character in the play? Support your ideas with details from the play. Or 3 You are Biff after Willy’s funeral. Write your thoughts. CHARLOTTE KEATLEY: My Mother Said I Never Should Either *4 Re-read in Act 2 from ‘Rosie: A banner. We’re doing a Greenham protest …’ to ‘Doris: There’s always an excuse. [Pause ] I never did ask for what I wanted. Resentment is a terrible thing, Jackie.’ Explore how Keatley strikingly uses dramatic irony at this moment in the play. Or †5 How far does Keatley make you feel that Doris has been unjustly treated by her husband in his will? Refer to details in the play as you answer. Or 6 You are Jackie, the day before your parents are arriving to take Rosie to live with them. Write your thoughts.

3 0486/12/O/N/11 © UCLES 2011 [Turn over WILLIAM SHAKESPEARE: Much Ado About Nothing Either *7 Re-read in Act 3 Scene 5 from ‘Leonato: What would you with me, honest neighbour?’ to ‘Dogberry: We will spare for no wit, I warrant you; here’s that shall drive some of them to a non-come; only get the learned writer to set down our excommunication and meet me at the gaol.’ How does Shakespeare make this moment in the play so amusing and so deeply serious at the same time? Or †8 A loving and devoted father A weak and snobbish man Which of these views more accurately describes Shakespeare’s portrayal of Leonato for you? Support your answer by close reference to Shakespeare’s writing. Or 9 You are Benedick. Beatrice has just asked you to kill Claudio and you have agreed to challenge him. Write your thoughts. WILLIAM SHAKESPEARE: Richard III Either *10 Re-read in Act 4 Scene 1 from ‘Anne: And I with all unwillingness will go.’ to the end of the scene ‘Queen Elizabeth: … So foolish sorrows bids your stones farewell.’ What do you think makes this such a moving moment in the play? Support your ideas with details from Shakespeare’s writing. Or †11 What do you find interesting about Shakespeare’s portrayal of Richard in the last part of the play after he has become king? Support your ideas with details from the play. Or 12 You are Lord Stanley (the Earl of Derby). You are on the battlefield of Bosworth but you have not yet ordered your soldiers to join the battle. Write your thoughts. R.C.SHERRIFF: Journey’s End Either *13 Re-read the end of Act 3 Scene 1 from ‘The German Boy, calm now, bows stiffly to the Colonel and goes away ’ to ‘Heavy guns are booming miles away.’ Explore the ways in which Sherriff powerfully conveys through words and actions the characters’ thoughts and feelings at this moment in the play. Or †14 Explore how Sherriff movingly portrays the various ways in which the soldiers try to keep their fear under control. Or 15 You are Stanhope towards the end of the play. Raleigh has just died. Write your thoughts.

4 0486/12/O/N/11 © UCLES 2011 SECTION B: POETRY ALFRED, LORD TENNYSON: Poems Either *16 Re-read in In Memoriam CVI from ‘Ring out, wild bells, to the wild sky,’ to ‘Ring in the Christ that is to be.’ Explore how Tennyson powerfully makes this extract a prayer of hope for the future. Or †17 In what ways does Tennyson capture your interest in his poem, The Lady of Shalott ? Support your answer with details from the poem. Or †18 How does Tennyson gain your sympathy for Mariana in Mariana? Support your ideas with details from the poem. SONGS OF OURSELVES: from Part 3 Either *19 Re-read Time (by Allen Curnow). Explore some of the ways in which Curnow describes Time in this poem. Or †20 In Lament (by Gillian Clarke) explore how the poet’s words vividly convey feelings of bitterness. Or †21 Choose some lines from Marrysong (by Dennis Scott) and Sonnet 43 (by Elizabeth Barrett Browning) which you find especially moving in their description of love. Explore the ways in which the poets make your chosen lines so moving.

5 0486/12/O/N/11 © UCLES 2011 [Turn over SECTION C: PROSE EMILY BRONTË: Wuthering Heights Either *22 Re-read in Vol. 1 Chapter 12 from ‘ “Ah! You are come, are you, Edgar Linton?” she said with angry animation …’ to ‘… on my own responsibility, I quitted the chamber.’ Explore how Brontë makes this such a vivid and revealing moment in the novel. Or †23 How do you think Brontë makes the moors such a memorable setting for the novel? Support your ideas with details from the writing. Or 24 You are Catherine Earnshaw. It is the morning of your marriage to Edgar Linton. Write your thoughts. ANITA DESAI: Games at Twilight and Other Stories Either *25 Re-read the opening of Studies in the Park from ‘– Turn it off, turn it off, turn it off!’ to ‘He skated off towards his meal, I turned and slouched back to my room.’ Explore the ways in which Desai in this passage memorably portrays Suno’s state of mind and the expectations which his family have of him. Or †26 Explore how Desai vividly portrays the lives of women in Indian society in two of these short stories. Or 27 You are Bina in The Farewell Party. The party has not yet begun. Write your thoughts.

6 0486/12/O/N/11 © UCLES 2011 BESSIE HEAD: When Rain Clouds Gather Either *28 Re-read in Chapter 8 from ‘They had just tucked away their mugs when Makhaya appeared.’ to ‘ “I live near the farm,” she muttered.’ How does Head’s writing make this such a significant moment in the novel? Or †29 Explore one moment in the novel which Head makes particularly dramatic for you. Or 30 You are George Appleby-Smith. You have just told Makhaya that you will support him over his residence in Botswana. Write your thoughts. F. SCOTT FITZGERALD: The Great Gatsby Either *31 Re-read at the end of Chapter 5 from ‘There was a small picture of Gatsby, also in yachting costume, on the bureau …’ to ‘Then I went out of the room and down the marble steps into the rain, leaving them there together.’ What impressions of Gatsby and Daisy does Fitzgerald create for you here? Or †32 How far does Fitzgerald’s presentation of Myrtle Wilson encourage you to feel sympathy for her? Support your answer by close reference to Fitzgerald’s writing. Or 33 You are Tom Buchanan on hearing of the deaths of Gatsby and Wilson. Write your thoughts. EDITH WHARTON: Ethan Frome Either *34 Re-read the end of Chapter 6 from ‘As he reached the door he met Zeena coming back into the room,’ to ‘… and gathering up the bits of broken glass she went out of the room as if she carried a dead body …’ What does Wharton make you feel here about Zeena and the way she behaves? Support your views with details from the writing. Or †35 Explore how Wharton makes Ethan’s and Mattie’s episode with the sled such a memorable and significant moment in the novel. Support your ideas with details from the writing. Or 36 You are the narrator at the end of the novel thinking about the story you have just told. Write your thoughts.

7 0486/12/O/N/11 © UCLES 2011 Stories of Ourselves Either *37 Re-read the ending of The Signalman (by Charles Dickens) from ‘Next evening was a lovely evening,’ to ‘… and that only in my own mind, to the gesticulation he had imitated.’ How does Dickens make this passage such a powerful ending to the story? Or †38 Explore how the writer shows that the narrator becomes wiser as a result of what happens in the story in either The Taste of Watermelon (by Borden Deal) or On Her Knees (by Tim Winton). Or 39 You are Jenny in The Yellow Wallpaper. You have just failed to persuade your sister-in-law to come out of her room on her last day in the house and your brother John is on his way home. Write your thoughts.

8 0486/12/O/N/11 © UCLES 2011 BLANK PAGE 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. University of 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.

UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education MARK SCHEME for the October/November 2011 question paper for the guidance of teachers 0486 LITERATURE (ENGLISH) 0486/12 Paper 1 (Set Texts: Open Books), maximum raw mark 75 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 must be read in conjunction with the question papers and the report on the examination. • Cambridge will not enter into discussions or correspondence in connection with these mark schemes. Cambridge is publishing the mark schemes for the October/November 2011 question papers for most IGCSE, GCE Advanced Level and Advanced Subsidiary Level syllabuses and some Ordinary Level syllabuses. www.XtremePapers.com

Page 2 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2011 0486 12 © University of Cambridge International Examinations 2011 All questions on Paper 1 are marked out of 25. The assessment objectives for the paper are: AO1 show detailed knowledge of the content of literary texts AO2 understand the meanings of literary texts and their context, and explore texts beyond surface meaning to show deeper awareness of ideas and attitudes AO3 recognise and appreciate ways in which writers use language, structure, and form to create and shape meanings and effects AO4 communicate a sensitive and informed personal response The General Descriptors cover marks from 0 to 25, and apply to the marking of each question. They guide examiners to an understanding of the qualities normally expected of, or typical of, work in a band. They are a means of general guidance, and must not be interpreted as hurdle statements. For the purposes of standardisation of marking, they are to be used in conjunction with photostats of candidates’ work produced in the examination and discussed during the examiners’ coordination meeting.

Page 3 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2011 0486 12 © University of Cambridge International Examinations 2011 BAND DESCRIPTORS TABLE 0 / 0-1 No answer / Insufficient to meet the criteria for Band 8. Band 8 2 3 4 Limited attempt to respond • shows some limited understanding of simple/literal meaning Band 7 5 6 7 Some evidence of simple personal response • makes a few straightforward comments • shows a few signs of understanding the surface meaning of the text • makes a little reference to the text Band 6 8 9 10 Attempts to communicate a basic personal response • makes some relevant comments • shows a basic understanding of surface meaning of the text • makes a little supporting reference to the text Band 5 11 12 13 Begins to develop a personal response • shows some understanding of meaning • makes a little reference to the language of the text (beginning to assume a voice in an empathic task) • uses some supporting textual detail Band 4 14 15 16 Makes a reasonably developed personal response • shows understanding of the text and some of its deeper implications • makes some response to the way the writer uses language (using suitable features of expression in an empathic task) • shows some thoroughness in the use of supporting evidence from the text Band 3 17 18 19 Makes a well-developed and detailed personal response • shows a clear understanding of the text and some of its deeper implications • makes a developed response to the way the writer achieves her/his effects (sustaining an appropriate voice in an empathic task) • supports with careful and relevant reference to the text Band 2 20 21 22 Sustains a perceptive and convincing personal response • shows a clear critical understanding of the text • responds sensitively and in detail to the way the writer achieves her/his effects (sustaining a convincing voice in an empathic task) • integrates much well-selected reference to the text Band 1 23 24 25 Answers in this band have all the qualities of Band 2 work, with further insight, sensitivity, individuality and flair. They show complete and sustained engagement with both text and task.