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ENGLISH LITERATURE

OCR 2024
GCSE English Literature
J352/01 Exploring modern and literary heritage
texts

With Marking Scheme Merged

Oxford Cambridge and RSA

Monday 13 May 2024 – Morning
GCSE English Literature
J352/01 Exploring modern and literary heritage texts
Time allowed: 2 hours

You must have:
• the OCR 12-page Answer Booklet
Do not use:
• copies of the text

INSTRUCTIONS
• Use black ink
...
The question numbers
must be clearly shown
...

• All the questions in Section A have two parts, (a) and (b)
...

• Answer one question on the text you have studied in Section B
...

• The marks for each question are shown in brackets [ ]
...

• This document has 24 pages
...


© OCR 2024 [601/4872/X]
DC (LK) 326278/9

OCR is an exempt Charity

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© OCR 2024

J352/01 Jun24

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Contents Page
Section A – Modern prose or drama

Question

Page

Anita and Me by Meera Syal

1

4

Never Let Me Go by Kazuo Ishiguro

2

6

Animal Farm by George Orwell

3

8

An Inspector Calls by J
...
Priestley

4

10

Leave Taking by Winsome Pinnock

5

12

DNA by Dennis Kelly

6

14

Section B – 19th century prose

Questions

Page

Great Expectations by Charles Dickens

7/8

16

Pride and Prejudice by Jane Austen

9/10

17

The War of the Worlds by H
...
Wells

11/12

18

13/14

19

Jane Eyre by Charlotte Brontë

15/16

20

A Christmas Carol by Charles Dickens

17/18

21–22

The Strange Case of Dr Jekyll and Mr Hyde by Robert
Louis Stevenson

© OCR 2024

J352/01 Jun24

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4
Section A – Modern prose or drama
Answer one question from this section
...
You
should spend about 45 minutes on part (a) and 30 minutes on part (b)
...

(a) Compare how these two extracts present characters’ feelings about the people they want to help
them
...

[20]
AND
(b) Explore another moment in Anita and Me where Meena memorably describes someone
...

I was already running, cracking my head on branches and snagging my bare arms
on brambles
...
There were no lights on but I put my finger on the doorbell and kept it there and
even if a woman with a warty chin and a broomstick opened it, I decided I would still
ask for help
...


5

10

‘Oo is it?’ A witch’s voice, strangely accented and croaky
...
She looked eternal rather than old,
carefully styled blue hair, spots of rouge on the still prominent cheekbones, a dainty
mouth which bled pearly pink lipstick and those eyebrows, not her real ones, they had
obviously been shaved off years ago, but two heavily drawn lines which swooped right
up to her hairline like two ironic question marks
...
’ She sang it rather
than said it
...
Martha Clay is believed to be a witch
...
The time of owls and will-o’-the-wisps
...
Hold my hand, Mary
...
Love you, Mary
...
Are
we going to get there? (Do we want to get there?)
But we do get there
...
I see a small woman with a large
round head
...
Wearing a heavy grey skirt
that might have been made from a horse blanket
...
Wearing
a greasy blouse, stiff and sticky as weather-worn sailcloth, sleeves rolled up to the
elbows
...


5

10

And as we meet Martha, we meet Martha’s smell …
But enough of Martha’s costume
...
Leather purse of a mouth
...
Forehead:
bumpy-shiny, tobacco-hued
...
And those cheeks! Those cheeks!
They’re not just round and ruddy
...
They don’t merely suggest
alternate and continual exposure over several decades, without any intermediate
stages, to winter gales and scorching sun
...
They’re
over-ripe tomatoes
...
You
should spend about 45 minutes on part (a) and 30 minutes on part (b)
...

(a) Compare how problems at school are presented in these two extracts
...

[20]
AND
(b) Explore another moment in Never Let Me Go where someone gets help from another character
...

My guess is that from some time before he did that elephant, Tommy had had the
feeling he wasn’t keeping up – that his painting in particular was like that of students
much younger than him – and he’d been covering up the best he could by doing
deliberately childish pictures
...
It seems he did make an effort for a while, but he’d no sooner have started on
something, there’d be sneers and giggles all around him
...
So before long Tommy had gone back to his
original defence, producing work that seemed deliberately childish, work that said he
couldn’t care less
...

For a while he’d only had to suffer during art lessons – though that was often enough,
because we did a lot of art in the Juniors
...
He got left out of
games, boys refused to sit next to him at dinner, or pretended not to hear if he said
anything in his dorm after lights-out
...
Months could go by
without incident, he’d think the whole thing was behind him, then something he did – or
one of his enemies, like Arthur H
...


© OCR 2024

J352/01 Jun24

5

10

15

7
Extract 2 from: When All is Said by Anne Griffin
In this extract, the narrator Hannigan is remembering his school days, and how his brother
Tony used to help him with his school work
...
Up you get
...

I couldn’t get enough of his encouragement out there on our makeshift pitch
...
No
amount of him reminding me which letter was ‘b’ and which one was ‘d’ helped me
remember, let alone grabbed my interest
...
In those moments all I wanted was to lay my
head on the refuge of the rippled wooden desk, to feel its shiny surface from years of
varnish and fingertips, and close my eyes
...
On I’d charge again, not
giving a damn about any prospective injuries
...
My stomach sinking at
the thought of the darkness in that room, let alone the depression in my head
...
I spent most days with my head fuzzy, not able to catch up or
understand the things on the board or on the page
...
They
made some sense
...
Tony saw my
progress and pushed me on
...
He’d make a game of it, making sure I knew my money and the time, so that
Mam and Dad and Master Duggan might let me be
...
And a “d” is a dumbo
hiding the ball behind him
...
You
should spend about 45 minutes on part (a) and 30 minutes on part (b)
...

(a) Compare how an alarming situation is presented in these two extracts
...

[20]
AND
(b) Explore another moment in Animal Farm where the suffering of animals is described
...

Clover and Benjamin warned him to take care of his health, but Boxer paid no
attention
...
He did not care what happened
so long as a good store of stone was accumulated before he went on pension
...
He had gone out alone to drag a load of stone down to the
windmill
...
A few minutes later two pigeons came
racing in with the news:

5

‘Boxer has fallen! He is lying on his side and can’t get up!’
About half the animals on the farm rushed out to the knoll where the windmill stood
...
His eyes were glazed, his sides matted with sweat
...
Clover dropped to her knees at his side
...
‘It does not matter
...
’

© OCR 2024

J352/01 Jun24

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9
Extract 2 from: Time and Time Again by Ben Elton
In this extract, Hugh Stanton, an ex-soldier, is out walking
...

The massive machine bore down on them
...
Almost a ton and a half of wood, glass, rubber,
brass and steel, a monster, roaring and trumpeting as it approached its kill, the great
shining black fender arches framing its huge goggling eyes
...
Black smoke billowed from its rear
...
No
dragon of ancient legend could have seemed more terrifying or more deadly
...

Any car Stanton had ever driven would still have had ample time to brake
...
What was more, the stunned-looking youth at the wheel was
drunk, and the road was wet with morning mist and covered in slippery horse dung
...

These thoughts occurred to Stanton all at once and only in the most fleeting and
compressed form for his whole being was already in motion, his body accelerating
away from the railing against which he had been leaning with all the energy of
a man who by both instinct and training kept himself in a state of permanent
physical readiness
...
B
...

You should spend about 45 minutes on part (a) and 30 minutes on part (b)
...


(a) Compare how family tension is presented in these two extracts
...

[20]
AND
(b) Explore another moment in An Inspector Calls where tensions in the Birling family are revealed
...
B
...

Mrs Birling: Arthur, what about this famous toast of yours?
Birling: Yes, of course
...
Well, Gerald, I know you agreed that we
should only have this quiet little family party
...
As I told you,
they sent me a very nice cable – couldn’t be nicer
...

Gerald: I agree
...
We’ll drink their health and have done with it
...
It’s one of the happiest nights of my life
...
Gerald, I’m going to
tell you frankly, without any pretences, that your engagement to Sheila means a
tremendous lot to me
...

You’re just the kind of son-in-law I always wanted
...

Gerald: Hear, hear! And I think my father would agree to that
...

Sheila: Neither do I
...

© OCR 2024

J352/01 Jun24

11
Extract 2 from: Councillors by Graham Jones
In this extract, Bill and Eileen are waiting for a car to take them to their son Owen’s wedding
...
Edward (Eddy) is Bill’s other son
...

Eileen: We’ll be late
...

Granny: Not to mention Susan’s father
...
)
Bill: They can both say what they like as far as I’m concerned
...
Aye, a fox
...

Granny: Wait…No
...

Granny: I don’t want to neither, thank you
...

Bill: Typical
...

Bill: No, of course not
...
Nor against your son
Edward neither
...
He can’t do much worse than the crooks who were there before
...

You should spend about 45 minutes on part (a) and 30 minutes on part (b)
...


(a) Compare how a meeting between sisters is presented in these two extracts
...


[20]
AND
(b) Explore another moment in Leave Taking which presents the relationship between the sisters
...

Viv: How you gonna manage? Baby’s gonna need clothes, nappies
...

Del: Let me get on with my life, can’t you?
Viv: I want to be there when it comes
...
(Looks Viv up and down
...

Viv: I’m not as good as you think
...
I’m in charge of them chickens
...

Viv: What happened with you and Roy?
Del: I’m finished with men
...
/ What is wrong with you?
Viv: Sharon Gibbs got down on her knees on Oxford Street
...
He begged me, actually, but I weren’t having none of it
...
You can imagine what mum thought about that
...

Viv: I ain’t told no one
...
) What’s it feel like?

Extract 2 from: Shameless by Gurpreet Kaur Bhatti
Jaspal left home years earlier to become a singer
...

Sati: I wish they’d let you come home
...
Maybe you could
make up
...
) Couldn’t you say sorry?
Jaspal: For what?
Sati: For all the bad things you did
...

Jaspal: Having a boyfriend isn’t a crime Sati
...

Jaspal: You shouldn’t believe their lies
...

Jaspal: Do you want to know the real reason I left home?
Sati: Tell me
...
I wanted to be in entertainment
...

Sati: What happened?
Jaspal: I left
...
Simple
...

Jaspal: They wouldn’t would they
...


© OCR 2024

J352/01 Jun24

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14
6

DNA by Dennis Kelly and Invincible by Torben Betts
Read the two extracts below and then answer both part (a) and part (b)
...


For part (a), you should focus only on the extracts here rather than referring to the rest of
your studied text
...
You should consider:
•
the situations and experiences faced by the characters
•
how the characters react to these situations and experiences
•
how language and dramatic features create effects
...

[20]
Extract 1 from: DNA by Dennis Kelly
In this extract, Leah goes to see Phil to explain that she is leaving
...
I’m out of here, I’m gone, I’m, I’m, this is it
...

Phil says nothing
...
Wherever the universe decides that I should be
...

Pause
...

Don’t
...
There’s no point, so… What’s the point? ‘Why are you going, is it
me, is it us, is it what we’ve done, is it what we’re becoming, why Leah, why, is it
me, is it the impossibility of ever saying exactly what you mean?’ There’s no point,
Phil
...
I’m outta here
...
I am part of history, I’m on a jetplane, I’m moving, I’m discovering, I’m, I’m, sayonara baby, sayonara Phil and hello
discovery and, yeah don’t try and stop me, because, because, exit stage left Leah,
right now
...

Phil stops buttering the waffle
...

Starts putting a thin layer of jam on the waffle
...
Right now, Phil, right, bloody… I mean it! I really, really…
Pause
...

You’re not going to stop me, are you
...
You’re
not even thinking of thinking of stopping me
...
Your brain is entirely waffle, single-mindedly waffle and maybe
a bit of jam, I don’t know how you do it
...

© OCR 2024

J352/01 Jun24

15
Extract 2 from: Invincible by Torben Betts
In this extract, Alan, an army veteran, is at a party, where he meets Oliver, who works in
a government office
...

Oliver: I’m currently trying to work out what the hell I want to do with the rest of my…
Alan: We all need to feel as we’re risking something
...

Alan: We all need to feel we’re out there, fighting
...

Oliver: Uploading files and downloading files and…
Alan: It’s how we get our sense of self-respect
...
He’d have to go out for days at a time, hunting
these beasts, sometimes risking his own life
...

Oliver: More than just…well, what I’m currently…
Alan: And when he came back with his kill he’d share out the meat with the
whole community
...


© OCR 2024

J352/01 Jun24

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16
Section B – 19th century prose
Answer one question from this section
...

You should spend about 45 minutes on this section
...

‘Estella, take him down
...
Go, Pip
...
Until she opened the side entrance, I had fancied,
without thinking about it, that it must necessarily be night-time
...


5

‘You are to wait here, you boy,’ said Estella; and disappeared and closed the door
...
My opinion of those accessories was not favourable
...
I
determined to ask Joe why he had ever taught me to call those picture-cards, Jacks,
which ought to be called knaves
...


10

She came back, with some bread and meat and a little mug of beer
...
I was so humiliated, hurt, spurned,
offended, angry, sorry - I cannot hit upon the right name for the smart - God knows
what its name was - that tears started to my eyes
...
This gave me
power to keep them back and to look at her: so she gave a contemptuous toss - but
with a sense, I thought, of having made too sure that I was so wounded - and left me
...
’ How far do you agree
with this view?
Explore at least two moments from the novel to support your ideas
...

You should spend about 45 minutes on this section
...

‘I will not be interrupted
...
My daughter and my nephew are formed
for each other
...
Their fortune on both sides is splendid
...
Is this to
be endured! But it must not, shall not be
...
’
‘In marrying your nephew, I should not consider myself as quitting that sphere
...
’

5

10

‘True
...
But who was your mother? Who are your
uncles and aunts? Do not imagine me ignorant of their condition
...
’
‘Tell me once for all, are you engaged to him?’

15

Though Elizabeth would not, for the mere purpose of obliging Lady Catherine, have
answered this question, she could not but say, after a moment’s deliberation,
‘I am not
...

‘And will you promise me, never to enter into such an engagement?’

20

‘I will make no promise of the kind
...
’ How far do you agree with this view?
Explore at least two moments from the novel to support your ideas
...
G
...

You should spend about 45 minutes on this section
...

‘It’s all over,’ he said
...
And they’ve made their footing good
and crippled the greatest power in the world
...
The death of
that one at Weybridge was an accident
...
They kept on
coming
...
Nothing’s to be done
...
I sat staring before me, trying in vain to devise some
countervailing thought
...
‘It never was a war, any more than there’s war
between man and ants
...


10

‘After the tenth shot they fired no more – – at least, until the first cylinder came
...
I explained
...
‘Something wrong
with the gun,’ he said
...
And even if there’s
a delay, how can it alter the end? It’s just men and ants
...
That’s what we are now – – just ants
...

‘We’re eatable ants
...

‘And what will they do with us?’ I said
...
After
Weybridge I went south – – thinking
...
Most of the people were hard
at it squealing and exciting themselves
...
I’ve been in
sight of death once or twice; I’m not an ornamental soldier, and at the best and worst,
death – – it’s just death
...
I saw
everyone tracking away south
...
I went for the Martians like a sparrow goes for man
...
’

20

25

OR
12* ‘The Curate is selfish and deserves no sympathy
...

[40]
© OCR 2024

J352/01 Jun24

19
The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson

Choose ONE question
...

EITHER
13* How does Stevenson present secrecy and deception, in this extract and elsewhere in the novel?
[40]
In this extract Jekyll shows Mr
...

The letter was written in an odd, upright hand, and signed ‘Edward Hyde’; and it
signified, briefly enough, that the writer’s benefactor, Dr
...
The
lawyer liked this letter well enough; it put a better colour on the intimacy than he had
looked for; and he blamed himself for some of his past suspicions
...

‘I burned it,’ replied Jekyll, ‘before I thought what I was about
...
The note was handed in
...


10

‘I wish you to judge for me entirely,’ was the reply
...
’
‘Well, I shall consider,’ returned the lawyer
...


15

‘I knew it,’ said Utterson
...
You have had a fine escape
...

On his way out, the lawyer stopped and had a word or two with Poole
...


20

OR
14* ‘The end of the story gives Jekyll what he deserves
...

[40]

© OCR 2024

J352/01 Jun24

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20
Jane Eyre by Charlotte Brontë

Choose ONE question
...

EITHER
15* How does Brontë create sympathy for Jane, in this extract and elsewhere in the novel?
[40]
In this extract, the children, John Reed and Jane Eyre are in the breakfast-room at
Gateshead Hall
...
I tottered, and on regaining my equilibrium retired back
a step or two from his chair
...

‘What were you doing behind the curtain?’ he asked
...
’

10

‘Show the book
...

‘You have no business to take our books; you are a dependant, mama says; you have
no money; your father left you none; you ought to beg, and not to live here with
gentlemen’s children like us, and eat the same meals we do, and wear clothes at our 15
mama’s expense
...
Go and stand by the door, out
of the way of the mirror and the windows
...
The cut bled, the pain was sharp: my terror had passed its
climax; other feelings succeeded
...
’ How far do you agree with this view?
Explore at least two moments from the novel to support your ideas
...

You should spend about 45 minutes on this section
...

© Charles Dickens, A Christmas Carol, Pearson Education, 2016
...


OR
18* ‘Out of the three Christmas ghosts, the vision presented by the Ghost of Christmas Yet to Come
has the biggest effect on Scrooge
...


END OF QUESTION PAPER
© OCR 2024

J352/01 Jun24

[40]

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Oxford Cambridge and RSA
Copyright Information
OCR is committed to seeking permission to reproduce all third-party content that it uses in its assessment materials
...
To avoid the issue of disclosure of answer-related information to candidates, all copyright acknowledgements are reproduced in the OCR Copyright Acknowledgements Booklet
...
ocr
...
uk) after the live examination series
...

For queries or further information please contact The OCR Copyright Team, The Triangle Building, Shaftesbury Road, Cambridge CB2 8EA
...

© OCR 2024

J352/01 Jun24

POST EXAM CORRECTION

Monday 13 May 2024 – Morning
GCSE English Literature
J352/01 Exploring modern and literary heritage texts
If you wish to use the published question paper as practice material, please make the
following correction:

Turn to page 12 of the question paper and look at question 5(b)
...

The extract introduction should now read:
In Scene Five, Viv visits Del in Mai’s house
...
OCR qualifications include
AS/A Levels, Diplomas, GCSEs, Cambridge Nationals, Cambridge Technicals, Functional Skills,
Key Skills, Entry Level qualifications, NVQs and vocational qualifications in areas such as IT,
business, languages, teaching/training, administration and secretarial skills
...
OCR is a not-for-profit organisation; any surplus made
is invested back into the establishment to help towards the development of qualifications and
support, which keep pace with the changing needs of today’s society
...
It shows the basis on which marks were awarded by examiners
...

All examiners are instructed that alternative correct answers and unexpected approaches
in candidates’ scripts must be given marks that fairly reflect the relevant knowledge and
skills demonstrated
...

© OCR 2024

Oxford Cambridge and RSA Examinations

J352/01

Mark Scheme

June 2024

MARKING INSTRUCTIONS
PREPARATION FOR MARKING
RM ASSESSOR
1
...

3
...
Mark strictly to the mark scheme
...
Marks awarded must relate directly to the marking criteria
...
The schedule of dates is very important
...
If you experience problems,
you must contact your Team Leader (Supervisor) without delay
...
If you are in any doubt about applying the mark scheme, consult your Team Leader by telephone or the RM Assessor messaging sy stem, or by
email
...
Crossed Out Responses
Where a candidate has crossed out a response and provided a clear alternative then the crossed out response is not marked
...

6
...
Enter a mark for each question answered into RM assessor, which will select the highest mark from those awar ded
...
)
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Mark Scheme

June 2024

Section A – Rubric errors
1
...
NR should be given for the part of the questions not attempted
...
If a candidate has used the extract set for part a) to answer part b) no marks can be awarded unless they have also referred to another
moment in the text
...
Any response which only mentions
the extract is 0
...
If a candidate has not moved beyond the extract, the mark should not be above Level 3
...
If a candidate has only referred to one moment in the text in a discursive question, the mark should not move beyond Level 3
FOR ALL RUBRIC ERRORS the comment should start with Rubric error: followed by an explanation as above
...
Always check the pages (and additional objects if present) at the end of the response in case any answers have been continued there
...

8
...

Team Leaders must confirm the correct use of the NR button with their markers before live marking commences and should check this when
reviewing scripts
...
The RM Assessor comments box is used by your team leader to explain the marking of the practice responses
...
Do not use the comments box for any other reason
...

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J352/01

Mark Scheme

June 2024

10
...
The report should contain notes on particular strengths displayed as well as common errors or weaknes ses
...


11
...
To determine the level – start at the highest level and work down until you reach the level that matches the answer
b
...


Mark Scheme

June 2024

Annotations

Stamp

Description

Placement
Body of response

To indicate explanations and analytical comment

Body of response

For explanations that are not fully clear

Left margin

AO1 Knowledge

Left margin

Personal response/interpretation

Left margin

AO1 Understanding

Left margin

AO1 Supporting detail/quotation

Left margin

AO1 Development of observation/argument/evaluation

Left margin

AO2 Good analysis of language

Left margin

AO3 Context

5

J352/01

Mark Scheme
Left margin

Link to wider text (Section B) or comparison (Section A)

Left margin

Relevance to question

Left margin

Not relevant to question

Left margin

Paraphrase or lifting
Omission

Body of response

Needs development/needs example/general

Left margin
Middle of page

Blank Page

9
...
This mate rial includes:
•
•
•
•

the specification, especially the assessment objectives
the question paper and its rubrics
the texts which candidates have studied
the mark scheme
...

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J352/01

Mark Scheme

June 2024

You should ensure also that you are familiar with the administrative procedures related to the marking process
...
If you are examining for the first time, please read carefully Appendix 5 Introduction to Script Marking:
Notes for New Examiners
...
Your first point of contact is your Team Leader
...

Students should be able to:
• maintain a critical style and develop an informed personal response
• use textual references, including quotations, to support and illustrate interpretations
...


AO3

Show understanding of the relationships between texts and the contexts in which they were written
...


WEIGHTING OF ASSESSMENT OBJECTIVES
The relationship between the units and the assessment objectives of the scheme of assessment is shown in the following grid:
Component

% of GCSE

Total

AO1

AO2

AO3

AO4

Exploring modern and literary
heritage texts (J352/01)
Exploring poetry and Shakespeare
(J352/02)

20

17
...
5

50

20

22
...
5

50

Total

40

40

15

5

100

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Mark Scheme

June 2024

USING THE MARK SCHEME
Please study this Mark Scheme carefully
...
Question papers and Mark Schemes are developed in association with each oth er so that issues of
differentiation and positive achievement can be addressed from the very start
...
The Mark Scheme can only provide ‘best
guesses’ about how the question will work out, and it is subject to revision after we have looked at a wide range of scripts
...
The Mark Scheme will be discussed and amended at the meeting, and
administrative procedures will be confirmed
...

Before the Standardisation Meeting, you should read and mark in pencil a number of scripts, in order to gain an impression of the range of
responses and achievement that may be expected
...
Always
be prepared to use the full range of marks
...
The marks awarded for these scripts will have been
agreed by the Team Leaders and will be discussed fully at the Examiners’ Co –ordination Meeting
...
However,
this indicative content does not constitute the mark scheme: it is material that candidates might use, grouped according to each assessment
objective tested by the question
...
It is
hoped that candidates will respond to questions in a variety of ways and will give original and at times unexpected interpret ations of texts
...


3

Candidates’ answers must be relevant to the question
...
Beware also of answers where candidates attempt to reproduce interpretations and concepts
that they have been taught but have only partially understood
...
This knowledge will be shown in part through the rang e and
relevance of their references to the text (bearing in mind that this is a closed text examination)
...


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Mark Scheme

June 2024

INSTRUCTIONS TO EXAMINERS:
A

INDIVIDUAL ANSWERS

1

The INDICATIVE CONTENT indicates the sort of material candidates might use in their answers, but be prepared to recognise and credit
unexpected and alternative approaches where they are relevant
...
In Unit J352/01, the AOs have different intended weightings in
the different sections:

Component
Exploring Modern and Literary
Heritage Texts (J352/01)
Section A: Modern prose or drama

% of GCSE

Total

AO1

AO2

AO3

AO4

5

2
...
25

6
...
75

8
...
5

25

20

17
...
5

50

12
...
5

Keep in mind the intended weightings of assessment objectives targeted by the question when initially identifying the correct Level
of Response band
...

Using ‘best-fit’, adjust the mark within the band according to the dominant (if applicable) assessment objectives following the
guidelines below:
•

Highest mark: If clear evidence of all the qualities in the band descriptors is shown, the HIGHEST Mark should be awarded
...
e
...


11

J352/01

3

B

Mark Scheme

June 2024

•

Middle mark: This mark should be used for candidates who are secure in the band
...


•

Further refinement can be made by using the intervening marks, if appropriate
...
Do not reserve high band marks ‘in case’ something turns up of a quality you have not yet seen
...

TOTAL MARKS

1

Transfer the mark awarded to the front of the script
...


C

RATIONALE FOR ASSESSING AO3

Section A: Modern prose or drama
In this Section, for the Part a questions, candidates will have knowledge of contextual factors for their studied texts but will have no prior knowledge
of the context of the unseen texts
...

Candidates are required to focus their analysis on comparison of the extracts (studied text and unseen) in the question paper , and do not need to
refer more widely to the whole studied text
...
The relevant contextual factors will be concerned with social and cultural situations or experiences, wh ich can be inferred from details in the
extracts
...
The mark scheme indicative content for AO3 exemplify the
relevant contextual factors, for example, social class, gender, age and cultural and family relationships
...
Candidates should only refer to contexts that are relevant to the specific question asked
...


13

J352/01

Mark Scheme

June 2024

Section A: Modern Prose or Drama

Component
Exploring Modern and Literary
Heritage Texts (J352/01)
Section A: Modern prose or drama

Intended weightings (% of GCSE)
AO1

AO2

5

2
...
5

AO3: Show understanding of the relationships between texts and the contexts in which they were written
...

AO2: Analyse the language, form and structure used by a writer to create meanings and effects, using relevant terminology
where appropriate
...

The response is to be marked holistically
...
AO1
and AO3 are the equally dominant assessment objectives
...


15

June 2024

J352/01
1

Question
a

Mark Scheme

June 2024

Indicative content
Anita and Me by Meera Syal and Waterland by Graham Swift
...
You should consider:
• the situations and experiences faced by the characters
• how the characters react to these situations and experiences
• how the writers’ use of language and techniques creates effects
...

AO3:
•

•

In both texts, a sense of how context around the pressing need for help affects the feelings of the narrators: for both, a genuine
fear for the welfare of another person; in the Syal, matters being complicated by the sudden, comically capitalised
realisation of how she has “An Exam Tomorrow”
...


AO1:
•

•

AO2:
•

•

Comparison of the way in which both first person narrators describe the appearance of the helper as unpromising: in the Syal,
the description is dominated by language suggesting the delicacy and an attention to the detail of her appearance, with a
suggestion almost of helplessness themselves (tiny…delicate…carefully styled…dainty…pearly pink”); in the Swift, the lack of
attention to detail also suggests that the looked-for help may not be forthcoming (“tattered…greasy…stiff and sticky…smell”)
In both texts, the first person narrative effectively captures the voice of the person who is desperate to arrive at the home of the
hoped-for helper: in the Syal, this is achieved through a sense of the journey being fraught with difficulties (“running…cracking
my head…snagging my arms…Where was the path…which was the way out…retching for breath…”); in the Swift, this sense of
the difficulty of the journey (“Hold my hand…Keep going”) is added to by a fear of the actual arrival (”Do we want to get there?”

Language in both extracts powerfully presents the feelings of the narrator: in the Syal, Meena’s relief at arriving at the ho
use is captured by romantic imagery (”a soft glow”), with a sense of a new dawn (“a red sun was rising”), and even a
sense of spirituality (“a stained glass panel”); in the Swift, Martha’s appearance is so extraordinary that it seems to drive
the need for help out of the narrator’s mind – the repetition of “those cheeks” and the striking alliteration of “Round and
ruddy…red” suggest fascination
...

16

J352/01

Mark Scheme
Indicative content

Question
2

a

June 2024

Never Let Me Go by Kazuo Ishiguro and When All is Said by Anne Griffin
Compare how problems at school are presented in these two extracts
...

Please bear in mind that other content may be equally valid and should be credited
...

Understanding of how a problem at school is perceived according to the context of what positives can be found to alleviate it s
importance and impact: in the Ishiguro, there is soon no relief at all for Tommy – “the thing had got deeper and deeper…so
relentless…get it all going again”; in the Griffin, sports in the playground at least provides a “welcome relief” for Maurice, with
the “piling on the praise” from the master – although the problem within the classroom still waits “like a darkness”
...

Both passages describe the very publicly played -out problems encountered at school: in the Ishiguro, there are many
references to problems caused by the capacity of children for cruelty to each other (“everyone was watching to see… sneers
and giggles…the more laughable…had to suffer…so relentless”), capturing the torment Tommy had to endure; whereas, in the
Griffin, the language around the pupil’s feelings is much more focussed on internal torture rather than that inflicted by oth ers

(“forever disappointed…my stomach sinking…the darkness…the depression in my head”)
...

•

In the Ishiguro, the anticipated reappearance of the problem for Tommy is captured by syntax and the use of hard, short
sentences after lengthy ones to describe the painful inevitability of the problem (“From there, the thing had got deeper and
deeper…But then it grew bigger”); in the Griffin, the way that the passage is structured shows how Maurice’s playground

17

Marks
20

J352/01

Mark Scheme

June 2024

excitement is sandwiched between the trials and tribulations of academic lessons
...


18

J352/01

Mark Scheme

Question
3

a

June 2024

Indicative content
Animal Farm by George Orwell and Time And Time Again by Ben Elton
Compare how an alarming situation is presented in these two extracts
...

Please bear in mind that other content may be equally valid and should be credited
...
In the Elton, the growing sense of alarm is extended over three paragraphs of building anticipation
...
I
think you will be able to finish the windmill without me”; in the Elton, Stanton throws himself forward even though he is
aware of how “the beast would surely skid wildly for tens of yards…”
In the Orwell, the use of direct speech to capture the sense of alarm and panic, with short, dramatic expressions (“Boxer
has fallen!…Boxer! How are you?
...


19

Marks
20

J352/01

Mark Scheme
Indicative content

Question
4

a

June 2024

An Inspector Calls by J
...
Priestley and Councillors by Graham Jones
Compare how family tension is presented in these two extracts
...

Please bear in mind that other content may be equally valid and should be credited
...
g
...
)
Understanding that despite different circumstances, contexts and outside influences generating or family tension, it invariab ly
has huge and life-changing consequences, is virtually inevitable, and can appear comical as well as worrying from an outside

perspective
...

Similarity in that in both cases, not only is there tension felt within the immediate family, but there is also the tension established
surrounding the in-laws to be: in the Priestley, Mrs Birling’s reservations about her husband’s social skills (“I don’t think you
ought to talk business”) is paralleled by the uncertain, halting explanation of why the Crofts couldn’t make the pa rty (“Sir
George and – er – Lady Croft…a very nice cable – couldn’t be nicer – I’m not sorry…”); in the Jones, Bill’s sharp criticism of his
wife (“…don’t start pontificating…”) is paralleled by Granny’s worries about what “Susan’s father” might think of any

delay
...
All wrong
...
Wait…No…Typical”)
...
You should consider:
• the situations and experiences faced by the characters
• how the characters react to these situations and experiences
• how language and dramatic features create effects
...

AO3:
•
•

Understanding of how the sisters looks to establish the nature of their relationship by questioning the past and looking to
establish the true context of why one of the sisters felt compelled to leave – “VIV: What happened with you and Roy? Did
you beg?”; “JASPAL: I left
...
Simple
...
JASPAL: They wouldn’t would they?”
Understanding of how both extracts share: the context of a sister’s visit; a background of a dysfunctional family; a sister who
looks to build bridges and be conciliatory (Viv and Sati), and a sister who is determined to assert her rights and viewpoint (Del

and Jaspal)
...
(Looks Viv up and down
...
VIV: I’m not as good as you
think
...
”)
Similarity, in that despite the perceived differences between the sisters, there is a sense of acceptance and reconciliation, with
an olive branch extended: in the Pinnock, there is Viv’s “I ain’t told no -one”; in the Bhatti, there is Sati’s “I know…I don’t”
...
I’m finished with men…”) and Jaspal (“I left
...
Simple…I stopped all that ages ago
...

Both passages suggest an underlying affection between the sisters: Viv’s language is characterised by questioning that
looks to understand her sister (“How you gonna manage?
...


21

20

J352/01

Mark Scheme
Indicative content

Question
6

a

June 2024
Marks

DNA by Dennis Kelly and Invincible by Torben Betts

20

Compare how characters feel about their lives in these two extracts
...

AO3:
•

•

Understanding of the vastly different contexts and motivations that lead to situations where characters confront the meaning of
their lives: Leah in response to the disappearance and probable death of someone, and what she increasingly sees as the
negative effects of her group’s dynamics and actions; Oliver and Alan in response to life’s lack of meaning and focus
...

Similarity in that in both extracts, there is no sense of resolution or agreed course of action: Leah’s worries about her lif e end
with the realisation that she admires and even envies Phil for his ability not to question the meaning of life (“I admire you
so much”); Alan’s worries about his life end in the distant past with nostalgia for the world of the primitive caveman;
Oliver’s worries about his life end with the general ill-defined sense of something “more”
...
More than just…”)
Contrast, with Leah confronting the meaning of her life through an impassioned monologue to an unresponsive listener,
with her confusion and sense of helplessness captured by the rambling, loose syntax and lack of punctuation in her
sentences (“I am part of history…right now”), whereas in the Betts, the pointlessness and lack of understanding between
Alan and Oliver is suggested by the disjointed unconnected dialogue, and a recognition that Alan’s sense of community
and his constant use of the plural pronoun “we” does not extend to Oliver
...
25

6
...
5

AO1: Read, understand and respond to texts: maintain a critical style; develop an informed personal response; use textual
references, including quotations, to support and illustrate interpretations
...

The response is to be marked holistically
...
AO1
and AO2 are equally weighted
...


24

J352/01
1

Question
b

Mark Scheme
Indicative content
Anita and Me by Meera Syal
Explore another moment in Anita and Me where Meena memorably describes someone
...

Possible moments include: the intimidating Tollington Ballbearings Committee; the first account of Anita Rutter, the
“undisputed ‘cock’ of our yard” (3); the arrival of the new neighbour, that “vision of decadence”, Hairy Neddy (3);
our introduction to Mrs Worrell, who shared Meena’s back yard (3); the uncles and aunties who attend one of
papa’s musical evenings in Chapter 4; Sherrie and Fat Sally accompanying Anita at the fairground in Chapter 5;

the arrival of the new baby, Sunil, at the start of Chapter 6; the visits of Pinky and Baby, caricatures in
Meena’s mind (down to their names) of every Indian girl she has ever known (6); Mr and Mrs Pembridge and
their welcoming of the village to the Fete (7); Sam Lowbridge, on several occasions, including his dramatic
interruption of the village fete (7); the first entrance of Nanima on the doorstep of Meena’s house (8)
...


•

How so many of the memorable descriptions in the novel are memorable as, caught between two cultures
(feeling she belongs to neither) Meena is alternately mesmerised and appalled by both in turn
...


25

June 2024
Marks
20

J352/01
2

Question
b

Mark Scheme
Indicative content
Never Let Me Go by Kazuo Ishiguro

June 2024
Marks
20

Explore another moment in Never Let Me Go where someone gets help from another character
...

Possible moments include: Kathy’s calming and helping of Tommy after his “thunderous bellowing” at the other
boys, and its continuation around Tommy’s art work (One/Two); Miss Lucy’s understanding words to Kathy, Polly
and the others when they were confused about why Madame took their things (Four); Kathy’s helping Ruth out of
her “curious quandary” by supporting her over the “mystery” of her pencil case (Six); Miss Lucy’s intervention on
hearing the talk of going to America, getting married and working in supermarkets (Seven); Kathy helping Ruth in
her attempts to get back with Tommy (Nine); Chrissie, Rodney and Kathy’s supporting of Ruth through the search
for her “other” in Norfolk (Twelve, Thirteen, Fourteen); Kathy taking Ruth and Tommy to see the boat (Eighteen,
Nineteen); Kathy visiting Ruth after her second donation (Nineteen)
...

When Tommy is left standing alone after sides are picked for football, with the expectation that it would
trigger one of his tantrums, Kathy goes to talk to him despite the agreement between everyone that
“Tommy deserved everything he got”, despite her knowing that it “would puzzle the others”, despite “Ruth’s
urgent whisper to me to come back”
...

Miss Lucy’s contributions and attempts to help the children in the novel are suggestive of her ambivalence
towards her role, first being characterised by the continuation of a comforting and illusory sense of mystery

(“All I can tell you today is that it’s for good reason”) when trying to explain Madame’s taking of their things;
but later, her disappearance following her telling them “None of you will be film stars”
...

In Chapter Seven, Miss Lucy genuinely feels that her honesty and openness with the students about
their future is motivated by a desire to be helpful (“…it’s not right…If you’re to have decent lives”);
this, despite the content of what she has to say being dominated by a brutal realism – with, for
example, the parallel structure of her speech (“None of you…none of you” and “You’ll be
leaving…you’ll be preparing”) suggesting the inevitability of their futures
...

Explore another moment in Animal Farm where the suffering of animals is described
...

Possible moments include: the harsh treatment of the animals in Chapter 2 that led to the Rebellion; the
injuries caused at the Battle of the Cowshed in Chapter 4; the threat of starvation at the start of Chapter 7; the
harsh treatment and death of the hens deprived of rations in Chapter 7; the slaughter of animals confessing
to various sins also in Chapter 7; the harshness of the Winter described at the start of Chapter 9
...
Additionally, the various consolations offered to outweigh the suffering:
for example, Molly’s early concern for the ribbons in her mane (described by Snowball as the “badge
of slavery”) or the way that Mr Jones’s “especial pet”, Moses, and his tales of Sugarcandy Mountain,
work on an allegorical level to represent the consolations of religion
...

AO2:
•

In Chapter 10, the language used to describe the animals’ situation is characterised by associations with
pain and suffering, and is put into ironic contrast with the propaganda spread by Squealer: “…life was
hard…winter was as cold…food was even shorter…all rations were reduced…harsh and bare…hungry

and often cold…” set against “Liberal old -age pensions…more oats, more hay, more turnips…shorter
hours…better quality…suf fered less from fleas”
...
B
...

Please bear in mind that other content may be equally valid and should be credited
...
I don’t think it’s very funny” outburst when Birling tries to joke with the newly arrived

Inspector about getting into trouble (One); Birling’s “marked change of tone” on realising that the Inspector
hadn’t only called to question him (One); Sheila “stormily” telling Eric to “Shut up” when the story of Eva Smith
starts to emerge (One); Mrs Birling’s harsh treatment of Sheila at the start of Act Two, treating her like the
child she isn’t (“Please don’t contradict me like that”), along with the tensions displayed with Sheila’s
revelation about Eric’s drinking; Sheila’s querying and probing of her mother about what she and her charity
organisation knew (“Mother, you must have known” - Two); Birling “harshly” damning Eric’s involvement with
Eva (“Your trouble is – you’ve been spoilt” - Three)
...


•

The play and its three acts are structured around a sequence of events and revelations that serve to
illustrate the idea of family tensions
...


AO2:
•

•

The language of Birling towards Eric in Act 3 is in direct contrast to what he claimed in Act One (“…a
man has to make his own way – has to look after himself – and his family too, of course…”), and
reveals the underlying tensions between father and son, reinforcing the understanding that Birling has
little or no understanding of Eric, let alone sympathy: the use of harsh imperatives (“Don’t talk to me
like that
...
For example, during Mrs Birling’s interrogation, Sheila
uses language that is short, sharp, assertive and full of references to secrets – “putting on airs…now
you’re pretending…you’re not telling the truth…You might as well admit it”
...
You’re squiffy…Don’t be an ass…Chump!”)

28

June 2024
Marks
20

J352/01
5

Question
b

Mark Scheme
Indicative content
Leave Taking by Winsome Pinnock
Explore another moment in Leave Taking which presents the relationship between the sisters
...

Possible moments include: the teasing about the obeah woman during the visit to Mai in Scene One; Viv’s
role in Enid’s interrogation of Del in Scene 2, and the question of who Viv will support when the accusations
start; Viv’s visit to Del in Scene 5 while she is at Mai’s (the section before the QP extract); the ending to
Scene 5, with the occasion of the “sisterly tussle”, after the QP extract
...

The way that the sisters, for all of their differences (in their own eyes and the eyes of others), show a side
to their relationship that is caring at times, and also one that is characterised by a shared sense of fun and

child-like spirit and excitement (“VIV: Chickens! DEL: You’re joking
...
DEL
goes to the window
...
”)
AO2:
•

The way that the language (including the stage directions) at the end of Scene 5, is characterised by a
sense of aggression and violence, capturing the sense of an unbreachable impasse in their relationship,

despite Viv’s efforts to mend fences: “…chucking me out…pushes…pushing her
back…tussle…dragging her…throwing her out…Throwing…don’t come back…presses…pounds…”
•

The way that In Scene 2, the presentation of the essential difference in the sisters’ characters and the way
that that impacts upon their relationship: all of Viv’s comments and contributions and attempts to be
helpful, avoid issues, and support both her mother and sister (“She means well you know…Remember,
you’re not to make a scene…Mum, I told you…Stop it, Del”); while all of Del’s comments are characterised

by assertions, accusations and anger (“All right, Mummy
...
”)

29

June 2024
Marks
20

J352/01
6

Question
b

Mark Scheme
Indicative content
DNA by Dennis Kelly
Explore another moment in DNA where characters worry about something
...

Possible moments include: Leah’s first monologue in the presence of Phil about how worried she is about
how others see her (One); Richard and John’s worrying over who is on whose “side” (One); Jan and Mark
worrying over the fact that Brian has said that he isn’t going to the police station (Two); Danny worrying about
his references for dental college (Two); the general worry about the consequences of the postman’s arrest
(Two); the general worry about what to do about Adam’s return (Three)
...
The darkly comical repetition and
finishing of each other’s sentences lead to the open-ended, “What are we going to do?” as the worry
presses in upon them and their attempts to avoid acknowledging it
...
The scenes of the play frequently end with the expression of a profound sense

of worry: “Trouble now…
...
Banned…do not use that word …Don’t say it…”)
• Jan and Mark’s verbal tennis match at the start of Two, with their worry captured by: their mirroring of each
other's words (MARK: He’s not going
...
Is he insane?”); the brevity and shock coming from the short often monosyllabic speeches;

Mark’s punctuation-free recounting of his conversation with Brian (“He’s not joking, he’s not going, he
said he’s not going, I said you’ve got to go, he said he’s not going, ‘I’m not going ’ he said
...
75

8
...
5

25

AO1: Read, understand and respond to texts: maintain a critical style; develop an informed personal response; use textual
references, including quotations, to support and illustrate interpretations
...

AO3: Show understanding of the relationships between texts and the contexts in which they were written
...

The response is to be marked holistically
...
AO1
and AO2 are the equally dominant assessment objectives
...

32

J352/01

Mark Scheme

June 2024

Marking Grid for AO4 –SPaG(1–4 marks)

High
performance
(4 marks)

In the context of the Level of Demand of the question, learners spell and punctuate with consistent accuracy, and consistently use
vocabulary and sentence structures to achieve effective control of meaning
...


Threshold
performance
(1 mark)

In the context of the Level of Demand of the question, learners spell and punctuate with reasonable accuracy, and use a
reasonable range of vocabulary and sentence structures; any errors do not hinder meaning in the response
...

AO1:
• Consideration of the impact that visiting Satis House has on Pip’s self-esteem ‘My opinion of those
accessories was not favourable
...
’
• Wider consideration of social class: Dickens’ portrayal of the different classes e
...
, Magwitch the
criminal, Joe and Biddy the poor of society, Miss Havisham representing the very rich
...

AO2:
• Consideration of Estelle’s belittling language towards Pip ‘You are to wait here, you boy’ and her
treatment of him as if he was an animal ‘She put the mug down on the stones of the yard
...
g
...

• Consideration of the structure of the novel to show Pip’s social mobility
...

• Understanding of the novel as a bildungsroman and Pip’s maturation enabling him to see the
importance of self-worth over social class
...
’ How far do you agree with
this view? Explore at least two moments from the novel to support your ideas
...

AO1:
• Exploration of many of the characters as either orphans e
...
, Pip, Magwitch and Biddy or the product
of broken homes e
...
, Miss Havisham, Estelle and Joe
...
"
• Exploration of guardians such as Mrs Joe and Miss Havisham as selfish in their parenting e
...
, Miss
Havisham’s says of Estelle’s upbringing ‘I stole her heart away, and put ice in its place
...
Also, Joe demonstrates the selfless love of a parent especially in spite of Pip’s younger
ingratitude
...

AO2:
• Exploration of even the harshest parent figures, e
...
, Miss Havisham, using language of remorse over
her parenting “What have I done! What have I done!" She wrung her hands, and crushed her white
hair, and returned to this cry over and over again
...

• Contrast of Pip’s resentment towards Joe as a father figure in his younger years to his gratitude to him
at the end of the novel
...

• Understanding of the novel as autobiographical, reflecting Dickens’ separation from his father
...

AO1:
• Consideration of the assumed compatibility of Anne and Darcy as a result of their shared family wealth
‘Their fortune on both sides is splendid
...
’
•

Consideration of the importance of social status in the wider text: e
...
, at the Meryton Ball Darcy ‘drew
the attention of the room…of his having ten thousand (pounds) a year’ and his dismissal of Elizabeth
as ‘tolerable, but not handsome enough to tempt me
...
’

AO2:
• Exploration of the authority Lady Catherine assumes because of her wealth ‘I will not be interrupted
...
’ Also Elizabeth’s confidence in standing up to Lady Catherine which is possible
because she isn’t cowed by money ‘I will make no promise of the kind
...
’
• Consideration of the journey that Elizabeth and Darcy go on to see beyond the importance of status in
a relationship
...

• Understanding of an entail in the 19th century and the vulnerability of women in society
...

Please bear in mind that other content may be equally valid and should be credited
...
g
...

• Exploration of Charlotte as having a better understanding of herself and orchestrating events to meet
her needs e
...
, after Charlotte’s marriage Elizabeth must ‘acknowledge that is was all done very well
...

• Consideration also of Charlotte and Elizabeth as similar: e
...
their close friendship, they share an
equally vulnerable position in society as ‘well-educated young women of small fortune’, they are both
commented on unfavourable e
...
, of Charlotte ‘but you must own she is very plain
...
’
AO2:
• Exploration of Charlotte’s deliberateness regarding her marriage with Mr Collins e
...
, ‘she instantly set
out to meet him accidentally in the lane
...
g
...

• Consideration of the change in friendship between the two women who go from being ’intimate’ friends
at the beginning of the novel to a strained friendship following Charlotte’s acceptance of Collins’
proposal which Elizabeth finds difficult to accept
...

• Understanding of marriage as a transaction in 19th century society
...

Please bear in mind that other content may be equally valid and should be credited
...
’
• Exploration of the hints at the Martians’ weakness that suggests survival might be possible e
...

‘They’ve lost one—just one
...
g
...

AO2:
• Consideration of how death is presented as inevitable e
...
, as described by the artilleryman ‘It’s all
over
...

• Exploration of the growing evidence that the Martians can’t adapt to life on earth as the novel
progresses
...

• Understanding of the novel as a commentary on the turn of the century and end of an old life and new
one beginning bringing with it scientific and technological advances
...
’ How far do you agree with this view?
Explore at least two moments from the novel to support your ideas
...

AO1:
• Consideration of the hypocrisy of the Curate e
...
, he laments the sins of man and then proceeds to eat
all the food when he and the narrator face starving to death
...
g
...
’
• Consideration that the Curate does also deserve sympathy because of his grief at the invasion and
the fact his faith, upon which his whole life is based, deserts him at the time he needs it most
...
the Martian…
...
’
AO2:
• Consideration of the description of the Curate which gives the impression of an undisciplined character
‘You are scared out of your wits! What good is religion if it collapses under calamity?’
• Consideration of the Curate presented as weak and feminine as compared to the manliness
celebrated in the narrator and the narrator’s brother ‘His face was a fair weakness, his chin retreated
and his hair lay in crisp, almost flaxen curls on his low forehead
...
g
...
’
AO3:
• Understanding of the religious turmoil present in 19th Century society as a result of Darwin’s theory of
evolution
...


39

June 2024
Marks
36 +4
SPaG

J352/01
Question
13

Mark Scheme
Indicative Content
The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson
How does Stevenson present secrecy and deception, in this extract and elsewhere in the novel?
Please bear in mind that other content may be equally valid and should be credited
...
’
Consideration of Utterson’s willingness to accept the deception ‘The lawyer liked this letter well
enough’ and therefore facilitates it
...
g
...


AO2:
• Consideration of Jekyll’s inability or unwillingness to speak the truth: ‘he shut his mouth tight and
nodded
...
’
AO3:
• Understanding of the position of Victorian gentlemen and the pressure on them to uphold their
reputation and the reputation of others
...


40

June 2024
Marks
36 +4
SPaG

J352/01
Question
14

Mark Scheme
Indicative Content
The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson
‘The end of the story gives Jekyll what he deserves
...


Please bear in mind that other content may be equally valid and should be credited
...
g
...
’
• Consideration of Jekyll’s early recognition that ‘man is not truly one, but truly two’ and that his pursuit
of duality confirms his idea and allows his to even see beyond it and to predict ‘man will be ultimately
known for a mere polity of multifarious, incongruous, and independent denizens
...
Whilst it is Jekyll who has control
over the suicide, Hyde takes back that control so that the body found by Poole and Utterson is ‘sorely
contorted’ and reflective of Hyde
...
’ Compared to his ‘lust for evil’ as he embraces the evil he experiences and his final
confession at his unhappiness ‘I bring the life of that unhappy Henry Jekyll to an end
...

• Consideration of the battle presented between Jekyll and Hyde as the evil represented by Hyde grows
e
...
‘Should the throes of change take me in the act of writing it, Hyde will tear it in pieces
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• Understanding of the repression prevalent in Victorian society
...

AO1:
• Exploration of the violent physical assault Jane undergoes at the hands of John Reed, ‘he struck
suddenly’ and ‘the volume was flung, it hit me, and I fell
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g
...
’
• Exploration of sympathy for Jane in the wider text: Jane’s terror in the Red Room, her humiliation at
the hands of Mr Brocklehurst, Jane calling off her marriage to Mr Rochester
...
’
• Exploration of Jane’s resigned language in the face of John’s abuse ‘Accustomed to John Reed’s
abuse…
...
’
• Consideration of the first-person narrative as a vehicle to create sympathy for Jane throughout the
novel
...

Understanding of the role of women and Jane’s frustration at wanting more for herself
...
’ How far do you agree with this view? Explore at
least two moments from the novel to support your ideas
...

AO1:
•
•
•

Exploration of the extent to which Bertha is an obstruction for Jane i
...
, derailing her wedding to
Rochester ‘Jane Eyre, who had been an ardent, expectant woman —almost a bride, was a cold,
solitary girl again: her life was pale; her prospects were desolate
...
’
Consideration of other people and experiences that have a big impact on Jane’s life: her early
years at Gateshead, Helen’s death at Lowood etc
...
’
Exploration of Bertha’s final act, the fire at Thornfield, returning Jane to Rochester as a very
different person to the woman a year earlier who was ‘desolate, and hopeless, and objectless
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Understanding of the novel as a bildungsroman
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AO1:
• Consideration of the compassion shown towards the poor by the charity collectors ‘to raise a fund to
buy the Poor some meat and drink,and means of warmth
...
g
...
’
• Links to care for the poor in the wider text: the Cratchit family, Scrooge’s transformation and his
contrasting behaviour at the end of the novel
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AO3:
• Understanding of the plight of the poor in Victorian society
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44

June 2024
Marks
36 +4
SPaG

J352/01

Mark Scheme

Question
18

Indicative Content
A Christmas Carol by Charles Dickens
‘Out of the three Christmas ghosts, the vision presented by the Ghost of Christmas Yet to Come has
the biggest effect on Scrooge
...
’
Please bear in mind that other content may be equally valid and should be credited
...
In leaving it I shall not leave its lesson
...
’
• Exploration of the other visions which have a big effect on Scrooge e
...
the Cratchit family and
specifically Tiny Tim, the other two ghosts of Christmas, his childhood and early adulthood
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“No,
Spirit! Oh, no, no!”’
• Consideration of the exclamatory language used by Scrooge to show his distress and ultimately his
transformation in the presence of the ghost ‘“Spirit!” he cried, tight clutching at his robe, “hear me! I am
not the man I was
...

• Understanding that Christianity was prevalent in 19th Britain and the Christian principles of love,
repentance and forgiveness combat Scrooge’s materialism throughout the novel

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