Level descriptors

Band 1 (0-5 marks)

•  AO1 quality of writing hinders meaning

•  AO1 unclear line of argument/not always relevant

•  AO2 very limited discussion of how form and structure shape meanings

•  AO2 very limited discussion of how aspects of language shape meanings

•  AO3 little sense of connections between texts through concept of tragedy

•  AO3 little understanding of different interpretations of texts

•  AO4 very limited understanding of ways of contextualising ‘tragedy’

•  AO4 very limited awareness of other contextual factors

Band 2 (6-10)

•  AO1 some use of critical vocabulary despite technical weakness

•  AO1 simple attempt at structuring argument/usually relevant with some focus on task

•  AO2 some awareness of how form and structure shape meanings

•  AO2 some awareness of how aspects of language shape meanings

•  AO3 some connections made between texts through concept of tragedy

•  AO3 some reference to different interpretations of texts/ some textual support

•  AO4 some consideration of ways of contextualising ‘tragedy’

•  AO4 some consideration of other relevant contextual factors

Band 3 (11-15)

•  AO1 use of some critical vocabulary and generally clear expression

•  AO1 some structured argument though not sustained/ relevant with focus on task

•  AO2 consideration of some features of form and structure and how these features shape meanings

•  AO2 consideration of some aspects of language and how these aspects shape meanings

•  AO3 consideration of connections between texts through concept of tragedy

•  AO3 consideration of different interpretations of texts, with general textual support

•  AO4 consideration of ways of contextualising ‘tragedy’ as a dramatic genre

•  AO4 consideration of a range of other contextual factors with specific links between context/texts/tasks

Band 4 (16-20)

•  AO1 use of accurate critical vocabulary and clear argument expressed accurately

•  AO1 relevant with clear focus on task / informed knowledge and understanding of texts

•  AO2 consideration of how specific features of form and structure shape meanings

•  AO2 consideration of how specific aspects of language shape meanings

•  AO3 detailed consideration of connections between texts through concept of tragedy

•  AO3 clear consideration of different interpretations of texts with apt supportive references

•  AO4 examination of ways of contextualising ‘tragedy’ as a dramatic genre

•  AO4 examination of a range of other contextual factors with specific, detailed links between context /texts/task

Band 5 (21-25)

•  AO1 use of appropriate critical vocabulary and well structured argument expressed accurately

•  AO1 relevant with sharp focus on task/ detailed knowledge and understanding of texts

•  AO2 exploration of several features of form and structure with evaluation of how they shape meanings

•  AO2 exploration of several aspects of language with evaluation of how they shape meanings

•  AO3 detailed and evaluative discussion of connections between texts through concept of tragedy

•  AO3 clear consideration of different interpretations of texts with evaluation of their strengths and weaknesses and with significant supportive references

•  AO4 detailed exploration of ways of contextualising ‘tragedy’ as a dramatic genre

•  AO4 detailed exploration of a range of other contextual factors with specific, detailed links between context/texts/task

Band 6 (26-30)

•  AO1 use of appropriate critical vocabulary and technically fluent style/ well structured and coherent argument

•  AO1 always relevant with very sharp focus on task and confidently ranging around texts

•  AO2 exploration and analysis of key features of form and structure with perceptive evaluation of how they shape meanings

•  AO2 exploration and analysis of key aspects of language with perceptive evaluation of how they shape meanings

•  AO3 detailed and perceptive understanding of issues raised in connecting texts through concept of tragedy

•  AO3 perceptive consideration of different interpretations of texts with sharp evaluation of their strengths and weaknesses and with excellent selection of supportive references

•  AO4 excellent understanding of ways of contextualising ‘tragedy’ as a dramatic genre

•  AO4 excellent understanding of a range of other contextual factors with specific, detailed links between context/texts/task

Critical approaches sheet

Critical Approaches

This refers to two different techniques:

1. Being able to take the views of others who have written or directed the text you are looking at and being able to make use of their opinions analytically.

Working example:

            When John Drakakis analysed the language of Brabantio as it descends from order to disorder he claims the ‘metre and rhythm collide as Brabantio wrestles for control.’ It is easy to agree with this statement when you consider the text:

            ‘How didst thou know ‘twas she? (O thou deceivest me

            Past thought!) What said she to you? Get more tapers,

            Raise all my kindred, are they married, think you?’

The regular rhythm is gone, as Drakakis observes. The phrases are short, and run into one another.  But Shakespeare also includes many questions and exclamation marks to show his desperation and confusion. It is not merely Brabantio trying to hold on to control. It is in fact the panic of an old man who has lost his precious daughter and his control almost completely. Brabantio’s reaction is matched by Othello later in the play. He too loses control and this common reaction might make us sympathise more with Othello.  

N.B.

Being able to take someone else’s idea, build on it or identify and develop its weaknesses is a key skill that hopefully we will develop over the next few weeks.

2. Approaching text from a particular academic point of view

Examples of critical positions that have been adopted by critics in the past:

ü  Structuralist/Post-structuralist

ü  Psychoanalytic

ü  Feminist

ü  Marxist

ü  Race/Post-colonial

ü  Cultural materialist/new historicist

ü  Genre Theory

ü  Moral

ü  Great authors

A critic adopting a feminist approach for example believes that ‘feminine’ and ‘masculine’ are ideas constructed by our culture, and it is important to be aware of this when reading texts from periods and cultures different from out own. Feminists interested in how women are represented in texts written by men, and how these texts display the power relations between the sexes.

So when reading Othello from a feminist perspective you might pay much more attention to Desdemona and her treatment at the hands of men.

Year 12 homework

Due for Wednesday 10th November.

How much is Othello (the character) redeemed by his suicide?

We are going to have a discussion on this topic on Wednesday. You need to:

• decide if you think he is redeemed or not
• make some notes based on the help sheet to back up your opinions
• identify evidence (incidents or quotations) from Act 5
• find some critical ideas to support what you are saying - if you can!

Come prepared with your notes to Wednesday's lesson.

Google Scholar will help you find more academic material than just a normal Google search, so try using keywords and see if you can get some useful information from there.

Essay help sheet for Year 12

To what extent does Othello offer a sense of redemption at the end?

redemption  noun

1. improving of something: the act of saving something or somebody from a declined, dilapidated, or corrupted state and restoring it, him, or her to a better condition

2. redeemed state: the improved state of somebody or something saved from apparently irreversible decline

3. atonement for human sin: deliverance from the sins of humanity by the death of Jesus Christ on the Cross

These questions might help you to explore the ideas in the title

1.     What kind of character is Othello?

2.     What kind of relationship does he have with Desdemona?

3.     Is anyone else to blame for his actions?

4.     How does he try to pay for what he has done? Is it enough?

5.     Is he a tragic hero? How is the play tragic?

6.     How are the audience meant to react to him throughout, but especially at the end?

7.     How does it compare to Shakespeare’s other tragedies and tragedies in general?

8.     What elements are redemptive?

Year 12 Lit Half Term Homework!

Over half term, you need to research the idea of religion as it related to the Elizabethan period (when Shakespeare was writing). You will produce at least two A4 sheets of material. This material can include quotations from articles, books and web pages but must not simply be copied and pasted from a web page. You will need to select information carefully based on how relevant it is to Othello and the period in general.

I will ask everyone in the first lesson back to present their material for the class (around two minutes, just share what you have found - I will try to have a visualiser to display it). The most complete and useful work will be shared for everyone's folders.

To help you, here is a list of questions to think about as you are finding information:

Is Othello himself a Christian?
Why is it important that he is/isn't?
What was the dominant religion in the Elizabethan period?
What had gone before in terms of religious change?
What would happen to people who were not of the correct faith?
How can Iago be seen in religious terms?
What did religion have to say about the role of women?
What does 'redemption' mean in a Christian context?

You don't have to go through and answer all these questions, but try to link your information to Othello wherever possible.

This is due for the Wednesday (3rd November) after half term, so you have plenty of time. The library has many books available if you want to leave some for the Monday or Tuesday. However, here are a number of places to start:

This BBC page gives information about the religious situation before and during Elizabeth's reign. It's quite in-depth, so if you need to scroll down to the bottom and just read the last couple of sections, that will give you some good background.

This page gives information about Catholics in Elizabethan times.

This is a critical essay about race and religion in Othello.

For slightly more fictional background reading, Robert Bolt's play A Man for All Seasons is an excellent exploration of religion and conscience in the reign of Henry VIII, which looks at issues of religious identity and truth. Basic information can be found here, and the play has also been made into two film versions.

You could also pull out key quotations about religion and God from the play so far.

Obviously I have read all the sources provided, so I'm expecting to see evidence of independent research - the links are just a starting point. Don't just print the page and bring it!

Many thanks and I hope you all have a fantastic half term.

Shakespeare

Just to get us started...

The following are useful, interesting or simply entertaining links about Shakespeare. Have a look around and see if you can find anything that interests you.

The boring bit(for AS students). Reading around the subject will help you gather material for:

AO3 - Explore connections and comparisons between different literary texts, informed by interpretations of other readers
AO4 - Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received

So firstly, this is an article on Shakespeare's sonnets. Don Paterson, a poet himself, explores a personal response to Shakespeare's poetry, and gives an overview of what we might infer about Shakespeare's life from the sonnets. While there is much we can't know about Shakespeare the man, and there are flaws in Paterson's argument, it's an interesting way of looking at the poems - with lots of speculation on Shakespeare's sexuality! If you want to read the sonnets mentioned in the article, they are available here. Sonnet 18 (Shall I compare thee to a summer's day?) is probably the most famous.

For a weird look at the true face of Shakespeare, check out this reconstruction from his death mask.

To find out about Shakespeare's hip hop credentials, take the Shakespeare or Hip Hop? quiz - unfortunately the related competition is over, but submissions to Miss McLean of Shakespeare raps would be gratefully received...

See if there are any surprises in this list of words and phrases supposedly invented by Shakespeare. Are there any you couldn't live without?

Look through these Royal Shakespeare Company photos to see how Shakespeare performance has changed over the last century.

Although this particular version is no longer playing, Lenny Henry's version of Othello is explored in this article. Watch the video for a clip of Henry in action.

Enter the murky and uncertain art of establishing which plays Shakespeare actually wrote in this article about his 'lost play'. Or start on the endless authorship debate with this musically dubious video.

Thanks for reading - if you find anything else that should be here, please let me know!