Exploring Conflict overview quiz (AQA A-Level English Language and Literature) quiz

A free-standing language investigation report paired with a piece of wholly original creative writing in absolutely any genre that you happen to choose

The Writing about society re-creative task with a commentary, and the set play studied through dramatic encounters

An unseen prose comparison alongside a full comparative poetry essay on the studied anthology of poems

A study of child language acquisition together with a separate essay tracing long-term language change

Completely free imaginative invention that deliberately has no connection whatsoever to any of the studied base texts on the course

A close critical essay analysing the language and structure of a previously unseen poem

A transformation of a base text that stays faithful to its world, voice and concerns

A straightforward plot summary retelling the main events of the studied set play

Because a play script contains no literary content of any kind at all, so only the frameworks built for spontaneous spoken language could ever possibly apply to it

Because the dialogue in a play is only meant to be briefly summarised rather than analysed in any close detail

Because stage directions are wholly irrelevant to meaning and the spoken lines are the only thing worth examining

Because dramatic dialogue is constructed spoken discourse, so tools such as turn-taking and face reveal power and conflict

A meeting between characters that generates or intensifies conflict

A purely descriptive stage direction setting out the appearance of the set and the props

The scheduled interval that falls between two of the acts of a staged performance

An explanatory footnote printed at the bottom of a page in the published script

Two characters openly arguing with each other about money and who is owed it

A struggle within a single character, such as guilt versus desire

A pitched battle fought out on stage between two opposing rival armies

A heated public debate conducted between members of different social classes

To narrate, step by step, the exact order in which you happened to draft and then revise each separate section of the finished piece

To summarise the plot of the base text

To analyse and justify your writing choices with linguistic concepts and link them to the base text and effect

To list how many words you wrote

Graphological page layout, such as fonts, indentation and white space

The rhyme scheme running through the lines of verse

The varying length of each stanza on the page

Transitivity, showing who acts on whom

Drama is performed, so stage directions, setting and the audience's perspective shape the effect

It does not matter in the slightest; only the printed words on the page of the script can ever truly count for anything

Stagecraft is only ever relevant to musicals and never to any other kind of staged drama

It tells you reliable details about the author's biography and the events of their own life

Carefully analysing how the conflict is constructed in language and structure

Summarising the conflict instead of analysing its construction

Considering whose particular perspective frames and shapes the conflict

Linking the chosen language features back to their precise effect on the reader

Completely separately, with the critical commentary disregarded and left unmarked

Only the commentary is ever marked and the creative writing is simply ignored

Together, so the writing must be crafted and the commentary analytical

Only the creative piece itself is marked and the commentary carries no marks