Teaching files...

1. Welcome to AS Literature and
Language Unit Two

2. Miss Hart’s Essential Rules
 On time &
Attend
 Equipped
 Try your best
 Complete your
homework on
time each week
 Correct attire
 Pride in your
work and books
Further help… all you have to do is
ask!
hartm@queensburyacademy.com

3. Unit Two AS Literature & Language
The basics..
Coursework
40% of AS
64 marks in total
Two texts
Huck Finn &
Catcher in the Rye
Two Essays…
 One analytical essay
comparing how the theme
of rejection is portrayed
two extracts you choose.
1200-1500 words
 One creative writing piece
aimed at casting new light
on one or both texts. Think
outside the box! 500-850
words

4. What’s in a novel?
stanza plot soliloquy setting
scene chapters rhyme
characterisation rhythm ballad
Direct speech set design
Stage directions dialogue sonnet
asides costumes description
Narrative perspective

5. How’s AS different from GCSE?
Basically, as well as literary analysis we also look at the novels from a linguistic
approach as well. But do you know the difference?
Linguistic
 Of or relating to language.
 Focusing on the style of the language in the novel and
on the grammar using technical terminology.
Literary
 Of, relating to, or dealing with literature.
 Focusing on the traditionally key ingredients of a novel.
Can you spot the literary and linguistic terms below?
Plot Verbs Characterisation Metaphors Simple Sentences Dialect
You’ll need a bit
of both for the
coursework!

6. How many more devices do you already know?
Brainstorm your knowledge with a partner… and be ready to feedback!
Literary Linguistic

7. Catcher in the Rye
Read it!

8. Learning Objectives
All of you should be able to understand the key
features of everyday speech including:
• Idiolect
• Colloquial language
• Common lexis
• Contractions (elision)
• Incomplete sentences (ellipsis)
• Vague language/fillers
Most of you should be able to identify a range of
these in Chapter One.
Some of you will be to apply them to analyse how
Salinger creates a distinctive ‘voice’ for Holden.

9. Holden is our narrator and his 17 year old ‘voice’ is key to
the tale!
What would you say are the typical elements of teen speak
(in AS language the teenage vernacular!)

11. Can you identify any of these in Chapter One?
We’ll look at the first paragraph together…
If you really want to hear about it, the first thing you’ll probably want to
know is where I was born, and what my lousy childhood was like, and
how my parents were occupied and all before they had me, and all that
David Copperfield kind of crap, but I don’t feel like going into it, if you
want to know the truth. In the first place, that stuff bores me, and in the
second place, my parents would have two hemorrhages apiece if I told
anything pretty personal about them. They’re quite touchy about
anything like that, especially my father. They’re nice and all - I’m not
saying that - but they’re also touchy as hell. Besides, I’m not going to tell
you my whole goddam autobiography or anything. I’ll just tell you about
this madman stuff that happened to me last Christmas just before I got
pretty run-down and had to come out and take it easy. I mean that’s all I
told D.B. about, and he’s my brother and all. He’s in Hollywood. That isn’t
too far from this crumby place, and he comes over and visits me
practically every week end. He’s going to drive me home when I go home
next month maybe. He just got a Jaguar. One of those little English jobs
that can do around two hundred miles an hour. It cost him damn near
four thousand bucks. He’s got a lot of dough, now. He didn’t use to. He
used to be just a regular writer, when he was home. He wrote thizs terrific
book of short stories, The Secret Goldfish, in case you never heard of him.
The best one in it was ‘The Secret Goldfish.’ It was about this little kid that
wouldn’t let anybody look at his goldfish because he’d bought it with his
own money. It killed me. Now he’s out in Hollywood, D.B., being a
prostitute. If there’s one thing I hate, it’s the movies. Don’t even mention
them to me.

13. Features of everyday speech:
Features of
everyday
speech
Incomplete
sentences
(ellipsis)
Vague
language/fillers
eg “sort of”, “I
mean”
Use of
slang and
colloquial
language
Repetition
Contractions (elision)
Ordinary/common
lexis
Digression

14. Student Task 2: Can you analyse the passage, brining together literary and
linguistic approaches?
What happens in the chapter?
How might the events of this
chapter link to the theme of
rejection?
Characterisation
What do we learn about Holden
from what he
says/does/describes etc.
Style and vocabulary
How do the words, style and
structure support your
interpretation of Holden and his
character?

15. Starter:
Do you know your terminology?
Across
1. Word which adds nothing to the sentence, but
conveys the speaker's feelings. (9)
3. Term for words which are contracted together e.g.
ain't (7)
6. The particular use of language and grammar by a
particular geographical group or social class. (7)
8. Extreme exaggeration for effect (9)
9. Term covering a speaker who wanders away from
his central topic! (10)
10. Term for words or phrases (5)
Down
2. Term covering a person's language, the words
they choose and any other features that characterise
their speech and writing. (8)
4. Word or phrase used in informal language (10)
5. Word or sound typical of speech, but without any
real meaning (6)
7. Way of pronouncing words typical to a particular
area (6)
11. Non standard words used, often within a
particular group (5)

16. Literary and Linguistic features to consider in Chapter 2:
In pairs, you are each going to be given one of the areas to look at in Chapter 2…

17. Homework
Write a passage describing something that
happened to you in the summer holidays in
the style of Holden Caulfield. It does not
need to be any longer than a side of A4,
and can be shorter! Due 12.09.2014
….and read the novel!

18. Starter:
Did you Hold en to the idiolect?
Boy, the whole thing was a bastard. If you really want to hear about it,
what happened was it was the day of the Quidditch match with Slytherin.
I was as anxious as hell; I was already all worried about what crumby
thing old Voldemort was going to come up with next. I mean, his
goddam death eaters had already killed my godfather, Sirius, but I don't
want to talk about that. It's too depressing.
Anyway, old Ron and me fly on to the pitch. The crowd below us are all
going crazy. Then I fly into Malfoy, the ferret faced little
sonuvadeatheater. He started griping about me grassing up his old man.
He just about drove me crazy.
"You're a goddamn moron, Malfoy," I screamed at him. I was about to hex
him, but Ron held me back. He kills me, old Ron, he really does. You'd
really like him.
Guardian.co.uk
Swap your homework with another. Highlight and annotate the work to show
where they have captured the idiolect of Holden and how (technique)

19. Recapping your learning on Chapter
Two:
In addition to collating notes on your
area of the chapter, see if you can use
the text to answer the following
questions…
How is the way Holden talks to Spencer different to the
way he talks to us the reader?
Why do you think this is?
How does Holden react to the reading of his essay?
Why do you think he reacts that way? Is he right to?
Holden refers to characters as ‘old’ Spencer, ‘old’ Haas.
Why do you think he does this?
How does his language change during the chapter?
What does this reveal about him?
Holden says he and Spencer were “too much on
opposite sides of the pole”. Do you agree? Why? Why
not?
What does Holden think of himself?

20. Final consolidation: Holden’s Idiolect
- his particular way of speaking.
 What words or phrases are typical of his
language so far? What does he use
frequently, what are his favourite fillers etc.
 How are his sentences typically
constructed?
New Term:
Holden also likes to use a number of idioms.
An idiom is a phrase which has no literal
meaning, but represents something else e.g. pull
your socks up.
Can you spot them, and what do you think their
effect on the voice is?

21. … a bit of recap on some old knowledge!
Sentence Types

22. Alternative Homework:
All of you need to find out what is
meant by the terms below.
Some of you will be able to explain
how they may link to the novel.
Bildungsroman
Picaresque

23. … and a bit of new learning!
Sentence Moods
Declarative sentences
Interrogative sentences
Imperative sentences
Exclamative sentences
Can you identify the mood
of the following sentences?
 Sit up straight and sort your
uniform out
 Why do I have to read a book?
 I can’t stand it anymore, I’m
leaving!
 Holden Caulfield is not the
best student at school
 Do you want to live forever?
Look at the section… which mood is the most common? What effect
does that have on the reader’s relationship to Holden?

24. A closer textual analysis:
Applying what you have learnt so far.
How does the writer show Holden’s disdain for Ossenberger in Chapter 3 (link to the
theme of rejection)
We will focus on:
 Hyperbole
 Use of sentence types and moods
 Use of first person narrative
 Slang and Americanisms
 Aspects of everyday speech
You will write this up for homework this week… and remember to
keep reading!

25. Where I lived at Pencey, I lived in the Ossenburger Memorial
Wing of the new dorms. It was only for juniors and seniors. I
was a junior. My roommate was a senior. It was named after
this guy Ossenburger that went to Pencey. He made a pot of
dough in the undertaking business after he got out of
Pencey. What he did, he started these undertaking parlors all
over the country that you could get members of your family
buried for about five bucks apiece. You should see old
Ossenburger. He probably just shoves them in a sack and
dumps them in the river. Anyway, he gave Pencey a pile of
dough, and they named our wing alter him. The first football
game of the year, he came up to school in this big goddam
Cadillac, and we all had to stand up in the grandstand and
give him a locomotive--that's a cheer. Then, the next
morning, in chapel, be made a speech that lasted about ten
hours. He started off with about fifty corny jokes, just to
show us what a regular guy he was. Very big deal.

26. Then he started telling us how he was never ashamed,
when he was in some kind of trouble or something, to
get right down his knees and pray to God. He told us
we should always pray to God--talk to Him and all--
wherever we were. He told us we ought to think of
Jesus as our buddy and all. He said he talked to Jesus
all the time. Even when he was driving his car. That
killed me. I just see the big phony bastard shifting into
first gear and asking Jesus to send him a few more
stiffs. The only good part of his speech was right in
the middle of it. He was telling us all about what a
swell guy he was, what a hot-shot and all, then all of a
sudden this guy sitting in the row in front of me,
Edgar Marsalla, laid this terrific fart.

27. It was a very crude thing to do, in chapel and all, but it
was also quite amusing. Old Marsalla. He damn near
blew the roof off. Hardly anybody laughed out loud, and
old Ossenburger made out like he didn't even hear it,
but old Thurmer, the headmaster, was sitting right next
to him on the rostrum and all, and you could tell he
heard it. Boy, was he sore. He didn't say anything then,
but the next night he made us have compulsory study
hall in the academic building and he came up and made
a speech. He said that the boy that had created the
disturbance in chapel wasn't fit to go to Pencey. We tried
to get old Marsalla to rip off another one, right while old
Thurmer was making his speech, but be wasn't in the
right mood. Anyway, that's where I lived at Pencey. Old
Ossenburger Memorial Wing, in the new dorms

28. Self-Assessment
yes/no/not sure
1. I am confident I can explain how Salinger
creates Holden’s voice.
2. I can identify features of everyday language.
3. I can study a text using literary and linguistic
techniques.

29. Starter:
Literary or
linguistic?
10 terms. All of them are
either literary or linguistic
terms. Can you find them and
put them in the right place?

30. Starter:
Confidence in Linguistic and Literary Analysis
I'm the most terrific liar you ever
saw in your life. It's awful. If I'm on
my way to the store to buy a
magazine, even, and somebody
asks me where I'm going, I'm
liable to say I'm going to the
opera. It's terrible. So when I told
old Spencer I had to go to the
gym and get my equipment and
stuff, that was a sheer lie. I don't
even keep my goddam equipment
in the gym.
1. Can you spot the filler? What is its
purpose?
2. What is the impact of the declarative
sentence in the first line?
3. Look at the two short sentences. What
does the lexis have in common and what
impact does this have?
4. How might the adjective ‘sheer’
contradict the earlier statement that he
is a ‘terrific’ liar?
5. What does the reader learn about
Holden’s character?

32. First Assessment

33. Reading Chapter Three:
Chapter Three:
In addition to collating notes, see if you can use the text to answer the
following questions…
What is Holden’s impression of Ackley? How do we know this?
Using what you learnt about sentence moods, look at Ackley’s
sentences. What mood does he tend to use? What might that reveal
about Holden and Ackley’s relationship
What do you think the importance of the horsing around is?
Again, we hear about the football game. The recurring image of the
game may link to the theme of rejection how?
What do you think the hat symbolises?

34. Literary and Linguistic features to consider in Chapter 3:

35. Self-Assessment
yes/no/not sure
1. I am confident I can explain how Salinger
creates Holden’s voice.
2. I can identify features of everyday language.
3. I can study a text using literary and linguistic
techniques.

36. No Crumby students allowed!
To prove your lack of phoniness, you are going to produce a visual representtation of chapters 4-6 in pairs.
Aim is to answer the following question for your
extract:
“Explain how Salinger presents Holden Caulfield
and his voice in the chapter from Catcher in the
Rye”
All of you should be able to identify a range of literary
and linguistic devices which clearly mark Holden’s
idiolect, and summarise the main actions of the
chapter.
Most of you should be able to look at how the actions
and responses of Holden reveal his characteristics in
the extract and select one section to produce a focused
annotation on.
Some of you should be able to support this with
reference to well identified examples, beginning to use
literary and linguistic terminology accurately to support
them.
It must also include:
 One visual representation of part
of Holden’s idiolect
 One pun

37. No Crumby students allowed!
To prove your lack of phoniness, you are going to produce a visual representation of chapters 1-4 in pairs.
Aim is to answer the following question for your
extract:
“Explain how Salinger presents Holden Caulfield
and his voice in the early part of Catcher in the Rye”
All of you should include:
• Key characteristics
• What he thinks of other people
• Key markers of his idiolect. (terms and examples!)
Most of you should include:
• An annotated section of chapter four, looking at the
markers of his idiolect and their impact
• How he is rejected or rejects others so far (links to
theme)
Some of you should be able to:
• Identify and explain how Holden’s voice changes to
determine his view of other characters.
• Explain Holden’s narrative view point and how he
establishes a relationship with the reader.
It must also include:
 One visual representation of part
of Holden’s idiolect
 One pun

38. Starter:
Challenge – can you name all 11 main types of
punctuation?
1. Exclamation
mark
2. Question
mark
3. Apostrophe
4. Full stop
5. Comma
6. Speech
Marks
7. Hypen/dash
8. Colon
9. Semi-colon
10. Parentheses
11. Ellipsis

39. Who’s rejecting who?
Evidence Holden rejects
Stradlater
Evidence Stradlater rejects
Holden

40. Exploding a quotation…
“Take her… She’s too old for you”
Imperative verb suggesting
control and that Stradlater is
in the position of power – he
controls woman as a
possession.
Elliptical punctuation suggesting
Stradlater is rethinking it and
dismissing (rejecting) Holden
Contrast of pronouns
– start and end of
sentence, suggests a
dismissive tone and
contrast between
Stradlater (who is
accepted by the girl)
and Holden (who is
rejected).
Adverb emphasising Holden’s youth the fact he
doesn’t fit in with Stradlater’s world.
Much more confident tone than the uncertain
frustration of Holden’s first person narration,
shown through declarative sentence.
Extension: Compare it to Holden’s “Give her to
me, boy. No kidding. She’s my type.”

41. Cut it out Holden, for Chrissake!
So let’s do this one together….

42. Stradlater wasn’t hardly listening. He
was combing his gorgeous locks
And now you have a go…

43. He had his coat on, and he was all
ready to go.
And now you have a go…

44. Chapter Four:
Consolidation
Using what we have talked
about this lesson, and the
exploded quotations, answer
the question below in your
note books.
• What is Holden’s
relationship with Stradlater
like?
• How do we know this?
• How does this link to the
theme of rejection in the
chapter?
Challenge: Can you develop your
response further by comparing it
to how Holden rejects Stradlater?

45. Homework:
Read
Chapter 5
1. What do we discover about
Holden from his description of
Allie’s death?
2. What else do we learn about
Holden from the other actions
in the chapter?
It should be a summary, and so in
note form, which you are ready to
discuss in Monday’s lesson.

46. Starter:
Terminology snap!
You all have 17 terms, their
definitions and examples.
All of you should be able to match
the term to the definition.
Most of you should be able to
match it to the example
Some of you should be able to use
the quote to explain the impact or
consequence of using that device
there.

47. New terminology:
Determiners
Nouns are often preceded by the words the, a, or an. These words are called
DETERMINERS. They indicate the kind of reference which the noun has.
If it is the, it can be known as the definite article. If an, it is the indefinite article.
The articles the and a/an are the most common determiners, but there are many others:
any taxi
that question
those apples
Many determiners express quantity:
all examples
both parents
many people
And some even express numbers!
Using your knowledge:
Can you spot the determiners in this
paragraph?
All people think that they are the only ones
who have to suffer. There is no escape for a
person who studies many books. They have to
read each text and pay attention to this teacher
so that they obtain whichever grade they need
to move forward. One day they will thank me!

48. Firstly today, we need to read the
end of Chapter 6 and all of
Chapter 7…
… but let’s start with chapter 6!
What are we going to do?
At least in lesson one!

49. Word classes and their meaning…
Nouns Adjectives Verbs
Adverbs Conjunctions Pronouns
Why do you need to be able to identify these in the text?

50. Homework:
Read Chapters 7-9 inclusive.
 Make a ten bullet point list of the plot;
 How does Salinger characterise Holden (so, what do we discover about
him and what does this imply?);
 How is the theme of rejection portrayed here (you may find the
analysis grid we have used in the early chapters useful to organise
your findings)?
Detailed analysis of the section in your handout…
Go through this extract and identify all the adjectives and verbs you
can. (Clue – look at phrases with verbs in).
Can you explain what type of verbs are being used and why?
Do you notice any patterns in the verbs and adjectives (do they have
anything in common?) If so, what effect do they have?

51. A more creative approach…
You have an extract from two first
person narrative books in front of
you.
You might have read one of these!
What sort of person wrote them?
 Age?
 Gender?
 Key characteristics?
Can you breakdown the idiolect of
each narrator?
 Markers of written speech?
 Word class usage?
Use the terms from last lesson and this
course so far to annotate!

52. Challenge:
Can you Hold en to a voice?
Imagine that Holden has met Georgia, and/or Adrian.
Write the text of that meeting and conversation from the
viewpoint of one of the characters!
What would they think of each other?
What would they think about other people?
All of you should be able to easily replicate Holden’s idiolect
Most of you should be able to transfer that knowledge to replicate another
Character’s idiolect
Some of you should be able to cast new light on Holden’s character through your
writing.
Be prepared to share! Each of you will contribute
your best lines to our class depiction*.
*There will be a small prize for the best conversation!

53. The best bit of your conversation…

54. Words are everything
Synonyms for rejection
If you are rejected, how
would you feel?
If you are rejecting someone or
thing, how would you feel?

55. Starter:
Chapter 11: Holden thinks of Jane…
 What patterns or links do you
notice between the following
words?
 How might they link to a theme of
the novel?
 What might they reveal about the
character using them?
Whory-looking
Tired
Depressing
Big fat colored guy
Terrific
Big shot
Corny
Funny
Goddam
*No homework handed in, or done incorrectly?
Leave and return with it complete at 9.35

56. So that’s the adjectives, what about the verbs?
…is there a pattern?
Consolidation:
Explain why
“Holden’s language is the
language of rejection”.
 All of you should be able to
identify three reasons with
clear examples to answer the
question.
 Most of you should be able to
support the explanation with
reference to the literary or
linguistic form.
 Some of you will be able to
look at patterns of language to
justify your response.
 Getting the hell out
 Went up
 Put on
 Took a look out the
window
 Lights and all were out
now
 Prostituted himself
 He used to take me
 I don’t know
 Feel like turning his
goddam piano over.
 I went down in the
elevator again
 He won’t hardly even talk
to you

57. Introduction:
What do the exam board want you to be able
to do?
Working through with a partner, tick off what you have covered so
far and what you will be able to do in an assignment.
Ignore the italics…that’s coursework two!

58. Student Task:
Factors affecting production and reception
You will be working in small groups of two or three to produce a short presentation, which you will
present to the rest of the class.
You will have no more than two hours to research and prepare it.
It must contain:
 A PowerPoint of no more than five slides (plus a title one)
 A hand out summarising the key information you have discovered and a consolidation task.
You will present back your work as a team, and all members must contribute.
Further detail on the hand out
 No more than two sides of A4.
 Must include how your topic links to the novel
(the characterisation of Holden and the theme
of rejection)
 Must have one evaluative task which will allow
you to check that the other students have
understood your information. And its relevant)
Further detail on the PowerPoint
Each slide must contain no more than 25
words in total.
Your final slide must also cite the three
most useful sources you used in finding
your information.
One of your slides must comment on the
links between your topic and the book.

59. Group One:
Salinger and the Reception of the Book.
 Who was J D Salinger?
 What sort of texts did he write?
 Why did he write Catcher in the
Rye?
 How was the book received when
it was first published? Why?
Challenge:
How far do you think that the
Character of Holden reflects
Salinger?

60. Group Two:
Social Factors affecting the novel
 What was life like in America in
the 1950s?
 What was American society like?
 How was it changing?
 Why is the consumer culture
relevant to the 1950s?
Challenge:
How does the reception of the book
and its treatment reflect the social
pressures of its time?
Terms to consider…
Consumerism economic materialism

61. Group Three:
Historical & Cultural Factors affecting the novel
 The book was published in 1951 and
appeared in serial form between 1495 and
1946. What is relevant about those dates?
 What historical events took place at the
time of the novel?
 What sort of films and music were people
going to see?
 What other literature and arts were in
effect at the time?
Challenge:
How far is Catcher part of a larger
pattern of rebellion in the 1950s
context?
Beatniks
Communism

62. Group Five:
Life for the 1950s teenager
 What was life like for a teenager
in the 1950s?
 What were boys and girls
expected to do?
 In what ways was life changing
for them?
 Why is the term ‘teenager’
relevant to the 1950s life?
Challenge:
How has Holden influenced
others since?

63. Definitions and understanding….
1. Characterisation.
2. Narrative method.
3. Style.
4. Vocabulary
5. Literary and linguistic
features.
6. Factors affecting
production and
reception.
Thinking…
What do each of these mean?
Which can you comment on?
Which can you not comment on
yet?

64. Plenary:
Do you agree with each of the statements?
1. I can explain what idiolect means.
2. I can explain how Holden’s idiolect is
created by Salinger and the effect it
has on the reader.
3. I can explain the features of everyday
conversation and their effect in
Holden’s narrative.
4. I can explain the importance of the
first person narrative in Catcher.
5. I can identify sentence types and
moods and explain how they are
used in Catcher for effect.
6. I can explain how dialogue/direct
speech is used by Salinger and why it
is important.

65. Adverbs, Prepositions & Listing
Syndetic listing (using a conjunction, eg
and).
Asyndetic listing (using a comma or semi-
colon)
A preposition usually indicates place,
time or direction. Eg:
The book is ON the table.
The book is BENEATH the table.
She threw the book THROUGH the
window.
He threw the book ACROSS the table.
Adverbs – in addition to words like
‘angrily’, ‘happily’, where the lexical
choice describes the verb, there are other
adverbs, eg, next, now, then, which add
extra information to the sentence – how
does Twain use them in the extract?

66. PLAGARISM

67. Homework
Produce a summary of the assigned chapter from Catcher in the Rye, suitable for the
other members of the class to use as a guide and support to their learning. It must
cover:
 Plot
 Characterisation
 Links to Theme
 Linguistic and literary terms used
 Links to context (factors affecting production and reception)
 Relevant key quotes
Those whose homework is unacceptable will also have to redo their notes for the
lesson on Monday.
Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 25 Chapter 26
Peter
Emily T
Andrew
Emily
Eryn
Antonietta
Lydia
Sarah
Sophie
Josh
Hayley
Stephen
Due
21.11.2014