Preparing for

National 5Close ReadingHomework Booklet

Fiction and Non-FictionFor candidates in S3 and S4

Book 3

Passage 1WOMEN AND CHOCOLATE

In this article, the writer looks at the influence women have on the advertisers of chocolate.

1.You can bet that when the first Aztec tentatively crushed a cacao bean, right behind him was an ad executive excitedly branding the muddy brown discovery “the food of the gods”. Or if there wasn't, there certainly should have been - because chocolate hasn't looked back since. Mars’' new “Mars Delight” is just the latest attempt to beguile us into seeing that a mixture of fat, sugar and a type of caffeine is an essential part of our life.

2.The secret of chocolate’s particular appeal lies in the cocoa butter - it melts just below body temperature - which gives it that delicious dissolve-in-the-mouth feeling. Add to that the sudden charge of energy you get from the sugar, the kick of the caffeine and another chemical, which acts as a mood enhancer - and you can understand why the Aztecs originally decreed that only nobles, priests and warriors were allowed to eat it. Then it was seen as the cure for all ills. And it’s true - as the confectionery industry is keen to point out - that cocoa beans contain flavonoids which help high blood pressure. And chocolate doesn't have the teeth-rotting qualities of other sweets.

3.But that’s more than counterbalanced by the fact that it’s still crammed full of fats and sugar. “We are looking at 9 to 10 calories per gram,” says Professor Tom Sanders, the head of nutritional sciences at King's College, London. “And while people admit to eating 18 grams of chocolate a day, the manufacturers think it’s nearer 35 grams, about the size of a Crunchie bar. What’s also worrying is the trend to “super-size” that we also see in the fast food industry that means that people end up consuming more. Of particular concern is that chocolate bars contain vegetable fats - also known as trans fatty acids (TFAs) - which have been linked to coronary heart disease. Last summer both Nestle and Cadbury said they were thinking of removing TFAs from their products.

2

4.“The Government recommends that less than 2 per cent of dietary energy comes from trans fats,” says Hannah Theobald, nutrition scientist at the British Nutrition Foundation. “It is good news that the food industry is looking at ways to reduce them in food products.”

5.Ironically, these concerns are far removed from chocolate’s beginnings - when, being made by teetotal Quakers, it was originally promoted here as a healthy alternative to alcohol. One of the first recorded advertisements was a couple of lines in the Birmingham Gazette of March 1, 1824, placed by a John Cadbury. It read: “John Cadbury is desirous of introducing to particular notice ‘Cocoa Nibs’ prepared by himself, an article affording a most nutritious beverage for breakfast”.

6.The nutritious link was one that early chocolate marketing followed. During the Second World War, manufacturers Caley’s urged that female air raid wardens should be bought a box of their Fortune chocolates not just because they'd enjoy them but because it would supply the “extra nutrition to keep them going”. Early Mars advertising informed women that there was a “whole meal” in a bar to “nourish, energise and sustain”.

7.“Women are the key to chocolate advertising,” says Rita Clifton, the chair of the leading branding agency Interbrand. “They are not only important consumers in their own right but they also act as gatekeepers to the rest of the family. So it’s important to get the approach right.” So as women’s role in society changed so did the chocolate bars and advertising. Out went the stoic “meal on the run” idea; in came the post-Sixties “Me” sense of indulgence – running through fields or sitting in a bath eating a flaky chocolate bar. “One of the most ‘indulgent’ adverts is the Flake one,” Clifton says. “This is the ultimate example of taking time out for yourself. OK, I could never quite see the point of eating a Flake in the bath - not very practical, but then fantasies aren't meant to be.”

8.But experts say that in recent years the style has changed again. The Milk Tray man was kicked out in favour of the slogan “love with a lighter touch”. The fashion, according to Yusuf Chuku, a

3

communications analyst at Naked Communications, is very much towards a lighter, more sophisticated approach. “Because of concerns about advertising to children, I think there's been even more of a move towards targeting women,” Chuku says. “With health advice constantly changing, I think advertising is now less about the guilty secret idea, but saying it’s OK to eat some chocolate as long as you balance it with other things.”

9.That's reflected in the different types of chocolate being developed - low calorie bars like Flyte, “lighter” bars than the monolithic-looking Mars or Snickers, or developments like Kit Kat Kubes, which can be shared among friends. It also explains the increased demand for organic or more exotic chocolates: if women are going to indulge, they want to make sure it is with a high quality brand. Chuku says that in a competitive market worth £5 billion a year in the UK, no manufacturer can afford to miss which way the wind is blowing: “I think the next trend will be turning back to comforting chocolates you remember from your childhood. Watch out for the Wagon Wheel.”

4

Passage 2

BRIONY

This passage, taken from the opening chapter of a novel, introduces us to the character of Briony Tallis and her family.

1. The play—for which Briony had designed the posters, programmes and tickets, constructed the sales booth out of a folding screen tipped on its side, and lined the collection box in red crêpe paper—was written by her in a two-day tempest of composition, causing her to miss a breakfast and a lunch. When the preparations were complete, she had nothing to do but contemplate her finished draft and wait for the appearance of her cousins from the distant north. There would be time for only one day of rehearsal before her brother, Leon, arrived.

2. At some moments chilling, at others desperately sad, the play told a tale of the heart whose message, conveyed in a rhyming prologue, was that love which did not build a foundation on good sense was doomed. The reckless passion of the heroine, Arabella, for a wicked foreign count is punished by ill fortune when she contracts cholera during an impetuous dash towards a seaside town with her intended. Deserted by him and nearly everybody else, bed-bound in an attic, she discovers in herself a sense of humour. Fortune presents her a second chance in the form of an impoverished doctor—in fact, a prince in disguise who has elected to work among the needy. Healed by him, Arabella chooses wisely this time, and is rewarded by reconciliation with her family and a wedding with the medical prince on “a windy sunlit day in spring”.

3. Mrs Tallis read the seven pages of The Trials of Arabella in her bedroom, at her dressing table, with the author’s arm around her shoulder the whole while. Briony studied her mother’s face for every trace of shifting emotion, and Emily Tallis obliged with looks of alarm, snickers of glee and, at the end, grateful smiles and wise, affirming nods. She took her daughter in her arms, onto her lap, and said that the play was “stupendous”, and agreed instantly, murmuring into the girl’s ear, that this word could be quoted on the poster which was to be on an easel in the entrance hall by the ticket booth.

4. Briony was hardly to know it then, but this was the project’s highest point of fulfilment. Nothing came near it for satisfaction, all else was dreams and frustration.

5

5. There were moments in the summer dusk after her light was out, burrowing in the delicious gloom of her canopy bed, when she made her heart thud with luminous, yearning fantasies, little playlets in themselves, every one of which featured Leon. In one, his big, good-natured face buckled in grief as Arabella sank in loneliness and despair. In another, there he was, cocktail in hand at some fashionable city bar, overheard boasting to a group of friends: Yes, my younger sister, Briony Tallis the writer, you must surely have heard of her. In a third he punched the air in exultation as the final curtain fell, although there was no curtain, there was no possibility of a curtain. Her play was not for her cousins, it was for her brother, to celebrate his return, provoke his admiration and guide him away from his careless succession of girlfriends, towards the right form of wife, the one who would persuade him to return to the countryside, the one who would sweetly request Briony’s services as a bridesmaid.

6. She was one of those children possessed by a desire to have the world just so. Whereas her big sister’s room was a stew of unclosed books, unfolded clothes, unmade bed, unemptied ashtrays, Briony’s was a shrine to her controlling demon: the model farm spread across a deep window ledge consisted of the usual animals, but all facing one way—towards their owner—as if about to break into song, and even the farmyard hens were neatly corralled. In fact, Briony’s was the only tidy upstairs room in the house. Her straight-backed dolls in their many-roomed mansion appeared to be under strict instructions not to touch the walls; the various thumbsized figures to be found standing about her dressing table—cowboys, deep-sea divers, humanoid mice—suggested by their even ranks and spacing a citizen army awaiting orders.

7. A taste for the miniature was one aspect of an orderly spirit. Another was a passion for secrets: in a prized varnished cabinet, a secret drawer was opened by pushing against the grain of a cleverly turned dovetail joint, and here she kept a diary locked by a clasp, and a notebook written in a code of her own invention. In a toy safe opened by six secret numbers she stored letters and postcards. An old tin petty cash box was hidden under a removable floorboard beneath her bed. In the box were treasures that dated back four years, to her ninth birthday when she began collecting: a mutant double acorn, fool’s gold, a rain-making spell bought at a funfair, a squirrel’s skull as light as a leaf.

8. At the age of eleven she wrote her first story—a foolish affair, imitative of half a dozen folk tales and lacking, she realised later, that vital knowingness about

6

the ways of the world which compels a reader’s respect. But this first clumsy attempt showed her that the imagination itself was a source of secrets: once she had begun a story, no one could be told. Pretending in words was too tentative, too vulnerable, too embarrassing to let anyone know. Even writing out the she saids, the and thens, made her wince, and she felt foolish, appearing to know about the emotions of an imaginary being. Self-exposure was inevitable the moment she described a character’s weakness; the reader was bound to speculate that she was describing herself. What other authority could she have? Only when a story was finished could she feel immune, and ready to punch holes in the margins, bind the chapters with pieces of string, paint or draw the cover, and take the finished work to show to her mother, or her father, when he was home.

9. Her efforts received encouragement. In fact, they were welcomed as the Tallises began to understand that the baby of the family possessed a strange mind and a facility with words. Briony was encouraged to read her stories aloud in the library and it surprised her parents and older sister to hear their quiet girl perform so boldly, making big gestures with her free arm, arching her eyebrows as she did the voices, and looking up from the page for seconds at a time as she read in order to gaze into one face after the other, unapologetically demanding her family’s total attention as she cast her narrative spell.

10. The play she had written for Leon’s homecoming was her first attempt at drama, and she had found the change quite effortless. It was a relief not to be writing out the she saids, or describing the weather or the onset of spring or her heroine’s face—beauty, she had discovered, occupied a narrow band. Ugliness, on the other hand, had infinite variation. The Trials of Arabella was intended to inspire not laughter, but terror, relief and instruction, in that order, and the innocent intensity with which Briony set about the project—the posters, tickets, sales booth—made her particularly vulnerable to failure.

Adapted from the novel Atonement by Ian McEwen

7

National 5

Learning Intention:

The following assignments are designed to assess your skills in Reading. You are expected to show that you can:

Understand, analyse and evaluate detailed written texts, by:

1.1 Identifying and explaining the purpose and audience as appropriate to genre1.2 Identifying and explaining the main ideas and supporting details1.3 Applying knowledge and understanding of language to explain meaning and effect,

using appropriate critical terminology

The assignments will also provide the opportunity for you to demonstrate your skills in Literacy, covering the Reading outcome. You are expected to show that you can:

Read and understand complex word-based texts by:

1.1 Selecting and Using Information1.2 Explaining a range of aspects1.3 Evaluating effectiveness

Success Criteria:

You will be asked questions to allow you to demonstrate that you can:

identify the purpose and audience of the text you are reading and justify this by quoting or referring to its content;

show clear understanding of the most relevant points of the text; infer from the text, drawing on appropriate evidence/quotations to

support your thinking; identify and analyse various features of a writer’s use of language and

its effect; use appropriate textual reference or quotation to support statements; evaluate the effectiveness of the writing.

8

What you have to do:

1. Read the whole of the passage very carefully. It might help to read it more than once.

2. If the passage is fictional, think about the genre you are reading: poetry/prose/drama have different features.

3. Answer the questions using your own words as far as possible. You do not have to answer in sentences.

4. Pay attention to the number of marks awarded to each question: this gives you a guide of how many pieces of information/evidence are required in the answer.

5. The codes listed in the right hand column refer to the assessment standards at the top of this page.

9

Task 1a

Approaching a passage

As with all areas of Close Reading, it is a good idea to annotate the text as you read through it.

This not only helps you to identify good examples of the writer’s language and use of structure, but it will also help you to recognise the writer’s main points (in non-fiction). Furthermore, it will help you to anticipate the questions you might be asked.

As you read, you should underline interesting examples of word choice, imagery and sentence structure.

If the passage is non-fiction, you should also try to identify the writer’s main points as you read. Each paragraph will make one main point with supporting detail so underline the point that is being made in each main paragraph as you read. (This is the topic sentence.)

1. Read Passage 1 following the above approach.

2. Read Passage 2 following the above approach.

10

Task 1b

Remember: Use your own words as far as possible in your answers.It is acceptable to ‘quote and explain’ but quotation alone will gain no marks unless you are specifically asked to do so.

Purpose

1.1 Identifying and explaining the purpose and audience as appropriate to genre

Read Passage 1: Women and Chocolate

9a. What would you consider to be the main purpose of this article? Justify your answer with reference to the passage as a whole. 3 1.1 1.2

b. Explain how effective you think the writer has been in achieving his aims. Justify your answer with reference to evidence from the passage as a whole. 4 1.1 1.3

Read Passage 2: Briony

8. This extract is taken from a novel. What do you think is the writer’s purpose in writing this section which shows Briony with her mother and refers to her brother and sister? 1 1.1 1.2

11

Mrk Code Eng Lit

Mrk Code Eng Lit

Task 2

Audience

1.1 Identifying and explaining the purpose and audience as appropriate to genre

Read Passage 1: Women and Chocolate

1 a. Who would be likely to read this article? Think about:• Age and/or• Interests and/or• Nationality and/or• Another audience you can identify 2 1.1 1.2

b. Referring to evidence from the passage, explain how you reached this conclusion. 2 1.1 1.2

Read Passage 2: Briony

7 a. Who would be likely to read this article? Think about:• Age and/or• Interests and/or• Nationality and/or• Another audience you can identify 1 1.1 1.2

b. Referring to evidence from the passage, explain how you reached this conclusion. 2 1.1 1.2

12

Mrk Code Eng Lit

Task 3

Non-Fiction: Understanding main ideas

1.2 Identifying and explaining the main ideas and supporting details

Read Passage 1: Women and Chocolate

2. Read carefully Paragraphs 1-2.The writer tells us that chocolate “hasn’t looked back” (Paragraph 1) and that it has a “particular appeal” (Paragraph 2). Find two pieces of evidence to support these points. 2 1.2 1.1

3a. Read carefully paragraphs 3 - 4.The writer presents a different point of view in these paragraphs. Summarise the main line of thought. 1 1.2 1.1

3b. Provide three pieces of supporting evidence for this line of thought. 3 1.2 1.1

4a. Read carefully Paragraphs 5-9.This section of the passage examines the way chocolate has been presented to different groups of people throughout history. What important ideas does the writer consider in these lines? 2 1.2 1.1

b. Provide four pieces of supporting evidence for this line of thought. 4 1.2 1.1

13

Mrk Code Eng Lit

Task 4a

Fiction: Understanding main features of plot, character and setting

1.2 Identifying and explaining the main ideas and supporting details

1.3 Applying knowledge and understanding of language to explain meaning and effect, using appropriate critical terminology

Sometimes you will need to use evidence from the passage (quotations) to prove how you know the answer. Questions 1b & 2b ask you to justify your answer by quoting from the passage.

Read Passage 2: Briony

1a. Briony Tallis has been involved in writing a play for the homecoming of her brother, Leon. Using your own words as far as possible, summarise what her play is about. 3 1.2 1.1

1b. With close reference to paragraph 3, explain clearly the difference between her mother’s opinion of this play and what she conveys to Briony 4 1.3 1.2

2a. How would you sum up the relationship between Briony and her mother? 1 1.3 1.3

2b. With close reference to paragraph 3, support your opinion with two pieces of evidence. 2 1.2 1.1

14

Mrk Code Eng Lit

Task 4b

Fiction: Understanding main features of plot, character and setting ctd...

1.2 Identifying and explaining the main ideas and supporting details

1.3 Applying knowledge and understanding of language to explain meaning and effect, using appropriate critical terminology

Sometimes you will need to use evidence from the passage (quotations) to prove how you know the answer. Questions 5a & 5b ask you to justify your answer by quoting from the passage.

Read Passage 2: Briony

5a. With close reference to the language and ideas of paragraphs 7-8, explain clearly what sort of person Briony is. 4 1.2 1.3

5b. With close reference to the language and ideas of paragraphs 9-10, explain clearly the contrasting aspect of Briony’s character we learn about. 3 1.2 1.3

6. There is a sense that Briony’s first attempt as a dramatist is not going to end well. With reference to the passage as a whole, suggest three reasons for this.

3 1.2 1.3

The following tasks focus on the ‘writer’s use of language’. This term refers to the writer’s word choice,

imagery, sentence structure and tone.15

Mrk Code Eng Lit

Task 5

Word Choice & Sentence Structure

1.3 Applying knowledge and understanding of language to explain meaning and effect, using appropriate critical terminology

Read Passage 1: Women and Chocolate

5a. Read carefully the information in Paragraph 5.Explain whether you think the word-choice in this paragraph is an effective way of selling the product. 2 1.3 1.2

7. In the sentence “Out went …chocolate bar”, the writer makes clear to the reader that women’s role in society was changing. How does the writer’s use of word-choice and sentence structure in the sentence reinforce this? 4 1.3 1.2

Read Passage 2: Briony

3. Briony’s imagination took over “after her light was out.” (Paragraph 5) Referring closely to this paragraph, explain clearly how the writer’s word-choice indicates the intensity of Briony’s fantasies.

2 1.2 1.3

4. Briony and her elder sister contrast one another. From your reading of paragraph 6, show how the writer develops this contrast through the use of sentence structure and word-choice. 4 1.2 1.3

Task 6

Read Passage 1: Women and Chocolate

16

Mrk Code Eng Lit

Mrk Code Eng Lit

Tone

5b. Explain whether you think the tone in these lines is an effective way of selling the product. 2 1.3 1.2

Task 7

Imagery

Just as... so too...

1.3 Applying knowledge and understanding of language to explain meaning and effect, using appropriate critical terminology

Read Passage 1: Women and Chocolate

6. Read Paragraph 7.In this paragraph, the writer suggests that women “act as gatekeepers to the rest of the family”. Identify and explain the effectiveness of the image used in this expression.

2 1.3 1.3

Task 8

Evaluation

17

Mrk Code Eng Lit

1.3 Applying knowledge and understanding of language to explain meaning and effect, using appropriate critical terminology

Read Passage 1: Women and Chocolate

8. “Watch out for the Wagon Wheel.” (line 63)Give two reasons why this might be an effective advertising slogan. 2 1.3 1.3

Task 9

Summary

1.2 Identifying and explaining the main ideas and supporting details

Read Passage 1: Women and Chocolate

Referring to the whole article, in your own words list the key points the writer 4 1.2 1.2

18

Mrk Code Eng Lit

Mrk Code Eng Lit