033 E010

Approaches to textExamination paper

Time allowed: THREE hours

Answer THREE questions: QUESTION 1 from Section A and TWO further questions from Section B. YOU SHOULD READ INSTRUCTIONS FOR SECTION B BEFORE COMMENCING YOUR ANSWER TO SECTION A. Do NOT present substantially the same material in any two answers, whether on this paper or on any other parts of your examination.

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UNIVERSITY OF LONDON BA/DIPLOMA EXAMINATION for External Students ENGLISH Foundation Unit: Approaches to Text Date: 2009 THREE HOURS Answer THREE questions: QUESTION 1 from Section A and TWO further questions from Section B. YOU SHOULD READ INSTRUCTIONS FOR SECTION B BEFORE COMMENCING YOUR ANSWER TO SECTION A. Do NOT present substantially the same material in any two answers, whether on this paper or on any other parts of your examination. SECTION A 1. EITHER comment on ONE, OR compare and contrast TWO of the following

examples using terms and concepts you have encountered in studying for this unit. You should pay attention to issues of form as well as content.

Example A

It is very seldom that mere ordinary people like John and myself secure

ancestral halls for the summer. A colonial mansion, a hereditary estate, I would say a haunted house and reach

the height of romantic felicity — but that would be asking too much of fate! Still I will proudly declare that there is something queer about it. Else, why should it be let so cheaply? And why have stood so long untenanted? John laughs at me, of course, but one expects that. John is practical in the extreme. He has no patience with faith, an intense horror

of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.

John is a physician, and perhaps — (I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind) — perhaps that is one reason I do not get well faster.

You see, he does not believe I am sick! And what can one do? If a physician of high standing, and one’s own husband, assures friends and

relatives that there is really nothing the matter with one but temporary nervous depression — a slight hysterical tendency — what is one to do?

My brother is also a physician, and also of high standing, and he says the same thing.

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So I take phosphates or phosphites — whichever it is — and tonics, and air and exercise, and journeys, and am absolutely forbidden to “work” until I am well again.

Personally, I disagree with their ideas. Personally, I believe that congenial work, with excitement and change, would

do me good. But what is one to do? I did write for a while in spite of them; but it does exhaust me a good deal —

having to be sly about it, or else meet with heavy opposition. I sometimes fancy that in my condition, if I had less opposition and more

society and stimulus — but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad.

So I will let it alone and talk about the house. (CHARLOTTE PERKINS GILMAN, from The Yellow Wallpaper, 1892)

Example B

The water of the Gulf stretched out before her, gleaming with the million lights

of the sun. The voice of the sea is seductive, never ceasing, whispering, clamoring, murmuring, inviting the soul to wander in abysses of solitude. All along the white beach, up and down, there was no living thing in sight. A bird with a broken wing was beating the air above reeling, fluttering, circling disabled down, down to the water.

Edna had found her old bathing suit still hanging, faded, upon its accustomed peg.

She put it on, leaving her clothing in the bath-house. But when she was there beside the sea, absolutely alone, she cast the unpleasant, pricking garments from her, and for the first time in her life she stood naked in the open air, at the mercy of the sun, the breeze that beat upon her, and the waves that invited her.

How strange and awful it seemed to stand naked under the sky! How delicious! She felt like some new-born creature, opening its eyes in a familiar world that it had never known.

The foamy wavelets curled up to her white feet, and coiled like serpents about her ankles. She walked out. The water was chill, but she walked on. The water was deep, but she lifted her white body and reached out with a long, sweeping stroke. The touch of the sea is sensuous, enfolding the body in its soft, close embrace.

She went on and on. She remembered the night she swam far out, and recalled the terror that seized her at the fear of being unable to regain the shore. She did not look back now, but went on and on, thinking of the blue-grass meadow that she had traversed when a little child, believing that it had no beginning and no end.

Her arms and legs were growing tired. She thought of Léonce and the children. They were a part of her life. But they

need not have thought that they could possess her, body and soul. How Mademoiselle Reisz would have laughed, perhaps sneered, if she knew! “And you call yourself an artist! What pretensions, Madame! The artist must possess the courageous soul that dares and defies.”

Exhaustion was pressing upon and overpowering her. “Good-bye — because I love you.” He did not know; he did not understand. He

would never understand. Perhaps Doctor Mandelet would have understood if she had seen him — but it was too late; the shore was far behind her, and her strength was gone.

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She looked into the distance, and the old terror flamed up for an instant, then sank again. Edna heard her father’s voice and her sister Margaret’s. She heard the barking of an old dog that was chained to the sycamore tree. The spurs of the cavalry officer clanged as he walked across the porch. There was the hum of bees, and the musky odor of pinks filled the air.

(KATE CHOPIN, from The Awakening, 1899) Example C

Do Not Go Gentle Into That Good Night Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light.

Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night.

Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night.

Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light.

And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light.

(DYLAN THOMAS, 1951)

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Example D Telephone Conversation

The price seemed reasonable, location Indifferent. The landlady swore she lived Off premises. Nothing remained But self-confession. “Madam,” I warned, “I hate a wasted journey — I am African.” Silence. Silenced transmission of Pressurized good-breeding. Voice, when it came, Lipstick coated, long gold-rolled Cigarette-holder pipped. Caught I was foully. “HOW DARK?” . . . I had not misheard . . . “ARE YOU LIGHT OR VERY DARK?” Button B, Button A. Stench Of rancid breath of public hide-and-speak. Red booth. Red pillar box. Red double-tiered Omnibus squelching tar. It was real! Shamed By ill-mannered silence, surrender Pushed dumbfounded to beg simplification. Considerate she was, varying the emphasis — “ARE YOU DARK? OR VERY LIGHT?” Revelation came. “You mean — like plain or milk chocolate?” Her assent was clinical, crushing in its light Impersonality. Rapidly, wave-length adjusted, I chose. “West African sepia” — and as afterthought, “Down in my passport.” Silence for spectroscopic Flight of fancy, till truthfulness clanged her accent Hard on the mouthpiece. “WHAT’S THAT?” conceding “DON’T KNOW WHAT THAT IS.” “Like brunette.” “THAT’S DARK, ISN’T IT?” “Not altogether. Facially, I am brunette, but, madam, you should see The rest of me. Palm of my hand, soles of my feet Are a peroxide blond. Friction, caused — Foolishly, madam — by sitting down, has turned My bottom raven black — One moment, madam!” — sensing Her receiver rearing on the thunderclap About my ears — “Madam,” I pleaded, “wouldn’t you rather See for yourself?” (WOLE SOYINKA, 1962)

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Example E:

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Example F:

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SECTION B You must answer TWO questions from this section. You may use any of the examples from Section A to illustrate your answer, provided you do not use the same examples in your answer to the questions in Section A. 2. In the light of your reading of psychoanalytic theories, why do you think

psychoanalysis has proved so attractive to literary studies? Your answer should refer to at least two texts.

3. ‘Works of literature attempt to explore the settings or categories of habitual ways of

thinking and frequently attempt to bend or reshape them, showing us how to think something that our language had not previously anticipated, forcing us to attend to the categories through which we unthinkingly view the world. Language is thus both the concrete manifestation of ideology – the categories in which speakers are authorized to think – and the site of its questioning or undoing’ (JONATHAN CULLER). In the light of this statement discuss the relation between literature and ideology with reference to at least two texts.

4. ‘Categories of true sex, discrete gender, and specific sexuality have constituted the

stable point of reference for a great deal of feminist theory and politics’ (JUDITH BUTLER). In the light of this statement, consider the representation of gender in at least two texts.

5. ‘History is not some unmediated reality out there, some stable background that the

literary text reflects or refers to; it is not a context. Rather, it is like the literary text itself – of a different genre, granted, but no less a discourse’ (JULIE RIVKIN and MICHAEL RYAN). Discuss the implications of this statement with reference to at least two texts.

6. With reference to critical arguments, discuss the use and effects of intertextuality in at

least two texts. 7. Poetry is the ‘breath and finer spirit of all knowledge; the impassioned experience

which is the countenance of all science’ (WILLIAM WORDSWORTH). With reference to at least two poems, give a critical account of the different functions of poetry.

8. It has been argued that, in order to be fully appreciated, a play text needs to be

performed. With reference to at least two examples, discuss how a performance of a play can bring out various meanings perhaps not noticed in the reading of the same play.

9. ‘Whiteness never has to speak its name, never has to acknowledge its role as an

organizing principle in social and cultural relations’ (GEORGE LIPSITZ). In relation to postcolonial theories, discuss this statement with reference to at least one text.

033 E010

Approaches to textExaminer’s reportGeneral remarks

As with previous years, there was a wide range of responses to this examination, in terms of both focus and level of engagement. Broadly speaking, one of the best and most striking features of responses to the examination this year was the rise in the level of critical detail candidates entered into their responses, resulting in a generally improved level of marks across the board. There was a tendency for candidates to rely a little more than in previous years on the passages in Section A as source texts for their responses in Section B; while, in itself, this is permissible and will not detract from the possible quality of answers to this examination, candidates should also bear in mind that it is always a good idea to demonstrate their own reading and engagement with critical ideas outside those offered in the exam paper.

When revising or approaching the examination paper, it is important for candidates to remember that Approaches to text asks a slightly different set of questions to those candidates may encounter in other units. In order to engage fully with the particular features of this unit, a reasonably clear sense of the requirements of the unit is needed. While there was a marked improvement this year in terms of the number of candidates explicitly engaging with literary critical and theoretical ideas, given the importance of this approach for this examination, it is worth stressing this point again: in introducing candidates to the main concepts in modern literary studies, candidates taking Approaches to text need to demonstrate a certain degree of familiarity with critical terms and ideas that are then applied to discussions of literary language and literary structures, as well as to analyses of narrative, poetics, performance and genre. Needless to say, therefore, this unit is at least partly defined by its broad scope. Yet this breadth of focus need not preclude candidates from approaching the concerns of this unit with a precise focus.

In this regard, candidates need to remember to make sure that they demonstrate an ability to apply terms and concepts discussed on the unit to a variety of texts. These critical terms and ideas must be the main focal point of each answer; in other words, candidates should make sure, as far as possible, to approach literary analysis from the specific critical perspectives of this unit. It is important for candidates to remember, therefore, that this may well mean they cannot always include a particularly favourite point about their chosen text. In the light of this, when answering questions on this examination, candidates should always ask themselves whether their responses are critically focused; indeed, whether the application of critical ideas structures their discussions of their chosen examples or not.

Given that this unit asks for a slightly different approach, this is not necessarily a simple task and, while a reasonably good number of candidates handled this critical-literary balance fairly effectively, there were still a number of candidates who found it difficult either to relate a theoretical overview to a particular text or to draw out a theoretical framework from a literary interpretation. It’s the dual concerns of critical approaches and literary discussion that needs to be at the centre of approaches to each question on this examination. Candidates should also always remember to answer three questions for this examination, one from Section A and two from Section B.

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Comments on individual questionsSection A

As with previous years, it was highly noticeable that, rather than comparing and contrasting two passages for this question, the majority of candidates chose to focus simply on one passage. While there is nothing wrong with this approach, candidates shouldn’t automatically rule out the option of comparing two passages as it is often by detailing points of connection and difference between two passages that a wider and more developed critical argument can be put forward. As a few candidates correctly identified, this year there were clear points of connection between some of the passages/texts, yet it was surprising that only a small number of answers actually explored the points of similarity and difference.

Question 1aThe majority of answers focused on aspects of point of view and narrative function, attempting to draw these terms together under wider discussions of notions of gender. Other candidates discussed the implicit characterisation of the narrator through the use of figurative language in the passage. While each of these approaches is relevant and productive, it was noticeable that only a few responses developed an overall critical reading of the passage. As well as identifying the main themes and techniques of the passage, candidates should also try to place their practical criticism comments within a wider critical argument. For instance, it may have been helpful to have discussed how the issue of gender in this passage fits into wider critical debates surrounding patriarchy or gender as a construct. Another way of developing a response here would be to identify the key features and techniques, discuss their function and significance and then compare and contrast these to those in either Examples B or E.

Question 1bOne productive way to approach this passage would have been to compare and contrast it to Example A, paying attention to similarities and differences in narrative voice, point of view, and notions of gender. Several candidates approaching this passage rightly focused on issues relating to focalisation and the critical use of metaphorical language. As with Passage A, however, candidates should also remember to consider the wider significance of these elements. For instance, it is always a good idea to present an overview of what the passage is doing, and then develop these initial comments by then moving on to discuss the wider aims and functions of the passage, paying particular attention to how narrative techniques affect the way in which a reader approaches the passage.

Question 1cCandidates who chose to respond to this passage did so largely by identifying the main use of different poetic features, such as rhythm, metre and rhyme, before moving on to offer a wider discussion of what the poem is ‘about’. While this structured approach to the poem is a good one, candidates must try to discuss the critical significance of poetic technique and poetic theme. Questions for candidates to consider might include: what form is the poem written in? Is there a relation between form and content? How might a consideration of poetic form affect our sense of the poem overall?

Question 1dAs with responses to Example C, one way of approaching a discussion of this poem is to consider the relation between form and content. When considering this, however, it is also important to remember to discuss the ways in which this relation (or even disjunction) between form and content structures a wider sense of the poem overall. There were some good responses to this passage, with a number of candidates discussing the ways in which the poem articulates a culture of embedded and implicit racism. In relation to this, the strongest answers briefly discussed what was left out of the ‘conversation’ as much as what was actually said. This is a good general rule to have

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when discussing any passage: always consider what might be withheld, as much as what is being expressed. The most promising responses to this poem also discussed the ways in which the poem might be considered in relation to some areas of postcolonial theory.

Question 1e In contrast with the last two years, more candidates chose to focus on both this advertisement and that in Example F. The majority of responses discussed the visible and implicit distinctions in gender identity and personality suggested by the advertisement, usefully applying ideas relating to patriarchy, domesticity, marriage and the ways in which these conventions were duplicated by the advert. The strongest responses made sure to discuss in some detail the relationship between the written text and the visual image.

Question 1fThere were some relatively strong responses to this image, with the most sophisticated discussing the ways in which the tagline of ‘Be the Best’ was implicitly identified with masculinity and the Union Jack, as well as also paying attention to both who and what was missing from the image/text. As with comments made in previous reports, candidates should be careful not to be overly descriptive in their response, instead concentrating on constructing a critical interpretation of the example, perhaps even considering how the image works against the perceived ‘message’ of the text.

Section BQuestion 2

In certain respects, this question is asking candidates to do three things in their response: first, to provide a brief outline of some key terms and ideas within psychoanalysis; secondly, to briefly discuss why these ideas have been relevant and popular approaches within literary studies; and finally, to develop these initial comments by showing how psychoanalytic ideas are useful in interpreting the two texts, paying particular attention to how this psychoanalytic approach uncovers a reading of the text that other literary approaches might overlook. Rather than simply showing how a literary text reflects psychoanalytic theories and terms, candidates should try to approach the question from the opposite perspective: for instance, how does psychoanalysis illuminate certain literary texts?

Question 3As outlined by the quotation from Culler, a productive response to this question would consider the relationship between language and ideology and the ways in which literature might reinforce or challenge ideological conventions. Given the length of the quotation in the question, one way of constructing a response would be to analyse, in some detail, the overall sense of Culler’s argument before moving on to show how two literary texts support or challenge this view. In relation to this it is worth stressing a point made in previous reports, namely that candidates need not provide a general outline of their chosen text but simply consider those aspects most relevant to the focus of the question.

Question 4The main focus of this question requires candidates to outline some key ideas relating to feminist and/or gender theory, before developing these critical points in relation to the ways in which they may provide illuminating readings of two texts. In relation to this, it is important that candidates attempt a balance between theoretical ideas and literary analysis. This year there was a tendency for responses to describe the ways in which literary examples detailed aspects of patriarchy but there was very little wider engagement with feminist or gender/theories. Given the focus of Approaches to text, it is vitally important that candidates try to balance descriptions of texts with discussions of critical ideas and viewpoints.

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Question 5In essence, the focus of this question requires candidates to discuss the similarities and differences between literature and history, specifically in relation to the ways in which each ‘genre’ can be understood as a discourse. It was noticeable that those candidates who approached this question struggled to construct an appropriate critical focus, tending simply to describe how historical narratives were factually correct or incorrect. Rather than taking this rather simplistic approach, responses need to consider the ways in which both history and literature are constructed by a mutual reliance on narrative strategies. Although there are undoubtedly different ways of approaching this issue, one productive way of responding to the question might be to consider the ways in which narrative techniques construct history rather than simply report facts to the extent that both literature and history might both be considered ‘constructs’.

Question 6As with examinations in previous years, this was a popular choice of question with candidates. No doubt the popularity of questions such as these is due to the scope it allows candidates to focus their responses on their own terms. That said, though, and as with comments made in reports in previous years, candidates should be careful not to simply describe examples of intertextuality; it is important that responses discuss the critical significance of intertextuality within their chosen examples. Some questions to consider might include: why is intertextuality used here? What does it add to the text? How does it affect the way in which the text is both approached and interpreted? In essence, it is important that candidates remember to respond to the second part of the question, namely the ‘effects’ of intertextuality; this year the majority of answers were good at outlining examples of intertextuality but did not always develop these initial comments by reflecting on their critical significance and/or implications.

Question 7As in previous years, the main focus of this question asks candidates to consider the function and critical significance of poetry. In this respect, candidates are being asked to discuss what poetry does, as well as how it does it. In order to develop this, strong responses picked two poems, briefly analysed their overall sense and construction, before moving on to discuss the implications of these issues, paying particular attention to the ways in which poetic techniques and uses of language and sound might expand senses of how language works and how meaning might be constructed. It is worth stressing that candidates should not simply analyse two poems but also try to construct a wider argument concerning the aims and implications of poetry in general.

Question 8While a number of candidates elected to respond to this question this year, there was some confusion as to how best to construct an answer, resulting in responses that struggled to fully develop a necessary level of critical detail. Rather than simply discussing the ways in which the visual elements of a performance provide an element that is missing from the reading of a play-text, strong responses considered the relationship of the roles of directors and theatre companies, as well as the cultural context of the audience. The strongest responses were able to discuss specific examples in relation to the main theories of theatrical semiotics, paying particular attention to ideas relating to symbols and icons. In essence, candidates need to employ these critical terms and ideas in order to develop the ways a play text might be considered a template that comes to life, or is realised, each time it is performed.

Question 9This question was a popular choice with candidates this year and, on the whole, there were some very productive responses. Some of the strongest responses introduced some key terms within postcolonial discourse before developing an analysis of the quotation by Lipsitz, especially the way in which ‘whiteness never has to speak its name’, via

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a discussion of Soyinka’s poem in Section A. That said, though, only a few of the very strongest responses provided a detailed sense of postcolonial theory in general. In this respect, candidates should remember to approach a question such as this in a two-part manner: first, candidates need to provide a general outline of postcolonialism, identifying key terms and ideas; secondly, candidates need to develop this overview by exploring the ways in which these terms and theories are not simply relevant to but uncover implicit ideologies and assumptions within their chosen texts. In relation to this, therefore, candidates should always try to think about what a particular theory does, and then move on to show how this theory works, and even its critical importance, by discussing it in relation to a relevant textual example.