Remember:
Paper 1 Commentary
1. The central focus of your written commentary is the author's purpose and how he/she achieves it.
2. You comment on lexis(vocabulary/diction), figures of speech, structure (grammar, tense, participles, punctuation, sentence length).
3. Write in commentary sentences which: i)identify ii)quote iii)comment on the effect of the language used.
Paper 1 Directed Writing
1. Write in the same genre as the original piece.
2. Use features which you identified whilst writing your commentary.
Paper 2.
1. Spend one hour on section A and one hour on section B.
2. Write in the correct genre: do not mix up narrative and descriptive writing.
Friday, September 24, 2010
Wednesday, July 28, 2010
Exam Advice
Paper 1.
Remember time management is very important. For each question spend 15 minutes reading and analysing, 30 minutes writing the commentary, then 15 minutes on the directed writing task.
For the commentary:
Paragraph 1 - genre, audience, purpose, tone
Other paragraphs - comment on how the author achieves his purpose. Use commentary sentences (identify, quote, comment).
Comment on vocabulary, language features, structure.
Review EAS book Chapters 1-5.
Paper 2.
Spend on ehour on each section and try to write 750 words.
Section A - select the CONTRAST question. Review Ghastly Blank, Cannery Row, Interior Monologue, The Innocents, Estha.
Section B - remember all the work we did on GP.
There are two types of discursive essay:
1. Opinion
2. For and against
For the opinion one: In the introduction, immediately state your opinion and then relate it to the topic. Then show how your paragraphing will be.
Write a number of body paragraphs each discussing a sub-topic outlined in the intro. For each of these have two supporting points.
Write a conclusion which reviews the main points and answers the initial quastion (i.e. re-stating your opinion and summarising the reasons).
For the for and against one: Introduction - state the importance of the topic, relate it to the topic title and show your paragraphing.
For the body paragraphs - write 2 or three detailing reasons for and two or three detailing reasons against the topic. For each paragraph have two supporting points.
Write a conclusion which summarises the main points, answers any question given in the title, and states your opinion.
We've did loads of work on this in term 2 -revise it
Remember time management is very important. For each question spend 15 minutes reading and analysing, 30 minutes writing the commentary, then 15 minutes on the directed writing task.
For the commentary:
Paragraph 1 - genre, audience, purpose, tone
Other paragraphs - comment on how the author achieves his purpose. Use commentary sentences (identify, quote, comment).
Comment on vocabulary, language features, structure.
Review EAS book Chapters 1-5.
Paper 2.
Spend on ehour on each section and try to write 750 words.
Section A - select the CONTRAST question. Review Ghastly Blank, Cannery Row, Interior Monologue, The Innocents, Estha.
Section B - remember all the work we did on GP.
There are two types of discursive essay:
1. Opinion
2. For and against
For the opinion one: In the introduction, immediately state your opinion and then relate it to the topic. Then show how your paragraphing will be.
Write a number of body paragraphs each discussing a sub-topic outlined in the intro. For each of these have two supporting points.
Write a conclusion which reviews the main points and answers the initial quastion (i.e. re-stating your opinion and summarising the reasons).
For the for and against one: Introduction - state the importance of the topic, relate it to the topic title and show your paragraphing.
For the body paragraphs - write 2 or three detailing reasons for and two or three detailing reasons against the topic. For each paragraph have two supporting points.
Write a conclusion which summarises the main points, answers any question given in the title, and states your opinion.
We've did loads of work on this in term 2 -revise it
Estha Sample Directed Writing
The people in the houses knew better than to talk to Estha. For some, fear prompted them to avert their look, to purse tight their lips, at the sight of him. Invisible people. Ghosts. For others it was even easier. They hadn't seen him at all. Propriety, good taste, social necessity empowered them to look through Estha. He became part of the riverbank. Part of the decor of the wedding cake houses with their twin tiers of white rooms. Sugar houses. Invisible Estha. And then there were the people who sensed Estha's otherwise, that he carried a knowledge which they would never share. His silence was deafening to them. It smelted of foreboding and suffering. It spoke to them of a life which both fascinated and repelled them.
Estha Sample Commentary
Immediate sympathy is evoked for Estha because no one could remember even the year that he stopped talkinq. This seems incredible to the reader. 'No one' is vague and suggests no particular adults, in particular parents, were looking after him. The non¬sentence 'stopped talking altogether' shows that he had hardly ever spoken even before he became silent. The metaphors ‘winding down' and `closing shop' suggest, firstly, a clock which is going more and more slowly and is in need of a re-wind. Secondly of a shop which is shutting for the holidays. Estha’s ‘barely noticeable quitening’ suggests a stopping in Estha. The repetition of ‘never' with ‘awkward’ and ‘intrusive’ show the total lack of effect he had on others around him. ‘Never noisy` emphasises his silence, his blending into the background; an effect that is also created by the short non-sentences which, barely communicative themselves, are something like Estha. The metaphor of the 'dry season' is effective to describe Estha's silence, as later the river banks are mentioned as being one of Estha's walking places.
The reader sympathises with Estha in the second paragraph when he is described as being of such little importance that he was 'almost invisible to the untrained eye'. This makes him seem like a rare biological or botanical creature, less than a human being. The fact the some people failed to notice him at all adds to our sympathy for him.
Estha's 'mediocre' exam results create sympathy, as does his being an outsider who likes to do work stereotypically done by the opposite sex. Obviously he has qualities which evoke sympathy in others, for example the bazaar vendors, and this in turn evokes the reader's sympathy. He is an outsider who stands apart from other customers; he doesn't bargain. In turn he has an innocence or simplicity which causes the vendors to look after him, to treat him with a tenderness not reserved for others (the gifts of coriander and chillies), which transmits itself to the reader. The fact that Estha is withdrawn from society is shown in the metaphor 'quiet bubble floating on a sea of noise'. A bubble, like Estha, is fragile, and a sea is vast, and so the noise on the tram is shown in contrast to Estha's quietness; too much noise might destroy him, unless he is able to keep detached from it.
Many metaphors are used in the next paragraph to describe Estha's silence. It is something growing inside his head which embraces him like a friend or lover, thus giving him comfort. However, 'swampy' introduces a sinister connotation, and is linked to the idea of the river already mentioned. The silence also cradles him like a baby; thus the security which he finds in silence is emphasised. It becomes an octopus-tike creature with 'tentacles' which 'inch' and are 'stealthy'; and so again there is a sinister overtone, as if the silence will eventually be harmful to Estha. The metaphor of the vacuum cleaner removing memories from Estha suggests that these memories are debris and therefore undesirable or even harmful. Personification is also used in this paragraph. Silence is personified in 'sent', 'dislodging', 'whisking' and 'stripped', making it seem that Estha is defenceless against the power of silence. The single-word sentences 'Unspeakable' and 'Numb' emphasise this. The metaphor of the octopus is powerful. It also represents Estha's silence, which stretches around his mind as an octopus might stretch its tentacles; the 'inky tranquiliiser' of silence helps him to forget the past in the same way as an octopus emits a dark liquid to confuse and scare away its assailants.
The reference to Estha's unfortunate dog in the next paragraph heightens our sympathy for Estha; to lose this ally seems a cruel blow to someone already in distress himself, and we are sympathetic to someone who would nurse a sick animal, as Estha does. The picture of Estha as the lone walker, without companionship, gains the reader's sympathy. The simile of the fisherman with secrets makes Estha seem like an outsider in his society, as a fisherman would be in a city.
The final paragraph describes the houses Estha sees on his walks. The houses of 'nurses ... and bank clerks' are described metaphorically as if they were fancy cakes, which shows how attractive and ornate they are. The 'older' houses are personified as being 'green with envy' of the other houses and 'cowering'. Thus the contrast in the areas walked through by Estha makes us sympathise with him as it stresses how isolated he is from every social grouping and their petty material concerns.
The reader sympathises with Estha in the second paragraph when he is described as being of such little importance that he was 'almost invisible to the untrained eye'. This makes him seem like a rare biological or botanical creature, less than a human being. The fact the some people failed to notice him at all adds to our sympathy for him.
Estha's 'mediocre' exam results create sympathy, as does his being an outsider who likes to do work stereotypically done by the opposite sex. Obviously he has qualities which evoke sympathy in others, for example the bazaar vendors, and this in turn evokes the reader's sympathy. He is an outsider who stands apart from other customers; he doesn't bargain. In turn he has an innocence or simplicity which causes the vendors to look after him, to treat him with a tenderness not reserved for others (the gifts of coriander and chillies), which transmits itself to the reader. The fact that Estha is withdrawn from society is shown in the metaphor 'quiet bubble floating on a sea of noise'. A bubble, like Estha, is fragile, and a sea is vast, and so the noise on the tram is shown in contrast to Estha's quietness; too much noise might destroy him, unless he is able to keep detached from it.
Many metaphors are used in the next paragraph to describe Estha's silence. It is something growing inside his head which embraces him like a friend or lover, thus giving him comfort. However, 'swampy' introduces a sinister connotation, and is linked to the idea of the river already mentioned. The silence also cradles him like a baby; thus the security which he finds in silence is emphasised. It becomes an octopus-tike creature with 'tentacles' which 'inch' and are 'stealthy'; and so again there is a sinister overtone, as if the silence will eventually be harmful to Estha. The metaphor of the vacuum cleaner removing memories from Estha suggests that these memories are debris and therefore undesirable or even harmful. Personification is also used in this paragraph. Silence is personified in 'sent', 'dislodging', 'whisking' and 'stripped', making it seem that Estha is defenceless against the power of silence. The single-word sentences 'Unspeakable' and 'Numb' emphasise this. The metaphor of the octopus is powerful. It also represents Estha's silence, which stretches around his mind as an octopus might stretch its tentacles; the 'inky tranquiliiser' of silence helps him to forget the past in the same way as an octopus emits a dark liquid to confuse and scare away its assailants.
The reference to Estha's unfortunate dog in the next paragraph heightens our sympathy for Estha; to lose this ally seems a cruel blow to someone already in distress himself, and we are sympathetic to someone who would nurse a sick animal, as Estha does. The picture of Estha as the lone walker, without companionship, gains the reader's sympathy. The simile of the fisherman with secrets makes Estha seem like an outsider in his society, as a fisherman would be in a city.
The final paragraph describes the houses Estha sees on his walks. The houses of 'nurses ... and bank clerks' are described metaphorically as if they were fancy cakes, which shows how attractive and ornate they are. The 'older' houses are personified as being 'green with envy' of the other houses and 'cowering'. Thus the contrast in the areas walked through by Estha makes us sympathise with him as it stresses how isolated he is from every social grouping and their petty material concerns.
Friday, March 12, 2010
THE AGED AGED MAN by Lewis Carroll
The Aged Aged Man
by Lewis Carroll
I'll tell thee everything I can;
There's little to relate.
I saw an aged aged man,
A-sitting on a gate.
"Who are you, aged man?" I said,"
And how is it you live?
"And his answer trickled through my head
Like water through a sieve.
He said, "I look for butterflies
That sleep among the wheat:
I make them into mutton-pies,
And sell them in the street.
I sell them unto men," he said,
"Who sail on stormy seas;
And that's the way I get my bread -
A trifle; if you please."
But I was thinking of a plan
To dye one's whiskers green,
And always use so large a fan
That they could not be seen.
So, having no reply to give
To what the old man said, I cried,
"Come, tell me how you live!
"And thumped him on the head.
His accents mild took up the tale:
He said, "I go my ways,
And when I find a mountain-rill,I set it in a blaze;
And thence they make a stuff they call
Rowland's Macassar-Oil -
Yet twopence-halfpenny is all
They give me for my toil."
But I was thinking of a way
To feed oneself on batter,
And so go on from day to day
Getting a little fatter.
I shook him well from side to side,
Until his face was blue:
"Come, tell me how you live," I cried,
"And what it is you do!"
He said, "I hunt for haddocks' eyes
Among the heather bright,And work them into waistcoat buttons
In the silent night.
And these I do not sell for gold
Or coin of silvery shine,
But for a copper halfpenny,
And that will purchase nine.
"I sometimes dig for buttered rolls,
Or set limed twigs for crabs;
I sometimes search the grassy knolls
For wheels of hansom-cabs.
And that's the way" (he gave a wink)"
By which I get my wealth -
And very gladly will I drink
Your Honour's noble health."
I heard him then, for I had just
Completed my design
To keep the Menai bridge from rust
By boiling it in wine.
I thanked him much for telling me
The way he got his wealth,
But chiefly for his wish that he
Might drink my noble health.
And now, if e'er by chance
I putMy fingers into glue,
Or madly squeeze a right-hand foot
Into a left-hand shoe,
Or if I drop upon my toe
A very heavy weight,
I weep, for it reminds me so
Of that old man I used to know -
Whose look was mild, whose speech was slow,
Whose hair was whiter than the snow,
Whose face was very like a crow,
With eyes, like cinders, all aglow,
Who seemed distracted with his woe,
Who rocked his body to and fro,
And muttered mumblingly and low,
As if his mouth were full of dough,
Who snorted like a buffalo -
That summer evening long ago
A-sitting on a gate.
by Lewis Carroll
I'll tell thee everything I can;
There's little to relate.
I saw an aged aged man,
A-sitting on a gate.
"Who are you, aged man?" I said,"
And how is it you live?
"And his answer trickled through my head
Like water through a sieve.
He said, "I look for butterflies
That sleep among the wheat:
I make them into mutton-pies,
And sell them in the street.
I sell them unto men," he said,
"Who sail on stormy seas;
And that's the way I get my bread -
A trifle; if you please."
But I was thinking of a plan
To dye one's whiskers green,
And always use so large a fan
That they could not be seen.
So, having no reply to give
To what the old man said, I cried,
"Come, tell me how you live!
"And thumped him on the head.
His accents mild took up the tale:
He said, "I go my ways,
And when I find a mountain-rill,I set it in a blaze;
And thence they make a stuff they call
Rowland's Macassar-Oil -
Yet twopence-halfpenny is all
They give me for my toil."
But I was thinking of a way
To feed oneself on batter,
And so go on from day to day
Getting a little fatter.
I shook him well from side to side,
Until his face was blue:
"Come, tell me how you live," I cried,
"And what it is you do!"
He said, "I hunt for haddocks' eyes
Among the heather bright,And work them into waistcoat buttons
In the silent night.
And these I do not sell for gold
Or coin of silvery shine,
But for a copper halfpenny,
And that will purchase nine.
"I sometimes dig for buttered rolls,
Or set limed twigs for crabs;
I sometimes search the grassy knolls
For wheels of hansom-cabs.
And that's the way" (he gave a wink)"
By which I get my wealth -
And very gladly will I drink
Your Honour's noble health."
I heard him then, for I had just
Completed my design
To keep the Menai bridge from rust
By boiling it in wine.
I thanked him much for telling me
The way he got his wealth,
But chiefly for his wish that he
Might drink my noble health.
And now, if e'er by chance
I putMy fingers into glue,
Or madly squeeze a right-hand foot
Into a left-hand shoe,
Or if I drop upon my toe
A very heavy weight,
I weep, for it reminds me so
Of that old man I used to know -
Whose look was mild, whose speech was slow,
Whose hair was whiter than the snow,
Whose face was very like a crow,
With eyes, like cinders, all aglow,
Who seemed distracted with his woe,
Who rocked his body to and fro,
And muttered mumblingly and low,
As if his mouth were full of dough,
Who snorted like a buffalo -
That summer evening long ago
A-sitting on a gate.
Your journey to school in the style of Durrell - BRILLIANT work by Rasyidah
Journey To School With My Ani-car
When I walk out my front door, my cheetah rises up from its previous Spinx-like pose, a deadpan expression on his face as if to say ‘Took you long enough’ mockingly at me, all geared up and ready for the day. He greets me with a soft growl, as though he is warning me that I better not have left anything behind. It is how we always start our mornings, my easily-exasperated cheetah and I.
We immediately take off as soon as I have climbed aboard, with me clamping my legs against him and hugging my things tightly in a desperate effort to not be thrown overboard. We sprint swiftly along the hissing road, which seems more than a little eager to be rid of us. Occasionally, we have to stop at the red-lighted teasings of the irritating traffic lights, waiting impatiently to just dash away when the infuriating annoyances would finally give up their tasteless jokes. Apart from the law-abiding pauses we are required to make, we mostly just weave through the jungle of morning traffic, with an assortment of other animals racing with us against the clock to school.
Horses gallop near the front of the crowd, birds glide on air-currents above our heads, snakes slither between the feet of their competitors and each other, getting themselves hopelessly entangled. Elephants thump their way through the bestial mass of the traffic, shaking the roads and thus making it harder for us to move on the earthquaked roads. There are also ants in the traffic, each of them carrying a cluster of about five children. Rabbits hop along with all of us, sometimes managing to jump onto and from the heads of the other animals. Cats prowl silently alongside the horde, making use of any nooks, crannies and whatever space available to move ahead of their contenders. My trusty and road-worthy cheetah easily manages to pass all of them, taking the lead.
Though that cheetah of mine always complains about my tardiness of causing our need to rush, I can tell that he secretly enjoys our impromptu morning races and that beating those animals stroke his pride in his speed. I, on the other hand, am just grateful that his extraordinary speed gets me to school on time though I do wish he could be a bit less cocky about it.
-Rasyidah Abdullah, A4, Block 1.
When I walk out my front door, my cheetah rises up from its previous Spinx-like pose, a deadpan expression on his face as if to say ‘Took you long enough’ mockingly at me, all geared up and ready for the day. He greets me with a soft growl, as though he is warning me that I better not have left anything behind. It is how we always start our mornings, my easily-exasperated cheetah and I.
We immediately take off as soon as I have climbed aboard, with me clamping my legs against him and hugging my things tightly in a desperate effort to not be thrown overboard. We sprint swiftly along the hissing road, which seems more than a little eager to be rid of us. Occasionally, we have to stop at the red-lighted teasings of the irritating traffic lights, waiting impatiently to just dash away when the infuriating annoyances would finally give up their tasteless jokes. Apart from the law-abiding pauses we are required to make, we mostly just weave through the jungle of morning traffic, with an assortment of other animals racing with us against the clock to school.
Horses gallop near the front of the crowd, birds glide on air-currents above our heads, snakes slither between the feet of their competitors and each other, getting themselves hopelessly entangled. Elephants thump their way through the bestial mass of the traffic, shaking the roads and thus making it harder for us to move on the earthquaked roads. There are also ants in the traffic, each of them carrying a cluster of about five children. Rabbits hop along with all of us, sometimes managing to jump onto and from the heads of the other animals. Cats prowl silently alongside the horde, making use of any nooks, crannies and whatever space available to move ahead of their contenders. My trusty and road-worthy cheetah easily manages to pass all of them, taking the lead.
Though that cheetah of mine always complains about my tardiness of causing our need to rush, I can tell that he secretly enjoys our impromptu morning races and that beating those animals stroke his pride in his speed. I, on the other hand, am just grateful that his extraordinary speed gets me to school on time though I do wish he could be a bit less cocky about it.
-Rasyidah Abdullah, A4, Block 1.
Tuesday, February 23, 2010
Inversnaid by Gerard Manley Hopkins - how do the sounds of the words create the movement of water?
Inversnaid by Gerard Manley Hopkins
THIS darksome burn, horseback brown,
His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.
A windpuff-bonnet of fáwn-fróth
Turns and twindles over the broth
Of a pool so pitchblack, féll-frówning,
It rounds and rounds Despair to drowning.
Degged with dew, dappled with dew
Are the groins of the braes that the brook treads through,
Wiry heathpacks, flitches of fern,
And the beadbonny ash that sits over the burn.
THIS darksome burn, horseback brown,
His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.
A windpuff-bonnet of fáwn-fróth
Turns and twindles over the broth
Of a pool so pitchblack, féll-frówning,
It rounds and rounds Despair to drowning.
Degged with dew, dappled with dew
Are the groins of the braes that the brook treads through,
Wiry heathpacks, flitches of fern,
And the beadbonny ash that sits over the burn.
Cargoes by John Masefield - how do the sounds of the words create the movement of the ships?
Cargoes by John Masefield
Quinquireme of Nineveh from distant Ophir,
Rowing home to haven in sunny Palestine,
With a cargo of ivory,
And apes and peacocks,
Sandalwood, cedarwood, and sweet white wine.
Stately Spanish galleon coming from the Isthmus,
Dipping through the Tropics by the palm-green shores,
With a cargo of diamonds,
Emeralds, amythysts,
Topazes, and cinnamon, and gold moidores.
Dirty British coaster with a salt-caked smoke stack,
Butting through the Channel in the mad March days,
With a cargo of Tyne coal,
Road-rails, pig-lead,
Firewood, iron-ware, and cheap tin trays.
Quinquireme of Nineveh from distant Ophir,
Rowing home to haven in sunny Palestine,
With a cargo of ivory,
And apes and peacocks,
Sandalwood, cedarwood, and sweet white wine.
Stately Spanish galleon coming from the Isthmus,
Dipping through the Tropics by the palm-green shores,
With a cargo of diamonds,
Emeralds, amythysts,
Topazes, and cinnamon, and gold moidores.
Dirty British coaster with a salt-caked smoke stack,
Butting through the Channel in the mad March days,
With a cargo of Tyne coal,
Road-rails, pig-lead,
Firewood, iron-ware, and cheap tin trays.
Wednesday, February 17, 2010
Sample commentary on Shanghai Childhood: be sure you have a written copy of it
The writer's purpose is to look back on childhood in a nostalgic, sometimes rather comical way. It is incongruous to describe a 'mound` as having a 'summit'. This shows that to small children a slight incline in a garden seems like a mountain. The writer concedes that his memory is exaggerated in the phrases 'even at the time' and 'hardly matched': he acknowledges the 'splendour' of the houses round the corner, which are described as 'residences' rather than merely houses.
A comical picture of little boys is created. Their game is only running about in a garden and yet they are 'worn ... out' and are 'panting', in need of a rest. The gap between childhood and adulthood for the writer is shown in the words 'around six years old'; he does not have an exact memory because it was a long time ago. Nostalgia is created in his closing his eyes 'to bring back that picture', consciously trying to evoke the past. His parents' nostalgia for the England they have left behind is shown in their weak attempt to re-create an 'English' lawn; the inverted commas show their attempt is not entirely successful in the climate of Shanghai.
A comical picture of little boys is created. Their game is only running about in a garden and yet they are 'worn ... out' and are 'panting', in need of a rest. The gap between childhood and adulthood for the writer is shown in the words 'around six years old'; he does not have an exact memory because it was a long time ago. Nostalgia is created in his closing his eyes 'to bring back that picture', consciously trying to evoke the past. His parents' nostalgia for the England they have left behind is shown in their weak attempt to re-create an 'English' lawn; the inverted commas show their attempt is not entirely successful in the climate of Shanghai.
Tuesday, February 16, 2010
Monday, July 7, 2008
IELTS
Many of you will be required to take an IELTS test. IELTS is International English Language Testing System.
You do not pass or fail IELTS, rather you receive a band score which indicates your level English language competence.
Universities usually require a band 6 or band 6.5.
IELTS consists of: Speaking; Listening; Reading; Writing.
Speaking involves talking to an examiner for around 15 minutes. It is not a conversation because the examiner is reading from a script. Speaking is divided into 3 parts: i) general topics ii) you speaking for 2 minutes on a subject iii) a more complex discussion. You cannot choose your questions.
Listening involves listening to a tape and answering 40 questions. You only hear the tape once.
Writing involves writing 2 essays in 1 hour. The first is a summary of a graph, graphs, a chart or charts. You must write at least 150 words (20 mins). The second is a GP type essay of at least 250 words (40 mins). You are given no choice of topic.
Reading is 1 hour and involves 3 texts and 40 questions.
The only place to take IELTS in Brunei is at CFBT in Kiarong. They usually run 2 tests per month so it is worth booking up in advance as there is usually a waiting list.
Call them at 2451905.
CFBT also run classes but there should be no need for you to enroll. Simply acquaint yourself with the test and the types of questions you will have to answer. There are many excellent websites and I have linked a number of them on the left. The 5 star ones are recommended.
You do not pass or fail IELTS, rather you receive a band score which indicates your level English language competence.
Universities usually require a band 6 or band 6.5.
IELTS consists of: Speaking; Listening; Reading; Writing.
Speaking involves talking to an examiner for around 15 minutes. It is not a conversation because the examiner is reading from a script. Speaking is divided into 3 parts: i) general topics ii) you speaking for 2 minutes on a subject iii) a more complex discussion. You cannot choose your questions.
Listening involves listening to a tape and answering 40 questions. You only hear the tape once.
Writing involves writing 2 essays in 1 hour. The first is a summary of a graph, graphs, a chart or charts. You must write at least 150 words (20 mins). The second is a GP type essay of at least 250 words (40 mins). You are given no choice of topic.
Reading is 1 hour and involves 3 texts and 40 questions.
The only place to take IELTS in Brunei is at CFBT in Kiarong. They usually run 2 tests per month so it is worth booking up in advance as there is usually a waiting list.
Call them at 2451905.
CFBT also run classes but there should be no need for you to enroll. Simply acquaint yourself with the test and the types of questions you will have to answer. There are many excellent websites and I have linked a number of them on the left. The 5 star ones are recommended.
Thursday, July 3, 2008
Sample Essay For and Against Capital Punishment
Topic: For and against capital punishment
Capital punishment is one of the most controversial subjects to be discussed today. This controversy is caused by so many people all over the world having so many different views about it. Capital punishment happens when someone is put to death for a crime, for example murder or drug trafficking. Many countries in the world have abolished this form of punishment but there are many countries which use it, including many of the states of
One important argument against the death penalty is that sometimes an innocent person is put to death. If capital punishment is used, the authorities must therefore have evidence beyond the shadow of any doubt that they have accused the correct person. Furthermore, capital punishment removes all possibility for a person who has done something seriously wrong to be able to change and to be rehabilitated, or to face up to their past life and repent. In many cases, after capital punishment is abolished, there have been people who committed crimes such as murder, but when they were released after serving their time in prison they did not re-offend but instead they changed and became better people.
Another strong point against capital punishment is that two wrongs do not make a right. Killing a victim, for instance, and then being sentenced to death does not suddenly make everything all right or make things better. A poor, helpless victim’s life has been stolen from him, but killing the murderer will not bring the victim back. In addition, some people might argue that it is inhumane and against human rights to hang, execute or electrify a human being in the name of justice. It could be argued that nobody deserves to die in such a horrible way even if his previous actions have been horribly wrong. The counter-argument to this is of course that the criminal by his actions has given up any rights he might have had to humane treatment.
Nevertheless, those who are in favour ot the death penalty have many points with which to justify their stance. Most importantly it punishes the criminal by doing to him what he did to others. It acts as a form of revenge for the victim’s family by letting them know that the criminal has felt some of the pain he inflicted on another. This is really the only way that people can honestly say that justice has been done. In addition, taking the life of a murderer prevents recidivism, because if the person is no longer alive, then there is no way in which he can commit a crime again.
Furthermore, capital punishment could act as a deterrent to anyone who even thought about committing certain crimes, because he would know that when he was found guilty the death penalty awaited him. Another point in favour of capital punishment is that this method of punishment saves money because instead of the criminal being kept in prison for the rest of his life, he is killed and the money which would have been used to keep him in prison can be used in other, more profitable areas, such as education and hospitals.
After weighing up the arguments for and against capital punishment, I have come to the conclusion that I am for it, and that it is a pity it was abolished in
Friday, May 16, 2008
Language Glossary for EAS
I will start to compile a list of language terms and definitions which will be of use to you when writing commentaries. Here are some important ones:
1. Noun phrase: a word of group of words functioning in a sentence exactly like a noun, with a noun or pronoun as head.
A noun phrase can be a noun or pronoun alone, but is frequently a noun or pronoun with pre-modification and/or post-modification.
eg: the name (the = definite article; name = noun head)
the odd name (odd = pre-modifier)
the name of the game (of the game = post-modifier)
the name he gave (he gave = post-modifier)
2. Modifier: a word or phrase which adds to the meaning of the head word of that phrase.
In the examples above, odd, of the game, he gave, are all modifiers. Pre-modifiers come before the head word and post-modifiers afterwards.
Adverbs act as modifiers in verb phrases.
e.g. I ran quickly (I = pronoun; ran = verb; quickly = modifier)
3. Submodifier: a word which modifies a modifier.
e.g. a very large house (very is a submodifier because it modifies the modifier large).
Contrast with: a large haunted house (both large and haunted are modifiers).
4. Intensifier: an adverb that scales another element upwards or downwards in scales of intensity.
e.g. We thoroughly disapprove and are bitterly disappointed.
You worry a lot.
I hardly know them.
We were kind of wondering.
1. Noun phrase: a word of group of words functioning in a sentence exactly like a noun, with a noun or pronoun as head.
A noun phrase can be a noun or pronoun alone, but is frequently a noun or pronoun with pre-modification and/or post-modification.
eg: the name (the = definite article; name = noun head)
the odd name (odd = pre-modifier)
the name of the game (of the game = post-modifier)
the name he gave (he gave = post-modifier)
2. Modifier: a word or phrase which adds to the meaning of the head word of that phrase.
In the examples above, odd, of the game, he gave, are all modifiers. Pre-modifiers come before the head word and post-modifiers afterwards.
Adverbs act as modifiers in verb phrases.
e.g. I ran quickly (I = pronoun; ran = verb; quickly = modifier)
3. Submodifier: a word which modifies a modifier.
e.g. a very large house (very is a submodifier because it modifies the modifier large).
Contrast with: a large haunted house (both large and haunted are modifiers).
4. Intensifier: an adverb that scales another element upwards or downwards in scales of intensity.
e.g. We thoroughly disapprove and are bitterly disappointed.
You worry a lot.
I hardly know them.
We were kind of wondering.
Saturday, April 26, 2008
Assessment notes: GP
We covered most of this in class, but there are a few important lessons to be learnt.
1. Your opening sentence whether it be quotation, question, imaginary scenario or statement must be tied to the topic to explain its relevance. The purpose of this is to establish the topic, its importance and the issues involved in the mind of the reader.
2. You had your own copy of the Principals of Olympism. The idea is to quote from them.
3. Having established the Principals you should contrast the reality of what is happening with these high ideals.
4. The next student who uses and many more will buy me a weeks' supply of chocolate (and that's a lot!).
5. You must state your sources e.g. if you quote from the Principals, then you must say so. If you discuss someone's view you must say who that person is. If you use something you read then you must state where it came from.
6. Define key words in the topic. In this case soul requires very careful definition.
7. Include up-to-date information.
1. Your opening sentence whether it be quotation, question, imaginary scenario or statement must be tied to the topic to explain its relevance. The purpose of this is to establish the topic, its importance and the issues involved in the mind of the reader.
2. You had your own copy of the Principals of Olympism. The idea is to quote from them.
3. Having established the Principals you should contrast the reality of what is happening with these high ideals.
4. The next student who uses and many more will buy me a weeks' supply of chocolate (and that's a lot!).
5. You must state your sources e.g. if you quote from the Principals, then you must say so. If you discuss someone's view you must say who that person is. If you use something you read then you must state where it came from.
6. Define key words in the topic. In this case soul requires very careful definition.
7. Include up-to-date information.
Assessment notes: EAS
I know its neither the most interesting nor the most appealing pastime, but we can learn a lot from assessments. Here are notes concerning the recent 'Pip' commentary.
1. Always write in the 'commentary sentence' (see elsewhere on this Blog): that is identify - refer - effect.
2. The NARRATIVE VOICE is very important in the Pip passage. How does Miss Havisham appear to us filtered through the eyes of a young boy?
3. Contrast the initial impression of Miss H with the slow revelation of her real self.
4. What is the tone here (wonder? amazement? fear?) and does it change? How is tone created and what effect does it have on the reader?
5. What is Dickens' purpose here? In this passage? Go beyond 'to entertain,' 'to amuse.' Each passage will have a particular purpose and identifying this purpose is the key to writing a successful commentary and getting yourself into the high grades.
6. Genre - this is fictional autobiography....
7. Use the phrases, The writer immediately establishes...
8. Write the commentary in the simple present tense.
9. Length: a side and a half is grade C material two sides and a half is grade A material.
10. Use the phrases, The author leads the reader in....
11. Never ever say things like: the author uses good vocabulary; the author uses good words.
1. Always write in the 'commentary sentence' (see elsewhere on this Blog): that is identify - refer - effect.
2. The NARRATIVE VOICE is very important in the Pip passage. How does Miss Havisham appear to us filtered through the eyes of a young boy?
3. Contrast the initial impression of Miss H with the slow revelation of her real self.
4. What is the tone here (wonder? amazement? fear?) and does it change? How is tone created and what effect does it have on the reader?
5. What is Dickens' purpose here? In this passage? Go beyond 'to entertain,' 'to amuse.' Each passage will have a particular purpose and identifying this purpose is the key to writing a successful commentary and getting yourself into the high grades.
6. Genre - this is fictional autobiography....
7. Use the phrases, The writer immediately establishes...
8. Write the commentary in the simple present tense.
9. Length: a side and a half is grade C material two sides and a half is grade A material.
10. Use the phrases, The author leads the reader in....
11. Never ever say things like: the author uses good vocabulary; the author uses good words.
Thursday, April 24, 2008
Tone
A fundamental principal of EAS
I've added a link to the best discussion of tone that I could find. The following aspects of tone interest us in EAS:
1. What is the tone of the passage?
2. How does the writer create this tone i.e. how does the choice of words and sentence structure in particular create a certain tone?
3. What effects does the tone produce?
Bear in mind that tone can change and hence the effects also change.
Of course, in paper 2 you must think carefully about the tone that you wish to create in order to produce a particular effect. Why don't you practice writing some short pieces in order to create some different tones e.g. mysterious; dangerous; frightening; romantic; philosophical...
I've added a link to the best discussion of tone that I could find. The following aspects of tone interest us in EAS:
1. What is the tone of the passage?
2. How does the writer create this tone i.e. how does the choice of words and sentence structure in particular create a certain tone?
3. What effects does the tone produce?
Bear in mind that tone can change and hence the effects also change.
Of course, in paper 2 you must think carefully about the tone that you wish to create in order to produce a particular effect. Why don't you practice writing some short pieces in order to create some different tones e.g. mysterious; dangerous; frightening; romantic; philosophical...
Thursday, April 17, 2008
Fundamental Principles of GP Essay Writing
1. The Introduction
The introduction to your GP essay is crucial to your success in many ways:
i) it is the reader's first impression of your writing and first impressions count
ii) it tells the reader immediately whether or not you know anything about the subject
iii) it gives the reader an insight into the quality of your thought processes
iv) it effectively makes the remainder of the essay fall into place
v) it clearly defines the scope of your discussion
Let's look at the recent topic: Sport has lost its soul. Discuss.
The word which clearly sticks out here is soul. I know that people have a soul, but I've never heard of sport having a soul.
I know that when someone loses their soul it is a bad thing: they have turned from being good to evil (hence the idiom - to sell your soul to the devil).
Thus in some way I have to consider that sport has in some respects turned bad. I wonder what they are?
How do I go about defining the soul or good part of sport? Look no further than the:
Fundamental Principles of Olympism:
1 Olympism is a philosophy of life, exalting and combining in a balanced whole the qualities of body, will and mind. Blending sport with culture and education, Olympism seeks to create a way of life based on the joy of effort, the educational value of good example and respect for universal fundamental ethical principles.
2 The goal of Olympism is to place sport at the service of the harmonious development of man, with a view to promoting a peaceful society concerned with the preservation of human dignity.
3 The Olympic Movement is the concerted, organised, universal and permanent action, carried out under the supreme authority of the IOC, of all individuals and entities who are inspired by the values of Olympism. It covers the five continents. It reaches its peak with the bringing together of the world's athletes at the great sports festival, the Olympic Games. Its symbol is five interlaced rings.
4 The practice of sport is a human right. Every individual must have the possibility of practising sport, without discrimination of any kind and in the Olympic spirit, which requires mutual understanding with a spirit of friendship, solidarity and fair play. The organisation, administration and management of sport must be controlled by independent sports organisations.
5 Any form of discrimination with regard to a country or a person on grounds of race, religion, politics, gender or otherwise is incompatible with belonging to the Olympic Movement.
6 Belonging to the Olympic Movement requires compliance with the Olympic Charter and recognition by the IOC.
OK there's loads of lofty aims and objectives here. We can see that sport is more than simply running around and I am sure I can find similar principles relating to the World Cup; Tennis; Golf; the SEA Games etc. Obviously we mere humans find it very difficult to live up to these aims.
Now let's look for a relevant quotation to get us going:
For what is a man profited, if he shall gain the whole world, but lose his own soul? (reference a religious book).
So now I'm going to write my introduction.
The ancient quotation For what is a man profited, if he shall gain the whole world, but lose his own soul? shows that humans can lose their soul and that this is connected to becoming evil. The soul of a human must therefore be the essential good which is inside all of us. But how can sport have a soul? It is neither human nor plant nor animal, but rather an all encompassing concept. The answer is that the essential good of sport can be found stated in, for example, the lofty ideals of the Fundamental Principals of Olympism. Thus Article 2, The goal of Olympism is to place sport at the service of the harmonious development of man, with a view to promoting a peaceful society concerned with the preservation of human dignity clearly tells us that the soul of sport is concerned with the good intentions of its organisers. Unfortunately the reality falls far short of these high ideals and today we can see the politicization of the Olympics (not a new phenomena by any means), the incurable curse of performance enhancing drugs, bribery and corruption at the highest levels, cheating and bad sportsmanship wherever we look.
You might think that this is a bit long but the principle is there for you to follow! The beauty of this introduction is that you have told the reader exactly what you will be writing about - MEGA MARKS for being on the ball and the rest of the essay is a piece of cake - er as long as you know something about the topic.
The introduction to your GP essay is crucial to your success in many ways:
i) it is the reader's first impression of your writing and first impressions count
ii) it tells the reader immediately whether or not you know anything about the subject
iii) it gives the reader an insight into the quality of your thought processes
iv) it effectively makes the remainder of the essay fall into place
v) it clearly defines the scope of your discussion
Let's look at the recent topic: Sport has lost its soul. Discuss.
The word which clearly sticks out here is soul. I know that people have a soul, but I've never heard of sport having a soul.
I know that when someone loses their soul it is a bad thing: they have turned from being good to evil (hence the idiom - to sell your soul to the devil).
Thus in some way I have to consider that sport has in some respects turned bad. I wonder what they are?
How do I go about defining the soul or good part of sport? Look no further than the:
Fundamental Principles of Olympism:
1 Olympism is a philosophy of life, exalting and combining in a balanced whole the qualities of body, will and mind. Blending sport with culture and education, Olympism seeks to create a way of life based on the joy of effort, the educational value of good example and respect for universal fundamental ethical principles.
2 The goal of Olympism is to place sport at the service of the harmonious development of man, with a view to promoting a peaceful society concerned with the preservation of human dignity.
3 The Olympic Movement is the concerted, organised, universal and permanent action, carried out under the supreme authority of the IOC, of all individuals and entities who are inspired by the values of Olympism. It covers the five continents. It reaches its peak with the bringing together of the world's athletes at the great sports festival, the Olympic Games. Its symbol is five interlaced rings.
4 The practice of sport is a human right. Every individual must have the possibility of practising sport, without discrimination of any kind and in the Olympic spirit, which requires mutual understanding with a spirit of friendship, solidarity and fair play. The organisation, administration and management of sport must be controlled by independent sports organisations.
5 Any form of discrimination with regard to a country or a person on grounds of race, religion, politics, gender or otherwise is incompatible with belonging to the Olympic Movement.
6 Belonging to the Olympic Movement requires compliance with the Olympic Charter and recognition by the IOC.
OK there's loads of lofty aims and objectives here. We can see that sport is more than simply running around and I am sure I can find similar principles relating to the World Cup; Tennis; Golf; the SEA Games etc. Obviously we mere humans find it very difficult to live up to these aims.
Now let's look for a relevant quotation to get us going:
For what is a man profited, if he shall gain the whole world, but lose his own soul? (reference a religious book).
So now I'm going to write my introduction.
The ancient quotation For what is a man profited, if he shall gain the whole world, but lose his own soul? shows that humans can lose their soul and that this is connected to becoming evil. The soul of a human must therefore be the essential good which is inside all of us. But how can sport have a soul? It is neither human nor plant nor animal, but rather an all encompassing concept. The answer is that the essential good of sport can be found stated in, for example, the lofty ideals of the Fundamental Principals of Olympism. Thus Article 2, The goal of Olympism is to place sport at the service of the harmonious development of man, with a view to promoting a peaceful society concerned with the preservation of human dignity clearly tells us that the soul of sport is concerned with the good intentions of its organisers. Unfortunately the reality falls far short of these high ideals and today we can see the politicization of the Olympics (not a new phenomena by any means), the incurable curse of performance enhancing drugs, bribery and corruption at the highest levels, cheating and bad sportsmanship wherever we look.
You might think that this is a bit long but the principle is there for you to follow! The beauty of this introduction is that you have told the reader exactly what you will be writing about - MEGA MARKS for being on the ball and the rest of the essay is a piece of cake - er as long as you know something about the topic.
Fundamental Principles of Commentary Writing
1. THE COMMENTARY SENTENCE
There is a standard type of sentence to use when writing a commentary which fulfills the following three functions:
i) it identifies the language feature
ii) it provides the text reference
iii) it explains what the effect is
Here is an example drawn from the recent Dickens text.
"Pip expresses the stunning impact made by Miss Havisham the first time he sees her, 'the strangest lady I have ever seen, or shall ever see.' The use of the superlative strangest clearly exclaims that no other person on earth could possibly be as strange as Miss Havisham. The repetitious have seen/shall ever see emphasises this point by stating that she is unique through time. Thus the reader is given a clear idea of the amazing and life-changing effect that this old lady has and is likely to have on Pip's life".
You will see that my commentary sentence is actually four sentences, but this is OK. It is because I had rather a lot to say. The principle remains the same for one, two, three or four sentences. Can you identify each function within my example?
Look at all your sample commentaries - you will see what I am talking about.
There is a standard type of sentence to use when writing a commentary which fulfills the following three functions:
i) it identifies the language feature
ii) it provides the text reference
iii) it explains what the effect is
Here is an example drawn from the recent Dickens text.
"Pip expresses the stunning impact made by Miss Havisham the first time he sees her, 'the strangest lady I have ever seen, or shall ever see.' The use of the superlative strangest clearly exclaims that no other person on earth could possibly be as strange as Miss Havisham. The repetitious have seen/shall ever see emphasises this point by stating that she is unique through time. Thus the reader is given a clear idea of the amazing and life-changing effect that this old lady has and is likely to have on Pip's life".
You will see that my commentary sentence is actually four sentences, but this is OK. It is because I had rather a lot to say. The principle remains the same for one, two, three or four sentences. Can you identify each function within my example?
Look at all your sample commentaries - you will see what I am talking about.
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