AS English Lang/Lit
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Ex 1
Feet
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Ex 2
Buffalo
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Ex 3
Henry V
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Ex 4
DCB Pierre
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Ex 5
The Caretaker
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Ex 6
Color Purple
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Ex 7
Travel
Article
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Ex 8
Color Purple 2
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Abdiqani
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4
|
7
|
10
|
16
|
11
|
12
|
||
Trusanth
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4
|
4
|
5
|
7
|
11
|
6
|
14
|
17
|
Storme
|
10
|
2
|
11
|
19
|
10
|
14
|
5
|
|
Natalee
|
4
|
5
|
11
|
8
|
7
|
20
|
8
|
16
|
Rubie
|
7
|
6
|
18
|
11
|
13
|
16
|
||
Tanisha
|
5
|
11
|
4
|
4
|
25
|
21
|
15
|
7
|
Bhanusha
|
9
|
12
|
13
|
15
|
25
|
18
|
13
|
|
Rea
|
5
|
6
|
17
|
18
|
19
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|||
Sayana
|
7
|
8
|
2
|
7
|
30
|
29
|
22
|
|
Nazanien
|
5
|
4
|
15
|
15
|
13
|
16
|
6
|
|
Stephanie
|
6
|
8
|
7
|
7
|
21
|
6
|
18
|
|
Alana
|
6
|
11
|
19
|
15
|
8
|
14
|
||
Emily
|
8
|
16
|
18
|
22
|
10
|
24
|
16
|
|
Oliver
|
12
|
14
|
12
|
12
|
11
|
3
|
19
|
|
Cherelle
|
4
|
14
|
18
|
20
|
19
|
16
|
16
|
|
Ebony
|
6
|
4
|
12
|
16
|
7
|
7
|
9
|
|
Lori
|
12
|
16
|
14
|
19
|
28
|
23
|
15
|
19
|
Kheran
|
9
|
7
|
15
|
28
|
32
|
23
|
16
|
|
Michelle
|
6
|
12
|
9
|
8
|
||||
Alin
|
7
|
9
|
19
|
15
|
20
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|||
Aalayah
|
9
|
19
|
17
|
12
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AS English
Language and Literature marks. For Ex 8, 15 is the pass mark.
Mention AAVE and the themes of Patriarchy and Sisterhood.
Exemplar:
Exemplar:
Extract: ‘Mr _______come finally one day
looking all drug out’ (page 12) to ‘he say, her cow.’ (page 13).
Using this extract as your starting point,
you should: Explore how Walker’s voice conveys the attitudes of the men
involved in this transaction.
This extract occurs early on in the novel
and shows the level of patriarchal society that Celie has to endure in the
southern states of early twentieth century north America. Pa’s attitude towards women demonstrates the
almost slave-like treatment of Celie as she is paraded in an animalistic
fashion, as if almost for sale, whilst high above sits Albert on his horse metaphorically and physically high above as she is forced to turn around on 'Pa's' command and display her wares.
Walker uses the African American Vernacular
to demonstrate Celie’s lack of education, naivety and vulnerability as she
describes through the epistolaric structure her use of ellipsis, confusion of
tense and yet effective communication:
‘Done
quit’ (tense)
‘His
mammy done said’ (dialect and syntax)
‘Like it
wasn’t nothing’ (double negative)
This produces a realistic sense of Celie’s
voice as she narrates the story and interchange between her, Pa and
Albert. The irony being that this is the
very same Albert that had eyes for Nettie, once a suitor and possible husband,
now being forced upon Celie. Her mute,
passive acceptance confirms that she has no choice in this business exchange –
confirmed by the final remark:
‘That
cow still coming’?
He
say ‘Her cow’
If
it wasn’t for the cow Albert would have no interest in the business deal; women
are merely used for sex, work around the house and bringing up the children.
The men speak in short imperatives,
confirming their dominance and patriarchy:
‘Let
me see her again’.
There is no phatic utterances, no social
graces in this society. ‘Pa’s’ reply is
also a short imperative declaration:
‘Mr_______
want another look at you.
This isn’t a request but a demand for her
attendance and parade.
‘Move
up, he won’t bite’.
His short command demonstrates a belittling
attitude, as if he’s talking to a young child rather than a woman he’s trying
to marry off. Her lack of choice is
brutally clear. This is followed by
further short utterances, which demonstrate the almost animalistic manner of
their transactional conversation: ‘Turn
round’; followed by her silently obeying and mute acceptance of his demands.
With the arrival of Lucious the
conversation between the males now refer to Celie in the third person – as if
she isn’t actually there. Lucious is her
kid brother and so hasn’t fully integrated into the male dominated society of
Georgia – so he refers to her directly with the ellipsis of AAVE:
‘what you doing
that for?’
But once ‘Pa’ and Albert begin the
transaction, she is immediately demoted to the silent item of sale in the third
person:
Your
sister thinking about marriage’.
The irony of the situation is notable as
Celie is definitely not thinking about marriage; if anything she’s thinking
about running away with Nettie, she’s hoping the marriage will be a
distraction:
…he be so love
struck with her I could figure out a way for us to run away.
It is this theme of the sisterly bond that
introduces one of the recurrent themes in the novel. It is Celie’s and Nettie’s weapon against the
male dominated world that surrounds them, where the women work and the men
pretend that they’re in control, ruling with violence and selfish orders.
The entire interchange is reflective of
several decades past, where women and men were sold as slaves by white males;
now the women are the downtrodden ones, the unspoken slavery of serving their
menfolk without question and without hope; but Celie doesn’t even have the
reward of a man who loves her, for her it is only the drudgery of a violent relationship; that is, until
Shug and Sofia suggest the direction she should take.
