CXC English A May June 2007

MAY/JUNE 2007
CXC
ENGLISH A
Paper 02 - General Profcienc
2 ! "o#r$
SEC%I&N &NE
'S#((e$)e* )i+e, . +in#)e$
Yo# MUS% an$er )"e 1#e$)ion in )"i$ $ec)

3 4ea* care5#ll )"e 5olloin( pa$$a(e an* )"en ri)e
Yo#r $#++ar +#$) 6e in con)in#o#$ pro$e in para(

+#$) no) 6e +ore )"an 3.0 or*$ in len()" &nl )"e f
o#r an$er ill 6e rea* an* a$$e$$e*
Since the beginning of civilization, they have served as

identication, spiritual protection and decoration. Now at the c
millennium, tattoos and other varieties of body markings are r
popular form of individual self expression.
Tattoos are timeless and can be uniue as the bearers th

don!t fade away like favourite t"shirts, or get lost or broken like
stay with you forever, until death. They become a part of you f
sit in the artist!s chair, etching your emotions alongside the ne
transforming an instant of your life into a symbol for the world
Tattoos and other body markings arrived in the #aribbea

slaves and indentured workers from #hina and %ndia. They wer
only permanent keepsakes of peoples snatched from their anc

#aribbean!s original $merindian inhabitants also used tattoos t

milestones. The Taino of the northern #aribbean %slands, for in
vegetable dyes to a&x images of their guardians onto their ski
also indicated an individual!s lineage, or his or her social positi
both a personal history book and a mark of belonging.
(ver the centuries, however, tattoos and other forms of

have mutated, exchanging religious and cultural signicance f
associations. Sometimes that mark of individuality has been c
rebellion and non"conformity, often alluding to a stain of bad c
wearers have seem wild, dangerous, even )ust plain bad.
*ut today, tattoos have come full circle. #elebrities, writ

housewives, all proudly display their marks of rebellion. $n ent
perception of the art of tattooing has arisen, which is more tha
preoccupation with style. This re"discovered form of expressio
entire sub"culture of individuals among us. They carry this com
distinction through their daily routines. +ia the images on their
shoulders, ankles, or torsos, they connect to each other, anno
( to be uniue and di-erent.
SEC%I&N %8&
'S#((e$)e* )i+e, 90 +in#)e$
An$er ALL )"e 1#e$)ion$ in )"i$ $ec)ion

2 4ea* care5#ll )"e pa$$a(e 6elo an* )"en
an$er all )"e 1#e$)ion$ )"a) 5ollo

This village appeared to be at the end of the

world, and it seemed as though each day was a
deliberate e-ort. awn came slowly/ the cold air
0owing o- the sea, the smell of sh and the wet
smell of the nets fading away as the light climbed
o- the sky. 1idday brought a blazing heat that
softened the raw pitch with which the road was
made in the village. #ars parked too long out in the
heat sank slowly, tyre"deep, into the soft asphalt,
and the hot sun and the heavy air lled with the
smell of cooking drove people into the shade as a
torpor settled over the whole village. 'vening saw
the huge red ball of the sun dipping across the sky
into the sea leaving glorious and stunning sunsets
that coloured the bay red, burning o- the hulls of
the tankers that tied up against the long oil")etty,
matching the 0ares of the oil renery in the
distance as the excess gas was burned o-. the
evening smell was that of oil.
There was death in the village, but that

death was not a nal horror, it was not the heart"
rending, bitter cry of a sudden and unexpected
grief. No2 %t was the sad, lingering, whimsical death
found in the eyes of broken, old men as they
patted young boys on the head and considered the
foolishness of youth/ it was the empty death found
on abandoned coasts at the end of small islands
dwarfed by the hugeness of the $tlantic/ it was the
hopelessness of this backwater village, swept clean
of talent and vitality, missed and ignored by a
political turmoil sweeping the city, dependent upon
a poor stony earth and dwindling oil. eath here
was a vision of a hopeless future.

3a4 5hat times of the day does the writer

describe in paragraph 67 '2 +ar:
3b4 %dentify the contrasting smells of the day

mentioned by the writer in paragraph 6. '2
+ar:$
3c4 To what does the writer compare the colour

of the setting sun7 '2 +ar:$
3d4 %dentify (N' example of what the writer

refers to as 8whimsical death8 '2 +ar:$
3e4 %dentify (N' word that illustrates

personication in lines 9 and :. '3 +ar:
3f4 5hat impression is suggested about the

village by the use of 8each day was a deliberate
e-ort8 '2 +ar:$
3g4 5hy did cars parked too long sink slowly7

'2 +ar:$
3h4 %dentify T5( phrases in the last four lines

that create the atmosphere of abandonment. '2
+ar:$
%o)al 3. +ar:$
 4ea* care5#ll )"e pa$$a(e 6elo an* )"en

an$er all )"e 1#e$)ion$ )"a) 5ollo
;radually, every parent becomes aware that his or
her child has adult concerns, wants acres of
privacy and no longer trusts the goodwill of parents
in the same old way. These are the biggest of all
changes in child"parent relations, and are almost
always in place by age 6:. This shift occurs not
because of bad in0uences and media but because

your child!s brain has matured and is capable of

more independent )udgment. <lease remember,
however, that the change is not locked in place. $
young adolescent can bounce back and forth
between ages = and 6: 3and sometimes 6>4 in a
matter of seconds, scorning your values yet, at
times, still wanting to sit on your lap.
?or girls, the central action is their social lives and
the intensity of their feelings. No matter how much
a girl and her friends are torturing one another
with gossip in school or instant messages from
home computers, she is convinced that if you knew
what she was saying, you would disapprove or,
even worse, try to interfere and make a bad
situation uglier.
5hat is she talking about to her friends7 Social
power@ 5ho!s popular, who!s feminine, who!s really
weird. <arents@ their faults and their inability to
understand 6: year olds.
;irls are talking about their powerful feelings/ they
have complex and sometimes overwhelming
insights into life. Their )oy can be great and is
visible, but their despair is hidden in solitary late"
night crying, )ournal entries, weight obsession.
*oys are preoccupied by their power and the
opinion of other boys, their anxiety about whether
they live up to the test of masculinity, a new,
deeper range of feelings that they may be unable
to put into words. %n the kitchen a boy looks down
into his mother!s eyes and thinks, why is this
woman giving me orders7 % love her but %!m bigger
than she is. That perplexes him because he still
needs her so much. *oys, like girls, are having a lot
of dark nights of the soul in which they see how
disappointing adults can be and how un)ust
society is, they may not be able to put their fairs
into words, or they do not want to because it

makes them feel weak.
3a4 5hat meaning is conveyed by the word

8acres8 in line 67 '2 +ar:$
3b4 %dentify T5( of the 8biggest of all changes in

child"parent relations8, according to the
writer. '2 +ar:$
3c4 5hat does the phrase 8not locked in place8

mean7 '2 +ar:$
3d4 5hat, according to the passage, are cause of

the shifts in child"parent relations7 '2 +ar:
3e4 To whom does the pronounce 8you8

3paragraph 64 refer7 '3 +ar:$
3f4 5hat according to the passage is the

preoccupation of 3i4 girls and 3ii4 boys7 '
+ar:$
3g4 5hy, according to the writer, are boys

perplexed7 '2 +ar:$
3h4 5hat con)unction of !contrast! is used

repeatedly 3four times4 in the passage7 '3
+ar:
%o)al 3. +ar:$
SEC%I&N %H4EE
'S#((e$)e* )i+e, 9. +in#)e$

An$er &NE 1#e$)ion in )"i$ $ec)ion
Yo#r an$er in )"i$ $ec)ion $"o#l* 6e

appro;i+a)el 900 )o 9.0 or*$ in len()"
Yo# MUS% ri)e in S)an*ar* En(li$" Hoe<er

*ialec) +a 6e #$e* in con<er$a)ion

9 5rite a story based on the picture below.
'. +ar:$
. The phone rang once and stopped. %t rang again.

This was it now.
5rite a story which includes these sentences.
'. +ar:$
= $s the astronauts landed they saw before them an

unimaginable sight.
escribe what the astronauts saw.
'. +ar:$
SEC%I&N >&U4
'S#((e$)e* )i+e, 0 +in#)e$
An$er &NE 1#e$)ion in )"i$ $ec)ion

Yo#r an$er in )"i$ $ec)ion $"o#l* 6e appro;i+a)el 2.

len()"
Yo# MUS% ri)e in S)an*ar* En(li$"

7 8Students should not be allowed to use cellular phones in sc
5rite an essay EI%HE4 supporting &4 opposing this view.
? 8<opular music and dance on display in the #aribbean toda

youth and making them irresponsible.8
5rite an essay giving your views on this statement.
EN@ &> %ES%

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Paper 02 - General Profcienc

'S#((e$)e* )i+e, . +in#)e$

Yo# MUS% an$er )"e 1#e$)ion in )"i$ $ec)

Yo#r $#++ar +#$) 6e in con)in#o#$ pro$e in para(

Since the beginning of civilization, they have served as

Tattoos are timeless and can be uniue as the bearers th

Tattoos and other body markings arrived in the #aribbea

#aribbean!s original $merindian inhabitants also used tattoos t

(ver the centuries, however, tattoos and other forms of

*ut today, tattoos have come full circle. #elebrities, writ

'S#((e$)e* )i+e, 90 +in#)e$

An$er ALL )"e 1#e$)ion$ in )"i$ $ec)ion

This village appeared to be at the end of the

There was death in the village, but that

3a4 5hat times of the day does the writer

3b4 %dentify the contrasting smells of the day

3c4 To what does the writer compare the colour

3d4 %dentify (N' example of what the writer

3e4 %dentify (N' word that illustrates

3f4 5hat impression is suggested about the

3g4 5hy did cars parked too long sink slowly7

3h4 %dentify T5( phrases in the last four lines

 4ea* care5#ll )"e pa$$a(e 6elo an* )"en

your child!s brain has matured and is capable of

makes them feel weak.

3a4 5hat meaning is conveyed by the word

3b4 %dentify T5( of the 8biggest of all changes in

3c4 5hat does the phrase 8not locked in place8

3d4 5hat, according to the passage, are cause of

3e4 To whom does the pronounce 8you8

3f4 5hat according to the passage is the

3g4 5hy, according to the writer, are boys

3h4 5hat con)unction of !contrast! is used

'S#((e$)e* )i+e, 9. +in#)e$

An$er &NE 1#e$)ion in )"i$ $ec)ion

Yo#r an$er in )"i$ $ec)ion $"o#l* 6e

Yo# MUS% ri)e in S)an*ar* En(li$" Hoe<er

. The phone rang once and stopped. %t rang again.

5rite a story which includes these sentences.

= $s the astronauts landed they saw before them an

escribe what the astronauts saw.

'S#((e$)e* )i+e, 0 +in#)e$

An$er &NE 1#e$)ion in )"i$ $ec)ion

Yo#r an$er in )"i$ $ec)ion $"o#l* 6e appro;i+a)el 2.

Yo# MUS% ri)e in S)an*ar* En(li$"

5rite an essay EI%HE4 supporting &4 opposing this view.

? 8<opular music and dance on display in the #aribbean toda

5rite an essay giving your views on this statement.

EN@ &> %ES%

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