📚 Year 12 WJEC English Literature Teaching Advice and Lesson Plan Sharing | 教师教学建议与教案分享
Teaching Year 12 English Literature under the WJEC specification offers a unique opportunity to blend rich literary exploration with rigorous skill-building. This article provides actionable strategies, scheme-of-work suggestions, and a sample lesson plan designed to help teachers navigate the demands of the AS course while fostering genuine enthusiasm for texts. Whether you are a seasoned practitioner or new to the WJEC board, you will find a balance of structural guidance and creative flexibility here, all rooted in the assessment objectives and the spirit of open critical inquiry that defines this qualification.
在WJEC考试局大纲下教授十二年级英语文学，提供了一个将丰富的文学探索与严谨的技能训练相结合的独特机会。本文提供可操作的策略、教学方案建议以及一份示例教案，旨在帮助教师应对AS阶段课程的要求，同时培养学生对文本的真正热情。无论您经验丰富还是初次接触WJEC考试局，这里都能找到结构性指导与创造性弹性的平衡，所有内容均植根于考评目标，以及定义该资格考试的那份开放、批判性探索的精神。
1. Understanding the WJEC AS English Literature Specification | 理解WJEC AS英语文学大纲
Begin with a forensic reading of the specification document. WJEC's AS English Literature comprises two units: Unit 1 (Prose and Drama) and Unit 2 (Poetry Post-1900). Each unit demands a distinct set of analytical and comparative skills, with a strong emphasis on how writers shape meaning through form, structure, and language. Teachers must internalise the five Assessment Objectives (AOs): AO1 (articulate informed, personal responses), AO2 (analyse ways meanings are shaped), AO3 (explore connections and comparisons), AO4 (understand context), and the reserved AO5 (explore different interpretations) which is only assessed in the A2 non-exam assessment, not at AS, though critical reading habits should be cultivated early.
一开始就要精细研读大纲文件。WJEC的AS英语文学包含两个单元：单元一（小说与戏剧）和单元二（1900年后诗歌）。每个单元都要求一套独特的分析与比较技能，并十分强调作者如何通过形式、结构和语言塑造意义。教师必须内化五个考评目标（AO）：AO1（表达知情且个人化的回应）、AO2（分析意义被塑造的方式）、AO3（探索联系与比较）、AO4（理解语境），以及为A2阶段课内非考试评估保留的AO5（探索不同解读），尽管该目标不在AS阶段直接考核，但应尽早培养批判性阅读习惯。
In the AS units, AO2 carries significant weight, so every lesson should embed close reading. Print a simplified AO grid for your desk and share a student-friendly version, turning abstract criteria into 'I can' statements: 'I can show how a simile links to a character's dilemma' (AO2) or 'I can discuss how a Victorian reader might react differently to a modern reader' (AO4). This metacognitive approach demystifies assessment and guides planning.
在AS单元中，AO2所占权重很大，因此每一堂课都应嵌入细读。打印一份简化的考评目标网格放在案头，并分享一份学生友好版，将抽象标准转化为'我能'句型：'我能展示一个明喻如何关联人物的困境'（AO2），或'我能讨论维多利亚时代的读者与现代读者可能的反应差异'（AO4）。这种元认知方法能揭开考评的神秘面纱，并指导教学规划。
2. Building a Coherent Two-Text Scheme of Work | 构建连贯的双文本教学方案
For Unit 1, you will teach one prose text and one drama text from prescribed lists. Design a 30-week timeline that weaves the two texts together thematically rather than treating them in isolation. For instance, if you choose 'The Handmaid's Tale' and 'A Streetcar Named Desire', align lessons around 'control and desire' or 'the fragility of identity'. This immediately reinforces AO3 comparison skills and prevents the course from feeling disjointed. Start with a broad thematic lecture, then move into shared close analysis, and finally transition into essay planning that requires students to place both texts in dialogue.
针对单元一，您需要从指定列表中选教一部小说文本和一部戏剧文本。设计一个为期30周的时间表，以主题为线索将两部文本交织在一起，而非孤立处理。例如，若选择《使女的故事》和《欲望号街车》，可围绕'控制与欲望'或'身份的脆弱性'来安排课程。这能立即强化AO3比较技能，并避免课程产生割裂感。先从一个宽泛的主题讲座开始，然后进入共同的细部分析，最后过渡到需要学生让两个文本进行对话的论文规划。
Include 'benchmark weeks' in your scheme: weeks 4, 10, 18, and 26 reserved for timed practice and diagnostic marking. Each benchmark should target a single AO or a combination, allowing you to track progress. Share the long-term plan with students in a visual road map, using colour codes for each assessment objective. This builds confidence and reduces anxiety around the linear exam structure.
在教学方案中设置'基准周'：第4、10、18和26周用于限时练习和诊断性评分。每个基准周应针对单个考评目标或组合，以便跟踪进度。用彩色编码的视觉路线图向学生展示长期计划，每种颜色代表一个考评目标。这能建立信心，减轻对线性考试结构的焦虑。
3. Text Selection: Balancing Ambition and Accessibility | 文本选择：在雄心与可及性之间平衡
WJEC offers a broad range of prose and drama options, from 'The Great Gatsby' to 'Top Girls'. When choosing, consider your cohort's reading stamina and cultural capital, but do not shy away from challenge. A text like 'Beloved' may be demanding, but its linguistic richness opens countless doors for AO2 analysis. Pair a perceived 'difficult' prose text with a drama that has a clear dramatic arc, such as 'The Tempest' or 'Translations', so students can anchor their analytical vocabulary in visible dramatic methods like stage directions, lighting, and dialogue.
WJEC提供了从《了不起的盖茨比》到《顶尖女子》等广泛的小说和戏剧选项。在选择时，要考虑学生的阅读耐力和文化资本，但不要回避挑战。像《宠儿》这样的文本或许要求高，但其语言的丰富性为AO2分析打开了无数大门。可将一本被认为'难'的小说与一部戏剧弧线清晰的剧作搭配，例如《暴风雨》或《翻译》，这样学生就能将分析词汇锚定在舞台指示、灯光和对白等可见的戏剧手法上。
For Unit 2 Poetry, the post-1900 anthology is rich but can overwhelm. Devise a thematic pathway through the selected poems rather than teaching them chronologically. Begin with poems addressing 'Landscape and Memory' (e.g., Edward Thomas, Gillian Clarke) before moving into 'Love and Conflict' clusters. This thematic curation helps students to see patterns and prepares them for the unseen comparison essay, which is a core component of the exam.
对于单元二的诗歌，1900年后的选集内容丰富但容易令人生畏。设计一条穿越所选诗歌的主题路径，而非按时间顺序讲授。从处理'风景与记忆'的诗歌（如爱德华·托马斯、吉莲·克拉克）开始，再进入'爱与冲突'群组。这种主题式的策划有助于学生发现模式，也为考试的核心组成部分——非显见篇目的对比论文——做好准备。
4. Teaching Close Reading Through the 'Zoom Lens' Method | 通过'缩放镜头'法教授细读
Develop a shared method for language analysis that avoids feature-spotting. I recommend the 'Zoom Lens' technique: start with the whole text's genre and structure (wide angle), then zoom into a passage (medium), then a sentence (close-up), and finally a single word or punctuation mark (microscopic). For every zoom level, ask two questions: 'What technique is being used?' and 'Why this, now, for this reader?' This embeds AO2 in a layered, purposeful manner.
开发一种共享的语言分析方法，避免'技巧罗列'。我推荐'缩放镜头'技巧：先看全文的体裁与结构（广角），然后拉近到一个段落（中景），再是一个句子（特写），最后是单个词语或标点符号（显微）。对每个缩放层级，问两个问题：'这里用了什么手法？'以及'为什么此时此地，针对这位读者使用它？'这以层次化、有意义的方式内嵌了AO2。
Model this with a dramatic monologue such as 'My Last Duchess'. Project the poem on a board and physically zoom in using annotation tools: start by boxing the title genre, then highlight the enjambment in the first five lines, circle the verb 'stoop', and finally pinpoint the dash before 'I gave commands'. Let students practice in pairs on a fresh text, such as a passage from 'The Reluctant Fundamentalist', and then present their zoom-lens findings. This visible scaffold makes close reading tangible and sharable.
用《我已故的公爵夫人》这样的戏剧独白诗来示范。将诗歌投影到白板上，使用批注工具进行物理缩放：先给标题体裁画框，然后高亮前五行中的跨行连续，圈出动词'stoop'，最后标出'I gave commands'前的破折号。让学生结对在一篇新文本上练习，如《拉合尔茶馆的陌生人》中的一段，然后展示他们的缩放镜头发现。这种可见的脚手架使细读变得具体、可分享。
5. Strategies for Prose Analysis: From Character to Theme | 小说分析策略：从人物到主题
Move students beyond character description by employing the 'Character-Function Grid'. Create a table with columns: Character Name, Key Traits, Function in Narrative (e.g., foil, catalyst, symbol), Evidence (quotes), and Link to Key Themes. As students read each chapter or section, they populate the grid. This transforms note-taking from passive summary into active AO2/AO4 preparation, and the grid becomes a revision resource that explicitly shows how minor characters like Mr. Brocklehurst in 'Jane Eyre' serve to expose institutional hypocrisy.
通过使用'人物-功能网格'，让学生超越人物描述。制作一个表格，设置以下栏位：人物姓名、关键特征、叙事功能（如陪衬、催化剂、象征）、证据（引文）以及与关键主题的联系。当学生阅读每一章或每一部分时，他们填充这个网格。这将记笔记从被动总结转变为主动的AO2/AO4准备，并且该网格成为一个复习资源，明确展示了像《简·爱》中布洛克赫斯特先生这样的次要人物如何服务于揭露体制虚伪。
To tackle narrative structure, use a 'Story Shape' graph. Ask students to map the protagonist's emotional or power trajectory against key plot events, drawing a line that rises and falls. For 'Never Let Me Go', the line would gradually descend as the clones' passivity is revealed. Discuss how the authorial choice of a retrospective first-person narrator shapes that shape. This visual activity fuses AO2 (form) with AO4 (context of a dystopian critique), making abstract concepts concrete.
为攻克叙事结构，使用'故事形状'图。让学生绘制主人公的情感或权力轨迹与关键情节点对应关系的图表，画出一条起伏的线。对于《别让我走》，这条线会随着克隆人被动性的暴露而逐渐下降。讨论作者选择回顾性第一人称叙述如何塑造了这种形状。这一视觉活动将AO2（形式）与AO4（反乌托邦批评的语境）融合在一起，使抽象概念具体化。
6. Unlocking Poetry: Making the Unseen Manageable | 解锁诗歌：让不可预测变得可控
The unseen poetry question in Unit 2 can be intimidating. Dedicate regular 'Poetry Bootcamp' slots—20 minutes twice a week—where you present an unseen poem and a simple protocol: Title, Tone, Technique, Transition, Theme (5 Ts). Students write bullet points for each in the first 10 minutes, then share and refine. This protocol builds a habit of systematic reading, ensuring they never leave a poem uninterpreted. Rotate between one pre-1900 and one post-1900 unseen poem per session to embed awareness of literary periods.
单元二中的非显见诗歌问题可能令人生畏。安排定期的'诗歌集训'时段——每周两次，每次20分钟——展示一首非显见诗歌和一个简单协议：标题（Title）、语气（Tone）、技巧（Technique）、转折（Transition）、主题（Theme）（5个T）。学生在头10分钟内为每一项写要点，然后分享并完善。这一协议培养了系统阅读的习惯，确保他们永不丢下一首未解读的诗。每节课轮换一首1900年前和一首1900年后的非显见诗歌，以嵌入文学时期的意识。
For the anthology comparison, teach students to build a 'Dialogue Plan'. On an A3 sheet, they draw two columns for the two poems and a middle column for 'Shared Concerns & Contrasts'. They fill in quotes that speak to each other across the divide. For example, pairing Larkin's 'Afternoons' with Heaney's 'Follower' on the theme of time's erosion. This visual layout mimics the comparative thinking required in the exam and prevents the sequential 'Poem A then Poem B' trap.
对于选集内的比较，教学生建立一个'对话计划'。在一张A3纸上，他们为两首诗画两栏，中间一栏是'共同关切与对比'。他们填入跨分栏呼应的引文。例如，将拉金的《午后》与希尼的《追随者》配对，探讨时间的侵蚀这一主题。这种视觉布局模拟了考试所需的比较性思维，并避免了先A诗后B诗的轮流陷阱。
7. Teaching Essay Writing with WJEC Mark Schemes in Mind | 结合WJEC评分方案教授论文写作
Demystify the band descriptors by co-constructing 'What A Good One Looks Like' (WAGOLL) essays. After a timed practice, select an anonymous strong but imperfect essay, project it, and annotate it as a class against the AO grid. Use highlighters: yellow for AO1 (clear argument), green for AO2 (textual analysis), blue for AO3 (comparisons), and pink for AO4 (context). This colour-coded live marking clarifies how marks are accumulated and reveals that AO1 thesis statements need to be argument-driven, not statement-based.
通过共同构建'范文长什么样'（WAGOLL）来揭开评分等级描述的神秘面纱。在一次限时练习后，选取一篇匿名的、强但不完美的论文，投影出来，并对照考评目标网格进行全班批注。使用荧光笔：黄色代表AO1（清晰论点），绿色代表AO2（文本分析），蓝色代表AO3（比较），粉色代表AO4（语境）。这种彩色编码的现场批阅厘清了分数如何累积，并揭示出AO1的论题陈述需要由论证驱动，而非仅仅陈述。
Provide thesis-statement formulas that can be adapted: 'In [Text A], [author] initially appears to advocate [X], yet through [method] subverts this, whereas [Text B] uses [structural choice] to challenge [Y].' Have students practice writing these in 60 seconds for varied prompts. The speed drill reduces fear of the blank page and embeds the comparative habit early. Encourage 'tentative language' (perhaps, might, arguably) to sustain an exploratory tone, which rewards AO1 at the highest bands.
提供可改编的论题陈述公式：'在[文本A]中，[作者]最初似乎倡导[X]，然而通过[手法]颠覆了这一点，而[文本B]则运用[结构选择]挑战了[Y]。' 让学生针对不同题目在60秒内练习撰写这些陈述。速度训练能减少对空白页的恐惧，并尽早植入比较习惯。鼓励使用'试探性语言'（或许、可能、并非没有争议），以维持一种探索性的口吻，这在最高档次中能为AO1加分。
8. Embedding Context Without Compromising Textual Integrity | 嵌入语境而不损害文本完整性
AO4 can easily become a bolt-on paragraph listing historical facts. Reframe it as 'contextual resonance'. Teach students to ask: 'How does this detail reverberate through its time and ours?' Create a Context Continuum: on one end, 'Immediate Context' (when and where written), in the middle 'Writer's Context', and on the far end 'Reception Context' (how contemporary and modern readers respond). Use post-it notes to place quotes along this continuum. For 'The Great Gatsby', the green light quote sits between writer's context (Fitzgerald's Jazz Age disillusion) and reception (the elusive American Dream). This avoids contextual dumping.
AO4很容易变成一段罗列历史事实的附加段落。应将其重塑为'语境的回响'。教学生问：'这个细节是如何在其时代和我们的时代中回荡的？'创建一个语境连续轴：一端是'即时语境'（创作的时间和地点），中间是'作者语境'，远端是'接受语境'（当代读者与现代读者的反应）。用便利贴将引文沿该轴放置。对于《了不起的盖茨比》，绿灯引言位于作者语境（菲茨杰拉德的爵士时代幻灭感）与接受语境（难以企及的美国梦）之间。这避免了语境的堆砌。
Design 'Context Stations' for a lesson: each table has a docu-pack with a letter, a historical image, a critical snippet, and a sociological fact related to the text's period. Students rotate and gather insights, then return to a core passage to re-read. For 'Translations', a station on 19th-century ordnance survey maps illuminates the act of naming as colonial power. This method positions context as a lens, not a separate topic, and naturally feeds into AO2 discussions on authorial intent.
为一堂课设计'语境站'：每张桌子配有一份资料包，内含与文本时期相关的一封信、一幅历史图像、一段批评片段和一个社会学事实。学生轮转收集见解，然后回到核心段落重读。对于《翻译》，一个关于19世纪军械测量地图的站台能够照亮命名行为如何成为殖民权力。这种方法将语境定位为一个透镜，而非独立话题，并自然融入关于作者意图的AO2讨论。
9. Sample Lesson Plan: Comparing Power in 'Ozymandias' and 'London' | 示例教案：比较《奥西曼迭斯》与《伦敦》中的权力
Lesson Title: Comparative Power Dynamics in 'Ozymandias' (Shelley) and 'London' (Blake) Duration: 60 minutes Objectives: Students will analyse how each poet presents power through form and imagery (AO2), compare the critiques of authority (AO3), and link to Romantic era dissatisfaction (AO4).
课程名称：《奥西曼迭斯》（雪莱）与《伦敦》（布莱克）中的比较性权力动态 时长：60分钟 目标：学生将分析每位诗人如何通过形式和意象表现权力（AO2），比较对权威的批判（AO3），并联系浪漫主义时期的不满（AO4）。
Starter (10 mins): Display the word 'Power' and a Venn diagram. Students brainstorm connotations of power in 2024 vs. the 1790s, filling the diagram. Share and discuss the contrast between institutional power and transient fame. This activates AO4 prior knowledge. 导入（10分钟）：展示单词'权力'和一个维恩图。学生头脑风暴2024年与1790年代权力的内涵，填入图表。分享并讨论体制权力与短暂名望之间的对比。这激活了AO4的先前知识。
Main Activity 1 (20 mins): 'Silent Discussion' with two poem extracts on large paper. One sheet has 'Ozymandias' lines 10-14, the other 'London' stanzas 2-3. Students move in pairs and annotate with markers: underline any image of decay or control, circle sensory language, write one analytical question. After 10 minutes, groups rotate and respond to the previous annotations. Then gather for a feedback plenary, highlighting the comparable contrast: the sculptor's hand 'mocked' versus the 'mind-forg'd manacles'. 主要活动1（20分钟）：'无声讨论'，大纸上印有两首诗节选。一张印有《奥西曼迭斯》第10-14行，另一张印有《伦敦》第2-3节。学生两人一组移动，用记号笔批注：在任何一个衰败或控制的意象下划线，圈出感官语言，写下一个分析性问题。10分钟后，各组轮换并对前一批注进行回应。然后集中进行反馈总结，突出可比较的对比：雕刻家的手'嘲弄'与'心灵铸成的镣铐'。
Main Activity 2 (20 mins): Provide a thesis-starter: 'Both poets expose the hubris of power, yet Shelley focuses on... whereas Blake reveals...' Students complete the thesis and write a comparative paragraph in 12 minutes, integrating two quotes from each poem. Circulate and live-mark the thesis statements on the board, checking for AO3 integration. 主要活动2（20分钟）：提供论题开头：'两位诗人都揭露了权力的傲慢，然而雪莱侧重于……而布莱克揭示了……'学生在12分钟内完成论题并写一个比较段落，整合每首诗两句引文。巡视并在黑板上现场批评论题陈述，检查AO3的融合情况。
Plenary (10 mins): 'Two Roses and a Thorn': each student writes two strengths (roses) and one area for improvement (thorn) about their paragraph, sticking them on the board. Summarise the key comparative method: moving from the physical statue ruin (Shelley) to the ideological ruin of the city (Blake). 总结（10分钟）：'两朵玫瑰一根刺'：每个学生就自己的段落写下两处优点（玫瑰）和一个待改进之处（刺），贴到黑板上。总结关键的比较方法：从实体的雕像废墟（雪莱）到城市的意识形态废墟（布莱克）。
10. Formative Assessment and Feedback Loops | 形成性评估与反馈循环
Replace generic 'add more detail' feedback with targeted codes linked to AOs. For example, write 'AO2V: vary your verbs of analysis (evoke, connote, undercut)' or 'AO3B: needed a bridging phrase between texts'. Give students a 'Feedback Key' bookmark. In the next lesson, dedicate 15 minutes to 'DIRT' (Dedicated Improvement and Reflection Time) where pupils must act on the coded feedback, rewriting a specific sentence or adding a contextual link. This closes the loop and ensures progress is visible.
用与考评目标挂钩的、有针对性的代码取代泛泛的'增加更多细节'式反馈。例如，写'AO2V：变换分析动词（唤起、隐含、削弱）'或'AO3B：需要两个文本之间的过渡句'。给学生一张'反馈密钥'书签。在下一堂课上，安排15分钟'DIRT'时间（专项改进与反思时间），学生必须根据代码反馈采取行动，改写一个特定句子或添加一条语境联系。这封闭了循环，确保进步可视。
Use 'Comparative Comment Threads' on a shared document or padlet. Post a student's paragraph and ask peers to add one comment that strengthens the AO3 thread and one that deepens AO2 language analysis. This collaborative formative work reduces teacher workload and builds a community of critical readers. Track the frequency of each AO code across the class to identify patterns and re-teach weak areas, such as a common failure to embed dramatic terminology in prose questions.
在共享文档或padlet上使用'比较评论链'。发布一名学生的段落，要求同伴添加一条强化AO3线索的评论和一条深化AO2语言分析的评论。这种协作式的形成性工作减轻了教师负担，并构建了一个批判性读者社群。追踪每个AO代码在全班出现的频率，识别模式并重新教授薄弱区域，例如普遍难以在小说问题中嵌入戏剧术语。
11. Supporting Diversity and Inclusion Through Textual Choice and Pedagogy | 通过文本选择与教学法支持多样性与包容性
WJEC's prose and poetry lists increasingly allow for diverse voices. When planning, ensure your text pairing includes perspectives across gender, race, and class. For example, pair 'The Color Purple' with 'Top Girls' to explore female agency across cultures. Create a classroom library of supplementary materials, such as letters by Bessie Head or Imtiaz Dharker's poetry, to contextualise taught texts. This not only enriches AO4 but validates students' own identities, fostering engagement.
WJEC的小说和诗歌列表日益容纳多元声音。在规划时，确保您的文本配对涵盖跨越性别、种族和阶级的视角。例如，将《紫色》与《顶尖女子》配对，探索跨文化的女性能动性。创建一个补充资料课堂图书馆，如贝西·黑德的书信或伊米提亚兹·达克的诗歌，以为教授的文本提供语境。这不仅丰富了AO4，还证实了学生自身的身份认同，从而促进投入度。
Differentiate instruction by offering 'pathway choices'. For a lesson on narrative voice, some students might analyse a page from 'The Awakening' with guided questions, while others work independently on an unseen extract from a contemporary feminist novel. Use the same analytical protocol (5 Ts or zoom lens) so that all students share a common language, but the complexity of the text varies. This maintains high expectations while providing appropriate access. Regularly audit your classroom discourse to ensure all interpretations are honoured, as long as they are text-rooted.
通过提供'路径选择'来区分教学。在一堂关于叙述声音的课上，部分学生可以在指导问题下分析《觉醒》的一页，而另一些学生则独立处理一篇当代女性主义小说的非显见选段。使用相同的分析协议（5个T或缩放镜头），使所有学生共享共同语言，但文本的复杂程度不同。这保持了高期待，同时提供了恰当的切入点。定期审查课堂话语，确保所有解读只要扎根文本都得到尊重。
12. Transitioning from AS to A2: Building Independence | 从AS到A2的过渡：培养独立性
Although this article targets Year 12, wise teachers embed skills that serve the A2 course, especially the coursework component. Encourage a 'reading journal' where students record independent responses to wider reading around a theme. Dedicate one lesson per fortnight to 'Book Club', where small groups discuss a chosen critical article or a poetry collection linked to the AS set text. This normalises independent critical reading and plants seeds for the non-exam assessment, all while reinforcing AO5-style thinking.
尽管本文针对十二年级，但明智的教师会嵌入能为A2课程服务的技能，特别是课程作业部分。鼓励学生建立'阅读日志'，记录对围绕某一主题的拓展阅读的独立回应。每两周安排一堂'读书俱乐部'课，小组成员讨论一篇选定的批评文章或与AS规定文本相关的一部诗集。这将独立的批评性阅读常态化，并为非考试评估播下种子，同时巩固AO5式思维。
Invite students to propose their own essay questions periodically, using the WJEC stem phrases: 'In what ways...', 'How far do you agree...', 'By comparing... explore...'. This shifts ownership to the learner. Celebrate risk-taking in interpretation, provided evidence is meticulously cited. By the end of Year 12, your students should not only be ready for their AS exams but also equipped with the intellectual curiosity to thrive in the final A2 year. The true measure of our teaching is not just exam results, but the lasting literary sensitivity we inspire.
定期邀请学生利用WJEC题干句式（'在哪些方面……'、'你在多大程度上同意……'、'通过比较……探究……'）提出自己的论文题目。这会将主导权转移给学习者。在证据被严谨引用的前提下，庆祝解读中的冒险行为。到十二年级结束时，您的学生不仅应为AS考试做好准备，更应具备在最后的A2学年中蓬勃发展的智识好奇心。我们教学的真正衡量标准，不仅是考试成绩，更是我们激发的、持久的文学敏感性。
Published by TutorHao | English Literature Revision Series | aleveler.com
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