IGCSE Literature 19 June 2013 London

11/09/2013
Cambridge IGCSE
Literature in English
Getting Started
London
19 June 2013
Cambridge International Examinations 2013

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Housekeeping
Health & Safety
Fire alarms
Fire safety
Start-finish, breaks

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Ofqual Exam Boards Seminars Report

Ofqual has recently released reviewed seminars
led by examination boards.
For this reason we are now audio recording all
seminars.
Please respect the position of your trainer, the
confidentiality of the examination process and also the
importance of teaching the full syllabus.
Thank you!

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Linear specifications:
Content is viewed as a whole there is a more
holistic approach
Content will usually be divided into different
sections but these will not be totally self-contained
Links between topics are emphasised and
encouraged
The key concepts and skills normally underpin the
entire course

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Summary of the features of a Cambridge

specification
links between topics
continuous coverage of all the assessment
objectives
opportunities for formative assessment
plenty of time for revision

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Useful information
Qualification in English for the purposes of 5 A*-C
including Maths and English and English Baccalaureate
To gain a qualification in English for the purposes of the 5 A*-C including

Maths and English headline measure and the English Baccalaureate,
students must attain grade A*-C in any accredited First Language
English syllabus and must also enter for any accredited English
Literature syllabus, although they can attain any grade from A*-U for
English Literature.
English as a Second Language does not count as a qualification in

English for the purposes of the 5 A*-C including Maths and English
headline measure or for the English Baccalaureate.

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Useful information
Ofqual consultation on separate certification of Speaking
and Listening for GCSE English
The announcement from Ofqual regarding a consultation on changes to

GCSE English and English Language states that from summer 2014
Speaking and Listening assessment results will no longer count towards
the overall grade. Instead, exam boards will be required to report
speaking and listening achievement separately on the GCSE certificate.
Cambridge IGCSE First Language English 0522 syllabus (known as

Cambridge International Level 1 / Level 2 Certificate on Ofquals Register
of Regulated Qualifications) includes a compulsory speaking and
listening component.

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Useful information
Ofqual consultation on separate certification of Speaking
and Listening for GCSE English
To date we have not received any advice from Ofqual to say that we
must separately certificate the speaking and listening component.
Furthermore we have just received re-accreditation for our syllabus
which contains a compulsory Speaking and Listening component. As a
result of this recent re-accreditation we have no plans at the moment to
make changes to the syllabus.
It is important to note that these changes are still in the process of

consultation. We will await the announcements from Ofqual after the
consultation period ends.

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Useful information
Cambridge IGCSE November session
Cambridge offers two exam sessions each year - June and November.
Candidates can take their Cambridge IGCSE exams in either session.
Candidates can also re-take their Cambridge IGCSE exams in either
session.
It is important to remember that Cambridge IGCSE examinations are
linear and therefore it is not possible to enter for individual exam
modules. If candidates choose to re-take their Cambridge IGCSE exams
they will need to re-take all components.
Coursework components are the only exception as the coursework
marks can be carried forward from a previous session.

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Useful information
Accreditation for marking Cambridge IGCSE coursework and speaking tests
There are two ways for teachers to become accredited:

1. complete a Coursework/Speaking Test Training Handbook or Distance
Training Pack which can be ordered from the Publications Department.
2. send us a full and detailed CV which should include:
positions held and the roles carried out whilst in that position.
qualifications
teaching experience (including examination boards and syllabuses)
experience of coursework, moderation and moderation training
any further relevant experience *
* If their experience is not considered suitable for accreditation it will be necessary to complete a Coursework/Speaking Test
Training Handbook. Please note that there is a charge of 26.50 for the assessment and processing of each accreditation
application by the product manager.

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Welcome and Introduction

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Summary of the features of Cambridge

literature
links between topics
holistic coverage of all the assessment objectives
opportunities for formative assessment
linear assessment
time for revision

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Course materials
Presentation handout
Current syllabus and the
following years syllabus
Question papers
Marking criteria
Report(s) on the examination
Extract from Coursework Training
Handbook
Candidate work

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The course aims are to

review syllabus requirements
explore teaching strategies and materials for
this syllabus
discuss the role of assessment in improving
performance

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Session 1
Overview of syllabus

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Aims of the syllabus

enjoy the experience of reading literature
understand & respond to literary texts in different
forms & from different periods & cultures
communicate an informed personal response
appropriately and effectively

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Aims of the syllabus

appreciate different ways in which writers achieve
their effects
experience literatures contribution to aesthetic,
imaginative and intellectual growth
explore the contribution of literature to an
understanding of areas of human concern

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The syllabus
Assessment objectives 1 and 2
show detailed knowledge of the content of literary

texts in the 3 main forms: drama, poetry, prose
understand the meanings of literary texts and their

contexts, and explore texts beyond surface meanings
to show deeper awareness of ideas and attitudes

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The syllabus
Assessment objectives 3 and 4
recognise and appreciate ways in which writers use
language, structure and form to create and shape
meanings and effects
communicate a sensitive and informed personal

response to literary texts

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Assessment objectives
What do they mean for students
Activity
Analyse the following two questions:

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Typical Questions
A Small Family Business Macbeth
How do you think Explore the ways in

Ayckbourn makes this which Shakespeare
extract towards the makes Macbeths
beginning of the play so brutality as a king so
amusing? terrifying.

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Knowledge
Narrative
Reference
Quotation
Comment

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Beyond surface meanings

explore ideas and attitudes
explore themes deeper meanings
analyse characterisation and motivation
distinguish viewpoint

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Appreciate ways
paraphrase, explanation, interpretation
comment on plot and character
explore themes and ideas
analyse writers effects
make fruitful connections within texts

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Language, structure and form

distinctive features of genre
the way in which the text is organised
the effects of language choices:
imagery
sound devices
rhetorical devices

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Informed personal response

a detailed appreciation
a sensitive / perceptive response
views substantiated by:
concise and pertinent references
precise comment on the ways in which writers
achieve their effects

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The syllabus
Please turn to pages 5 & 6 of the 2014 syllabus / pages 6
& 7 of the 2015 syllabus to look at the different syllabus
components and combinations available.
Activity
1. Which route through the syllabus does your school
(plan to) take?
2. What are the advantages and practical considerations?

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Open books + Coursework - 2014

Paper 1 Coursework
75% 25%
Open books 2 pieces of work
2 hours 15 minutes different texts
1 text from each genre critical or empathic
At least 1 passage-based one text may be Paper 1
question text
At least 1 essay question 600-1000 words each
recommended

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Open books + Unseen

Paper 1 Paper 3: Unseen
75% 25%
Open books
2 hours 15 minutes 1 hour 15 minutes
1 text from each genre Answer one question
At least 1 passage-based Poetry OR prose unseen
questions text
At least 1 essay question

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Coursework - advantages
Wider literary experience
Teacher & student interests
Free choice of genre
Discursive or empathic
Flexibility over coursework timing
One text may be Paper 1 set text
Best 2 pieces count

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Unseen - advantages
No revision for Unseen paper
Can yield very fresh responses
Unseen practice encourages critical skills thinking on
ones feet
Has a beneficial knock-on effect for Paper 1

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Paper 4/5 for 2011

Paper 4 Paper 5
75% 25%
2 hours 15 minutes 45 minutes
No books in exam room No books in exam room
3 texts covering 3 genres 1 question on any book
3 questions
At least 1 passage-based
At least 1 general essay
1 from
passage/general/empathic

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Open vs. closed

Open book exam Closed book exam
Fewer set texts to study No distraction from books in
Can refer to clean copies of exam
texts General essays reliant on
Choice of either Coursework or memory and, as a
Unseen components consequence, thinking on
ones feet
Extracts printed for passage-
based questions
Dont have to do Coursework
or Unseen components
Papers 4 + 5

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From May/June 2015

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From 2015: New texts and format

Most essentials remain the same
Still three ways of combining components
Still three time-zone variant papers
Still tests all three genres
Still one compulsory paper (but for 50% of marks)
which will be CLOSED text
No long paper; Papers One and Four are combined
No restrictions on question type
No empathic in exam (option in coursework)

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Route 1
Poetry & Prose Drama
Component 1 Component 2
50% 50%
1 hour 30 minutes 1 hour 30 minutes
2 questions 2 questions on 2 texts
No access to texts No access to texts
Poems printed Extracts printed for
Extract for Prose passage passage questions
question printed

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Route 2
Poetry & Prose Drama (Open book)
50% 25%
1 hour 30 minutes 1 question - 45 minutes
2 questions AND
No access to texts Unseen Paper
Poems printed Component 4
Extract for Prose passage 25%
question printed 75 minutes
Either Poetry or Prose

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Route 3
Poetry & Prose Drama (Open book)
50% 25%
1 hour 30 minutes 1 question - 45 minutes
2 questions AND
No access to texts Coursework
Poems printed Component 5
Extract for Prose passage 25%
question printed 2 assignments
on 2 texts

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Papers 1 and 4 set text questions

Passage-based Activity
questions Analyse the wording of
General (discursive) each type of question
questions
Empathic questions
for drama and prose
questions only

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Core Documents
Question Papers
Adobe pdf copies of these can be
found on:
Teacher support website
Cambridge International
Examinations website
Syllabus Support CD rom
Also available in hard copy via
publications list

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Essential Documents
Mark Schemes
found on:
publications list

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Generic marking criteria

Marking criteria
Progressive band descriptors

For all pieces of work
Note empathic-specific strand

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Essential Documents
Examiner reports
found on:
publications list

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Cambridge International Examinations

endorsed resources
Forthcoming in 2013
CUP Textbook by OUP Skills Builder
Russell Carey digital exam-based
Literature in English resource
ISBN 978-0-521- OUP Student
13610-5 coursebook

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Session 2
Teaching strategies and methods

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Features of good work

relevant comment
understanding
informed personal response
original ideas
substantiation of own views
exploration of language
appreciation of form and structure

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Informed response
answers the question NOT a prompt for
rooted in the text generalisations
supported by brief, unrelated to the
pertinent reference question
comments on use of NOT speculation
language, structure and NOT unsubstantiated
form assertions

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Examination vocabulary
tense striking
moving vivid
dramatic amusing
important comic
significant compelling
memorable ironic
disturbing intriguing

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Starting-point for planning

Review:
Decide which texts you
past questions will teach
marking criteria
examiners reports Devise list of questions
passage-based
general essay-style

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Initial material for students

Outline of course
List of questions (minus test/mock questions) for
each text
Copies of generic marking criteria
Useful reading/websites (see later)

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Poetry texts
Enjoyment Any past or obvious
Reading aloud topics
Performance Effective annotation
Recording content (WHAT?)
techniques (HOW?)
Pair/group work
Extended notes or
essay

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Look at Poetry questions

Re-read Which quotations would
you expect to feature in
In pairs, discuss essays?
teaching strategies
How would you teach the
Literary terms to be use of quotations?
introduced
Good preparation for
Unseen

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Studying poetry
Help students to form personal responses
Insist that points of view are based on sound evidence from
the poem(s)
Avoid checklist approach leads to the logging of features
Ask what is special about the poem and work outwards
Consider WHAT? and HOW?

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Poetry questions
Read question carefully
Note points relevant to question
Refer directly to the question
Do not merely summarise/paraphrase content
Focus on language: e.g. sound, imagery
Comment on structure
Do not merely list technical terms

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Poetry from examiner report

Many have lost sight of the real impact of the poem
as they spot oxymorons, enjambment, metaphors,
ABAB rhyming patterns but without any real
understanding of how these devices are effective.
Recent favourites: anaphora, polysyndeton.

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Drama texts
Quick initial read-through
Close study of key scenes
openings of Acts
endings of Acts
scenes memorable for characterisation/theme/mood

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Teaching Drama
Close analysis of key scenes language and structure,
writers effects
Emphasis on the play as a play form
Notes on character and themes key quotations &
comments
To test detailed knowledge of character & motivation, use:
hot-seating
empathic tasks

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Teaching longer prose texts

Must read whole text
BUT cant spend equal time on each page
Initial list of questions useful in determining important pages
openings and endings
scenes memorable for:
character development
theme
setting
mood
Focus on close analysis of 10 episodes which hit most targets

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Planning
Devise questions before A really uneconomic and
starting close study of texts inefficient way of preparing
students is to take them
through the texts, page by
page, and not introduce
them to the style of
questions they will face
until late in the course.

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Prose texts
Copy key extracts
Analyse closely (in pairs, groups)
Annotate for content & techniques
Consider form:
first person, third person, omniscient narrator, unreliable
narrator
use of description, narration, dialogue, time sequencing

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Prose texts
Notes on characters & themes (quotations & comments)
Notes to include HOW? as well as WHAT?
For detailed understanding, use
hot-seating and other drama-focused activities
empathic questions for getting to grips with the detail

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2 types of set texts questions

From 2015
passage-based
discursive
ALSO
empathic drama & prose (in 2014 only)

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Passage-based
Read question carefully Activity
Focus varies Look at typical passage-based
sometimes exclusively on question
extract Highlight useful quotations
sometimes invites some Language, structure & form
consideration of outside the Mark the essay.
extract
All passage-based questions
require exploration of the detail of
the extract
Probe the text

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What examiners say

A personal engagement with detail was often the
defining difference in work on the passage-based
questions. There are still too many candidates who do
not see the importance of probing the extract in detail,
preferring to use it simply as a peg upon which to
hang their general views of the text.

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Discursive
Highlight key words of question
PLAN 5 or 6 good ideas
With expansion & reference
Construct an argument
Show detailed knowledge
Provide close reference/quotation for support
Consider literary qualities language, structure, form

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Empathic for coursework & 2014 exam

Highlight key words
Pinpoint the prescribed moment
PLAN
Do not merely narrate
Get inside a characters thoughts & feelings
Use expressions that character might use
Dont stray too far
Dont try to write in Shakespearean verse

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Do
Be clear about rubric
Read question carefully & note key words
Sketch out a brief plan
Show detailed knowledge
Quote/refer to text to support own informed response
Explore language/writers effects
Make sure every sentence contributes to argument

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Dont
Write out a lengthy plan
Regurgitate notes
Reproduce the one I made earlier essay
Waste time on courtesy introductions
Repeat points
Try to be exhaustive
List literary devices
Use a colloquial register

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Differentiation
Tasks must be accessible to the full, untiered candidature
Top Band students need to be trained to explore the
implications and higher-order demands of the question
The generic marking criteria

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Band Two and above

Perceptive and convincing response to the question
supported by well-chose detail
Clear critical/analytical understanding of the writers craft and
the texts possible deeper implications
Much well-selected textual reference
Sensitive and detailed response to language
Considered and reflective personal response to the text

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And Band One?

sustain a convincing and perceptive argument which
engages confidently with the question and its implications
show depth of critical analysis of the text, with a complex
appreciation of its tone, its deeper implications and overall
impact
fluently integrate apposite reference to the text within
cogent argument
complete and sustained engagement with both text and
task

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Characteristics of Band One answers

Independence of judgement - therefore no hurdle
statements
A* answers likely to show greater synthesis of observations
and evaluation of the implications of what they have
analysed
Likely to make a more individual selection of details
Will have the confidence to express their own interpretation,
fluently integrating comment on language

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Weaker scripts
Tend to work through scripts at a narrative level
May show thoroughness without an overview of the
text
Or an overall response without sufficiently detailed
support
Lack engagement with the mood and tone of the
whole text

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Weaker scripts
Tend towards the heresy of paraphrase
Feature spot without sense of the whole
Fail to engage with the voice of the writer: text is read at a
literal level, and not read as crafted literature
Do not address the question
Make literal misunderstandings

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Word of warning
No template for success
Many ways to achieve the top band (and many ways of
falling short)
Mark what is there, rather than what is not there avoid
deficit marking
Mark scheme is a guide to the characteristics of a good
response, but ultimately the standard is reached through
consensus at a Standardisation Meeting

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Interpreting the Mark Scheme

Perceptive, convincing personal response TO THE
QUESTION
Clear critical understanding OF THE TEXT
Respond sensitively and in detail to the way the writer
achieves her/his effects WITHIN CONTEXT OF THE
WRITING
Ingrates much well-selected reference to the text
FREQUENT, BRIEF, APT QUOTATION

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0486 Component 4
The Unseen paper

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Advantages of Unseen route

Open book Drama examination
Fewer texts to study than other routes
No revision for Unseen paper
Can yield very fresh responses
Encourages thinking on ones feet & critical skills
Tests similar (& transferable) skills to passage-
based questions

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Preparation
Read lots of short prose extracts and poems
Freedom of teacher choice
As well as past papers
Use set poems & extracts from prose set texts
Focus on exploring language in detail
Consider structure

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Why do the Unseen option?

Opportunities Threats
Development of close Students may struggle with
reading skills skills-based approach
Frees up teaching time and Fewer teaching materials
allows choice of texts Less teacher-control of
Develops self-confident task-setting and
readers assessment
Becomes part of the Risks greater range of
Centres literary culture outcomes

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Practical Criticism
Views text without context
Focuses on language, writers craft and reader response
Encourages skills of evaluation and synthesis of
observations (Blooms taxonomy: higher order skills)
Allows individual judgement based on the accumulation of
evidence (informed personal response)

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How does this map onto the syllabus aims?

Helps to enjoy the experience of reading literature, part of
which is the fresh encounter with a new text
Allows wide reading of different forms, periods and cultures
(textual diversity)
Develops the expression of an individual and supported
response
Permits flexibility of response to the different ways in which
writers can achieve effects
Candidates can choose to connect texts to areas of human,
intellectual or aesthetic concern

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How does this map onto Assessment

Objectives?
Detailed knowledge of content

Possible meanings and implications
Appreciation of language, structure and form
Communication of sensitive and informed personal
response
So, detailed exposition, interpretation, appreciation
and argument are EQUALLY weighted

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Considerations
Subject matter Diction
Intention Sound & rhythm
Effect emotional/ Imagery
intellectual Rhetorical devices
Voice/viewpoint Structure

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Exam tips
Use 20 minutes reading time carefully
Select question/text carefully:
Poem
OR prose extract
Highlight key words of question
Jot down first impressions
Highlight key words for quoting
Focus on words/images/effects
Do not merely paraphrase/re-tell

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Implications for Learning

Candidates
need to achieve an overall understanding of the text before

writing (20 minutes reading time)
need to explore a range of possible meanings and
inferences beyond the explicit
should adapt their commentary on structure and language to
the writers choice of form and subject
should organise their ideas into an argued response to the
question

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Implications for Task setting

The question (in bold) always allows personal response but
it also directs candidates to the writing
It is likely to focus attention on a particular aspect of the text
in order to help candidates shape an argument
Bullet points are there to help scaffold a response, but are
not intended to limit it

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Bullet point focus

First bullet directs candidates to an aspect of the
narrative (a way in)
Second bullet point usually points them towards a
specific aspect of the writing (should suggest
language points)
Third bullet encourages an evaluative judgement on
the whole, or a part of, the text

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Exam Tips: Opening

Address the question in opening paragraph
Give an overview of the initial impact of the whole
text
Make a selection of interesting detail for further
analytical comment
Begin with narrative/lyrical voice and its
characteristics: who is speaking and who are they
speaking to?

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Examiners Tips: Development

Structure and form: key turning points (divide the text up?)
Shape a sensitive ie SENSUOUS response; look for sound
effects, images/metaphors and interpret their EFFECT
Does the text challenge your intuitions and expectations?
Think about characterisation not character, and plotting not
plot
Change of voice or perspective?

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Examiner Tips: Conclusion

Climax or anti-climax? Inevitable or a surprise?
Consider TONE (what writer may intend) and MOOD (what
reader feels)
Summarise cumulative effect of what you have observed
and give a BRIEF personal response to the whole text
Answer the question!

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0486 Component 5
Coursework

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Advantages
Wider literary experience
Teacher & student choice
Flexibility over coursework timing
One text can be on an examination text
Can be any of the main 3 genres
One assignment can empathic
Benefits of re-drafting

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Requirements
2 assignments
Free choice of genre
Originally written in English
Recommended length 800-1200 words (syllabus) for each
piece
Poetry must refer to 2 poems
Stories must refer to 2 stories
No need to compare
No need to submit drafts

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BAD Coursework tasks

Macbeth The diaries of Piggy
Porphyrias Lover and Jack
Write about... A newspaper article on
Proctor a character the deaths of Duncan
study and Banquo
The characters of I have a dream...
Stanley and Blanche

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Coursework tasks: good or bad?

Activity
Blanche: victim or villain? Which do you think is a fairer
description of Williams presentation of Blanche?
How do the five poems vividly portray a bleak view of modern life?
How does Browning bring vividly to life male and female
characters [in 2 monologues]?
How does Poe create tension in two of the short stories you have
studied? Refer in detail to his use of language and story-telling
techniques.
What does Orwells Animal Farm tell us about the Russian
revolution?

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Framing coursework tasks

Focus on literary Do not give too much
qualities to do
Give opportunity for Do not merely ask for
personal response narrative or background
Target the assessment Avoid scaffolding
objectives Be wary of relying on
film

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Tips for good tasks

Limited scope
Manageable focus
Clear topic
Straightforward wording
Stem of question at beginning
Begin task with How? or Explore
Include the writers name

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Examples of good coursework tasks

Explore the ways in which Steinbeck memorably
presents suffering for two characters in Of Mice and
Men.
Explore the ways in which Shakespeare presents
the murders of Duncan, Banquo and the family of
Macduff. [Discuss]
How does Dickens use setting to reflect character in
Great Expectations? Refer to two characters.

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Plagiarism
Personal response, not second-hand
response
Frequent reminders
Serious consequences of suspected
malpractice
Responsibility of centres

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How to spot plagiarism

Change in style/quality of writing
Inconsistent quality
Lack of cohesion
Limited relevance to task
Lack of convincing personal response

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Moderation in brief
Two marks each out of 25
Total 50 marks
Balance strengths & weaknesses
Award mark on best fit principle
Make comments reflect qualities of the folder
Attainment, not effort or personal qualities

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Standards

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The need for detail

Use passage-based and empathic questions
to improve students detailed knowledge
Focus on:
Words and how writers achieve their effects
Structure
Genre-specific features (= form)

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Detail: approaches to key moments

Openings and endings
Memorable scenes character, theme, setting,
mood
Exaggerated views, encouraging debate
Genre transformations (prose dialogue into
playscript, and vice versa)
Character motivation at various points

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Weak critical responses

Lengthy introductions
Question ignored
Semi-prepared/regurgitated essays
General and/or repeated points
Paraphrase and narrative (rather than analysis)
Lack of substantiation
Lists of devices without exploration

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Successful critical responses

Wide range of relevant points and quotations
Question addressed directly
A convincing and informed personal response
Brief, pertinent quotations and concise analytical
comment smoothly integrated
Exploration of writers effects: language, structure and
form
Critical vocabulary used effectively

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Weak empathic responses

Sketchy development of points
Straying too far from the world of the text
Little real understanding of character
A voice that does not match the character
Uncertainty about the prescribed moment

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Successful empathic responses

A wide range of relevant textual detail
Well-crafted and sustained insight into the character
...at the prescribed moment
An assured and clearly recognisable voice
A convincing and informed personal response to the
question set

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Activity: Empathic questions

Devise questions for your own:
Coursework text (if relevant)
The key factor: select an appropriate moment

for your character

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Resources

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Examiners reports
Activity
The end of the process,

but your starting point Read the extract from
examiner report
Share extracts from
them with students Highlight 3 or 4 themes
for feedback to
students
How to present the
material

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Cambridge International Examinations

Resources for teachers
Question papers Songs of Ourselves:
Marking criteria Notes for teachers
Examiners reports Stories of Ourselves:
Note for teachers
Scheme of work

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Your own resources

Lists of questions
Copies of passages
Video or audio resources
Student exemplar essays

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Useful websites
http://bibliomania.com
http://www.bartleby.com
http://literaryhistory.com
http://poetryarchive.org
http://en.wikipedia.org/wiki/Shakespeare

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www.poetryarchive.org

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Departmental meetings
Devise practice questions on set texts
When to schedule tests & mock exam?
Analysis of results & examiners report
Mark pupils essays using criteria

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Students notes
Annotated poems Passage-based essays
Annotated extracts from Discursive essays
drama & prose Lists of past/potential topics
Own brief plot synopses, Practice passages
time-lines
Lists of quotations &
comments on
key characters
key themes

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Reminders
For more information about future courses
please go to the training events calendar at
www.cie.org.uk

119
11/09/2013
Session 5
Using Assessment for Learning to improve
Results

120
11/09/2013
Final questions
Which text takes the Where to incorporate
longest, and which the unseen/coursework
shortest? elements
Quick read-through v Deadlines for
detailed study coursework
Can any of the texts be Timing of mock exams
dipped into and out of?

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And finally...
Many examiners noted how many candidates
had the confidence to express individual views
of their reading based on sound evidence. This
is what literary study should lead to, as
opposed to a reliance on mere parroting of the
words of study aids.

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!!!!
Keats describes autumn so well that I can imagine I am there
by the cider-press.
The poets use of enjambment makes the writing flow and
easy to read and the vivid description draws you in.
The writer uses metaphors, rhetorical questions, paradoxes
and personifications to get her points across.
Shakespeare quotes...

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Further questions
www.cie.org.uk
info@cie.org.uk
+44 (0) 1223 553544

124

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