Super - Winston-Salem/Forsyth County Schools
|English A1 Assessment Overview
for IB Seniors (exam session: May 2012) | |
Syllabus Outline (two year study)
|Junior |Part 4: School’s Free |Chopin, Kate. The Awakening. |
| |Choice |Fitzgerald, F. Scott. The Great Gatsby. |
| | |Hawthorne, Nathaniel. Selected short stories. |
| | |O’Conner, Flannery. Selected short stories. |
| | |O. Henry. Selected short stories. |
| | |Poe, Edgar Allan. Selected short stories. |
| | |Sophocles. Antigone. (World Literature) |
| |Part 1: World Literature |Tolstoy, Leo. Anna Karenina. |
| | |Yoshimoto, Banana. Kitchen. |
| | |Esquivel, Laura. Like Water for Chocolate. |
|Senior |Part 2: Detailed Study |Angelou, Maya. I Know Why the Caged Bird Sings. |
| | |Hughes, Langston. Selected Poems. |
| | |“Mother to Son” |
| | |“Harlem” |
| | |“Theme for English B” |
| | |“I, Too, Sing America” |
| | |“As I Grew Older” |
| | |“Let America Be America Again” |
| | |“A Song to a Negro Wash-Woman” |
| | |“What I Think” |
| | |“Wait” |
| | |“How Thin a Blanket” |
| | |“Scottsboro” |
| | |Rushdie, Salman. Shame. |
| | |Shakespeare, William. Othello. |
| | |Whitman, Walt. Selected Poems. |
| | |“Oh Captain! My Captain” |
| | |“I Hear America Singing” |
| | |“Cavalry Crossing a Ford” |
| | |“When I Heard the Learned Astronomer” |
| | |“I Sing the Body Electric” |
| | |“Faces” |
| | |“To a Foil’d European Revolutionaire” |
| | |“France, the 18th year of These States” |
| |Part 3: Group of Works |ben Jelloun, Jahar. The Sand Child. (World Literature) |
| | |Emecheta, Buchi. Kehinde. |
| | |Hurston, Zora Neale. Their Eyes Were Watching God. |
| | |Roy, Arundhati. The God of Small Things. |
Assessment Outline (two year study)
| | |
|Junior |World Literature Assignment 1 (externally assessed) |10% |
| |1000-1500 words |
| |Comparative study of at least two Part 1 works. |
| |Individual Oral Presentation (10-15 minutes – internally assessed, externally moderated) |15% |
| |Presentation of a topic, chosen by the candidate, based on Part 4 work(s). |
| | |
| | | |
|Senior |Paper 1 Commentary (2 hours – externally set and assessed) |25% |
| |Written commentary based on poetry or another text to which the techniques of literary criticism can be applied. |
| |Two unseen texts for commentary; no guiding questions. |
| |One commentary to be written on one of the texts. |
| |Paper 2 Essay (2 hours – externally set and assessed) |25% |
| |Two essay questions on each genre available for study in Part 3, Groups of Works, and four essay questions of a general nature. |
| |One question only to be answered, based on the Part 3 works studied and, if relevant, a Part 2 work of the same genre. |
| |World Literature Assignment 2 (externally assessed) |10% |
| |1000-1500 words; Based on work(s) not used in WL Assignment 1 |
| |Options: |
| |Assignment 2a: Comparative Study (1 WL work and 1 Language A1 work) |
| |Assignment 2b: Imaginative or Creative Assignment (1 WL work, or 1 WL and 1 Language A1 work) |
| |Assignment 2c: Detailed Study (1 WL work only) |
| |Individual Oral Commentary (15 minutes – internally set and assessed, externally moderated) |15% |
| |Commentary on an extract, chosen by the teacher, from one of the Part 2 works studied. |
| |Extract accompanied by one to two guiding questions. |
| | | |
Understanding the IB Rubric Criterion
Language
➢ very clear, effective, carefully chosen and precise
➢ high degree of accuracy in grammar, vocabulary and sentence construction
➢ effective and appropriate register and style
Organization
➢ effectively organized and developed
➢ reader is engaged and persuaded
➢ requires the coherence of ideas within
➢ should incorporate quotations into their writing in such a way that the development of their ideas is enhanced and not impeded,
➢ should avoid using large blocks of quotations
➢ consistent with required formatting
Presentation
➢ reader is engaged and persuaded
➢ require careful structuring
➢ a clear, sustained focus and purposeful development of ideas (with links between elements)
Knowledge and understanding of literary works
is the expression of an author’s individual creativity and as representatives of their genre and period. Knowledge refers to familiarity with the work. Understanding is the ability to interpret the writer’s intention and to understand how context may affect that interpretation—both the context of the work and what the reader brings to the reading.
➢ know the main features of the genre the text exemplifies
➢ demonstrate the ability to evaluate the effectiveness of the use of the various conventions.
➢ discuss the links between works: differences and similarities in their context, style, structure, theme and so on
➢ understand cultural values as expressed in literature, and the significance of context in literary works. The actions of the characters in a literary work should not be judged by the student’s own time and culture.
➢ statements or assertions must be validated and have evidence to support them
➢ carefully chosen, detailed references to the work(s), passage or extract
➢ demonstrate their independent interpretation and depth of understanding
➢ evidence provided in the form of quotations and line references
➢ should set quotations in context, integrated into the text of the essay and accompanied by explanation or analysis
Analysis of literary techniques
➢ demonstrate an ability to analyze language, structure, technique and style
➢ know the difference between description and analysis
Evaluation
➢ recognize how and why literature affects the reader
➢ see how, in literary terms, one writer compares with another. Similar literary techniques will affect readers differently and students are expected to be able to analyse, discuss and justify their own response to the choices that writers make.
Independent literary criticism
➢ acquire for themselves the skill of reading between the lines
➢ see how writers have achieved their effects and how they may be trying to persuade the reader to accept their views of the subject of the prose passage or poem
➢ build on what they have learned in class, but also show that they have thought for themselves about the topic
World Literature Assignment 2
The candidate:
➢ chooses the type and title of the assignment, but may discuss the choice with the teacher.
➢ may select any aspect of the World Literature works studied. If the same aspect is chosen by more one student, the content must be different. You must write about a different aspect for each assignment.
➢ 1000-1500 words in length with word count at the end. Quotations are included in the word count, but footnotes and bibliographies are not.
➢ Each WL work may be used in one assignment only. A minimum of three WL works must be covered in total.
➢ Make it clear on the title page which assignment you are completing (2a, 2b, or 2c).
➢ Topics may not be repeated.
➢ The assignment may not be written in class.
Features of an appropriate written assignment topic:
➢ a focus on the literary aspects
➢ clear titles that about the topics chosen and the writer’s intentions
➢ awareness of the assessment criteria
➢ goes beyond only a description of the characters or events of the work
Planning – fill out the proposal form and conference with the teacher before you begin writing.
First Drafts – Teachers are allowed to make general comments about the first drafts either verbally or in writing on a SEPARATE sheet of paper. Teachers may assist further unless the topic is abandoned.
Guidance and Authenticity (Is it your own work?)
Students should be familiar with:
➢ the requirements of the type of work to be assessed
➢ the assessment criteria (the work submitted for assessment must address these criteria effectively)
➢ the basic meaning and significance of concepts that relate to academic honesty, especially authenticity and intellectual property [which are included in the back of this packet].
The written assignment submitted for external assessment must be the student’s own work. Verification of this should be done via discussion and scrutiny of one or more of the following:
➢ the student’s supervised writing from which the topic has been generated
➢ the first draft of the written work
➢ the references cited
➢ the style of writing compared with work known to be that of the student
All work submitted to the IB for moderation or assessment must be authenticated by a teacher, and must not include any known instances of suspected or confirmed malpractice. Each student must sign the coversheet to confirm that the work is his or her authentic work and constitutes the final version of that work.
Once a student has officially submitted the final version of the work to a teacher (or the coordinator) for assessment, together with the signed coversheet, it cannot be retracted.
If the teacher and student sign a coversheet, but there is a comment to the effect that the work may not be authentic, the student will not be eligible for a mark in that component and no grade will be awarded.
WL Assignment 2a: Comparative Study (Works: 1 WL & 1 Language A1)
➢ based on an aspect of one World Literature work and one work chosen from any part of the two-year syllabus
➢ must focus on some pertinent link between the two works
➢ may not be a generalization of culture, but may explore cultural similarities and differences
Approach
➢ must be a cogent piece of writing – include some introductory and concluding remarks (in MLA)
➢ should constitute a reasoned argument
Structure
➢ The introduction could be, for example, a brief statement of the aims of the assignment.
➢ The main body should reveal the candidate’s insight into the works and the candidate’s appreciation of the chosen link between the works.
➢ The conclusion could be, for example, a brief summary and personal evaluation of the discussion.
Choice of an appropriate and focused aspect: What element of __________________ will you be discussing?
| | |
|Topics |Better Topics |
|Conflicts in God’s Bits of Wood and A Fine Balance |The nature and significance of social conflicts in God’s |
| |Bits of Wood and A Fine Balance |
|A comparative study of The Suffrage of Elvira and A Man of |A comparison of the sources and functions of humor in The |
|the People |Suffrage of Elvira and A Man of the People |
|Men in Kokoro and Fiela’s Child |A comparison of the presentation and significance of the |
| |father figure in Kokoro and Fiela’s Child |
|Politics and religion in The House of the Spirits and |Attitudes to politics and religion in The House of the |
|Petals of Blood |Spirits and Petals of Blood |
|Dramatic techniques in I Will Marry When I Want and The |The role of music and mime in I Will Marry When I Want and |
|Trial of Mallam Ilya |The Trial of Mallam Ilya |
|Death in the poetry of Symborska and Owen |A comparison of the images of death in the poetry of |
| |Symborska and Owen |
WL Assignment 2b: Imaginative or Creative Assignment (Works: 1 WL or 1 WL & 1 Language A1)
➢ based on one WL work or a combination of a WL work and work chosen from any part of the two-year syllabus
➢ NOT a conventional critical essay or commentary
➢ allows the candidate to apply the principles or techniques of literary criticism or appreciation in an informed, imaginative manner
➢ IBO indicates that the problem most candidates have with this assignment is related more to how to execute the tasks they set themselves than to the formulation of a viable assignment topic.
WL Assignment 2b: The Statement of Intent
➢ must include:
o the work(s) on which the assignment will be based the nature of the task to be engaged in, including considerations such as audience, register, form
o the aspects or elements of the work(s) on which the candidate intends to focus
o how the candidate intends to explore these aspects or elements
➢ must be included in the word count
➢ should not normally exceed 500 words. If you are doing a creative piece such as a short poem, the statement may be longer than the body of the assignment and longer than 500 words.
WL Assignment 2b: Suggestions
There are many possibilities for creative approaches. The following list of suggestions, while not exhaustive, provides some ideas for assignments.
➢ The diary of a character accompanied by critical comment by the candidate.
➢ A director’s letter to the actor playing a particular role or scene.
➢ An exercise in which the candidate turns the ‘story’ or a portion of it into another form such as dramatic monologue, biblical parable, folk tale or myth.
➢ A critic’s review of a dramatic interpretation/performance.
➢ An editorial objecting to censorship or exclusion of a work from a school syllabus.
➢ A letter to a publisher outlining the merits of a work to be published and reasons for publication.
➢ The creation of dramatic monologues that play the self-perception of the characters against the view of other characters or the author.
➢ A transcription either of an imaginary interview with the author about the work in question or of a conversation between two authors about their respective works.
➢ A postscript to a novel, or an extra chapter.
➢ An additional scene for a play.
➢ A pastiche (an imitation or re-creation of an already published work). In this assignment, candidates are encouraged to demonstrate their sensitivity to, and understanding of, a work by providing an original composition after the manner of that work.
|Appropriate assignment topics |Inappropriate assignment topics |
|an editorial published by the People’s Herald on the |an interview with Ibsen, in which the interviewer only asks questions |
|meeting convened by Dr. Thomas Stockmann (based on An |about Ibsen’s personal life, for example, “Did you have an unhappy |
|Enemy of the People by Henrik Ibsen) |marriage, Mr. Ibsen?” |
|Aissatou’s response: a reply from Aissatou explaining |a dramatic monologue by Vladimir, in which the candidate only repeats |
|and justifying her reaction to her husband’s betrayal |statements made in Waiting for Godot |
|(based on So Long a Letter by Mariama Ba) |“Hamida’s Diary,” in which the candidate only paraphrases parts of |
| |Naguib Mahfouz’s Midaq Alley |
| |an alternative ending to The Outsider in which Meursault escapes to |
| |find true happiness on a desert island with Marie |
Guidance for candidates:
➢ make sure that the assignment meets the requirements of the rubric
➢ the tasks undertaken must reveal knowledge of and insight into the literary features of the works on which they are based
➢ avoid: (1) following the original work so closely that they do no more than replace portions of it with arbitrary alternatives, (2) departing so far from the original that the piece they create reveals little evidence of knowledge, understanding, and appreciation of the original, (3) trying to “improve” the original, examples include: exacting revenge on the villains, allowing the escape of the protagonist, explaining the inexplainable
WL Assignment 2c: Detailed Study (1 WL work)
➢ based on an aspect of one World Literature work from any portion of the two-year syllabus
➢ extracts should not be included in the word count, but copies must be attached when submitted for assessment
Approaches
➢ A formal essay, such as:
o Symbols of hope and despair in the poetry Pablo Neruda
o Attitudes to oppression in The House of the Spirits
➢ Analysis of a key passage (a paragraph, a page, a chapter, or an extract from a poem) explores, for example, prose or poetic style, character study, plot development or theme. The passage should have major significance for any of a variety of explorations: Why is this passage central to our understanding of the work? Why is it a “key”?
o should briefly explain the reason the passage was chosen, why it is central to our understanding
o should explain the significance of the passage to the larger work from which it has been taken
o show relationship to development of plot
o examine what it shows about elements such as theme, style, and characters
➢ Analysis of two key passages explores, for example, contrasting prose styles, descriptive method, character presentation and a range of other aspects.
o justify briefly the pivotal nature of the passages chosen
o demonstrate their particular similarities and differences which the candidate considers interesting
➢ Commentary on an extract analyzes in-depth an extract of approximately 30 lines of prose or the equivalent in drama or verse. Choosing an extract should by guided by: Why can this passage be seen as characteristic of the writer’s central concerns and/or techniques?
o justify briefly their selection of the particular extract
o explore how language, imagery, organization of ideas, and stylistic and thematic aspects work together within the passage to create or enhance meaning
General requirements for final submission (specifics to come later):
➢ MLA format (include title page for WL2 – and specify which assignment type you chose: 2a, 2b, or 2c)
➢ WL form completed and signed
Frequently Asked Questions – Written Assignment
The topic and its selection
Who selects the topic on which the candidates write their assignment?
Candidates are expected to:
➢ select a viable aspect of the world literature works they have studied
➢ ensure that the aspect selected lends itself to a literary discussion
➢ create an appropriate topic for the assignment
➢ select a topic and/or treatment distinct from those of other candidates at their school.
Are translation exercises acceptable?
No.
Can topics be presented in the form of questions?
Yes, although it would be unusual (and perhaps indicative of undue teacher intervention) for all candidates from one school to present their topics as questions.
The assignment – use of works
Can the world literature work studied in Part 4 be used for assignment 2 even if the candidate has already used it for the IOP?
Yes.
Can the analysis of two key passages (assignment 2c) be based on two world literature works?
No.
The assignment – writing and format
Is it necessary for candidates to refer to secondary sources when completing their written assignment?
No.
Is it compulsory to have a bibliography?
Yes.
Must quotations, footnotes, and bibliographies all be included in the word count for the assignment?
Quotations are included; footnotes and bibliographies are not.
Where footnotes are used, they must not contain arguments or ideas that should be included in the main body of the assignment, but have been included as footnotes to decrease the word count.
Must a statement of intent be provided for all world literature assignments?
No, the statement of intent is required only for assignment 2b. However, an introduction is required for assignments 2a and 2c.
Is it acceptable for candidates to edit each other’s assignment(s)?
No; however, it is acceptable for candidates to make class presentations of their assignment (or excerpts of their assignment), answer questions and consider suggestions arising from the discussion that follows.
Is it acceptable to return final versions of the assignment to candidates for further checks and amendments if internal school deadlines permit?
Yes, but candidates can not change their topics or start a new assignment at this stage.
Some topics and approaches taken by an actual class (Banton, Frank. UNIS.)
|One Hundred Years of Solitude |Heirs to the Past |The Death of Artemio Cruz |
|A personal memory based on the novel |A commentary on a scene |A fictional piece ralted to the novel |
|An essay on a character |An additional scene |A brief story in the style of |
|A meditation on solitude related to the novel |A final scene |A story based on |
|A conversation between the ghost in Hamlet and |Parts of a diary kept by the mother |A scene from the novel, told from Regina’s point of |
|Prudencio Aquilar |A monologue by the mother |view |
| |An essay on the father | |
| |Parts of a diary kept by Driss’ wife | |
Failure to Comply with Regulations
Repetition of works – If works are repeated across assignments, assignment 2 will be awarded no more than achievement level 3 for criterion B.
Use of incorrect works – The assignment will be awarded achievement level 0 for criterion B and no more than achievement level 3 for each of criteria A, C, and D.
No statement of intent – Assignment 2b will be marked as normal but brought down by one level for criterion C.
Above or below word count – Assignments can be between 10% below and 10% above the word count. Outside this range, assignments will be brought down by one level for criterion C.
World Literature Assignment Rubric
| |0 |1 |2 |3 |4 |5 |
|A: Selection of the Aspect and its |Has |Little attempt to |Attempt to define the |The aspect is defined |Clearly defined aspect|Clearly defined aspect|
|Treatment |not |define the aspect |aspect chosen; the |and followed by a |followed by an |followed by a highly |
|The achievement level for this |reach|chosen; the treatment |treatment of ideas is |generally appropriate |appropriate treatment |appropriate treatment |
|criterion is determined primarily by |ed |of ideas is generally |to some extent |treatment of ideas |of ideas |of ideas |
|the treatment of ideas, not the |level|inappropriate to the |appropriate |the aspect chosen is |the aspect chosen is |the aspect chosen is |
|selection of the aspect. |1. |assignment |the aspect chosen is |appropriate to the |appropriate to the |highly appropriate to |
|How well has the candidate defined the| |the aspect chosen is |to some extent |assignment |assignment |the assignment |
|aspect chosen? | |generally not |appropriate to the |the aspect chosen has |the aspect chosen has |the aspect chosen has |
|How appropriate is the aspect chosen | |appropriate to the |assignment |a specific and |a specific and |a specific and |
|to the assignment? | |assignment |the aspect chosen has |generally relevant |relevant focus |relevant focus |
|How well has the aspect chosen been | |the aspect chosen has |focus, but it is too |focus |the ideas show |the ideas show |
|explored in relation to the | |little focus |wide |the treatment of ideas|independence of |independence of |
|assignment? | |the treatment of ideas|the treatment of ideas|is relevant to the |thought and their |thought and their |
|To what extent has the candidate | |is generally not |is sometimes not |aspect chosen, and |treatment is relevant |treatment is highly |
|expressed a relevant personal | |relevant to the aspect|relevant to the aspect|includes a personal |to the aspect chosen |relevant to the aspect|
|response? | |chosen or |chosen or |response to the | |chosen |
| | |the assignment |the assignment |work(s) | | |
| | |consists mainly of |consists in part of | | | |
| | |paraphrase |paraphrase | | | |
|B Knowledge and Understanding of |Has |Little understanding |Some understanding of |Adequate understanding|Good understanding of |Excellent |
|Work(s) |not |of the work(s) studied|the work(s) studied |of the work(s) studied|the work(s) studied |understanding of the |
|How well does the candidate know the |reach|knowledge but little |knowledge and some | |detailed knowledge of,|work(s) studied |
|work(s) studied? |ed |understanding of the |understanding of the |knowledge and |and good insight into,|in-depth knowledge of,|
|How much understanding has the |level|aspects of the work(s)|aspects of the work(s)|satisfactory |the aspects of the |and very good insight |
|candidate shown of the work(s) studied|1. |most relevant to the |most relevant to the |understanding of the |work(s) most relevant |into, the aspects of |
|in relation to the assignment? | |assignment |assignment |aspects of the work(s)|to the assignment |the work(s) most |
|To what extent does the candidate | |a few links between |a link between the |most relevant to the |clear and meaningful |relevant to the |
|appreciate the cultural setting | |works, where |works, where |assignment |linking of works, |assignment meaningful |
|relevant to the assignment, where | |appropriate |appropriate |meaningful linking of |where appropriate |and perceptive linking|
|appropriate? | |little appreciation of|some appreciation of |works, where |good appreciation of |of works, where |
| | |the cultural setting |the cultural setting |appropriate |the cultural setting |appropriate |
| | |relevant to the |relevant to the |appreciation of the |relevant to the |excellent appreciation|
| | |assignment, where |assignment, where |cultural setting |assignment, where |of the cultural |
| | |appropriate |appropriate |relevant to the |appropriate |setting relevant to |
| | | | |assignment, where | |the assignment, where |
| | | | |appropriate | |appropriate |
|C: Presentation |Has |The formal structure |The formal structure |The formal structure |The formal structure |The formal structure |
|Levels 3-5 are awarded only to |not |and/or development of |and/or development of |and/or development of |and/or development of |and/or development of |
|candidates who have remained within |reach|ideas are generally |ideas are to some |ideas are effective |ideas are very |ideas are highly |
|the prescribed word-limit. |ed |not effective |extent effective |adequate structure to |effective |effective |
|How effectively has the candidate |level|little evidence of a |evidence of a |the assignment |clear and logical |purposeful and |
|presented the assignment? |1. |structure to the |structure to the |references are |structure to the |effective structure to|
|How precise and relevant are the | |assignment selected |assignment |generally to the point|assignment |the assignment |
|candidate’s references? | |a few references to |references are | |precise and pertinent |precise and highly |
|How detailed and meaningful is the | |the work(s), but they |occasionally to the |where appropriate, the|references to the |pertinent references |
|statement of intent provided, where | |are generally not |point |presentation of aims |works |to the works |
|appropriate? | |pertinent to the |where appropriate, the|in the statement of |where appropriate, the|where appropriate, the|
|Has the candidate remained within the | |assignment |statement of intent |intent is generally |statement of intent is|statement of intent is|
|prescribed word-limit? | |where appropriate, the|includes a few details|clear and includes |clear, detailed and |clear, detailed and |
| | |statement of intent |about the aims of the |some details |relevant |highly relevant |
| | |provides few details |assignment |the candidate has |the candidate has |the candidate has |
| | |about the aims of the | |remained within the |remained within the |remained within the |
| | |assignment | |prescribed word-limit |prescribed word-limit |prescribed word-limit |
|D: Language |Has |Little use of |Some use of |Adequate use of |Good use of |Excellent use of |
|How clear is the candidate’s written |not |appropriate language |appropriate language |appropriate language |appropriate language |appropriate language |
|expression? |reach|generally |generally appropriate |appropriate register |the register is |the register is highly|
|How well has the candidate observed |ed |inappropriate register|register for the |for the assignment |effective and |effective and |
|the conventions of written work? (The |level|for the assignment |assignment selected |selected |appropriate for the |appropriate for the |
|conventions of written work relate to |1. |selected |some lapses in the |the conventions of |assignment selected |assignment selected |
|elements such as paragraphing, | |frequent lapses in the|conventions of written|written work are |the conventions of |careful attention is |
|grammar, spelling, citation of | |conventions of written|work |generally followed |written work are |given to the |
|references.) | |work |some consistency or |consistency and some |closely followed |conventions of written|
|How appropriate is the register | | |clarity of expression |clarity of expression |clarity, consistency |work |
|selected by the candidate for the | | | | |and general fluency of|clarity, consistency |
|particular assignment? (Register | | | | |expression |and fluency of style |
|refers, in this context, to the | | | | | | |
|candidate’s sensitivity to elements | | | | | | |
|such as the vocabulary, tone, sentence| | | | | | |
|structure and idiom appropriate to the| | | | | | |
|task.) | | | | | | |
Individual Oral Commentary
➢ based on an extract, selected by the teacher, from one of the works studied in Part 2 of the syllabus
➢ extract must be accompanied by guiding questions
➢ all Part 2 works are eligible for use
Broadly speaking, “commentary” here refers to a close detailed analysis of writing, showing an understanding both of what is said and of how it is said. It requires students to demonstrate close detailed knowledge and appreciation of:
➢ relevant matters of literary significance, such as subject matter and theme
➢ how elements such as language, style and technique work together to convey the writer’s purpose in the extract and, where appropriate, their significance to the work as a whole
➢ the effects of such exploration, or presentation, for the development of the work as a whole, and for the reader’s understanding
➢ oral response that is well developed, carefully structured, appropriately illustrated and in a register suitable for formal literary discussion
Choice of Extract
➢ Candidates may not choose the extract, nor be told in advance which extracts will be used.
➢ All four Part 2 works will be used.
➢ All extracts will be of comparable difficulty.
➢ The length of the extract should not normally exceed 40 lines.
➢ Line numbers will be provided for easy reference. All other information will be removed.
➢ Poem titles will be included.
Guiding Questions
➢ one or two questions for each extract – to serve as a starting point for organizing the commentary
➢ should relate to some of the most significant aspects of the extract:
o the presentation and role of character(s)
o relationships
o theme(s)
o the use of language
o the significance of the extract to the development of the plot of the larger work
➢ the effects of structure, style and technique
➢ should not:
o refer to fine detail, or any particular interpretation of the extract
o restrict the candidate’s ability to explore independently all significant aspects dealt with in the extract
Students do not have to answer the guiding questions, but if the guiding questions are appropriate, students are unlikely to offer good commentaries without addressing the demands of the guiding questions in some form, even if not directly
Types of Guiding Questions (examples only):
➢ In what ways do you think this extract defines the role of X, a character in the extract? What do you think the extract reveals about X’s state of mind?
➢ What is established in this opening passage? By what means has this been achieved?
➢ To what extent is our perception of the relationship between X and Y developed in this passage?
➢ What is the primary significance of this passage?
➢ Which poetic techniques in this poem or extract from a poem are typical of the writer? What are the effects of the dominant images used in this extract?
➢ Identify the poetic techniques used in this poem (or extract from a poem). Relate them to the content.
Focus and Structure (of your particular commentary)
➢ should focus on the extract itself, not the entire work
➢ should situate the extract as precisely as possible in the context of the work from which it has been taken (e.g. to establish context or the relative importance of different aspects of the passage or poem)
➢ should comment on the effectiveness of the writer’s techniques, including the use of stylistic devices and their effect(s) on the reader
➢ should be well structured (not a series of unconnected points nor a narration or line-by-line paraphrase)
Preparation (20 minutes)
Under supervision, candidates will select an extract at random from a pool and prepare for their commentary:
➢ read the extract and accompanying guiding questions carefully
➢ identify and analyze closely all the significant aspects of the extract
➢ make notes for the commentary
➢ organize the structure of the commentary
Delivery and Subsequent Discussion (15 minutes)
➢ will be tape recorded
➢ should not read extract aloud
➢ must deliver commentary without interruption; teachers can intervene if a candidate panics and needs positive encouragement or if he/she is off target or is finding it difficult to continue
➢ will be stopped at 12 minutes (to allow time for discussion)
➢ after commentary:
o engage in discussion with teacher about knowledge and understanding of the work or topic
o expand on doubtful or inadequate statements
Teachers must be satisfied that candidates:
➢ understood specific words, phrases and allusions as well as appreciated their importance within the extract
➢ understand the significance of the extract within the whole work or, in the case of a complete poem, the relationship between the poem and others studied
➢ understand, and can comment on, the writer’s technique
Frequently Asked Questions—IOC
Are students penalized if their IOC is longer than 15 minutes?
No, but external moderators are told not to give credit for any new insights or points made after 15 minutes have elapsed.
Is it advisable for the internal examiner to keep the IOC going for the full 15 minutes?
Yes; however, where the student has nothing further to say there is really no point in prolonging the process.
Can IOCs be practiced in class?
Yes. However, teachers should use works studied in other parts of the syllabus for such practice sessions.
How often may a student redo the IOC?
Students have only one chance to do the IOC. The date fixed for the commentary may be renegotiated to accommodate adverse circumstances such as ill health or bereavement. However, once the IOC is done students may not be allowed to redo it under any circumstances.
Using the Assessment Criteria—Instructions and Advice to External Moderators
These instructions and guidance notes are reproduced here to make teachers aware of:
➢ how moderators interpret and apply the assessment criteria for the oral component
➢ what moderators are encouraged to reward, penalize or disregard in their application of the assessment descriptors.
Criterion A
Students should offer, albeit briefly, some placing of the “part” (poem or extract) within the “whole” (text or selection of poems or essays). They should know the precise context of the extract, but knowledge and understanding of the actual extract is also being assessed in this criterion, so moderators should not overemphasize context in awarding marks. As different texts require different degrees of contextualization, moderators should be flexible in assessing this aspect, but biographical detail should be pertinent to the extract. Suitable aspects of contextualization include the following (by genre).
➢ Drama: To include the same elements as for fiction, plus the theatrical/performance aspect.
➢ Poetry: Links to other works by the same poet. When an extract from a poem is used, context must cover the poem as a whole.
➢ Prose fiction: All extracts need appropriate placing, which might include character development, plot, and thematic development.
➢ Prose non-fiction: Students need to highlight, for example, the main thematic issues, to place the extract within the structure as a whole, and, in the case of short works, to link to other works by the same author.
“Thorough knowledge of extract” should not be interpreted too literally to mean exhaustive knowledge. Students are often not in a position to explore all the possibilities of the extract in the time allowed and moderators should use discretion.
Criterion B
➢ The emphasis must be on students’ attention to how literary tools are used, and to their effects, rather than simply citing the use of literary terms per se.
➢ Personal response includes a choice, selection, and use of details to consolidate the views expressed, rather than mere repetition or regurgitation of class notes or learned critical material.
➢ Be wary of rewarding enthusiasm only.
Criterion C
➢ Any form of structuring will be rewarded if it is effective and appropriate. Different conventions are in operation and therefore all approaches (including the linear approach) are acceptable and will be judged on the basis of their effectiveness. Moderators should remember that structure does not exist by itself, but any structure must be measured by its appropriate referencing to the extract and/or overall work.
Criterion D
➢ Moderators should be careful to avoid being prejudiced in their application of this criterion by achievement levels in other criteria. It is possible to score highly on this criterion even if students have scored in the lower levels on the other criteria, and vice versa.
➢ Register is an important feature—students are delivering to an audience. To achieve higher than level 3, the student needs to use a “style for the occasion” as stated in the descriptor for level 4.
➢ If literary terms are used, they should be appropriate.
➢ In principle, students can be awarded a 5 even if they do not use literary terms, provided the other conditions are met.
➢ It is particularly important not to confuse reasonable fluency with substantive content. The former is sometimes present without the latter.
General
➢ The highest levels of achievement do not imply a perfect or flawless performance.
➢ Moderators should ensure that they employ fairness across a diverse candidacy and are consistent in their application of the descriptors.
➢ Teachers are assessing the actual performance on the day and should not be influenced by prior knowledge or impressions of the student’s work. Moderators should assess only what they hear on the tape, and not attempt to take into consideration any external factors. They should also resist the temptation to guess what a student’s performance might have been like if the circumstances of the interview had been more favorable.
➢ Assistant moderators should time the whole performance, including the student’s independent delivery and subsequent questions. In total, the whole should not exceed 15 minutes. Report any anomalies on the feedback form. Moderators are not obliged to continue listening after 15 minutes have elapsed. Any time spent listening after the 15-minute mark would serve merely to consolidate the moderator’s judgment, rather than to award extra marks.
➢ When assessing, moderators should look only at the assessment criteria descriptors and not think in terms of overall component grades on the DP 1–7 scale.
➢ Guiding questions are there to use if the student wishes. It is not compulsory to answer them.
➢ Although subsequent questions must be put to all students, do not penalize the student if none is asked.
➢ In the interests of consistency, moderators should mark each sample “blind” and not feel tied to the school’s marks. However, where moderators are unsure or torn between two achievement levels on a particular criterion, it is useful to refer to the school’s marks and confirm the level awarded by the teacher if his/her marking seems generally in line with their own. A consistent application of the criteria might lead to substantial changes to marks awarded by the teacher. Do not hesitate to assign marks that differ drastically from the teacher’s, if appropriate. The teacher’s marks should not be looked at until after the moderator has assigned his/her marks.
➢ A good but very short commentary, where the student speaks unaided for under seven minutes before the posing of subsequent questions, is unlikely to score the highest achievement levels on all criteria.
Internal Assessment Criteria – Oral Component
|A: Knowledge and |0: |1 |2 |3 |4 |5 |
|Understanding of Extract |Candi|Little knowledge of the |Some knowledge of the |Adequate understanding |Good understanding of |Excellent understanding |
|or Work(s) |date |extract or work(s) |extract or work(s) |of the extract or |the extract or work(s) |of the extract or |
|How well does the |has |little knowledge or |some knowledge but |work(s) |good knowledge and |work(s) |
|candidate know and |not |understanding of the |superficial |adequate knowledge and |understanding of the |through knowledge and |
|understand the content of |reach|content of the extract |understanding of the |understanding of the |content of the extent or|understanding of the |
|the extract or work(s)? |ed |or work(s) |content of the extract |content of the extract |work(s) |content of the extract |
|How well does the |level|little knowledge of the |or work(s) |or work(s) |good knowledge of the |or work(s) |
|candidate situate the |1. |appropriate context of |some knowledge of the |adequate knowledge of |appropriate context of |precise knowledge of the|
|extract or work(s) within | |the extract or work(s) |appropriate context of |the appropriate context |extract or work(s), |appropriate context of |
|the context of the larger | | |the extract or work(s), |of the extract or |where relevant |the extract or work(s), |
|work from which it has | | |where relevant |work(s), where relevant | |where relevant |
|been taken or the body of | | | | | | |
|works to which it belongs,| | | | | | |
|where relevant? | | | | | | |
|B: Interpretation and |0: |1-2 |3-4 |5-6 |7-8 |9-10 |
|Personal Response |Candi|Little interpretation of|Some interpretation of |Adequate interpretation |Good interpretation of |Excellent interpretation|
|How valid is the |date |the extract or work(s) |the extract or work(s) |of the extract or |the extract or work(s) |of the extract or |
|candidate’s interpretation|has |little interpretation of|some interpretation of |work(s) |a valid and generally |work(s) |
|of the extract or work(s)?|not |thought and feeling |the thought and feeling |a generally valid and |detailed interpretation |a convincing and |
|How well has the candidate|reach|expressed in the extract|expressed in the extract|adequate interpretation |of the thought and |detailed interpretation |
|identified and analyzed |ed |or work(s) |or work(s) including |of the thought and |feeling expressed in the|of the thought and |
|the effects of literary |level|response consists mainly|some elements of the |feeling expressed in the|extract or work(s) |feeling expressed in the|
|features in the extract or|1. |of narration and/or |relevant personal |extract or work(s) |including a considered |extract or work(s) |
|work(s), such as diction, | |repetition of content |response, where |including some degree of|critical response, where|including a fully |
|imagery, tone, structure, | |little awareness of the |appropriate |a critical personal |appropriate |considered and |
|style, and technique? | |literary features of the|some awareness of the |response, where |good awareness and |independent critical |
|To what extent does the | |extract or work(s) |literary features of the|appropriate |detailed analysis of the|response, where |
|candidate’s response show | | |extract or work(s) |adequate awareness and |effects of the literary |appropriate |
|critical thinking and | | |the response is |some analysis of the |features of the extract |excellent awareness and |
|originality? | | |supported by some |effects of the literary |or work(s) |critical analysis of the|
|How precise and relevant | | |references to the |features of the extract |the response is |effects of the literary |
|are the candidate’s | | |extract or work(s) |or work(s) |supported by relevant |features of the extract |
|references to the extract | | | |the response is |references to the |or work(s) |
|or work(s)? | | | |generally supported by |extract or work(s) |the response is fully |
| | | | |relevant references to | |supported by precise |
| | | | |the extract of work(s) | |references to the |
| | | | | | |extract or work(s) |
|C: Presentation |0: |1-2 |3-4 |5-6 |7-8 |9-10 |
|How structured is the |Candi|Little sense of a |Some sense of a focused |A generally focused and |A focused and developed |A clearly focused, |
|candidate’s response? |date |focused and developed |and developed response |developed response |response |well-developed and |
|How effective and |has |response |some evidence of a |adequate structure to |clear and logical |persuasive response |
|convincing is the |not |little evidence of |structure to the |the response |structure to the |purposeful and effective|
|candidate’s presentation? |reach|structure to the |response |the response is |response |structure to the |
|How appropriately does the|ed |response |some attempt to present |generally focused and |the response if focused |response |
|candidate integrate |level|little attempt to |the response with |presented in a coherent |and presented in a |the response is focused,|
|supporting references to |1. |present the response |coherence although it is|and effective manner |clear, coherent, |coherent and presented |
|the extract or work(s)? | |with coherence and focus|not always focused |supporting references to|effective and convincing|in a very effective and |
| | |the response is |supporting references to|the work(s) or extract, |manner |persuasive manner |
| | |supported by few |the work(s) or extract, |where relevant, are |supporting references to|supporting references to|
| | |references to the |where relevant, are not |sometimes appropriately |the work(s) or extract, |the work(s) or extract |
| | |work(s) or extract |appropriately integrated|integrated into the body|where relevant, are |are well integrated into|
| | | |into the body of the |of the response |appropriately integrated|the body of the response|
| | | |response | |into the body of the | |
| | | | | |response | |
|D: Use of Language |0: |1 |2 |3 |4 |5 |
|How accurate, clear and |Candi|The language is rarely |The language is only |The language is |The language is clear, |The language is clear, |
|precise is the language |date |clear or coherent |sometimes clear and |generally clear and |varied and precise |varied, precise and |
|used by the candidate? |has |the speech is not |coherent |coherent |clear, varied and |concise |
|How appropriate is the |not |readily comprehensible |some degree of clarity |clear speech, |precise speech, |clear, varied, precise |
|candidate’s choice of |reach|many lapses in grammar |and coherence in the |appropriate to the |appropriate to the |and concise speech, |
|register and style for the|ed |and expression |speech |occasion |occasion |appropriate to the |
|occasion? (Register |level|vocabulary is rarely |some degree of accuracy |only a few significant |no significant lapses in|occasion |
|refers, in this context, |1. |accurate or appropriate |in grammar and |lapses in grammar and |grammar and expression |no significant lapses in|
|to the candidate’s | | |expression |expression |uses a register and |grammar and expression |
|sensitivity to elements | | |vocabulary is sometimes |attempts to use a |style appropriate to the|an effective choice of |
|such as the vocabulary, | | |appropriate for the |register appropriate to |oral activity |register and style |
|tone, sentence structure | | |discussion of literature|the oral activity |some literary terms used|precise use of wide |
|and idiom appropriate to | | | | |appropriately |vocabulary and varied |
|the task.) Literary terms| | | | | |grammatical structures |
|are taken in the widest | | | | | |literary terms used |
|possible sense, for | | | | | |appropriately |
|example, novel, play, | | | | | | |
|poem, persona, character, | | | | | | |
|narrator. | | | | | | |
Paper 1 Written Commentary
Types of Passages
➢ two unseen texts for commentary: poetry and non-poetry (a novel or short story, an essay, a biography, a journalistic piece)
➢ may either be a complete piece of writing or an extract from a longer piece
➢ not chosen from works on the IB Prescribed Book Lists; not written by authors listed on the PBL
Written Commentary
➢ respond to one of the two unseen texts
➢ show an appreciation of aspects such as theme, content, style, structure and language
➢ Where appropriate, they may relate the text to other works read.
➢ Writing should be continuous and structured.
Written Paper 1: Commentary on an Unseen Passage
| |0 |1 |2 |3 |4 |5 |
|A: Understanding of the |Has |Little understanding of |Some understanding of the|Adequate understanding of|Good understanding of the|Excellent understanding |
|Text |not |the text |text |the text |text |of the text |
| |reac|Little understanding of |Superficial understanding|Adequate understanding of|Good understanding of the|Perceptive understanding |
|How well has the candidate|hed |the thought and feeling |of the thought and |the thought and feeling |thought and feeling |of the thought and |
|understood the thought and|a |expressed in the text |feeling expressed in the|expressed in the text |expressed in the text as |feeling expressed in the |
|feeling expressed in the |leve|Mainly irrelevant and/or |text |Adequate and appropriate |well as some of the |text as well as some of |
|text? |l 1.|inappropriate references |Some relevant references |references to the text |subtleties of the text |the subtleties of the |
| | |to the text |to the text | |Detailed and pertinent |text |
| | | | | |references to the text |Detailed and persuasive |
| | | | | | |references to the text |
|B: Interpretation of the |Has |Little interpretation of |Some interpretation of |Adequate interpretation |Good interpretation of |Excellent interpretation |
|Text |not |the text |the text |of the text |the text |of the text |
| |reac|The candidate’s ideas are|The candidate’s ideas are|The candidate’s ideas are|The candidate’s ideas are|The candidate’s ideas are|
|How relevant are the |hed |main insignificant and/or|sometimes irrelevant |generally relevant |clearly relevant and |convincing and include an|
|candidate’s ideas about |a |irrelevant or |The commentary consists |The analysis is adequate |include an appropriate |appropriate and |
|the text? How well has |leve|The commentary consists |mainly of unsubstantiated|and appropriately |personal response |considered personal |
|the candidate explored |l 1.|mainly of narration |generalizations or |illustrated by some |The analysis is generally|response |
|those ideas? How well has| |and/or repetition of |The commentary is mainly |relevant examples |detailed and well |The analysis is |
|the candidate illustrated | |content |a paraphrase of the text | |illustrated by relevant |consistently detailed and|
|claims? To what extent | | | | |examples |persuasively illustrated |
|has the candidate | | | | | |by carefully chosen |
|expressed a relevant | | | | | |examples |
|personal response? | | | | | | |
|C: Appreciation of |Has |Little awareness of the |Some awareness or |Adequate appreciation of |Good appreciation of the |Excellent appreciation of|
|Literary Features |not |literary features of the |appreciation of the |the literary features of |literary features of the |the literary features of |
| |reac|text |literary features of the |the text |text |the text |
|To what extent is the |hed |Little mention or |text |Adequate appreciation of |Generally detailed |Detailed and persuasive |
|candidate aware of the |a |consideration of the |Some consideration of the|the effects of the |appreciation of the |appreciation of the |
|presence of and appreciate|leve|literary features of the |literary features of the |literary features of the |effects of the literary |effects of the literary |
|the effects of literary |l 1.|text |text |text |features of the text |features of the text |
|features in the text, such| | |Superficial analysis of |The analysis is sometimes|The analysis is generally|The analysis is detailed |
|as diction, imagery, tone,| | |the literary features |illustrated by relevant |detailed and illustrated |and illustrated by |
|structure, style, and | | |mentioned |examples |by relevant examples |carefully chosen examples|
|technique? How well has | | | | | | |
|the candidate supported | | | | | | |
|claims about the effects | | | | | | |
|of literary features? | | | | | | |
|D: Presentation |Has |Little sense of a focused|Some sense of a focused |A generally focused and |A clearly focused and |A clearly focused, |
| |not |and developed argument |and developed argument |developed argument |well-developed argument |well-developed and |
|How well has candidate |reac|Little evidence of a |Some evidence of a |Adequate structure to the|Clear and logical |persuasive argument |
|organized the commentary? |hed |structure to the |structure to the |commentary |structure to the |Purposeful and effective |
|How effectively have the |a |commentary |commentary |Ideas are generally |commentary |structure to the |
|candidate's ideas been |leve|Little attempt to present|Some attempt to present |presented in an ordered |Supporting examples are |commentary |
|presented? To what extent|l 1.|ideas in an ordered and |ideas in an ordered or |or logical sequence |appropriately integrated |Supporting examples are |
|are supporting examples | |logical sequence |logical sequence |Supporting examples are |into the body of the |well integrated into the |
|integrated into the body | | | |sometimes appropriately |commentary |body of the commentary |
|of the commentary? | | | |integrated into the body | | |
| | | | |of the commentary | | |
Sample Paper 1 Examination
(condensed for space)
– 1 –
English A1 – Higher Level – Paper 1
Thursday 3 May 2007 (afternoon)
2 hours
Instructions to Candidates
➢ Do not open this examination paper until instructed to do so.
➢ Write a commentary on one passage only.
– 2 –
Write a commentary on one of the following passages:
1. (a)
| | As a matter of fact, no man as clever as Hurstwood—as observant and sensitive to atmospheres |
| |of many sorts, particularly upon his own plane of thought—would have made the mistake which |
| |he did in regard to his wife, wrought up as she was, had he not been occupied mentally with a |
| |very different train of thought. Had not the influence of Carrie's regard for him, the elation which |
|5 |her promise aroused in him, lasted over, he would not have seen the house in so pleasant a mood. |
| |It was not extraordinarily bright and merry this evening. He was merely very much mistaken, and |
| |would have been much more fitted to cope with it had he come home in his normal state. |
| | After he had studied his paper a few moments longer, he felt that he ought to modify matters |
| |in some way or other. Evidently his wife was not going to patch up peace at a word. So he said: |
|10 | “Where did George get the dog he has there in the yard?” |
| | “I don't know,” she snapped. |
| | He put his paper down on his knees and gazed idly out of the window. He did not propose |
| |to lose his temper, but merely to be persistent and agreeable, and by a few questions bring around |
| |a mild understanding of some sort. |
|15 | “Why do you feel so bad about that affair of this morning? He said, at last. “We needn't |
| |quarrel about that. You know you can go to Waukesha if you want to.” |
| | “So you can stay here and trifle around with someone else?” she exclaimed, turning to him |
| |a determined countenance upon which was drawn a sharp and wrathful sneer. |
| | He stopped as if slapped in the face. In an instant his persuasive, conciliatory manner fled. |
|20 |He was on the defensive at a wink and puzzled for a word to reply. |
| | “What do you mean?” he said at last, straightening himself and gazing at the cold, determined |
| |figure before him, who paid no attention, but went on arranging herself before the mirror. |
| | “You know what I mean,” she said, finally, as if there were a world of information which she |
| |held in reserve—which she did not need to tell. |
|25 | “Well, I don't,” he said, stubbornly, yet nervous and alert for what should come next. |
| |The finality of the woman's manner took away his feeling of superiority in battle. |
| | She made no answer. |
| | “Hmph!” he murmured, with a movement of his head to one side. It was the weakest thing |
| |he had ever done. It was totally unassured. |
|30 | Mrs. Hurstwood noticed the lack of color in it. She turned upon him, animal-like, able to |
| |strike an effectual second blow. |
| | “I want the Waukesha money tomorrow morning,” she said. |
| | He looked at her in amazement. Never before had he seen such a cold, steely determination |
| |in her eye—such a cruel look of indifference. She seemed a thorough master of her mood— |
|35 |thoroughly confident and determined to wrest all control from him. He felt that all his resources |
| |could not defend him. He must attack. |
| | “What do you mean?” he said, jumping up. “You want! I'd like to know what's got into you |
| |tonight.” |
| | “Nothing's got into me,” she said, flaming. “I want that money. You can do your swaggering |
|40 |afterward.” |
| | “Swaggering, eh! What! You'll get nothing from me. What do you mean by your insinuations, |
| |anyhow?” |
| | “Where were you last night?” she answered. The words were hot as they came. “Who were |
| |you driving with on Washington Boulevard? Who were you with at the theatre when George |
|45 |saw you? Do you think I'm a fool to be duped by you? Do you think I'll sit at home here and take |
| |your 'too busys' and 'can't come,' while you parade around and make out that I'm unable to come? |
| |I want you to know that lordly airs have come to an end so far as I am concerned. You can't dictate |
| |to me nor my children. I'm through with you entirely.” |
| | “It's a lie,” he said, driven to a corner and knowing no other excuse. |
|55 | “Lie, eh!” she said, fiercely, but with returning reserve; “you may call it a lie if you want to, |
| |but I know.” |
| | “It's a lie, I tell you,” he said, in a low, sharp voice. “You've been searching around for some |
| |cheap accusation for months and now you think you have it. You think you'll spring something |
| |and get the upper hand. Well, I tell you, you can't. As long as I'm in this house I'm master of it, |
| |and you or any one else won't dictate to me—do you hear?” |
| | He crept toward her with a light in his eye that was ominous. Something in the woman's |
| |cool, cynical, upper-handish manner, as if she were already master, caused him to feel for the |
| |moment as if he could strangle her. |
| | |
| |Theodore Dreiser, Sister Carrie (1900) |
– 3 –
1. (b)
| |Points of View |
| |Even now, women bend to rivers |
| |Or to wells; they scoop up life and offer it |
| |To men or to their children, to their elders, |
| |To blistered cooking-pots. Heavy with light, |
|5 |And the brief mosaics of the world, |
| |Water is carried home. Even now, |
| |Women bend to see themselves in rivers |
| |Or catch unsteady faces in buckets drawn |
| |From wells. And water sucks them in, |
|10 |Catching the wild geometry of the soul |
| |Tossing it onto a plane. The wells |
| |Are brimming with women’s fluid faces; |
| |The rivers are alive with women’s hands. |
| |Reflections savored for a while, then gone. |
| | |
|15 |From up here, what can I know of water? |
| |I catch it tamed from metal spouts encased |
| |In quiet glass, contoured in porcelain. |
| |I compartmentalize the beast in ice, |
| |Then serve it, grinning, to distant friends. |
|20 |What do I know of water? Tomorrow |
| |I must go again to find it. I will swim |
| |In rivers thick with time, permanent as eyes |
| |Of sleepy crocodiles. I will watch women |
| |In slow genuflections [1]ease water |
|25 |Into round bowls. The river-blinded boys |
| |With jellied eyes transparent in the sun |
| |Will look at me. Children will jump from element |
| |To element making paths through air to water, |
| |Shooting diamond-drops along trajectories |
|30 |Too long for me to measure. “This is water,” |
| |They will tell me. This intense immersion. |
| |A new baptism free of metaphor |
| |Will be mine. Water will be water, |
| |And I, a newly-evolved fish, will hear |
|35 |The aquabatic rippling of gills. |
Lucinda Roy in Daughters of Africa (1992)
Paper 2 Essay
Types of Questions
➢ two essay questions on each genre (you will need to focus on the prose: novel or short story questions)
➢ four general essay questions whose nature of the questions may vary slightly according to cultural traditions
➢ some questions may include a quotation
Written Response
➢ answer one essay question only (preferably one of those for the genre studied)
➢ focus on at least two Part 3 works
➢ may include Part 2 work of same genre, but only in addition to the minimum of two Part 3 works required for the answer
Written Paper 2: Essay on Group of Works
| |0 |1 |2 |3 |4 |5 |
|A: Knowledge and |Has |Little knowledge of works|Some knowledge of works. |Adequate understanding of|Good understanding of |Excellent understanding |
|Understanding of Works. |not |Little knowledge of, or |Some knowledge of, or |works |works |of works |
|How well does the |reac|familiarity with, the |familiarity with, Part 3 |Adequate understanding of|Good understanding of the|Perceptive understanding |
|candidate know the works |hed |Part 3 (and Part 2) works|(and Part 2) works used |the Part 3 (and Part 2) |Part 3 (and Part 2) works|of the Part 3 (and Part |
|studied? How much |a |used to answer the |to answer the question |works used to answer the |used to answer the |2) works used to answer |
|understanding has the |leve|question |Superficial understanding|question |question as well as some |the question as well as |
|candidate shown of the |l 1.| |of the works used |Adequate and appropriate |of the subtleties of |some of the subtleties of|
|works studied in relation | | | |references to the works |their meaning |their meaning |
|to the question answered? | | | | |Detailed and pertinent |Detailed and persuasive |
|How detailed and/or | | | | |references to the works |references to the works |
|appropriate are the | | | | | | |
|candidate's references to | | | | | | |
|the works studied? | | | | | | |
|B: Response to the |Has |Little awareness of the |Some awareness of, or |Adequate response to the |Good response to the main|Excellent response to the|
|question. How well has |not |main implications of the |response to, the main |main implications of the |implications as well as |main implications as well|
|the candidate understood |reac|question |implications of the |question |some of the subtleties of|as the subtleties of the |
|the specific demands of |hed |The candidate’s ideas are|question |The candidate’s ideas are|the question |question |
|the question? To what |a |mainly insignificant |The candidate’s ideas are|relevant |The candidate’s ideas are|The candidate’s ideas are|
|extent has the candidate |leve|and/or irrelevant or |sometimes irrelevant |The analysis of the ideas|carefully explored and |convincing and show |
|responded to these |l 1.|The essay consists of |The essay consists mainly|is adequate and |include an appropriate |independence of thought, |
|demands? How well has the| |mainly paraphrase and/or |of unsubstantiated |appropriately illustrated|personal response, where |where appropriate |
|candidate illustrated | |narration and/or |generalizations |by some relevant examples|appropriate |The analysis of the ideas|
|claims? To what extent | |repetition of content | | |The analysis of the ideas|is consistently detailed |
|has the candidate | | | | |is generally detailed and|and persuasively |
|expressed a relevant | | | | |well illustrated by |illustrated by carefully |
|personal response? | | | | |relevant examples |chosen examples |
|C: Appreciation of |Has |Little awareness of the |Some awareness or |Adequate appreciation of |Good appreciation of the |Excellent appreciation of|
|Literary Features. To |not |literary features of the |appreciation of the |the literary features of |literary features of the |the literary features of |
|what extent is the |reac|works |literary features of the |the works |works |the works |
|candidate aware of the |hed |Little mention or |works |Adequate analysis of the |Pertinent and detailed |Critical analysis of the |
|presence of literary |a |consideration of the |Some consideration of the|effects of the literary |analysis of the effects |effects of the literary |
|features in the works, |leve|literary features of the |literary features of the |features of the works in |of the literary features |features of the works in |
|such as diction, imagery, |l 1.|work in relation to the |works in relation to the |relation to the question |of the works in relation |relation to the question |
|tone, structure, style, | |question |question |The analysis is |to the question |The analysis is |
|and technique? To what | | |Superficial analysis of |appropriately illustrated|The analysis is well |consistently well |
|extent does the candidate | | |the literary features |by relevant examples |illustrated by carefully |illustrated by persuasive|
|appreciate the effects of | | |mentioned. | |chosen examples |examples |
|the literary features in | | | | | | |
|relation to the question? | | | | | | |
|How well has the candidate| | | | | | |
|supported claims about the| | | | | | |
|effects of literary | | | | | | |
|features? | | | | | | |
|D: Presentation. How |Has |Little sense of a focused|Some sense of a focused |A generally focused and |A clearly focused and |A clearly focused, |
|well has candidate |not |and developed argument |and developed argument |developed argument |well-developed argument |well-developed and |
|organized the essay? How |reac|Little evidence of a |Some evidence of a |Adequate structure to the|Clear and logical |persuasive argument |
|effectively have the |hed |structure to the essay |structure to the essay |essay |structure to the essay |Purposeful and effective |
|candidate's ideas been |a |Little attempt to present|Some attempt to present |Ideas are generally |Supporting examples are |structure to the essay |
|presented? To what extent|leve|ideas in an ordered or |ideas in an ordered or |presented in an ordered |appropriately integrated |Supporting examples are |
|are supporting examples |l 1.|logical sequence |logical sequence |or logical sequence |into the body of the |well integrated into the |
|integrated into the body | | | |Supporting examples are |essay |body of the essay |
|of the commentary? | | | |sometimes appropriately | | |
| | | | |integrated into the body | | |
| | | | |of the essay | | |
|E: Formal Use of |Has |The language is rarely |The language is only |The language is generally|The language is clear, |The language is clear, |
|Language. How accurate, |not |clear or coherent |sometimes clear and |clear and coherent |varied, and precise |varied, precise, and |
|clear, and precise is the |reac|The use of language is |coherent |Adequately clear and |Clear, varied, and |concise |
|language used by the |hed |not readily |Some degree of clarity |coherent use of language |precise use of language |Clear, varied, precise, |
|candidate? How |a |comprehensible |and coherence in the use |Only a few significant |No significant lapses in |and concise use of |
|appropriate is the |leve|Many lapses in grammar, |of language |lapses in grammar, |grammar, spelling, and |language |
|candidate's choice of |l 1.|spelling, and sentence |Some degree of accuracy |spelling, and sentence |sentence construction |No significant lapses in |
|register and style for | |construction |in grammar, spelling, and|construction |Effective and |grammar, spelling, and |
|this task? (Register | |Vocabulary is rarely |sentence construction |Some care is shown in |appropriately varied use |sentence construction |
|refers, in this context, | |accurate or appropriate |Vocabulary is sometimes |choice of vocabulary, |of vocabulary, idiom, and|Precise use of wide |
|to the candidate's | | |appropriate to the |idiom, and style |style |vocabulary and varied |
|sensitivity to elements | | |discussion of literature |The register is generally|Suitable choice of |idiom and style |
|such as the vocabulary, | | | |appropriate for literary |register |Effective choice of |
|tone, sentence structure, | | | |analysis | |register |
|and idiom appropriate to | | | | | | |
|the task.) | | | | | | |
Sample Paper 2 Examination
(condensed for space)
– 1 –
ENGLISH A1 – HIGHER LEVEL – PAPER 2
Monday 14 November 2005 (morning)
2 hours
INSTRUCTIONS TO CANDIDATES
➢ Do not open this examination paper until instructed to do so.
➢ Answer one essay question only. You must base your answer on at least two of the Part 3 works you have studied. You may include in your answer a discussion of a Part 2 work of the same genre if relevant. Answers which are not based on a discussion of at least two Part 3 works will not score high marks.
➢ You are not permitted to bring copies of the works you have studied into the examination room.
– 2 –
Answer one essay question only. You must base your answer on at least two of the Part 3 works you have studied. You may include in your answer a discussion of a Part 2 work of the same genre if relevant. Answers which are not based on a discussion of at least two Part 3 works, will not score high marks.
Drama
1. Either
➢ “In plays, no one arrives on or leaves from the stage without contributing in some way to the complexity of the play.” Considering two or three plays you have studied, compare the impact on meaning of some arrivals and departures from the stage.
Or
➢ What dramatic techniques have playwrights used to convey ideas and/or beliefs in two or three plays you have studied, and how effective have they been?
Poetry
2. Either
➢ Discuss and compare the role of the speaker or persona in poems you have studied. You must refer closely to the work of two or three poets in your study and base your answer on a total of three or four poems.
Or
➢ “The principal concern of poets is either to explain themselves to the world, or to explain the world to themselves.” Considering in detail how poets in your study convey their principal concerns, say to what extent you agree with the above statement. You must refer closely to the work of two or three poets in your study and base your answer on a total of three or four poems.
Prose: The Novel and Short Story
3. Either
➢ Acquiring material wealth or rejecting its attractions has often been the base upon which writers have developed interesting plots. Compare the ways the writers of two or three works you have studied have developed such motivations.
Or
➢ “Make them laugh, make them cry, make them wait.” Focusing on one of these demands for the writing of fiction, show how it emerges as a significant factor in creating interest in two or three works you have studied.
– 3 –
Prose: Other than the Novel and Short Story
4. Either
➢ Compare how structure or organization has been used to shape meaning in two or three works you have studied.
Or
➢ “Some writers cause readers to consider action; others simply want the readers to reflect.” In the light of this quotation, compare the ways in which the writers of two or three works in your study have influenced the attitudes of the reader to the issues they present.
General Questions on Literature
5. Either
➢ “Some works of literature are universal and timeless; others seem specific to one place and/or time.” In what ways do two or three works in your study explore this range of possibilities?
Or
➢ A writer speaks of being “surprised by joy.” In two or three works you have studied, discuss some moments which have surprised and/or delighted you and consider the ways writers have achieved those particular effects.
Or
➢ Using two or three of the works you have studied, discuss how and to what effect writers have used exaggeration as a literary device.
Or
➢ Writers make many deliberate choices in the course of creating their works. Considering one or two stylistic aspects, compare the effectiveness of some choices writers have made in two or three works you have studied.
Understanding Academic Honesty and Malpractice
(taken directly from IBO)
Academic Honesty
|1.1 |Academic honesty must be seen as a set of values and skills that promote personal integrity and good practice in teaching, learning and assessment. It |
| |is influenced and shaped by a variety of factors including peer pressure, culture, parental expectations, role modeling and taught skills. Although it|
| |is probably easier to explain to candidates what constitutes academic dishonesty, with direct reference to plagiarism, collusion and cheating in |
| |examinations, whenever possible the topic must be treated in a positive way, stressing the benefits of properly conducted academic research and a |
| |respect for the integrity of all forms of assessment for the Diploma Programme. |
|1.2 |All Diploma Programme candidates must understand the basic meaning and significance of concepts that relate to academic honesty, especially |
| |authenticity and intellectual property. |
| |Ensuring that candidates understand and respect academic honesty should not be confined to original authorship and ownership of creative material: |
| |academic honesty includes, for example, proper conduct in relation to the written examinations. |
|1.3 |The concept of intellectual property is potentially a difficult one for candidates to understand because there are many different forms of intellectual|
| |property rights, such as patents, registered designs, trademarks, moral rights and copyright. Candidates must at least be aware that forms of |
| |intellectual and creative expression (for example, works of literature, art or music) must be respected and are normally protected by national and |
| |international law. By implementing measures to prevent plagiarism, schools are helping to combat illegal out-of-school activities (for example, illegal|
| |music downloads, peer-to-peer or P2P file sharing) for which candidates may face legal proceedings. |
|1.4 |An authentic piece of work is one that is based on the candidate’s individual and original ideas with the ideas and work of others fully acknowledged. |
| |Therefore all assignments, written or oral, completed by a candidate for assessment must wholly and authentically use that candidate’s own language and|
| |expression. Where sources are used or referred to, whether in the form of direct quotation or paraphrase, such sources must be fully and appropriately |
| |acknowledged. |
|1.5 |Although the Regulations clearly define plagiarism as the representation of the ideas or work of another person as the candidate’s own, this definition|
| |alone does not provide candidates with sufficient information or guidance on what constitutes plagiarism and how it can be avoided. Candidates must |
| |receive guidance on when and how to include acknowledgments in their work. Similarly, the practice of paraphrasing is a skill that must be taught so |
| |that candidates do not simply copy a passage, substitute a few words with their own and then regard this as their own authentic work. When using the |
| |words of another person it must become habitual practice for a candidate to use quotation marks, indentation or some other accepted means of indicating|
| |that the wording is not their own. Furthermore, the source of the quotation (or paraphrased text) must be clearly identified along with the quotation |
| |and not reside in the bibliography alone. Using the words and ideas of another person to support one’s arguments is a fundamental part of any academic |
| |endeavor, and how to integrate these words and ideas with one’s own is an important skill that must be taught. |
Malpractice
|2.1 |The Regulations define malpractice as behavior that results in, or may result in, the candidate or any other candidate gaining an unfair advantage in |
| |one or more assessment component. |
| |Malpractice includes: |
| |plagiarism: this is defined as the representation of the ideas or work of another person as the candidate’s own |
| |collusion: this is defined as supporting malpractice by another candidate, as in allowing one’s work to be copied or submitted for assessment by another|
| |duplication of work: this is defined as the presentation of the same work for different assessment components and/or diploma requirements |
| |any other behavior that gains an unfair advantage for a candidate or that affects the results of another candidate (for example, taking unauthorized |
| |material into an examination room, misconduct during an examination, falsifying a CAS record). |
|2.2 |Many candidates believe that because the Internet is in the public domain and largely uncontrolled, information can be taken from web sites without the |
| |need for acknowledgment. Candidates must record the addresses of all web sites from which they obtain information during their research, including the |
| |date when each web site was accessed. The uniform (or universal) resource locator (URL) constitutes the web site address for this purpose. (Simply |
| |stating the search engine that was used to find the web site is not acceptable.) This includes the copying of maps, photographs, illustrations, data, |
| |graphs and so on. For example, to cut and paste a graph from a web site without acknowledging its source constitutes plagiarism. CD-Roms, DVDs, e-mail |
| |messages and any other electronic media must be treated in the same way as the Internet, books and journals. |
|2.3 |The issue of plagiarism is not confined to groups 1 to 5 of the Diploma Programme. In general, copying works of art, whether music, film, dance, theatre|
| |arts or visual arts, also constitutes plagiarism. There are circumstances where the creative use of part of the work of another artist is acceptable, |
| |but the original source must always be acknowledged. Candidates must understand that passing off the work of another person as their own is not |
| |acceptable and constitutes malpractice. |
|2.4 |Copying text is not always a deliberate attempt by a candidate to present the ideas or work of another person as their own. In fact, in the experience |
| |of the final award committee it is apparent that many candidates are not aware of when or how to acknowledge sources. Occasionally, a candidate may copy|
| |one or two sentences from a book, journal or web site without showing it is a quotation, but indicating its source in a footnote or the bibliography. |
| |Although each case requires a separate judgment, in general such cases are the result of negligence or a lack of awareness on the part of the candidate |
| |and do not warrant an allegation of malpractice. These cases may attract the penalty applied to an academic infringement, and not malpractice. See |
| |sections 12.3 and 12.4 for further details. |
|2.5 |For most assessment components candidates are expected to work independently with support from their subject teacher (or supervisor in the case of |
| |extended essays). However, there are occasions when collaboration with other candidates is permitted or even actively encouraged, for example, in the |
| |requirements for internal assessment. Nevertheless, the final work must be produced independently, despite the fact that it may be based on similar |
| |data. This means that the abstract, introduction, content and conclusion or summary of a piece of work must be written in each candidate’s own words and|
| |cannot therefore be the same as another candidate’s. If, for example, two or more candidates have exactly the same introduction to an assignment, the |
| |final award committee will construe this as collusion, and not collaboration. It is essential that both teachers and candidates are aware of the |
| |distinction between collaboration and collusion. Teachers |
| |must pay particular attention to this important distinction to prevent allegations of collusion against their candidates. |
|2.6 |The presentation of the same work for different assessment components and/or diploma requirements is a duplication of work and therefore constitutes |
| |malpractice. If, for example, a candidate submits the same or a very similar piece of work for the in-depth study in history internal assessment and for|
| |an extended essay in history, this would be viewed as malpractice. However, it is perfectly acceptable for a candidate to study one aspect of a topic |
| |for internal assessment and another aspect of the same topic for an extended essay. |
|2.7 |Malpractice most commonly involves collusion or plagiarism. However, there are other ways in which a candidate may commit malpractice and thereby breach|
| |the Regulations. The following examples of malpractice do not constitute an exhaustive list and refer mainly to the written examinations: |
| |taking unauthorized material into an examination room (for example, an electronic device other than a permitted calculator, own rough paper, notes, a |
| |mobile phone) regardless of whether this material is used or potentially contains information pertinent to the examination |
| |misconduct during an examination, including any attempt to disrupt the examination or distract another candidate |
| |exchanging or in any way supporting, or attempting to support, the passing on of information that is related to the examination |
| |copying the work of another candidate |
| |failing to comply with the instructions of the invigilator or other member of the school’s staff responsible for the conduct of the examination |
| |impersonating another candidate |
| |stealing examination papers |
| |using an unauthorized calculator during an examination |
| |disclosing or discussing the content of an examination paper with a person outside the immediate school community within 24 hours of the end of the |
| |examination |
| |fabricating data for an assignment |
|2.8 |For all cases of malpractice in relation to the examinations, the coordinator must send a report to the coordinator help desk (help@) at the |
| |International Baccalaureate Curriculum and Assessment Centre (IBCA) in Cardiff, Wales. The report must reach the coordinator help desk within ten days |
| |of the examination in which the incident occurred. |
|2.9 |Breaches of regulations are not confined to candidates: improper conduct by a coordinator or teacher may be brought to the attention of the final award |
| |committee. The following are examples of unacceptable actions that will be investigated by the IBO: |
| |the unauthorized rescheduling of an examination |
| |failing to keep the examination papers secure prior to an examination |
| |opening examination paper packets prior to an examination |
| |providing a candidate with undue assistance in the production of any work (whether written or oral) that contributes to the assessment requirements of |
| |the Diploma Programme |
| |leaving candidates unsupervised during an examination |
| |allowing additional time in examinations without authorization from the IBO |
| |releasing an examination paper, or otherwise disclosing information about the content of a paper, within 24 hours of the end of the examination. |
Offences and their penalty
|12.1 |Penalties are imposed on a candidate found guilty of malpractice in order to: |
| |ensure that the candidate does not gain an unfair advantage |
| |maintain the integrity of the examination session by excluding those candidates who have abused the system |
| |deter other candidates from taking the same action. |
|12.2 |The committee will not take into account the consequences of imposing a penalty; the penalty will be imposed according to the nature of the offence. |
| |However, the committee will take into consideration all the information presented by teachers and the coordinator in their statements on the case. This|
| |information may include mitigating circumstances. |
|12.3 |There can be instances where work submitted by a candidate for assessment contravenes the standard academic practice of clearly acknowledging all ideas|
| |and words of other persons without the candidate having made a deliberate attempt to gain an unfair advantage (for example, where a candidate has not |
| |used some means of indicating a quotation, but has cited the source of the text in the bibliography or in a footnote). The final award committee may |
| |designate a case of this type an academic infringement and not malpractice. |
|12.4 |If the final award committee decides that an academic infringement has been established, no marks will be awarded for the component or part(s) of the |
| |component. The candidate will still be eligible for a grade in the subject or diploma requirement concerned. No further penalty will be imposed and the|
| |case will not be recorded as malpractice. In such a case, the decision regarding academic infringement will be notified in accordance with 13.1 below. |
|12.5 |If the final award committee decides that a case of malpractice has been established, no grade will be awarded in the subject concerned. No diploma |
| |will be awarded to the candidate, but a certificate will be awarded for other subjects in which no malpractice has occurred. The candidate will be |
| |permitted to register for future examinations at least one year after the session in which malpractice was established. |
|12.6 |If a candidate is found guilty of malpractice in the production of one (or more) of several assignments required for a component, the candidate is not |
| |eligible for a mark based on his or her performance in the remaining assignments for the component: no grade will be awarded for the subject. For |
| |example, the internal assessment requirement for a subject may require a portfolio of four separate assignments. If a candidate is found to have |
| |plagiarized all or part of one assignment, a mark for his or her internal assessment will not be based on the remaining three assignments: no grade |
| |will be awarded for the subject. |
|12.7 |If a case of malpractice is very serious, either because of its nature or because the candidate has already been found guilty of malpractice in a |
| |previous session, the final award committee is entitled to decide that the candidate will not be permitted to register for examinations in any future |
| |session. |
|12.8 |An IB diploma, or a certificate, may be withdrawn from a candidate at any time if malpractice is subsequently established. |
|12.9 |Although a case may not warrant a penalty against one or more candidates, it may be appropriate for a letter to be sent to the head of school on behalf|
| |of the final award committee insisting that greater care be taken to avoid a similar incident occurring again. |
World Literature Assignment 2 Topic Proposal Form
IB English A1 – Senior Level
Name: ___________________________________________ Section: _________
Assignment Choice (circle one): 2a 2b 2c
Assignment 2b ONLY: What form will your piece take? ________________________
You may not repeat work or aspect treatment from your WL1 paper. Doing so will result in loss of points. See “Failure to Comply with Regulations” in the WL section of this packet.
What work or works will you study (make sure you are fulfilling the works requirements for the chosen assignment)?
What aspect(s) will you address?
Why did you choose to study the work(s) and aspect(s)?
How do you plan to develop your topic?
What secondary sources (if any) will you need to consult?
Proposed Title:
____________________________________________________________________________
____________________________________________________________________________
Thesis: _________________________________________________________________________________
____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Topic conference notes:
-----------------------
[1] genuflection: bending of the knee in respect
-----------------------
[pic]
()
................
................
In order to avoid copyright disputes, this page is only a partial summary.
To fulfill the demand for quickly locating and searching documents.
It is intelligent file search solution for home and business.
Related download
- structures of feeling and the popular aau
- generation and the subjective feeling of aha are
- alfred adler 1870 1937 individual psychology
- 7 willingness to resolve
- media war on terror stanford university
- this document is used in the pre ap ap classroom
- study unit 7 multiple choice questions
- john stuart mill and the quality of pleasures
- vocab word henry county schools
- super winston salem forsyth county schools
Related searches
- city of winston salem website
- city of winston salem nc
- winston salem journal
- winston salem water bill
- cross technologies winston salem nc
- winston salem utilities payment
- best neighborhoods winston salem nc
- city of winston salem nc jobs
- city of winston salem sanitation department
- city of winston salem bill pay
- red cross winston salem nc
- winston salem utility water