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English A1 Assessment Overview for IB Seniors (exam session: May 2012)

Syllabus Outline (two year study)

JUN

IOR

PART 4: SCHOOL’S FREE CHOICE

Chopin, Kate. The Awakening.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.

SEN

IOR

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)

JUN

IOR

WORLD LITERATURE ASSIGNMENT 1 (externally assessed) 10%1000-1500 wordsComparative 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).

SEN

IOR

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 1Options: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.

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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 worksis 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

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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)

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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 TopicsConflicts 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 BalanceA comparative study of The Suffrage of Elvira and A Man of the People

A comparison of the sources and functions of humor in The 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 Petals of Blood

Attitudes to politics and religion in The House of the Spirits and Petals of Blood

Dramatic techniques in I Will Marry When I Want and The Trial of Mallam Ilya

The role of music and mime in I Will Marry When I Want and 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 focuso 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: SuggestionsThere 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.

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Appropriate assignment topics Inappropriate assignment topics an editorial published by the People’s Herald

on the meeting convened by Dr. Thomas Stockmann (based on An Enemy of the People by Henrik Ibsen)

Aissatou’s response: a reply from Aissatou explaining and justifying her reaction to her husband’s betrayal (based on So Long a Letter by Mariama Ba)

an interview with Ibsen, in which the interviewer only asks questions about Ibsen’s personal life, for example, “Did you have an unhappy marriage, Mr. Ibsen?”

a dramatic monologue by Vladimir, in which the candidate only repeats statements made in Waiting for Godot

“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 Nerudao 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 understandingo should explain the significance of the passage to the larger work from which it has been takeno show relationship to development of ploto 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 choseno 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 extracto 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 AssignmentTHE TOPIC AND ITS SELECTION

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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 An essay on a character A meditation on solitude related to the novel A conversation between the ghost in Hamlet

and Prudencio Aquilar

A commentary on a scene An additional scene A final scene Parts of a diary kept by the mother A monologue by the mother An essay on the father Parts of a diary kept by Driss’ wife

A fictional piece ralted to the novel A brief story in the style of A story based on A scene from the novel, told from Regina’s

point of view

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Failure to Comply with RegulationsRepetition 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 5A: Selection of the Aspect and its TreatmentThe achievement level for this criterion is determined primarily by the treatment of ideas, not the selection of the aspect. How well has the candidate defined

the aspect chosen? How appropriate is the aspect

chosen to the assignment? How well has the aspect chosen been

explored in relation to the assignment?

To what extent has the candidate expressed a relevant personal response? Ha

s not

reac

hed

leve

l 1.

Little attempt to define the aspect chosen; the treatment of ideas is generally inappropriate to the assignment the aspect chosen

is generally not appropriate to the assignment

the aspect chosen has little focus

the treatment of ideas is generally not relevant to the aspect chosen or

the assignment consists mainly of paraphrase

Attempt to define the aspect chosen; the treatment of ideas is to some extent appropriate the aspect chosen

is to some extent appropriate to the assignment

the aspect chosen has focus, but it is too wide

the treatment of ideas is sometimes not relevant to the aspect chosen or

the assignment consists in part of paraphrase

The aspect is defined and followed by a generally appropriate treatment of ideas the aspect chosen

is appropriate to the assignment

the aspect chosen has a specific and generally relevant focus

the treatment of ideas is relevant to the aspect chosen, and includes a personal response to the work(s)

Clearly defined aspect followed by an appropriate treatment of ideas the aspect chosen

is appropriate to the assignment

the aspect chosen has a specific and relevant focus

the ideas show independence of thought and their treatment is relevant to the aspect chosen

Clearly defined aspect followed by a highly appropriate treatment of ideas the aspect chosen

is highly appropriate to the assignment

the aspect chosen has a specific and relevant focus

the ideas show independence of thought and their treatment is highly relevant to the aspect chosen

B Knowledge and Understanding of Work(s) How well does the candidate know

the work(s) studied? How much understanding has the

candidate shown of the work(s) studied in relation to the assignment?

To what extent does the candidate appreciate the cultural setting relevant to the assignment, where appropriate?

Has n

ot re

ache

d le

vel 1

.

Little understanding of the work(s) studied knowledge but

little understanding of the aspects of the work(s) most relevant to the assignment

a few links between works, where appropriate

little appreciation of the cultural setting relevant to the assignment, where appropriate

Some understanding of the work(s) studied knowledge and

some understanding of the aspects of the work(s) most relevant to the assignment

a link between the works, where appropriate

some appreciation of the cultural setting relevant to the assignment, where appropriate

Adequate understanding of the work(s) studied knowledge and

satisfactory understanding of the aspects of the work(s) most relevant to the assignment

meaningful linking of works, where appropriate

appreciation of the cultural setting relevant to the assignment, where appropriate

Good understanding of the work(s) studied detailed

knowledge of, and good insight into, the aspects of the work(s) most relevant

to the assignment clear and meaningful linking of works, where appropriate

good appreciation of the cultural setting relevant to the assignment, where appropriate

Excellent understanding of the work(s) studied in-depth

knowledge of, and very good insight into, the aspects of the work(s) most

relevant to the assignment meaningful and perceptive linking of works, where appropriate

excellent appreciation of the cultural setting relevant to the assignment, where appropriate

C: PresentationLevels 3-5 are awarded only to candidates who have remained within the prescribed word-limit. How effectively has the candidate

presented the assignment? How precise and relevant are the

candidate’s references? How detailed and meaningful is the

statement of intent provided, where appropriate?

Has the candidate remained within the prescribed word-limit?

Has n

ot re

ache

d le

vel 1

.

The formal structure and/or development of ideas are generally not effective little evidence of a

structure to the assignment selected

a few references to the work(s), but they are generally not pertinent to the assignment

where appropriate, the statement of intent provides few details about the aims of the assignment

The formal structure and/or development of ideas are to some extent effective evidence of a

structure to the assignment

references are occasionally to the point

where appropriate, the statement of intent includes a few details about the aims of the assignment

The formal structure and/or development of ideas are effective adequate structure

to the assignment references are

generally to the point

where appropriate, the presentation of aims in the statement of intent is generally clear and includes some details

the candidate has remained within the prescribed word-limit

The formal structure and/or development of ideas are very effective clear and logical

structure to the assignment

precise and pertinent references to the works

where appropriate, the statement of intent is clear, detailed and relevant

the candidate has remained within the prescribed word-limit

The formal structure and/or development of ideas are highly effective purposeful and

effective structure to the assignment

precise and highly pertinent references to the works

where appropriate, the statement of intent is clear, detailed and highly relevant

the candidate has remained within the prescribed word-limit

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D: Language How clear is the candidate’s written

expression? How well has the candidate observed

the conventions of written work? (The conventions of written work relate to elements such as paragraphing, grammar, spelling, citation of references.)

How appropriate is the register selected by the candidate for the particular assignment? (Register refers, in this context, to the candidate’s sensitivity to elements such as the vocabulary, tone, sentence structure and idiom appropriate to the task.)

Has n

ot re

ache

d le

vel 1

.

Little use of appropriate language generally

inappropriate register for the assignment selected

frequent lapses in the conventions of written work

Some use of appropriate language generally

appropriate register for the assignment selected

some lapses in the conventions of written work

some consistency or clarity of expression

Adequate use of appropriate language appropriate

register for the assignment selected

the conventions of written work are generally followed

consistency and some clarity of expression

Good use of appropriate language the register is

effective and appropriate for the assignment selected

the conventions of written work are closely followed

clarity, consistency and general fluency of expression

Excellent use of appropriate language the register is

highly effective and appropriate for the assignment selected

careful attention is given to the conventions of written work

clarity, consistency and fluency of style

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 relationshipso theme(s)o the use of languageo 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 extracto restrict the candidate’s ability to explore independently all significant aspects dealt with in the

extractStudents 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?

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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 topico 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—IOCAre 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:Page 9 of 24

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 AStudents 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.

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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 ComponentA: Knowledge and Understanding of Extract or Work(s) How well does the

candidate know and understand the content of the extract or work(s)?

How well does the candidate situate the extract or work(s) within the context of the larger work from which it has been taken or the body of works to which it belongs, where relevant?

0: C

andi

date

has

not

reac

hed

leve

l 1.

1Little knowledge of the extract or work(s) little knowledge or

understanding of the content of the extract or work(s)

little knowledge of the appropriate context of the extract or work(s)

2Some knowledge of the extract or work(s) some knowledge but

superficial understanding of the content of the extract or work(s)

some knowledge of the appropriate context of the extract or work(s), where relevant

3Adequate understanding of the extract or work(s) adequate knowledge

and understanding of the content of the extract or work(s)

adequate knowledge of the appropriate context of the extract or work(s), where relevant

4Good understanding of the extract or work(s) good knowledge and

understanding of the content of the extent or work(s)

good knowledge of the appropriate context of extract or work(s), where relevant

5Excellent understanding of the extract or work(s) through knowledge

and understanding of the content of the extract or work(s)

precise knowledge of the appropriate context of the extract or work(s), where relevant

B: Interpretation and Personal Response How valid is the

candidate’s interpretation of the extract or work(s)?

How well has the candidate identified and analyzed the effects of literary features in the extract or work(s), such as diction, imagery, tone, structure, style, and technique?

To what extent does the candidate’s response show critical thinking and originality?

How precise and relevant are the candidate’s references to the extract or work(s)?

0: C

andi

date

has

not

reac

hed

leve

l 1.

1-2Little interpretation of the extract or work(s) little interpretation of

thought and feeling expressed in the extract or work(s)

response consists mainly of narration and/or repetition of content

little awareness of the literary features of the extract or work(s)

3-4Some interpretation of the extract or work(s) some interpretation

of the thought and feeling expressed in the extract or work(s) including some elements of the relevant personal response, where appropriate

some awareness of the literary features of the extract or work(s)

the response is supported by some references to the extract or work(s)

5-6Adequate interpretation of the extract or work(s) a generally valid and

adequate interpretation of the thought and feeling expressed in the extract or work(s) including some degree of a critical personal response, where appropriate

adequate awareness and some analysis of the effects of the literary features of the extract or work(s)

the response is generally supported by relevant references to the extract of work(s)

7-8Good interpretation of the extract or work(s) a valid and generally

detailed interpretation of the thought and feeling expressed in the extract or work(s) including a considered critical response, where appropriate

good awareness and detailed analysis of the effects of the literary features of the extract or work(s)

the response is supported by relevant references to the extract or work(s)

9-10Excellent interpretation of the extract or work(s) a convincing and

detailed interpretation of the thought and feeling expressed in the extract or work(s) including a fully considered and independent critical response, where appropriate

excellent awareness and critical analysis of the effects of the literary features of the extract or work(s)

the response is fully supported by precise references to the extract or work(s)

Page 11 of 24

C: Presentation How structured is the

candidate’s response? How effective and

convincing is the candidate’s presentation?

How appropriately does the candidate integrate supporting references to the extract or work(s)?

0: C

andi

date

has

not

reac

hed

leve

l 1.

1-2Little sense of a focused and developed response little evidence of

structure to the response

little attempt to present the response with coherence and focus

the response is supported by few references to the work(s) or extract

3-4Some sense of a focused and developed response some evidence of a

structure to the response

some attempt to present the response with coherence although it is not always focused

supporting references to the work(s) or extract, where relevant, are not appropriately integrated into the body of the response

5-6A generally focused and developed response adequate structure to

the response the response is

generally focused and presented in a coherent and effective manner

supporting references to the work(s) or extract, where relevant, are sometimes appropriately integrated into the body of the response

7-8A focused and developed response clear and logical

structure to the response

the response if focused and presented in a clear, coherent, effective and convincing manner

supporting references to the work(s) or extract, where relevant, are appropriately integrated into the body of the response

9-10A clearly focused, well-developed and persuasive response purposeful and

effective structure to the response

the response is focused, coherent and presented in a very effective and persuasive manner

supporting references to the work(s) or extract are well integrated into the body of the response

D: Use of Language How accurate, clear

and precise is the language used by the candidate?

How appropriate is the candidate’s choice of register and style for the occasion? (Register refers, in this context, to the candidate’s sensitivity to elements such as the vocabulary, tone, sentence structure and idiom appropriate to the task.) Literary terms are taken in the widest possible sense, for example, novel, play, poem, persona, character, narrator.

0: C

andi

date

has

not

reac

hed

leve

l 1.

1The language is rarely clear or coherent the speech is not

readily comprehensible

many lapses in grammar and expression

vocabulary is rarely accurate or appropriate

2The language is only sometimes clear and coherent some degree of

clarity and coherence in the speech

some degree of accuracy in grammar and expression

vocabulary is sometimes appropriate for the discussion of literature

3The language is generally clear and coherent clear speech,

appropriate to the occasion

only a few significant lapses in grammar and expression

attempts to use a register appropriate to the oral activity

4The language is clear, varied and precise clear, varied and

precise speech, appropriate to the occasion

no significant lapses in grammar and expression

uses a register and style appropriate to the oral activity

some literary terms used appropriately

5The language is clear, varied, precise and concise clear, varied, precise

and concise speech, appropriate to the occasion

no significant lapses in grammar and expression

an effective choice of register and style

precise use of wide vocabulary and varied grammatical structures

literary terms used appropriately

Paper 1 Written CommentaryTypes 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 Passage0 1 2 3 4 5

A: Understanding of the Text

How well has the candidate understood the thought and feeling expressed in the text?

Has n

ot re

ache

d a

leve

l 1.

Little understanding of the text Little understanding

of the thought and feeling expressed in the text

Mainly irrelevant and/or inappropriate references to the text

Some understanding of the text Superficial

understanding of the thought and feeling expressed in the text

Some relevant references to the text

Adequate understanding of the text Adequate

understanding of the thought and feeling expressed in the text

Adequate and appropriate references to the text

Good understanding of the text Good understanding

of the thought and feeling expressed in the text as well as some of the subtleties of the text

Detailed and pertinent references to the text

Excellent understanding of the text Perceptive

understanding of the thought and feeling expressed in the text as well as some of the subtleties of the text

Detailed and persuasive references to the text

Page 12 of 24

B: Interpretation of the Text

How relevant are the candidate’s ideas about the text? How well has the candidate explored those ideas? How well has the candidate illustrated claims? To what extent has the candidate expressed a relevant personal response? Ha

s not

reac

hed

a le

vel 1

.

Little interpretation of the text The candidate’s

ideas are main insignificant and/or irrelevant or

The commentary consists mainly of narration and/or repetition of content

Some interpretation of the text The candidate’s

ideas are sometimes irrelevant

The commentary consists mainly of unsubstantiated generalizations or

The commentary is mainly a paraphrase of the text

Adequate interpretation of the text The candidate’s

ideas are generally relevant

The analysis is adequate and appropriately illustrated by some relevant examples

Good interpretation of the text The candidate’s

ideas are clearly relevant and include an appropriate personal response

The analysis is generally detailed and well illustrated by relevant examples

Excellent interpretation of the text The candidate’s

ideas are convincing and include an appropriate and considered personal response

The analysis is consistently detailed and persuasively illustrated by carefully chosen examples

C: Appreciation of Literary Features

To what extent is the candidate aware of the presence of and appreciate the effects of literary features in the text, such as diction, imagery, tone, structure, style, and technique? How well has the candidate supported claims about the effects of literary features?

Has n

ot re

ache

d a

leve

l 1.

Little awareness of the literary features of the text Little mention or

consideration of the literary features of the text

Some awareness or appreciation of the literary features of the text Some consideration

of the literary features of the text

Superficial analysis of the literary features mentioned

Adequate appreciation of the literary features of the text Adequate

appreciation of the effects of the literary features of the text

The analysis is sometimes illustrated by relevant examples

Good appreciation of the literary features of the text Generally detailed

appreciation of the effects of the literary features of the text

The analysis is generally detailed and illustrated by relevant examples

Excellent appreciation of the literary features of the text Detailed and

persuasive appreciation of the effects of the literary features of the text

The analysis is detailed and illustrated by carefully chosen examples

D: Presentation

How well has candidate organized the commentary? How effectively have the candidate's ideas been presented? To what extent are supporting examples integrated into the body of the commentary?

Has n

ot re

ache

d a

leve

l 1.

Little sense of a focused and developed argument Little evidence of a

structure to the commentary

Little attempt to present ideas in an ordered and logical sequence

Some sense of a focused and developed argument Some evidence of a

structure to the commentary

Some attempt to present ideas in an ordered or logical sequence

A generally focused and developed argument Adequate structure

to the commentary Ideas are generally

presented in an ordered or logical sequence

Supporting examples are sometimes appropriately integrated into the body of the commentary

A clearly focused and well-developed argument Clear and logical

structure to the commentary

Supporting examples are appropriately integrated into the body of the commentary

A clearly focused, well-developed and persuasive argument Purposeful and

effective structure to the commentary

Supporting examples are well integrated into the body of the commentary

Sample Paper 1 Examination(condensed for space)

– 1 –

English A1 – Higher Level – Paper 1Thursday 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)

5

As a matter of fact, no man as clever as Hurstwood—as observant and sensitive to atmospheresof many sorts, particularly upon his own plane of thought—would have made the mistake whichhe did in regard to his wife, wrought up as she was, had he not been occupied mentally with avery different train of thought. Had not the influence of Carrie's regard for him, the elation whichher 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, andwould 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 mattersin 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

Page 13 of 24

to lose his temper, but merely to be persistent and agreeable, and by a few questions bring arounda mild understanding of some sort.

15 “Why do you feel so bad about that affair of this morning? He said, at last. “We needn'tquarrel 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 hima determined countenance upon which was drawn a sharp and wrathful sneer.

20 He stopped as if slapped in the face. In an instant his persuasive, conciliatory manner fled.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, determinedfigure 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 sheheld 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 thinghe had ever done. It was totally unassured.

30 Mrs. Hurstwood noticed the lack of color in it. She turned upon him, animal-like, able tostrike an effectual second blow. “I want the Waukesha money tomorrow morning,” she said.

35

He looked at her in amazement. Never before had he seen such a cold, steely determinationin her eye—such a cruel look of indifference. She seemed a thorough master of her mood—thoroughly confident and determined to wrest all control from him. He felt that all his resourcescould 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 youtonight.”

40 “Nothing's got into me,” she said, flaming. “I want that money. You can do your swaggeringafterward.” “Swaggering, eh! What! You'll get nothing from me. What do you mean by your insinuations,anyhow?”

45

“Where were you last night?” she answered. The words were hot as they came. “Who wereyou driving with on Washington Boulevard? Who were you with at the theatre when Georgesaw you? Do you think I'm a fool to be duped by you? Do you think I'll sit at home here and takeyour '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 dictateto 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 somecheap accusation for months and now you think you have it. You think you'll spring somethingand 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'scool, cynical, upper-handish manner, as if she were already master, caused him to feel for themoment as if he could strangle her.

Theodore Dreiser, Sister Carrie (1900)

– 3 –

1. (b)Points of View

5

Even now, women bend to riversOr to wells; they scoop up life and offer itTo men or to their children, to their elders,To blistered cooking-pots. Heavy with light,And the brief mosaics of the world,Water is carried home. Even now,Women bend to see themselves in riversOr catch unsteady faces in buckets drawnFrom wells. And water sucks them in,

Page 14 of 24

10 Catching the wild geometry of the soulTossing it onto a plane. The wellsAre brimming with women’s fluid faces;The rivers are alive with women’s hands.Reflections savored for a while, then gone.

15

20

25

30

35

From up here, what can I know of water?I catch it tamed from metal spouts encasedIn quiet glass, contoured in porcelain.I compartmentalize the beast in ice,Then serve it, grinning, to distant friends.What do I know of water? TomorrowI must go again to find it. I will swimIn rivers thick with time, permanent as eyesOf sleepy crocodiles. I will watch womenIn slow genuflections 1ease waterInto round bowls. The river-blinded boysWith jellied eyes transparent in the sunWill look at me. Children will jump from elementTo element making paths through air to water,Shooting diamond-drops along trajectoriesToo long for me to measure. “This is water,”They will tell me. This intense immersion.A new baptism free of metaphorWill be mine. Water will be water,And I, a newly-evolved fish, will hearThe aquabatic rippling of gills.

Lucinda Roy in Daughters of Africa (1992)

Paper 2 EssayTypes 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 Works0 1 2 3 4 5

A: Knowledge and Understanding of Works. How well does the candidate know the works studied? How much understanding has the candidate shown of the works studied in relation to the question answered? How detailed and/or appropriate are the candidate's references to the works studied?

Has n

ot re

ache

d a

leve

l 1.

Little knowledge of works Little knowledge of, or

familiarity with, the Part 3 (and Part 2) works used to answer the question

Some knowledge of works. Some knowledge of, or

familiarity with, Part 3 (and Part 2) works used to answer the question

Superficial understanding of the works used

Adequate understanding of works Adequate

understanding of the Part 3 (and Part 2) works used to answer the question

Adequate and appropriate references to the works

Good understanding of works Good understanding of

the Part 3 (and Part 2) works used to answer the question as well as some of the subtleties of their meaning

Detailed and pertinent references to the works

Excellent understanding of works Perceptive

understanding of the Part 3 (and Part 2) works used to answer the question as well as some of the subtleties of their meaning

Detailed and persuasive references to the works

1 genuflection: bending of the knee in respectPage 15 of 24

B: Response to the question. How well has the candidate understood the specific demands of the question? To what extent has the candidate responded to these demands? How well has the candidate illustrated claims? To what extent has the candidate expressed a relevant personal response?

Has n

ot re

ache

d a

leve

l 1.

Little awareness of the main implications of the question The candidate’s ideas

are mainly insignificant and/or irrelevant or

The essay consists of mainly paraphrase and/or narration and/or repetition of content

Some awareness of, or response to, the main implications of the question The candidate’s ideas

are sometimes irrelevant

The essay consists mainly of unsubstantiated generalizations

Adequate response to the main implications of the question The candidate’s ideas

are relevant The analysis of the

ideas is adequate and appropriately illustrated by some relevant examples

Good response to the main implications as well as some of the subtleties of the question The candidate’s ideas

are carefully explored and include an appropriate personal response, where appropriate

The analysis of the ideas is generally detailed and well illustrated by relevant examples

Excellent response to the main implications as well as the subtleties of the question The candidate’s ideas

are convincing and show independence of thought, where appropriate

The analysis of the ideas is consistently detailed and persuasively illustrated by carefully chosen examples

C: Appreciation of Literary Features. To what extent is the candidate aware of the presence of literary features in the works, such as diction, imagery, tone, structure, style, and technique? To what extent does the candidate appreciate the effects of the literary features in relation to the question? How well has the candidate supported claims about the effects of literary features?

Has n

ot re

ache

d a

leve

l 1.

Little awareness of the literary features of the works Little mention or

consideration of the literary features of the work in relation to the question

Some awareness or appreciation of the literary features of the works Some consideration of

the literary features of the works in relation to the question

Superficial analysis of the literary features mentioned.

Adequate appreciation of the literary features of the works Adequate analysis of

the effects of the literary features of the works in relation to the question

The analysis is appropriately illustrated by relevant examples

Good appreciation of the literary features of the works Pertinent and detailed

analysis of the effects of the literary features of the works in relation to the question

The analysis is well illustrated by carefully chosen examples

Excellent appreciation of the literary features of the works Critical analysis of the

effects of the literary features of the works in relation to the question

The analysis is consistently well illustrated by persuasive examples

D: Presentation. How well has candidate organized the essay? How effectively have the candidate's ideas been presented? To what extent are supporting examples integrated into the body of the commentary?

Has n

ot re

ache

d a

leve

l 1.

Little sense of a focused and developed argument Little evidence of a

structure to the essay Little attempt to present

ideas in an ordered or logical sequence

Some sense of a focused and developed argument Some evidence of a

structure to the essay Some attempt to

present ideas in an ordered or logical sequence

A generally focused and developed argument Adequate structure to

the essay Ideas are generally

presented in an ordered or logical sequence

Supporting examples are sometimes appropriately integrated into the body of the essay

A clearly focused and well-developed argument Clear and logical

structure to the essay Supporting examples

are appropriately integrated into the body of the essay

A clearly focused, well-developed and persuasive argument Purposeful and effective

structure to the essay Supporting examples

are well integrated into the body of the essay

E: Formal Use of Language. How accurate, clear, and precise is the language used by the candidate? How appropriate is the candidate's choice of register and style for this task? (Register refers, in this context, to the candidate's sensitivity to elements such as the vocabulary, tone, sentence structure, and idiom appropriate to the task.)

Has n

ot re

ache

d a

leve

l 1.

The language is rarely clear or coherent The use of language is

not readily comprehensible

Many lapses in grammar, spelling, and sentence construction

Vocabulary is rarely accurate or appropriate

The language is only sometimes clear and coherent Some degree of clarity

and coherence in the use of language

Some degree of accuracy in grammar, spelling, and sentence construction

Vocabulary is sometimes appropriate to the discussion of literature

The language is generally clear and coherent Adequately clear and

coherent use of language

Only a few significant lapses in grammar, spelling, and sentence construction

Some care is shown in choice of vocabulary, idiom, and style

The register is generally appropriate for literary analysis

The language is clear, varied, and precise Clear, varied, and

precise use of language No significant lapses in

grammar, spelling, and sentence construction

Effective and appropriately varied use of vocabulary, idiom, and style

Suitable choice of register

The language is clear, varied, precise, and concise Clear, varied, precise,

and concise use of language

No significant lapses in grammar, spelling, and sentence construction

Precise use of wide vocabulary and varied idiom and style

Effective choice of register

Sample Paper 2 Examination(condensed for space)

– 1 –

ENGLISH A1 – HIGHER LEVEL – PAPER 2Monday 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

Page 16 of 24

“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.

Page 17 of 24

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

Page 18 of 24

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

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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. Teachersmust 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@ibo.org) 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

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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.

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World Literature Assignment 2 Topic Proposal FormIB 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?

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What secondary sources (if any) will you need to consult?

Proposed Title:

____________________________________________________________________________

____________________________________________________________________________

Thesis: _________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

______________________________________________________

Topic conference notes:

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