Language A: literature teacher support material

General guidance

Purpose of this document

This publication is intended to provide teachers with additional guidance in the teaching of the Diploma Programme language A: literature course from September 2011. It should be read in conjunction with the Language A: literature guide (published February 2011). The Language A: literature guide provides a description of the nature of the subject, the assessment objectives, the syllabus and assessment details. The purpose of this teacher support material is to help teachers understand the new syllabus that will be implemented from September 2011. The intended audience for this document is teachers. However, the information is directly relevant to the students; teachers are therefore encouraged to share this document with them, as appropriate. This publication aims to:

help teachers plan the course help teachers understand the requirements of the course give advice on how to approach each assessment component provide teachers with teaching support materials help teachers understand the achievement level expected of students.

Description of the content

This teacher support material includes:

information on the differences between language A1 and language A: literature guidance on designing a course guidance on approaching: o paper 1: guided literary analysis o paper 2: essay o written assignment o individual oral commentary and discussion, and individual oral presentation examples of student work with teacher comments frequently asked questions.

Differences between language A1 and language A: literature

Syllabus
The overall number of works to be studied has changed. There are some changes to the number and nature of works studied in some sections of the course.

It is compulsory to study two works in translation at SL and three at HL. Students at both SL and HL have the option of studying up to an additional three works in translation. In part 3 it is no longer possible to use a work in translation.

The term world literature has been replaced by the less ambiguous works in translation. Language A1 (last examinations 2012) Total number of works At SL11 works At HL15 works Part 1 : World literature SL and HL3 works All chosen from the prescribed world literature (PWL) list Part 2 : Detailed study SL3 works; HL4 works Each of a different genre and chosen from the prescribed book list (PBL) for the language studied Part 3 : Groups of works SL3 works; HL4 works All of the same genre 2 works at SL and 3 works at HL chosen from the PBL for the language studied At both levels 1 work designated as world Language A: literature (first examinations 2013) Total number of works At SL10 works At HL13 works Part 1 : Works in translation SL2 works; HL3 works All chosen from the prescribed literature in translation (PLT) list Part 2 : Detailed study SL2 works; HL3 works Each of a different genre and chosen from the prescribed list of authors (PLA) for the language studied Part 3 : Literary genres SL3 works; HL4 works All of the same genre and chosen from the PLA for the language studied

literature Part 4 : Schools free choice SL3 works; HL4 works Chosen freely by the school 1 work at SL may be a world literature work 1 work at HL must be a world literature work

Part 4 : Options SL3 works; HL3 works Chosen freely by the school Works may be in the language of the PLA studied or in translation

Assessment
The assessment tasks for the language A: literature course are based on the language A1 tasks, but have been developed to:

make a greater distinction between SL and HL to reflect a stronger emphasis on intercultural understanding.

Student work will continue to be marked using assessment criteria. In the language A: literature course, a stronger distinction is made between SL and HL in some of the criteria for paper 1, paper 2 and internal assessment. The written assignment for part 1 has the same criteria for SL and HL, as is the case in the world literature assignment for language A1 (last examinations 2012). Language A1 (last examinations 2012) Language A: literature (first examinations 2013)

Paper 1 At both SL and HL, students are required to SL students are asked to produce a guided write a commentary on either a prose passage literary analysis, on either a prose passage or a or a poem. poem, and address two questions in their answer. SL students are given three or four guiding questions but they are expected to present HL students are required to write a literary their commentary in an essay format and they commentary on either a prose passage or a are not required to respond to the guiding poem. questions. SL1hour 30 minutes SL1hour 30 minutes HL2 hours HL2 hours Paper 2 Under examination conditions SL and HL Under examination conditions SL and HL students write one essay based on at least two students write one essay based on at least two works studied in part 3 (and it is also works studied in part 3. The examination acceptable to use a part 2 work of the same paper comprises three questions for each genre). The examination paper comprises two literary genre and requires students to questions for each genre and four general compare and contrast the ways in which

questions. SL1hour 30 minutes

content is delivered through literary conventions. SL1hour 30 minutes

HL2 hours HL2 hours Written assignment SL and HL students submit a comparative world literature assignment based on at least two part 1 works. In addition, HL students submit a second assignment based on one other world literature work studied. The assignment is written in the students own time and marked externally. Length is 1,0001,500 words Internal assessment SL and HL students complete two tasks that are internally assessed by the teacher and externally moderated by the IB. Individual oral commentary: 15 minutes, based on part 2 works Individual oral presentation: 1015 minutes, based on one or more part 4 works SL and HL students submit an assignment based on one of the works in translation studied in part 1. The assignment consists of a reflection on an interactive oral, and the essay is developed from a piece of personal writing that is produced in class. Length: reflective statement 300400 words; essay 1,2001,500 words SL and HL students complete two tasks that are internally assessed by the teacher and externally moderated by the IB. Individual oral commentary (SL): 10 minutes, based on part 2 works Individual oral commentary (HL): 10 minutes on poetry, followed by 10 minutes discussing one of the other part 2 works Individual oral presentation: 1015 minutes, based on one or more part 4 works

Book lists
Prescribed book lists (PBLs) are now called prescribed lists of authors (PLAs). They list authors, rather than titles, in all languages. All the lists have been updated. Prescribed world literature list (PWL) becomes prescribed literature in translation (PLT). Definition of a work Where more than one text is studied as a work, the undertaking for the student must be comparable to studying a full length major work, and texts must be from the same author. Therefore, a work is defined as follows.

1 single major work, such as a novel, autobiography or biography 2 or more shorter texts such as novellas 510 short stories 58 essays 1015 letters

A substantial selection or the whole of a long poem (at least 600 lines) or 1520 shorter poems

The IB learner profile and language A: literature

The IB learner profile is an integral part of this course; in each component, linking class activities with one or two attributes from the profile allows studentsand teachersto demonstrate those qualities that contribute to their development as active and independent learners. Active and independent learners:

develop their natural curiosity explore concepts exercise initiative independently explore new roles and ideas express ideas confidently and creatively.

Integrating the IB learner profile into language A: literature fits naturally with the aims and objectives of the course and should be a natural part of the teaching and learning process. Here is an example of how preparing for an assessment uses some of the profiles attributes.

Part 1: Works in translation

In each of the four stages of this assessmentthe written assignmentparticular qualities needed for active and independent learning stand out. These qualities, which are reflected in the IB learner profile, encourage students to be:

communicatorsboth students and teachers have to participate in an interactive oral (stage 1), and students later communicate their ideas in a piece of supervised writing (stage 3) and then again in the final essay (stage 4) risk-takersan element of risk-taking is also involved as students and teachers explore a text and are prepared to articulate their ideas in the group reflectivestage 2 of this assessment requires students to write a reflective statement.

In addition, both the teacher and the students should be inquirers, thinkers and be knowledgeable. This is just one example; there are many other ways of providing the links between a class activity and the IB learner profile. Highlighting these links in advance, while preparing the classes, enables the students to focus on active learning.

Core concepts and competencies

This section provides an explanation of the assessment objectives, which are concepts and competencies that students and teachers need to understand and that underpin the language A: literature course.

Organization, presentation and language skills

The level of language skills required at each level of the descriptors is the same at SL and HL (and is also the same at both levels in the language A: language and literature course). To score maximum marks, language is expected to be very clear, effective, carefully chosen and precise, with a high degree of accuracy in grammar, vocabulary and sentence construction, and effective and appropriate register and style. Each of the languages in which language A: literature is offered has its own norms for organizing written work and even within some languages, such as English, there is more than one acceptable approach to constructing an effective piece of formal writing. As indicated in the descriptors, the best writing needs to be effectively organized and developed, so that the reader is engaged and persuaded by the ideas. This is assisted by formatting (for example, paragraphs) but also requires the coherence of ideas within and between such units. Students are expected to demonstrate the ability to integrate quotations into an essay. This is always an important aspect of a well-presented essay, and is specifically assessed in the written assignment. In general, students should be taught to incorporate quotations into their writing in such a way that the development of their ideas is enhanced and not impeded, and they should be cautioned to avoid using large blocks of quotations. There is no single right way to reference quotations and provide a bibliography. However, students must be introduced to one of the internationally accepted systems. It should be made clear to them that consistency in using that system, down to small details, is very important. Oral commentaries require careful structuring. As is the case for the written tasks, there is no single correct structure, butple, PowerPoint, there should be a clear, sustained focus and purposeful development of ideas. For example, many students use a line-by-line analysis of the extract when delivering their individual commentary. This method can be effective when used with some extracts, but requires links to be made in the development of ideas, just as in any other structure. In the individual oral presentation students are expected to use techniques to engage and hold the interest of their audience. There is a wide choice of activities for this assessment task, so the appropriateness of presentation skills will depend on the nature of the task. In all cases, the style of presentation, including any supporting notes or material (for example, PowerPoint, visual clips), should be carefully chosen to match the task. Reading from extensive notes, whether written or electronic, is never an acceptable method for this internal assessment task.

Knowledge and understanding of literary works

Students are required to demonstrate a knowledge and understanding of literary works both as the expression of an authors individual creativity and as representatives of their genre and period.

Knowledge refers to familiarity with the workfor example, in a novel, knowing the names of characters, how the plot unfolds, and being able to describe them. Understanding is a higher-order skill that refers to the ability to interpret the writers intention and to understand how context may affect that interpretationboth the context of the work and what the reader brings to the reading.

The terms knowledge and understanding apply in the same way to the literary conventions and features that are associated with literary genres and the ways in which writers use of these conventions changes over time. Students are expected to demonstrate knowledge of the type of work they are studying; not just whether the work is a novel, a poem or a play, for example, but whether it is a post-modern novel, a romantic poem or a satirical play. They should also know:

when the work was written where it is set whether it is typical or atypical of its genre.

They need to know the main features of the genre the text exemplifies. For example, A Dolls House was written by Henrik Ibsen in 1879 as a play to be performed and, therefore, has a stage set, speeches and dialogue. Understanding of the features of literary genres is likely to be demonstrated through the ability to evaluate the effectiveness of the use of the various conventions.

Relationship between works

In constructing the course, teachers need to be aware that while comparison is only assessed in paper 2 (and possibly as a part 4 presentation) students should have every opportunity to discuss the links between works: differences and similarities in their context, style, structure, theme and so on. For example, both Waiting For Godot (1952) by Samuel Beckett (chosen for part 1), and All My Sons (1947) by Arthur Miller (chosen for part 4) were written following the second world war and are both plays that result from the writers experiences during that war. However, one writer is an Irishman who lived most of his life in France and the other is an American; Becketts play is written in the absurd style where Millers play is in the style of realism.

Cultural values and context

Students are required to 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 students own time and culture. This applies to attitudes towards social, cultural and political issues such as the position of women, and also to religion, sexuality, racial attitudes and democracy, as in the following examples.

Ancient Greek writers were not early feminists, even when they portray strong women such as Medea or Antigone. Strong women can exist in any culture and students should be warned against beginning essays with sweeping statements such as: All women have been oppressed by men throughout history. In the case of Antigone, it is vital to understand the burial rites of the Ancient Greeks. Antigone does not bury her brother to assert her individuality but because it was the womens duty to attend to the laying-out and burying of their family members in order for them to be able to rest after death. It is her family and religious duties that drive her, not her desire to be equal to men. In Chinua Achebes Things Fall Apart, Okonkwo should not be criticized for having more than one wife. In Mark Twains The Adventures of Huckleberry Finn, Huck Finn should not be blamed for using the word nigger.

Substantiation and justification of ideas

In writing and speaking about literature, statements or assertions must be validated and have evidence to support them. It is often in carefully chosen, detailed references to the work(s), passage or extract that students are able to demonstrate their independent interpretation and depth of understanding. Consider the following example.

In an essay on power, it is not enough to say that the protagonists actions are all concerned with the acquisition of power. The student should address these questions. o What kind of power? o How does he or she try to gain power? o Are there quotations that relate to the need for power? Nor is it enough to give only one example; a good essay will describe a number of actions taken by the protagonist to reach his or her goal.

One of the assessment criteria is always concerned with knowledge and understanding and the only way a student can gain high marks for that criterion is to show detailed knowledge. Quotations should be set in context, integrated into the text of the essay and accompanied by explanation or analysis. The same requirements apply to guided literary analysis and commentaries where the examination paper or extracts are readily at hand and evidence can be provided in the form of quotations and line references.

Analysis of literary techniques

Students are required to demonstrate an ability to analyse language, structure, technique and style. It is important for students to know the difference between description and analysis, as in the example that follows.

If a student writes that Mrquez and Allende both use magic realism as a technique in their novels and then goes on to give examples of Claras clairvoyance in The House of the Spirits and any one of the many examples in One Hundred Years of Solitude,

that is description. However, what is needed in addition is an analysis of the effects of using magic realism. o What is it that magic realism can achieve that straightforward realism cannot? o Is a completely realistic reflection of the world ever possible in literature? The need for analysis is just as important in discussions of style. It is not enough to state that a poem is written in a lyrical style. What, precisely, does that mean? How can the assertion be justified? Would any other style have worked as well for the same poem?

Seamus Heaneys poem The Follower begins with the lines: My father worked with a horse plough / His shoulders globed like a full sail strung / Between the shafts and the furrow. A weak response would merely paraphrase this as Heaney describing his father as a big man ploughing his fields. A better answer would identify the metaphor that compares his shoulders to a globe. To analyse the metaphor fully, one needs to consider the connotations of globe and sail. The father ploughing is implicitly compared to men who sail round the world; he is a navigator. The line Mapping the furrow exactly in line 12 reinforces this comparison. By describing his father in this way Heaney raises his status from a humble farm worker to one who discovers new worlds. He is an explorer, an expert, a skilled craftsman. Apart from the metaphor, the language is plain, easy to understand, down-to-earth, as befits one who works the land.

Evaluation
Students need to recognize how and why literature affects the reader. Evaluation can be seen in this context as the ability to see how, in literary terms, one writer compares with another. Similar literary techniques will affect readers differently and students, especially at HL, are expected to be able to analyse, discuss and justify their own response to the choices that writers make. Here are some questions that could be useful in this respect.

Does the style match the content? Does the author appeal to or reaffirm popular prejudices? Does the author cause readers to increase their understanding or make them rethink established ideas?

Independent literary criticism

Paper 1 expects students to be able to apply their own skills of literary analysis to a prose passage or poem they have not seen before. Much of the work done in class is supported by the judgments of others, particularly of the teacher, but the course emphasizes the need for students to acquire for themselves the skill of reading between the lines. Students must be able to 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. Independence can also be shown in essays for the written assignment and for paper 2. Students should build on what they have learned in class, but also show that they have thought for themselves about the topic. For example, where a class may have been taught to

dismiss a character as a spineless coward or a bully, it is cheering to find a student who tries to defend the character, using good examples to support their ideas.

Visual skills
Teaching viewing skills does not have to be overwhelming; nor does it need to use the advanced analysis of film, art or media criticism. To heighten student awareness of the interactions between text and image it is often enough to draw attention to viewing as a skill and to show the ways in which text itself can be viewed, as well as read. In addition, the terminology used to discuss visual analysis is not expected to be highly specialized in the context of this literature course. Suggested activities

Focus on viewing in and of itself by discussing particular images, for example, photos or paintings. Ask students to use the same methods they apply when approaching a literary text, looking at the general situation, the meaning, the implications, and the technical elements such as foregrounding, angles and points of view (without the need to resort to professional terminology) that affect meaning and the viewer. When watching a film in class, be sure to highlight visual effects and what they add to the way a story is presented. Compare a particular visual effect or a clip with a written scene. Discuss the different ways of telling a story in a variety of media. Look at specific literary texts (particularly in the new textualities option) that incorporate images such as graphic novels and hypertext. There are many accessible works available that discuss the specific visual effects used in these types of works that combine words and images. Highlight the ways in which authors over the centuries have used images or called attention to layout or design in their literary works. As part of regular classwork, have students create blogs, wikis, and e-portfolios. Students can take advantage of the multimodal nature of the digital environment to add audio, still images and moving images to their own communication. Judge a book by its cover.

Literary criticism and theory

To develop confidence in analysing and discussing literature from an independent viewpoint, students need to be familiar with the genre of literary criticism, which includes book reviews, lectures, articles and books. These can be found in printed form or on the internet. Learning about different critical perspectives is essential, and may be in the form of a minicourse in critical theory, or take the form of studying works through a particular critical bias (for example, post-colonialism, formalism, structuralism, new historicism, feminism, Marxism). It is also interesting for students to know that:

the act of examining literature is itself an object of study there is no single right answer when analysing and discussing literature fashions come and go in the area of literary criticism.

Developing students skills

Here are some suggested activities for teachers to use with their students.

Examining assumptionsusing a poem, examine initial responses to the work with particular attention to the different starting points adopted by students. For example: o one student may begin their exploration noting an obvious structure such as a rhythm and rhyme scheme o a second student might consider the portrayal of a person o a third student might consider the poem in relation to a recent personal experience. Follow-up discussion can reflect on these different perspectives and on their origins, value and relevance.

Looking at a painting or other artworkencourage students to ask questions and take notes. o What is it about? o What is interesting? Asking students to reflect on something non-literary may enable them to see more clearly the critical assumptions that they automatically make when approaching literature.

The explicit teaching of a school of theory in relation to a short work (a poem, or a short story)this may involve a brief introduction to the basic ideas, assumptions and techniques used by a particular theoretical school followed by discussing or writing about the literary work from that perspective. Students may be introduced to postcolonialism and then asked to re-examine a work already studied, for example, Jane Austens Mansfield Park. Looking at short excerpts of not only different critical responses to a work but more specifically critical pieces that clearly come from a particular theoretical stance (for example, psychoanalytic, feminist, post-colonial, formalist)a psychoanalytic

reading of Hamlet by Harold Bloom may be juxtaposed with a new-historical approach to the play by Stephen Greenblatt. Discuss the differences between a concern with particular contexts versus a more formalist approachencourage students to examine the following questions. o Why would we be concerned with the life and times of an author? o Are there times when we need not be? o Are these concerns mutually exclusive?

Course construction
When constructing the course, teachers must use and/or take into account the following requirements as appropriate. Essential book lists Prescribed list of authors (PLA), which is specific to each language Prescribed literature in translation (PLT) list, which is the same for all languages Three at SL and four at HL, from the PLA At least three over the whole syllabus Relevant for languages that are present in more than one place

Literary genres Periods Place

The following table shows the four parts of the course, the assessment method associated with each part, and the month of the external deadline for the assessment task (the exact date is likely to vary). While these deadlines give some sort of guide, in reality students have many other deadlines competing for their time. Coordination across subjects is therefore essential. The written assignment (part 1) and the internal assessment tasks (individual orals) are likely to be spread over the two years. The months given in the table refer to the second year of the Diploma Programme course. Syllabus Part 1: Works in translation Part 2: Detailed study Part 3: Literary genres Part 4: Options Assessment Written assignment Individual oral commentary (and discussion at HL) Paper 2 External deadline External deadline May November March September April October

Individual oral presentation Not connected to any Paper 1 one part

May examination session April May examination session

November examination session September November examination session

Sequence and timing for teaching the course

As stated in the section Construction of the course in the Language A: literature guide (February 2011): In keeping with IB principles, teachers are strongly encouraged to design their own course of study and to teach it in a way that takes into account the particular needs and interests of the students and the school. The course is designed to be flexible; the order in which the parts are listed in the subject guide is not intended to suggest the order in which works should be taught.

Examples of different approaches

The two sample courses in this section show contrasting orders in which works may be taught and are intended to act as a starting point from which teachers can develop their own syllabus and scheme of work. This TSM is for teachers of all languages and for this reason works are referred to by numbers, and not by titles. Each school has its own method of organizing teaching time, both weekly and annually. To allow for national and global variations, the tables that follow block out an imaginary year in which each week has been divided into four sessions (four sessions of 60 hours of teaching for HL, and three sessions of 40 hours and one of 30 hours for SL). The year has been divided into two six-month periods and there is one section for the first year of the Diploma Programme and one section for the second year of the Diploma Programme. Example 1 (HL) The idea that underpins the following example is, at the beginning of the course, to give students a general introduction to the skills they will need and then to lead on to a focused study of the specific works chosen.
The first 60 hours (Diploma Programme year 1)

Goal: to introduce students to the whole range of skills required by the objectives of the literature course. Three works are studiedone from part 2, one from part 3 and one from part 4. Hours of teaching Works studied Aims/skills covered 5 hours Part 4 title 1 Use of reference tools 15 hours Part 4 title 1 Develop oral and writing skills; develop stylistic skills 25 hours Part 2 title 1 Textual analysis and commentary 15 hours Part 3 title 1 Study of a literary genre and its historic context
The second 60 hours (Diploma Programme year 1)

Four works are studiedone from part 4, plus the three works from part 1. Hours of teaching 10 hours 30 hours 20 hours Works studied Part 4 title 2 The three part 1 works in translation The three part 1 works in translation Aims/skills covered Close reading techniques Cultural studies and the role culture plays in literary meaning Part 1 written assignment

The third 60 hours (Diploma Programme year 2)

Three works are studiedtwo from part 2 and one from part 4; the part 2 work that was studied in session 1 is reviewed. Hours of Works studied teaching 10 hours Part 4 title 3 20 hours 30 hours Aims/skills covered

Understand different critical approaches (part 4: individual oral presentation) Part 2 title 2 (and review Review textual analysis and commentary of content of part 2 title 1) Part 2 title 3 (poetry) Develop awareness of literary conventions and features (part 2: individual oral commentary and discussion)

The fourth 60 hours (Diploma Programme year 2)

Three works are studiedfrom part 3; the part 3 work that was studied in session 1 is reviewed. Hours of teaching 20 hours 30 hours 10 hours Works studied Part 3 title 2 Part 3 titles 3 and 4 Review of all part 3 works Aims/skills covered Written commentary techniques Study of the features of a specific literary genre Preparation for the externally set exams (paper 1 and paper 2)

Example 2 (SL) The following example shows how the time over the two-year period can be divided into concepts and skills, with shorter texts, as well as works from the syllabus, being used to teach these.
The first 40 hours (Diploma Programme year 1): Ways of seeing

Hours of teaching 10 hours 10 hours 10 hours 10 hours

Works studied Extracts from a range of literature Part 4 title 1 Part 4 title 2 Part 4 title 3

Aims/skills covered Introduction to literary genres Introduction to context and culture of readers and authors Introduction to close reading Introduction to critical perspectives

The second 40 hours (Diploma Programme year 1): Cultural perspectives

Hours of teaching Works studied 15 hours Part 1 title 1 15 hours Part 1 title 2

Aims/skills covered Cultural perspectivesreader and author Contextual perspectivesreader and author

10 hours

The two part 1 works Part 1 assessment tasks

The third 40 hours (Diploma Programme year 2): Stylistics and oral skills

Hours of teaching Works studied Aims/skills covered 15 hours Part 2 title 1 Reading poetryformal poetic technique 15 hours Part 2 title 2 Techniquesequipping with vocabulary and approaches 10 hours Part 3 title 1 Introducing literary conventions and features
30 hours (Diploma Programme year 2): Literary genres and comparative analysis

Hours of teaching 10 hours 10 hours 10 hours

Works studied Part 3 title 2 Part 3 title 3 Review of all part 3 works

Aims/skills covered Genre development over time Genre concept, theme and subject-matter concerns Preparation for the externally set exams comparative writing

Assessment

Overview
Example Marks available Paper 1: Guided literary analysis on The Jade Peony by Wayson Choi Example 1 20 Paper 2: Essay on Heart of Darkness by Joseph Conrad and Remembering Babylon by David Malouf (part 3literary genres) Example 2 25 Written assignment on Fathers and Sons by Ivan Turgenev (part 1works in translation) Example 3 Reflective statement 25 Supervised writing Essay Part 4 title 2part 4 title 2 Individual oral commentary on Churning Day by Seamus Heaney and discussion on Ernest Hemingways short fiction (part 2detailed study) Example 4 30

External assessment

Paper 1: Guided literary analysis

What is literary commentary?
As used in the language A: literature course, the terms commentary or literary commentary refer to literary analysis: a detailed examination of a piece of literature. The exercise of commenting on a piece of literature involves:

close reading literary appreciation reading between the lines an understanding of the effects of literary features.

Students are expected to display an understanding of the complexities of a prose passage or poem and to develop a convincing argument using the text to support interpretations and judgments. There is no answer that is a formulaic correct answer and students are encouraged to explore their own ideas and insightsbut also to support these with textual evidence so that they are not merely guesses. The teacher is instrumental in encouraging the student to be analytical and explore the subtleties of the text. Good commentaries typically show independent engagement with the text and a keen understanding of the effects of the authors use of various literary techniques. In whatever language students are studying language A: literature, they are expected to use language appropriate to literary discussion, and this will usually include accurate reference to commonly used literary terms. Discussing the effectiveness of the writers choice of literary techniques is even more important; mere listing and naming of literary terms will not attract high marks. In the assessment criteria for paper 1, there is no requirement for students to make reference to other texts that may be associated with the genre of the prose passage or poem chosen.

The literary commentary (HL)

At HL students are required to structure their literary analysis in the form of an essay (also referred to as a commentary or literary commentary). The prose passage or poem on the examination paper is unlikely to be familiar to the students, so this exercise is often referred to as an unseen commentary. Conventions for the formal organization of ideas naturally differ widely between, and even within, countries and languages, so it is not possible to be prescriptive about how a commentary should be organized. However, the best commentaries will put forward a persuasively organized argument that is coherently developed and effectively structured. Students are assessed on their ability to:

show they understand the prose passage or poem through well-supported interpretation identify language usage, structure, technique and style used by the author discuss the effects that arise from the authors choices present their ideas in a formally organized and coherently developed piece of writing.

The guided literary analysis (SL)

The SL guided literary analysis requires the same skills as the HL literary commentary, the difference being that, through two guiding questions, SL students are supported in their interpretation of the passage. In addition, they are not asked to produce a well-constructed commentary (or essay) as part of the assessment. There are two reasons for this difference.

SL students have 1 hour 30 minutes, compared with 2 hours at HL, and responding specifically to the guiding questions enables them to devote their time to literary analysis. Paper 1 is an area of the language A: literature course where attention is paid to differentiation between SL and HLSL students are not required to construct a persuasively argued commentary and nor do they need to present their own perspective on the prose passage or poem.

Differences between written and spoken literary commentary

The same questions need to be answered in both types of commentary.

What is the text about? How was it written? Why was it written?

In order to be successful, both types of commentary require careful thought and planning beforehand. Fundamentally the exercise is the same, with the following differences.

The literary commentary (HL) or guided literary analysis (SL) in paper 1 requires students to make inferences based on the available evidence, as the prose passages and poems on the examination paper are not likely to be ones that students will have studied in class. The oral commentary, on the other hand, is based on extracts taken from works that have been taught in detail and the student must demonstrate knowledge and understanding of the writers work through close analysis of the specific poem or extract. Speaking and writing require skills that overlap but are not the same. Before an individual oral commentary, students need to take notes and arrange them in the order in which they will deliver them. They should have learned how to speak clearly and fluently and be able to respond confidently to questions on interpreting literature. It is much harder to cover up a lack of knowledge in an individual oral commentary, and thorough revision of the part 2 works is important for success.

Teaching commentary
Students who are starting a language A: literature course will vary considerably in their ability to read and write but the likelihood is that most of them will need considerable practice before they can confidently engage in close literary analysis either verbally or in writing. Teaching commentary cannot be done overnight, not even in a month. It needs continual practice with a wide range of texts during the two years of the course. In the early stages it is a good idea to devote one lesson a week to commentary work.

Short extracts are particularly useful in providing a quick introduction to elements of literature, literary terms, genre study or to introduce a new genre or text. Giving students the opportunity to comment on short texts is also helpful in developing their own use of language by encouraging a careful choice of words and the use of an appropriate formal and literary vocabulary. In order for students to learn how to analyse texts, they must do it for themselves. It is like riding a bikeeven if someone repeatedly tells you how to ride, you will never manage it until you climb on and try to do it for yourself. This means that the primary method of teaching commentary should be through discussion and group work. Suggested activities

Begin with texts with hidden messages that are easy to decode such as advertisements, nursery rhymes, pictures and short newspaper articles. Ask students to bring in their own material for the class to discuss. Ask students to make inferences based on titles and/or first lines. Structured prompts can be used to develop students confidence in articulating their thoughts about literature. For example, short passages are distributed to the class and students respond using prompts such as: This line is unsettling because Encourage creative writing by asking students to bring in their own writing and discuss it with their peers. A good method of understanding how styles can vary is to ask students to write pastiches. For example, ask them to choose an event in the school year and write a description in the style of some of the writers in their course of study. Expose students to as wide a variety of writing as possible: from colloquial to very formal, from poetic to technical, from different time periods and from simple to complex. Create cloze passages by removing key words from prose passages or poems. Students work in groups to locate the words and share them with the class. The class selects the most appropriate words, commenting on the choices. Each group then analyses the strategies they used to arrive at their conclusions. Groups share their learning, evaluate their strategies, and select the most effective ones.

Example 1 (SL): Paper 1guided literary analysis

To view the various elements of this example, please use the icons at the side of the screen. Student work (PDF) Examiners comments Suggested source for the text: Choy, W. 2011. The Jade Peony. Vancouver, Canada. Douglas and McIntyre.

Examiners comments
Criterion A B C D Total Marks available 5 5 5 5 20 Marks awarded 4 4 4 5 17 The passage is short and it is also elliptical in its own way, requiring the candidate to make some inferences, to move into a possibly unfamiliar context and analyse identities, relationships, elements of a situation and responses to it. This particular version of a bewildering moment in a childs life offers something recognizable, but with details that need close scrutiny for full appreciation of both the situation as well as the writers skill, the crux of the second question. Names, details, pace, descriptive and emotive language, indicators of a heterogeneous community: all of these are the materials of both context and effective delivery of the incident. The candidate shows an understanding of the events and has offered a comment of reasonable scope and detail for the passage. Not every assertion is amply developed. There is logic to the structure and the language is clear and easily comprehensible. Criterion A: Understanding and interpretation The candidate surely grasps the situation of the mothers demise and the familial responses, but seems to avoid making inferences about such elements as the contrasting ethnicities (Old China, white lady) and about the time and place of what has happened (cabins, kerosene lanterns, sirens, farming hands). What is conveyed, however, is often linked to particular elements of the passage. Criterion B: Appreciation of the writers choices Addressing a number of stylistic choices, the candidate provides some solid literary analysis in response to the second question, tying it to both the characters and the situation requested in question (a). Mr and Mrs Chin are distinguished, with one seen as the foil of the other; details are noted as defining characters and responses, and the candidate does well on connecting the elliptical quality of the writing with the response of the boy. We do not hear much about tone, but the sensory detail is well handled and the candidate also addresses

diction and its effects. Clearly, the candidate has a sense of the task and the tools to complete it, and the analysis and appreciation are good. Criterion C: Organization The candidate appears to have given some thought to how to begin and end the essay, and offers a reading of the essence of the passage at the outset. The responses to the questions are gracefully incorporated in a fairly coherent discussion of relevant matters, with transitions that assist the reader in following her approach. Criterion D: Language Here, the candidate meets the demands of the level 5 of the criterion. Register is appropriate to the task, and consistent, and the language is natural and clear. Sentence construction is well handled and the vocabulary is carefully chosen and precise; spelling and punctuation are seldom flawed.

Paper 2: Essay (part 3literary genres)

When required to write a compare and contrast essay, students have to demonstrate that they understand how authors have used the literary conventions. Literary conventions refers to the characteristics of a literary genre, for example:

plays contain speeches and dialogue, plot and character prose fiction has characteristics such as foreshadowing and flashbacks verse has metre and rhyme and sound devices.

For an interpretation see Literary conventions in the section Approaches to the teaching of language A: literature in the subject guide.

Choice of works
Literary conventions provide wonderful opportunities for exploring literature. Any links will work, providing they are studied through the lens of literary genre and conventions. There are many possibilities for choosing the works for part 3 (three works at SL, four works at HL). However, it is important to remember that works chosen should be from the same literary genre of the prescribed list of authors (PLA) and suitable for a closed-book examination. Below are just a few examples from each genre. These are intended to give some ideas for choices. Poetry

Different forms of poetry such as fixed rhyme and metre as the link to discuss the relationship between sound and meaning. Poetsromantic, modern, mystical, philosophicalthe link is provided by grouping the poets to represent different movements or approaches.

Drama

Playsa political play where the protagonist and antagonist are in opposition, with the protagonist being the sympathetic character; a philosophical play where the antagonist and protagonist are in a symbiotic relationship, or where the antagonist is the sympathetic character, or where the antagonist reveals the dark side of the protagonist (here the link is the antagonist/protagonist in different combinations). The use of speeches in philosophical, political, expressionist, classical dramathe link is the different ways these speeches have been included in the plays, and to what effect.

Novels and short stories

Novelsthe intrusive narrator, the unreliable narrator, multiple narrative voices, peripheral first person narratorsthe link is contrasting narrative voices.

Short stories in historical, contemporary, foreign and future placesthe link is the different ways writers have used landscape, and for what purpose.

Prose other than fiction

Travel writingauthor and reactions (chronological), what the author is seeing (place), the author critical of places (moving between present and past) and the author celebrating what is seen (philosophical)here the link is the different kinds of structures in the works. Essayshumorous, personally revelatory, philosophical, scientific/religioushere the link could be either autobiography or biography.

Developing the skills necessary for writing a good essay

Ask these key questions.

How is this work representative of the genre? What links works A and B, or C and D? In what different ways have the writers approached the topic/link?

Prepare these key areas.

Understanding literary conventions Acquiring a good knowledge and understanding of the works studied Understanding how to write a comparative essay not a repetition of communal class notes Writing own notes (see the IB learner profile) Theory of knowledge (TOK) question: Can a work of art contain or convey meaning of which the artist is oblivious?

Suggested activities

Transformational writingusing the same topic as the work, students write in a different genre (this will encourage students to see how genre changes content) Role playuse stimulus material from recent times such as a film/video clip that parallels the setting of the work being studied; the students react in character to the situation in the stimulus material A parody or homage of a poem being studiedfollowed by some explanation and discussion of what the students attempted to do Creative writing in the relevant genresupplying material the author did not (this enables students to experience creativity from the writers point of view and so increases understanding of genre, form and style) Considering how genres are used in film Group discussions and presentations

Resources

The teachers subject knowledgeincluding an informed overview of the historical and social context of the works, and of shifts in literary style Exemplar extracts that reflect different periods

Exemplar extracts that contrast or complement the chosen works DVDs of relevant performances Reviews Knowledge of relevant websites Links to companion books The IBs online curriculum centre (OCC) forum and resources

Example 2 (HL): Paper 2essay

To view the various elements of this example, please use the icons at the side of the screen. Student work (PDF) Examiners comments Suggested sources for the text: Austen, J. 2003. Mansfield Park. London, UK. Penguin Classics. (Original work published 1814.) Coetzee, JM. 2000 Disgrace: A Novel. Harmondsworth, Middlesex, UK. Penguin Books Ltd. Conrad, J. 2011. Heart of Darkness. New York, USA. Tribeca Books. (Original work published 1902.) Malouf, D. 1994. Remembering Babylon: A Novel. London, UK. Vintage Books.

Examiners comments
Criterion A B C D E Total Marks available 5 5 5 5 5 25 Marks awarded 5 4 4 4 5 22 Criterion A: Knowledge and understanding The two facets of criterion Athe degree of the knowledge or familiarity with the literaturecomplemented by understanding of the part 3 works in relation to this topic, are well addressed. The student has a strong overall sense of the arrangement of events, and because this knowledge is demonstrated by details as to time span, chapters, and the general nature of the shifts and variations in the narrative line, the performance in this criterion is 5. The student is perceptive both about the works and the ways to use them in an essay on this question. Criterion B: Response to the question The specific demands for this questionboth from the general instruction to compare and contrast and from the question, as to the variations of chronological order serving the purposes of the storiespresent a triple challenge for the responder. Chronological order, though not explicitly defined, seems to be well understood. The comparative factor the encounters between different culturesis set out early on, against a proposed differential in technique, and each novel is explored in some detail. Clearly the student has grasped the demands of the question but there could be more explicit evaluation of the comparative success with chronological narrative.

Criterion C: Appreciation of the literary conventions of the genre Narrative order is clearly a focus of the question and that convention is consistently addressed through the response. The convention is, of course, clearly delivered by the question, which may not always be the case. The student consistently addresses the effect of authorial choices, which is a positive feature of the essay. Criterion D: Organization and development The essay has a solid logical structure and points are systemically and coherently developed. Criterion E: Language The demands of level 5 in this criterion are quite consistently addressed in this essay, certainly meeting the standard of a high degree of accuracy in spite of an occasional faltering in syntax and grace.

Written assignment (part 1works in translation)

Translation can be a linguistic bridge into another culture and may illuminate our understanding of some aspects of that culture. Different translations of the same work will differ; when exploring the literariness of the work it is worth keeping in mind that the translator has used craft in finding equivalent words and art in working to convey literary elements such as the style and tone of the original author. If possible, compare different translations of the same workeven short extracts. This is a valuable exercise that highlights issues such as:

what is translated how it is translated how it is received in translation what is lost in translation.

Choosing works in translation for part 1

The works must be titles chosen from the prescribed literature in translation (PLT) list: two works at SL and three works at HL.

The written assignment process

Stage 1: The interactive oral There are many ways to organize an interactive oral. The demonstration in the Language A teacher support film shows four students each presenting a different aspect of a work, followed by class discussion, and this works very well for that group of students. However, it is just one of any number of ideas that would work in the classroom.

Essentials
At least one interactive oral must be conducted for each work studied. Each student should have some specific role in one of the orals (across all the works studied). The prompts that students work with must require them to probe into the cultural and contextual underpinnings of the work and to consider how these considerations affect their understanding of the work. The orals ideally should be an integral part of teaching the work, not an artificial add-on. The following suggestions show the range of possible types of interactive orals. In all cases it is advisable to ensure the prompts (or stimulus for discussion) have a tight focus that relates directly to a specific part of the work.

During the course of one lesson, several students could introduce a problem they have in understanding the culture or the context, with the class and the teacher discussing each issue raised. Students could introduce the discussion, adopting the teachers role for lessons on the work, and lead the class discussion. Students, either individually or working in groups, could choose a clip of a film or other visual medium and lead a discussion on how it may deepen understanding of culture or context.

Stage 2: The reflective statement

Essentials
It must be written as soon as possible following the interactive oral. As shown in the Language A teacher support film, it is advisable for students to take notes during the interactive oral discussion to assist them in writing the reflective statement. Each student must write one reflective statement on each work studied. Where there is more than one interactive oral on a work, which is likely, writing on each interactive oral is advised, but optional. Students must know that the reflective statement on the work on which the essay is written will be assessed, along with the essay. There is one guiding question for the reflective statement, which is:

How was your understanding of cultural and contextual considerations of the work developed through the interactive oral?

Context refers to all possible contexts. It is intended to embrace the cultural underpinnings of the works by looking at specifics such as:

the time and place in which the work was written information about the author (particularly as it relates to the way in which the authors ideas as presented in the work do, or do not, accord with situations in the contemporary society) philosophical, political and social contexts ideas that the students themselves bring to the work.

Developed is the other key word in the question. It is a personal statement that is most likely to be written in the first person, and should be an honest account of the evolution of understanding. If the student feels that they have not really learned anything, then they should reflect on what they still do not understand. The aim is to ensure the focus of discussion is sufficiently challenging so that students will be stimulated to think more deeply about some aspect of the work. The criterion by which students are assessed uses the same words as the question on which the reflective statement is based. If they answer this honestly and fully, then they should be able to achieve the three points.

Sample reflective statement

Example 3 is a sample of what a reflective statement on Fathers and Sons by Ivan Turgenev might look like. The question that must be addressed is written at the top of the reflection; the title and the author of the work used are also clearly stated. Stage 3: Developing the topicsupervised writing

Essentials
At the beginning of the lesson, the teacher should provide three or four prompts for the work studied. The students must not have seen these prompts prior to the lesson. Supervised writing is intended to stimulate independent thinking and choice of topic. It must be in continuous prose. However, the format is not prescribedit could be journal writing, or it may be more like a draft. At this stage, it is no longer important to consider the cultural or contextual elements of the work. The students complete three pieces of supervised writing and their essay topic must be generated by one of them. The link between the final choice of title and the supervised writing does not have to be direct, but there must be a recognizable germ of an idea that can be tracked. When students are deciding on which work to write (and hence which piece of supervised writing to use as a starting point), it is not the quality of the supervised writing that counts, but the link with the essay. Teachers must play a key role in helping the student to develop from the supervised writing a tightly focused title for the essay. The examples below demonstrate how prompts for the supervised writing can lead to a precise title for the essay.
Supervised writing prompts and essay titles

Prompt: In what ways are the voices of history and tradition present in the work? Work: Gods Bits of Wood by Sembne Ousmane Essay title: Age and wisdom: The significance of Ramatoulaye in Gods Bits of Wood Prompt: To what extent is the natural landscape important for the impact of the work? Work: The Sorrow of War by Bao Ninh Essay title: How the landscape affects the outcome for Kien in The Sorrow of War Prompt: How does the writer convey a sense of time passing in the work?

Work: One Day in the Life of Ivan Denisovich by Aleksandr Solzhenitsyn Essay title: The significance of time for Shukhov in One day in the Life of Ivan Denisovich Prompt: How are different voices used to express thoughts and feelings? What effect do these have on your responses to the poems? Work: Selected poems of Derek Walcott Essay title: Allegiance and identity in the poems of Derek Walcott Prompt: In what ways is memory important in the work? Work: Jane Eyre by Charlotte Bront Essay title: The significance of memory for Jane in Jane Eyre Prompt: How do external and internal structures work together? Work: Waiting for Godot by Samuel Beckett Essay title: Conveying a sense of purpose in Waiting for Godot Stage 4: Production of the essay
The teachers role

Essentials
The teacher should assist the student to develop a suitably challenging topic that will allow him or her to show insight into the work chosen for the assignment. Teachers are encouraged to comment on the first draft, either orally or through notes on a separate sheet of paper. However, they may not annotate the essay nor assist with subsequent drafts.
Presentation

The essay should be a formal piece of writing with a title and a developed argument. The main references are likely to be to the literary work chosen for the essay. It is essential that a recognized reference system is used consistently throughout and that the bibliography includes the full provenance of the work used, including the edition. Secondary sources may be used, although they are not essential, and they must also be referenced using the same system and included in the bibliography. Students are assessed on their ability to organize and develop their ideas, and to integrate examples from the works used. Before they begin to write their essays, it is important that they have had plenty of practice in using quotations from literary works to support and further their arguments.

Written assignment checklist

Has an interactive oral been completed by the class on each work? Has each student written their reflective statement? Has each student done supervised writing on each of the works? Does the topic of the essay derive from one of the pieces of supervised writing? Is the reflective statement 300400 words in length and the essay 1,2001,500 words? Have the student and teacher signed the coversheet?

Example 3 (HL): Written assignment

To view the various elements of this example, please use the icons at the side of the screen. Reflective statement (PDF) Supervised writing (PDF) Essay (PDF) Examiners comments Suggested source for the text: Turgenev, I. 1989. Fathers and Sons. New York, USA. WW Norton & Company. (Original work published 1862.)

Examiners comments
Reflective statement The length of the statement is 321 words. It is clear that, after listening to the discussion on the articles that were presented, the student has furthered to some extent his understanding of the cultural and contextual elements of the novel. The student has tried to include rather a lot of quite complicated information and ideas, which takes the sharpness off the reflection, but there is no doubt that he has at least started to think about issues in the novel in a different way as a result of the interactive oral. That would place the reflective statement in the middle range of the descriptors for criterion A: fulfilling the requirements of the reflective statement. Supervised writing This is an example of what the supervised writing might look like and how it might lead to an individual title. In this sample, the student has used the supervised writing time to develop a logical set of ideas in response to the prompt. The choice of a key episode is apt and the student has purposefully written about the various ways in which it is significant to the novel. When compared with the final essay, the connection between the two pieces of writing is clear. Essay
Criterion A: Fulfilling the requirements of the reflective statement

To what extent does the student show how their understanding of cultural and contextual elements was developed through the interactive oral?

(See comments on the sample reflective statement.)

Criterion B: Knowledge and understanding

How effectively has the student used the topic and the essay to show knowledge and understanding of the chosen work?

The topic chosen allows the student to show that they have a good understanding of Fathers and Sons. There is insight shown into the ideas underpinning the story, for example, the tensions between the generations and the patriarchal nature of the society. However, tightening the focus of the topic may have allowed the student to show more perceptive insight. There is a lot to discuss in regard to the duel, and there is a sense that the student is trying to fit in a lot of quite complex ideas. Perhaps a topic such as How does the duel show Turgenevs sympathies towards the ideas represented by the young and older generations? would have allowed for tighter analysis.
Criterion C: Appreciation of the writers choices

To what extent does the student appreciate how the writers choices of form, structure, technique and style shape meaning?

The student has consistently included discussion on the choices Turgenev made in presenting this episode and shows quite a high level of appreciation. Some examples mentioned are the language used by Bazarov when considering his action towards Fenichka, the significance of the use of French, and the way the characters are used to show some key ideas.
Criterion D: Organization and development

How effectively have the ideas been organized, and how well are references to the works integrated into the development of the ideas?

The essay has a logical structure, with the ideas in the introduction developed systematically and a conclusion that pulls the ideas together. Within the paragraphs the development of ideas could have been tightened and the transition between ideas could be improved. The supporting references are quite effectively incorporated into the flow of the essay.
Criterion E: Language

How clear, varied and accurate is the language? How appropriate is the choice of register, style and terminology? (Register refers, in this context, to the students use of elements such as vocabulary, tone, sentence structure and terminology appropriate to the task.)

There is a high degree of accuracy, and the register and style are appropriate, although there is a slight tendency to be colloquial in some places. The language is quite precise and well chosen, but in places the phrasing is slightly awkward and there is a sense that the essay could have done with some more rigorous proofreading on the part of the student.

Internal assessment

Individual oral commentary and discussion (part 2 detailed study)

Choice of works for part 2
All works must be chosen from the prescribed list of authors (PLA) for the language being studied. Each work must be from a different literary genre (two genres at SL and three genres at HL). At HL one of the genres studied must be poetry. The revised lists are based on the language A1 prescribed book lists (PBLs) but with two changes that may affect teachers.

The PLA for all languages is a list of authors, not specific titles. The PLA is not divided into part 2 and part 3. Instead, authors are listed alphabetically under literary genres.

It is the teachers responsibility to ensure that, as well as meeting other requirements, the works chosen have sufficient complexity of style and content suited to close analysis.

The internal assessment task

Part 2 is assessed orally and marked internally. There is a distinct difference between the formal oral tasks required of students at SL and at HL. The following tables give an overview of the differences in the criteria Standard level Criterion Marks AKnowledge and understanding of the extract 10 BAppreciation of the writers choices 10 COrganization and presentation 5 DLanguage 5 Total 30 Higher level Criterion Marks AKnowledge and understanding of the poem 5 BAppreciation of the writers choices 5 COrganization and presentation of the commentary 5 DKnowledge and understanding of the work used in the discussion 5 EResponse to the discussion questions 5 FLanguage 5 Total 30

The individual oral commentary

SL and HL students are both required to undertake an individual oral commentary that involves presenting a formal literary analysis on an extract from one of the works studied in part 2. For SL students the 10-minute oral commentary is the whole of their part 2 assessment. For HL students, the 10-minute oral commentary is immediately followed by a 10-minute guided discussion on one of the other part 2 works. Selecting extracts The suggested length is 2030 lines. Students only have around 10 minutes for their commentaryand around two minutes of this will be taken up with subsequent questions so it is important that the extract is not overly long. An extract may also be a complete poem. A poem with fewer than 2030 lines may be entirely acceptable, providing it is of sufficient complexity. Timing for the preparation (20 minutes) begins once the extract has been selected. Extracts should be rich in detail and significance and give students every opportunity to show their:

knowledge and understanding of the work ability to analyse language, structure, technique and style.

The extracts should also be of a similar level of difficulty and different from those used for classroom practice. It is highly advisable to number the lines in each extract. The most commonly used numbering system is to number every fifth line. This gives students a handy way of referring to the text to support their analysis, and it helps IB moderators to follow the students commentary more easily. Number of extracts It is essential that students do not know in advance which extract they are likely to get for their oral commentary. Please see the Internal assessment sections for SL and HL in the Language A: literature guide (February 2011), which give the acceptable minimum number of different extracts to use in relation to the number of students in the class. Guiding questions The purpose of the guiding questions is to point students towards significant features of the extract. Questions should not give too much information to the student because this would make it difficult for the student to show their independent understanding. Generic guiding questions are given in the subject guide, and some more are listed here. However, teachers are urged to provide guiding questions that are specifically suited to the extract, which could mean creating their own questions, or adapting the generic questions. It is also highly advisable to provide one question to elicit knowledge and understanding and the other question to elicit analysis of the writers choices. This will help students to meet the requirements of the descriptors.

Students are not obliged to respond to the guiding questions, which are there as prompts. Any of the following questions may be used for SL students. For HL students, only the poetry questions are relevant.
Prose: Novel and short story

How does the extract show the attitudes and emotions of the central character(s)? In what ways does the use of language reveal underlying tensions? How is the significance of the setting of the work revealed in the extract? How are the central ideas of the work conveyed through the extract? In what ways does the extract foreshadow subsequent developments in the work? How is the extract pivotal to the structure of the plot?

Prose other than fiction Poetry Drama

How does the point of view influence our attitude to the ideas being conveyed in the extract? In what ways is the extract central to the work as a whole? How is diction used to influence the reader? How is a strong sense of place conveyed in the extract? In what ways are rhythm and balance important elements in conveying the writers point of view? What does the extract reveal of the writers attitude towards the subject matter?

What use has the writer made of repetition to convey meaning and/or emotional effects? How does the use of a persona contribute to the dramatic force of the poem? How is symbolism used to convey meaning? In what ways does the final line/stanza change your understanding of the poem as a whole? In what ways does the poet use repetition to underline key ideas? How is rhythm used to complement the thought and feeling of the poem?

How are gesture and action used to convey the state of mind of the character(s)? How is language used to show contrasts between the characters? In what ways does the extract show or hint at developing conflict in the play? How does the extract reveal the time and place of the action in the play? What does the extract reveal of the relationship between X and Y? In what ways is the extract significant in revealing a key idea of the play?

Conducting the individual oral commentary Note: The oral commentary may only be conducted once for each student.

Essentials

A quiet room for conducting the oral and a nearby room for the 20-minute preparation period Supervision during the preparation time (for HL students, the preparation time is for the commentary, not for the discussion) Good-quality recording equipment, preferably digital A method of providing the student with an extract so that neither the teacher nor the student knows which extract is being selected (it is recommended that the teacher places each extract separately in a blank envelope and allows each student to choose their own envelope) Clean copies of extracts with contextual information removed and with lines numbered (the title of a poem can remain)

During the oral commentary

The student must be allowed to talk without interruption for up to 8 minutes. Subsequent questions must be put to the student. These should give the student an opportunity to cover aspects they have missed (or have handled incompletely) in their commentary. If a student does not manage to speak for the full 8 minutes, 10 minutes should still be used, with the teacher asking questions. The focus of the task is detailed comment on the extract, not the whole work. Some contextualization is important to show understanding of how the extract is related to the work as a whole, but the main part of the commentary should be detailed literary analysis of the extract itself.
Following the oral commentary

Where more than one teacher is conducting and marking the orals it is essential that time is spent on standardization before final marks are awarded. The mark submitted for each student is an average of the mark awarded for the two internal assessment tasks. When these marks are submitted, students will be selected randomly by the IB, and the recordings of their individual oral commentaries (and HL discussions) must be sent in for moderation, complete with the extract used and Form 1/IARF, which itemizes the marks awarded for both tasks. The HL discussion
Choice of work for discussion

HL students study three works in part 2. The oral commentary is based on poetry, so the discussion must be based on one of the other two works. In order to ensure full coverage of the part 2 works, it is essential that students do not know on which work the discussion will be based until after they have completed their oral commentary.
Conduct of the discussion

The teachers role is to give the student every chance to show his or her ability to engage in an independent literary discussion. The ideal is an authentic literary exchange between the teacher and student, but prepared questions will be needed to get the discussion started. The questions are likely to be related directly to the work under discussion, so the examples given here (and in the subject guide) are intended to show the types of questions that should prompt an independent response from the student.
Prose: Novel and short story

To what extent do you feel the writer is trying to persuade you to think about an issue or idea in a particular way? How well do you think the writer handles the transition between one time and another? Which character do you feel the writer relates to most closely? What makes you think that? What sort of techniques does the writer use to get you interested in the story and the characters? Do you think they are successful? Choose one part of the novel that you found particularly challenging, exciting or moving. What do you think prompted that response?

Drama

Do you think the writer is particularly sympathetic towards one of the characters? What makes you think that? How well do you think the writer manages to use the stage to establish a strong sense of setting? What is your opinion about the closure in the last section of the play? Do you find it satisfying or frustrating? What do you feel is the central conflict in the play? How important are the underlying reasons for the conflict? How clearly is the writer able to convey a meaningful idea while keeping an audience entertained?

Prose other than fiction

In what ways does the writing produce a strong sense of the author? Do you feel that the style of writing is well matched to the ideas that the writer is trying to convey? How well does the work organize the events or ideas? Is there an effective division within and between sections? What aspect of the work do you find most convincing? Can you identify some of the features of the writers technique that you find to be particularly effective? Are there some ideas or opinions put forward in the writing that you feel particularly sympathetic or antagonistic towards? What do you think prompted such a strong reaction?

As indicated by the level descriptors for this section of the assessment task, the aim of the discussion is to give students an opportunity to show their knowledge and understanding of a second part 2 work and to demonstrate their ability to engage in independent critical literary

discussion. For example, to attain full marks in criterion D: knowledge and understanding of the work used in the discussion, the student needs to show excellent knowledge and understanding of the content and the implications of the work discussed. For criterion E: response to the discussion questions, the student is required to give persuasive and independent responses to the discussion questions.

Essentials
The discussion lasts for 10 minutes and must follow the oral commentary with no break in the recording. The discussion must be based on one of the two works other than poetry studied in part 2. The student must not know beforehand which other work is going to be chosen. The discussion should be allowed to develop as naturally as possible, although the teacher needs to ensure that it stays focused on the nominated work and prompts the student to explore implications and to give personal evaluation. Marking the individual oral commentaries (and HL discussion) There are separate criteria for the SL individual oral commentary and for the HL individual oral commentary and discussion. Teachers are required to use these criteria to mark the students work. Every commentary must be recorded; these recordings are used not only as possible samples for the IB moderator, but also to help the teacher establish the correct level descriptors, and for internal moderation.
Using the assessment criteria

Please note the following changes from language A1.

At SL criteria A and B (knowledge and understanding of the extract, and appreciation of the writers choices) are weighted, being worth 10 marks each, compared with 5 marks for presentation and language. At HL the six criteria are each worth 5 marks. SL (criterion D) and HL (criterion F) language descriptors are the same.

The marks for the commentary and the presentation are added together and then divided by two, and these are submitted to the IB. At that point the school will be asked to send a randomly selected sample of recordings for external moderation. Marks for the oral presentation are moderated through those provided for the oral commentary. Form 1/IARF must be completed for each of the students whose commentary samples are selected. This form can be downloaded and includes space for the teachers comments in support of the marks awarded for both the presentation and the commentary. These are sent to the IB along with the recordings and the extracts.

Example 4 (HL): Individual oral commentary and discussion

To view the various elements of this example, please use the icons at the side of the screen. Oral commentary (MP3) Moderator's comments Suggested sources for the text: Heaney, S. 1966. Churning Day in Death of a Naturalist. London, UK. Faber and Faber. Hemingway, E. 1987. The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition. (Eds. Simon & Schuster). New York, USA. Scribner Paperback Fiction.

Moderators comments
Criterion A B C D E F Total Marks available 5 5 5 5 5 5 30 Marks awarded 4 3 3 3 3 4 20 Individual oral commentary The individual oral commentary is on Churning Day by Seamus Heaney.
Guiding questions

Comment on the significance of the title of this poem. How effectively does Heaney use imagery to convey meaning in this poem?

The student initially does not place the poem or the poets work within a context but eventually does succeed in doing so as he proceeds with the commentary. He is also quite adept and assured when answering questions. He engages successfully and sensitively with the imagery and meaning conveyed in the poem. The structure of the commentary is carefully laid out at the very outset, though not always successfully maintained. Discussion The discussion that follows the individual oral commentary is based on Hemingways short fiction. The discussion on Hemingway demonstrates a good knowledge and understanding of the writers work and specific stories. The analysis is for the most part relevant and intelligent, though there are some unusual comments that are not explained adequately.

Criterion A: Knowledge and understanding of the poem The student has a good knowledge and understanding of the poem. He demonstrates this through an exploration of the writers approach to his subject matter, from which he develops an interpretation of the poem that is closely focused on well-chosen references. Criterion B: Appreciation of the writers choices On balance, the student shows adequate appreciation of the writers choices, although his appreciation is somewhat uneven. He pays close attention to the use of imagery in the poem, but gives little attention to other techniques, or to the structure of the poem. Criterion C: Organization and presentation of the commentary The structure of the commentary is carefully laid out at the very outset, although it is not always successfully maintained. Criterion D: Knowledge and understanding of the work used in the discussion The discussion on Hemingway demonstrates an adequate knowledge and understanding of the writers work and specific stories. Criterion E: Response to the discussion questions The analysis is for the most part relevant and perceptive although some comments are not explained adequately. Criterion F: Language The student uses clear and appropriate language, and his grammar and sentence structure show a good degree of accuracy. Register and style are effective and appropriate despite some hesitation and repetition.

Individual oral presentation (part 4options)

Choice of works for part 4
Teachers are free to choose any combination of works in the language of the PLA or works studied in translation. The only limitations are:

the works must be of an appropriate level of challenge the works across the course as a whole must adhere to the requirements.

Depending on choices that are made in other parts of the course, teachers may need to use part 4 to include a period, place or literary genre that has not been covered elsewhere in the course. School-supported self-taught students must choose works from the PLA. Part 4 has been named Options to emphasize that:

teachers have the opportunity to choose freely the works in this section there are many different approaches to studying the works.

The literary genres that can be studied in part 4 include some that may not be included in the PLA of the language being studied. For example, not every PLA includes a non-fiction genre, and they are unlikely to include new textualities. Across the course as a whole, SL students must study three genres from the PLA, while HL students must study four. Teachers may choose to use part 4 for the study of one of those literary genres. At SL, for example, if teachers want to choose a literary genre in part 3 that is the same as one of the genres chosen for part 2, then they would need to use part 4 to include the study of a third literary genre. This would include the study of, for example, novels or plays used in option 3: literature and film. The following example shows how part 4 can be used to meet the literary genre requirement for course construction. Standard level Literary genres studied Poetry Novel Higher level Literary genres studied

Section of the course Part 2 Novel

Drama

Part 3 Part 4

Drama Novel Drama Poetry studied as at least one Option 1: The study of prose other than fiction of the works in part 4 leading to various forms of student writing

The options

The options are intended to:

provide a guide to the ways in which literature can be studied in part 4 show how contemporary literary developments can be incorporated into the language A: literature course.

The IB has received many inquiries from schools regarding possible combinations of visual and written literature, particularly film and graphic texts. Option 2: new textualities, and option 3: literature and film are both intended to explain the requirements of the language A: literature course when such material is the subject of study, and to encourage and support teachers who are interested in such choices. This in no way suggests that choosing such options is obligatory, and part 4 may be used for traditional literary studies, as well as to fulfill local curriculum obligations. Teachers may also choose one of the three options and adapt it to suit their own or their students interests, or to meet the requirements of course construction. The transformation from literature to film could be from novels, plays, graphic novels and perhaps other genres as well; limitations are not imposed except for stipulating the quality of the texts and ensuring they provide the appropriate challenge. One of the suggested activities for the oral presentations in the subject guide is: A critique of the students own writing that has been produced in the style of one of the literary genres studied. Option 1 suggests non-fiction leading to writing. However, because there are quite a few PLAs that dont include such a genreand many schools do not take up the study of non-fiction for part 3, even when it is represented on the PLAit is also possible to take the ideas from this option and use them in the study of another literary genre, or a mixture of genres.

The oral presentation

It is in this part of the course, more than anywhere else, that students can choose an assessment activity that is suited to their own interests and abilities.

Essentials
Students must be able to show their knowledge and understanding of the work(s) used for the presentation. Students must choose a manner of presentation that matches the chosen style of delivery and use strategies to make the presentation interesting for the audience. The choice of language must be suited to the type of activity and style of delivery. It could be an informal register if the student is attempting to convey the voice of a character in a role play, or it could be a formal register if they choose to present an analysis. Discussion must follow the presentation, so it is best conducted as a class activity or an activity done in front of an audience.

Rationale The aim is to give an incentive for students to develop their oral presentation skills in an area that interests them. Presentations may take the form of:

delivering a straight analytical or critical talk trying out acting abilities in role play working with another student developing debating skills.

This task rehearses a life skill that will assist students to develop confidence in future situations. Part of the authenticity of the task is that students need to think hard about the audience they are addressing and how they can best interest those people. They will also be required to field questions on their topic. In no case may the student read from a prepared talk. This is clearly stated in the Internal assessment section of the subject guide (see Guidance and authenticity). The teachers role is to:

assist students to choose a style of presentation that is suited to the student and the topic liaise with the student to make sure that the presentation will address the three assessment criteria ensure that each students presentation lasts for 1015 minutes lead a follow-up discussion.

Points to keep in mind

Where students work together to deliver a presentation the teacher must apply the assessment criteria separately to each student. In such a situation, teachers are strongly advised to record the presentation visually to assist with assessment. If students choose to use role play they need to include a rationale that explains what they are trying to achieve with the performance. If students use visual aids such as a PowerPoint presentation, they need to be taught how to use such devices effectively. For example, students should not read from a large number of slides. This would, in effect, be similar to reading from a prepared talk and unlikely to engage the audience. Students should select their own topic and plan their presentation alone, albeit with the teachers guidance. Presentation topics should not be repeated between students. Students have only one attempt, which should be treated as an examination. The time limit for the task is 1015 minutes, including questions, and ideally some brief discussion as a class. Do not let students go on for longer than the time limit allows. Make sure students are made familiar with the assessment criteria throughout the process of planning and conducting their presentation.

Marking the individual oral presentations

Teachers are required to use the criteria for the individual oral presentation to mark the students work. There are separate set criteria for SL and HL. The same skills are assessed, but HL students are expected to show more depth of understanding and thoughtfulness in matching the topic with the style of presentation and in choosing strategies to engage the audience. There is no requirement to record the presentation but doing so assists in the marking process and in conducting in-school moderation.
Using the descriptors

Please note the following changes from language A1.

The internal assessment task for part 4, the individual oral presentation, now has separate criteria and there is a distinct difference between the skills being assessed in part 2 and those in part 4 of the course. The level descriptors for criterion C: language assess the same degree of competency at SL and HL.

The mark for the individual oral presentation is added to the mark for the individual oral commentary (and HL discussion) and then divided by two. It is very important that teachers keep a record of the marks awarded for the individual oral presentation, as well as a summary of the reasons for awarding those marks. Form 1/IARF must be completed for each student whose work is sent to the IB for moderation. This form has space for the teachers comments in support of the marks awarded for the individual oral presentation.

Appendices

Frequently asked questions

Paper 2essay (part 3literary genres)
If SL and HL students sit the same examination paper, how are they differentiated? In the level descriptors for criterion B: response to the question, HL students are asked to include an evaluation of the works in their comparison for levels 4 and 5. SL students are given 1 hour 30 minutes to sit the paper. HL students have 2 hours.

The written assignment (part 1works in translation)

Can HL and SL students participate in the same discussion? Yes, if the text discussed is common to both. Can students choose their own topic for the interactive oral? Yes, providing the topic deals with cultural and/or contextual considerations in regard to the work. Do I have to follow the stages for writing the part 1 assignment? Yes. The interactive oral must precede the supervised writing and the essay must be developed from the supervised writing. The process is intended to support students in becoming active readers and independent thinkers. Does the reflective statement have to follow immediately after the interactive oral? Yes. The reflective statement must be completed as soon as possible following the interactive oral (see the External assessment section of the subject guide). Is the interactive oral assessed? No. It is the reflective statement that is marked as part of the assignment. Do students have their books with them when they do the supervised writing? Yes. Can dictionaries be used in the supervised writing? Yes, but no other material such as articles or secondary sources may be used. Students must not have access to the internet. Should the teacher mark the supervised writing? No. The writing is to help the student develop ideas for their essay.

What happens if not all students are in the class when the supervised writing is being done? Teachers need to arrange for an alternative, supervised writing session. Can supervised writing be done as homework? No. It must be supervised by a teacher in class. What happens to the supervised writing once the essay is completed? Supervised writing is not submitted but could be requested by the IB and needs therefore to be held securely by the school until the assessment session is complete. At what point do you explain the assessment criteria to the students? Students should be familiar with the assessment criteria well before they begin the written assignment process.

Individual oral commentary (part 2detailed study)

Is it necessary for HL students to study all three part 2 works before beginning the orals? Yes. This is because HL students must not know which of the two other works will be used in the discussion. Can the oral commentary be done as a class activity? No. It is a formal, individual oral and should be conducted separately from class activities. Can more than one teacher conduct the oral? There may be more than one teacher present during the oral, but only one teacher should be responsible for conducting the oral and asking subsequent questions. Can I use the same extracts for the individual oral as I have used in class practices? There must be no possibility of a student receiving an extract or poem on which they have previously delivered an oral commentary. For example, extracts or poems that are used in a mock examination or in a formal practice for the oral must not be used in the final oral examination. Can students be left by themselves to do the preparation? No. Students must be supervised during the preparation time. Can I decide which extract to give the student? No. The teacher must not know which extract the student is choosing or being given.

Can students have another chance at the oral if they dont do well the first time? No. The time designated for the individual oral is the equivalent of a scheduled examination and students only get one chance. What happens if the student doesnt speak for 8 minutes during the individual commentary? It is the teachers responsibility to fill in the rest of the time by asking questions. The students knowledge and understanding, analytical abilities and language may be assessed by responses to questions, as well as through the presentation. Criterion C, which assesses organization and presentation, is likely to be most affected. What happens if a student speaks for the whole 10 minutes? The teacher should keep track of the time and indicate to the student to stop before 10 minutes. Should the student be given a printed list of the discussion questions? This prepared list is for the teacher and can only be used for the discussion. Does the IB take into account different standards of marking of teachers within one school? No. Internal moderation must be done by the school, before the marks are assigned. The moderation process treats all samples as if they have been marked by the same teacher or at the same level.

Individual oral presentation (part 4options)

Should the individual oral presentation be done as a class activity? Yes. It is intended to develop the students skills of presenting to an audience and the task is intended to be a class activity. Where classes are very small an alternative audience should be found. There is an example of an oral presentation on a graphic novel shown in the Language A teacher support film. Do questions need to be put to the student following the presentation? Yes. Students should be given the opportunity to field questions following their presentation. This will give them the opportunity to show further understanding of their topic and give them practice in the skill of answering questions from the floor. Can students use any literary work for the presentation? No. The work or works used by the student must be chosen from the part 4 works. Can the presentation take the form of a role play or dramatic performance?

Yes, but the student must include a rationale as part of the presentation. Is it acceptable for students to give joint presentations? Yes, but it is essential that each student presents for a minimum of 10 minutes and that each student is given the opportunity to respond to questions. In addition, teachers must apply criteria separately to each student. Can students read from a prepared text? No. Reading from a prepared text, whether it is on paper or electronically, is not allowed (see the Internal assessment section of the subject guide). It is, however, perfectly acceptable for students to speak from brief talking notes or to use electronic images or prompts. Can students have another chance at the oral if they dont do well the first ti me? No. The time designated for the individual oral presentation is the equivalent of a scheduled examination and students only get one chance. What happens if the presentation doesnt last for 10 minutes? The teacher should ensure that questions are put to the student so that the presentation, including fielding questions, lasts for between 10 and 15 minutes. What happens if the presentation goes over 15 minutes? The teacher should keep track of the time and indicate to the student to stop before 15 minutes and to ensure that there is time for follow-up questions. Does the IB take into account different standards of marking of teachers within one school? No. Internal moderation must be done by the school, before the marks are assigned. The moderation process treats all samples as if they have been marked by the same teacher or at the same level.

Bibliography
IB publications
Language A: literature guide. February 2011. Cardiff, UK. International Baccalaureate. Language A1: Prescribed book list (various languages). September 2000. Cardiff, UK. International Baccalaureate. Language A1: Prescribed world literature list. April 1999. Cardiff, UK. International Baccalaureate. Prescribed list of authors (various languages). February 2011. Cardiff, UK. International Baccalaureate. Prescribed literature in translation list. February 2011. Cardiff, UK. International Baccalaureate.

Books
Achebe, C. 2006. Things Fall Apart. London, UK. Penguin Classics. (Original work published 1958.) Allende, I. 2005. The House of the Spirits. Translated by Knopf, AA. London, UK. Everymans Library. (Original work published 1982.) Austen, J. 2003. Mansfield Park. London, UK. Penguin Classics. (Original work published 1814.) Bao Ninh. 1996. The Sorrow of War. Translated by Martin Secker & Warburg Limited. New York, USA. Riverhead Books. (Original work published 1991.) Beckett, S. 2010. Waiting for Godot: A Tragicomedy in Two Acts. Ed. Bryden, B. London. Faber and Faber. (Original work published 1952.) Bront, C. 2006. Jane Eyre. London, UK. Penguin Classics. (Original work published 1847). Heaney, S. 1966. The Follower and Churning Day in Death of a Naturalist. London, UK. Faber and Faber. Hemingway, E. 1987. The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition. Eds. Simon & Schuster. New York, USA. Scribner Paperback Fiction. Ibsen, H. 2008. A Dolls House. Translated by Meyer, M. London, UK. Methuen Drama (A&C Black Publishers). (Original work published 1879.) Mrquez, GG. 2006. One Hundred Years of Solitude. Translated by Harper and Row Publishers, Inc with assistance from the Center for Inter-American Relations, New York, USA. Harper Perennial Modern Classics. (Original work published 1967.)

Miller, A. 2009. All My Sons. London, UK. Penguin Classics. (Original work published 1947.) Ousmane, S. 2008. Gods Bits of Wood. Harlow, UK. Longman. Shakespeare, W. 1998. Hamlet. 2nd revised edition. Ed. Barnet, S. New York, USA. Signet Classic. (Original work published in 16041605.) Solzhenitsyn, A. 2009. One Day in the Life of Ivan Denisovich. Translated by EP Dutton and Co, Inc and Victor Gollancz, Ltd. New York, USA. New American Library. (Original work published 1962.) Sophocles. 2005. Antigone. Eds. Moliken, P and Osborne, E. Translated by Thomas, JE. Delaware, USA. Prestwick House, Inc. Twain, M. 2004. The Adventures of Huckleberry Finn. London. Virago Press. (Original work published 1885.) Walcott, D. 2008. Selected Poems. Ed. Baugh, E. New York, USA. Farrar, Straus and Giroux. (Original work published 2007.)

International Baccalaureate Organization | Mission statement | Learner profile