a: literature higher level paper 1 a : littérature niveau ...€¦ · paper / Épreuve / prueba 1....

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English A: literature – Higher level – Paper 1Anglais A : littérature – Niveau supérieur – Épreuve 1Inglés A: literatura – Nivel superior – Prueba 1

© International Baccalaureate Organization 20153 pages/páginas

Instructions to candidates

Do not open this examination paper until instructed to do so.Write a literary commentary on one passage only. The maximum mark for this examination paper is [20 marks].

Instructions destinées aux candidats

N’ouvrez pas cette épreuve avant d’y être autorisé(e).Rédigez un commentaire littéraire sur un seul des passages. Le nombre maximum de points pour cette épreuve d’examen est de [20 points].

Instrucciones para los alumnos

No abra esta prueba hasta que se lo autoricen.Escriba un comentario literario sobre un solo pasaje. La puntuación máxima para esta prueba de examen es [20 puntos].

2 hours / 2 heures / 2 horas

Tuesday 3 November 2015 (morning)Mardi 3 novembre 2015 (matin)Martes 3 de noviembre de 2015 (mañana)

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Write a literary commentary on one of the following:

1.

Removed for copyright reasons


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2.

For the Sleepwalkers

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Tonight I want to say something wonderfulfor the sleepwalkers who have so much faithin their legs, so much faith in the invisible

arrow carved into the carpet, the worn paththat leads to the stairs instead of the window,the gaping doorway instead of the seamless mirror.

I love the way that sleepwalkers are willingto step out of their bodies into the night,to raise their arms and welcome the darkness,

palming the blank spaces, touching everything.Always they return home safely, like blind menwho know it is morning by feeling shadows.

And always they wake up as themselves again.That’s why I want to say something astonishinglike: Our hearts are leaving our bodies.

Our hearts are thirsty black handkerchiefsflying through the trees at night, soaking upthe darkest beams of moonlight, the music

of owls, the motion of wind-torn branches.And now our hearts are thick black fistsflying back to the glove of our chests.

We have to learn to trust our hearts like that.We have to learn the desperate faith of sleep-walkers who rise out of their calm beds

and walk through the skin of another life.We have to drink the stupefying cup of darknessand wake up to ourselves, nourished and surprised.

Edward Hirsch, For the Sleepwalkers (1981)

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Marking notes Remarques pour la notation

Notas para la corrección

November / Novembre / Noviembre 2015

English / Anglais / Inglés A: literature / littérature / literatura

Higher level Niveau supérieur

Nivel superior

Paper / Épreuve / Prueba 1

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These marking notes are confidential and for the exclusive use of examiners in this examination session. They are the property of the International Baccalaureate and must not be reproduced or distributed to any other person without the authorization of the IB Assessment Centre. Ces remarques pour la notation sont confidentielles. Leur usage est réservé exclusivement aux examinateurs participant à cette session. Ces remarques sont la propriété de l’Organisation du Baccalauréat International. Toute reproduction ou distribution à de tierces personnes sans l’autorisation préalable du centre de l’évaluation de l’IB est interdite. Estas notas para la corrección son confidenciales y para el uso exclusivo de los examinadores en esta convocatoria de exámenes. Son propiedad del Bachillerato Internacional y no se pueden reproducir ni distribuir a ninguna otra persona sin la autorización previa del centro de evaluación del IB.


These notes to examiners are intended only as guidelines to assist marking and as a supplement to the published external assessment criteria for written paper 1. They are not offered as an exhaustive and fixed set of responses or approaches to which all answers must rigidly adhere. Good ideas or angles not offered here should be acknowledged and rewarded as appropriate. Similarly, answers which do not include all the ideas or approaches suggested here may still be very good answers. Of course, some of the points listed below will appear in weaker papers, but are unlikely to be developed. 1. N.B. Examiners should be aware that although this excerpt is from a novel, candidates may refer

to it as travel writing and both approaches are valid.

An adequate to good literary commentary will: identify the situation and discuss the narrative point of view note how changing contexts affect the narrator’s senses and feelings or vice versa comment on the way the passage develops, including the emotional shifts of the speaker comment on the way language is used to convey both the outer and the inner features of

the journey.

A very good to excellent literary commentary may also: speak in more detail about the writer’s presentation of train travel and relate to personal feelings

of the speaker look more closely and analytically at the speaker’s emotional shifts and make some inferences

about his state of mind and personality reflected by these shifts examine more closely the range and pattern of the various sensory responses of the narrator explore tension between melancholy and pleasure consider the various critiques (eg, of self, mother, Europe, life) that emerge in some parts of

the passage. 2. An adequate to good literary commentary will:

show an understanding of literal sleepwalking and the metaphorical extension offer some discussion on the structure of the poem explore the speaker’s tone comment on the detail and unusual imagery in the poem, such as the darkness, heart,

black, etc. A very good to excellent literary commentary may also:

offer interpretation of significance of risk, trust, faith or bravery comment on the shift of point of view to the plural explore in greater detail the mixture of ordinary objects and abstract ideas explore the insistence of the voice and the call to action.

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© International Baccalaureate Organization 20 1 5 3 pages/páginas


Do not open this examination paper until instructed to do so.Answer one essay question only. You must base your answer on at least two of the Part 3

works you have studied and compare and contrast these works in response to the question. Answers which are not based on a discussion of at least two Part 3 works will not score high marks.

You are not permitted to bring copies of the works you have studied into the examination room. The maximum mark for this examination paper is [25 marks].


N’ouvrez pas cette épreuve avant d’y être autorisé(e).Traitez un seul sujet de composition. En basant votre réponse sur au moins deux des œuvres

de la troisième partie que vous avez étudiées, vous devez comparer et opposer ces œuvres dans le cadre du sujet. Les réponses qui ne sont pas basées sur au moins deux des œuvres de la troisième partie n’obtiendront pas une note élevée.

Vous n’êtes pas autorisé(e) à apporter des exemplaires des œuvres que vous avez étudiées dans la salle d’examen.

Le nombre maximum de points pour cette épreuve d’examen est de [25 points].


No abra esta prueba hasta que se lo autoricen.Conteste una sola pregunta de redacción. Base su respuesta en al menos dos de las obras

estudiadas de la Parte 3, comparándolas y contrastándolas en relación con la pregunta. Las respuestas que no se basen en al menos dos obras de la Parte 3 no recibirán una puntuación alta.

No está permitido traer copias de las obras estudiadas a la sala de examen. La puntuación máxima para esta prueba de examen es [25 puntos].


Wednesday 4 November 20 1 5 ( afternoon) Mercredi 4 novembre 20 1 5 ( après-midi) Miércoles 4 de noviembre de 20 1 5 ( tarde)

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Answer one essay question only. You must base your answer on at least two of the Part 3 works you have studied and compare and contrast these works in response to the question. Answers which are not based on a discussion of at least two Part 3 works will not score high marks.

Drama

1. Playwrights may indicate particular movement and/or the use of space for specifi c effects. How do at least two plays you have studied make use of one or both of these dramatic conventions?

2. Discuss the ways in which at least two playwrights you have studied seek to represent the inner life of their characters.

3. Playwrights often add interest to their plays by telling more than one story. Examine how this strategy is employed in at least two plays you have studied.

Poetry

4. Poets sometimes use an address to someone or something to create or shape meaning in their poems. In what ways is this technique used in the work of at least two poets you have studied?

5. In poetry, close observation and description of a person, object or place can be so well articulated that the reader receives a vivid sense of such subjects. Show how at least two poets that you have studied deliver such material in a compelling way.

6. Poems are sometimes structured around subtle or abrupt shifts in subject matter or tone. With reference to at least two poets you have studied, demonstrate how they create effects through such changes.

Prose: novel and short story

7. Some works delay the telling of events or experiences in ways that are vital to the creation of narrative tension. Consider how writers use this strategy in at least two works you have studied.

8. In what ways and to what extent are the characters in at least two works you have studied defi ned by either their physical or their social setting?

9. Show how at least two works you have studied use scenes that are highly complicated and/or intensely dramatic to heighten the impact of the works.

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Prose other than fi ction

10. The material in works of prose other than fi ction can elicit sympathy and/or disdain. Examine the ways in which at least two works you have studied invite one or both of these reactions.

11. A sense of time in a work of prose other than fi ction can be delivered in a linear way or one that shuffl es the order in which things have occurred. In at least two works you have studied show how the writers create interesting effects by the way in which they order their materials.

12. How and to what effect do writers of prose other than fi ction include elements of change or transformation in at least two works you have studied?

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© International Baccalaureate Organization 20164 pages/páginas








Wednesday 2 November 2016 (morning)Mercredi 2 novembre 2016 (matin)Miércoles 2 de noviembre de 2016 (mañana)

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Turn over / Tournez la page / Véase al dorso



2.

My Rival’s House

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is peopled with many surfaces.Ormolu* and gilt, slipper satin,lush velvet couches,cushions so stiff you can’t sink in.Tables polished clear enough to see distortions in.

We take our shoes off at her door,shuffle stocking-soled, tiptoe – the parquet flooris beautiful and its surface must be protected. Dust-cover, drawn shade,won’t let the surface colour fade.

Silver sugar-tongs and silver salver,my rival serves us tea.She glosses over him and me.I am all edges, a surface, a shelland yet my rival thinks she means me well.But what squirms beneath her surface I can tell.Soon, my rivalcapped tooth, polished nailwill fight, fight foul for her survival.Deferential, daughterly, I sipand thank her nicely for each bitter cup.

And I have much to thank her for.This son she bore –first blood to her –never, never can escape scot freethe sour potluck of family.And oh how closethis family that furnishes my rival’s place.

Lady of the house.Queen bee.She is far more unconscious,far more dangerous than me.Listen, I was always my own worst enemy.She has taken even this from me.

She dishes up her dreams for breakfast.Dinner, and her salt tears pepper our soup.She won’tgive up.

Liz Lochhead, A Choosing: The Selected Poems of Liz LochheadReprinted with permission of Birlinn Limited.

* ormolu: a gold-coloured metal used in decoration and making ornaments

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© International Baccalaureate Organization 20 1 6 3 pages/páginas


Do not open this examination paper until instructed to do so.Answer one essay question only. You must base your answer on at least two of the part 3

works you have studied and compare and contrast these works in response to the question. Answers which are not based on a discussion of at least two part 3 works will not score high marks.









estudiadas de la parte 3, comparándolas y contrastándolas en relación con la pregunta. Las respuestas que no se basen en al menos dos obras de la parte 3 no recibirán una puntuación alta.



Thursday 3 November 20 1 6 (morning ) Jeudi 3 novembre 20 1 6 (matin ) Jueves 3 de noviembre de 20 1 6 (mañana )

8 8 1 6 – 0058

N 16 /1/AXENG/HP2/ENG/TZ0/XX– 2 –

Answer one essay question only. You must base your answer on at least two of the part 3 works you have studied and compare and contrast these works in response to the question. Answers which are not based on a discussion of at least two part 3 works will not score high marks.

Drama

1. Characters are most clearly defi ned through a demonstration of power and/or an exposure of weakness. Compare the extent to which this is true in at least two plays you have studied.

2. Plays often end with varying degrees of resolution. With reference to at least two plays you have studied, compare the manner and the impact of the way in which each drama is concluded.

3. Compare the ways in which at least two plays you have studied make use of recurring elements, such as actions, sounds, motifs and language.

Poetry

4. Poets often use compressed or concentrated language to express complex ideas and/or feelings. Compare the use and effects of such language in the work of at least two poets you have studied.

5. Through its tone, a poem may either admire and celebrate its subject matter, or deplore and condemn it. Compare the techniques used to create such tones and the effects achieved in the work of at least two poets you have studied.

6. The impact of a poem may emerge from a tension between formal control and emotional expressiveness. Compare the extent to which this is true in the work of at least two poets you have studied.


7. Some central truths (of plot, character and ideas, for example) are made explicit, while some are only implied. With reference to at least two works you have studied, compare the effects of explicit and/or implied disclosure of central truths.

8. With reference to at least two works you have studied, compare the ways in which narrative point of view has shaped the presentation of character.

9. Writers use dialogue to perform different functions (to alter pace, demonstrate character and vary tone, for example). With reference to at least two works you have studied, compare the ways in which dialogue is used and the effects achieved.

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Prose other than fi ction

10. The power of many prose other than fi ction works stems from the description of small but signifi cant details, moments or events. Compare the use and effects of such a technique in at least two works you have studied.

11. Writers of prose other than fi ction make their works authentic through reference to source material (such as newspapers, diaries and historical background). Compare the ways in which source material is integrated and the effect it achieves in at least two works you have studied.

12. Deeper resonance may emerge from the use of symbols in works of prose other than fi ction. Compare the presentation and impact of symbolism in at least two works you have studied.









Thursday 2 November 2017 (afternoon)Jeudi 2 novembre 2017 (après-midi)Jueves 2 de noviembre de 2017 (tarde)

3 pages/páginas © International Baccalaureate Organization 2017


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1.

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The man who was made of moon shadows was surrounded by boxes. Boxes made of sticks and bound with wire. They lay scattered on the forest floor. First I had eyes only for the strange man: the way his massive feet crushed the foliage beneath them; his hands the size of palm fronds. He was gathering up the boxes, stacking them one on top of the other. Sometimes he paused, wiped his face against his sleeve, another time he used a cloth. Once he stood and gazed up at the sky. While he worked, we watched him. The air was filled with birdsong, the sound of a thousand birds. And I saw that the boxes were not boxes, but cages. And birds were imprisoned inside those cages: sunbirds whose feathers shimmered like oil across the surface of water, bright blue flycatchers, dark-throated warblers, palm swifts as small as your thumb, doves vividly plumed as parrots, and in one cage an owl’s black-rimmed eyes watching us from inside a white face.

I seized Alusani’s hand and we crept out from between the roots of the tree. We tried to be quiet, but the fear refused to be bound and scattered suddenly. And so we ran. I didn’t see him. I didn’t dare turn around. At first I didn’t even hear him, my heart thrummed in my ears. I felt him. I felt the moon-shadow man look up, begin to come after us. I scraped my shin on a fallen log; my footsteps crashed through the undergrowth; cobwebs snatched at my face as I dragged Alusani after me. But in the end we were helpless as beetles at the mercy of a cat.

He didn’t touch us, Alusani and I. He stepped in front of us. We stopped. We did not move. We waited. I looked at him and beyond him, for a way past. He crouched down; he put his hand

into the folds of his trousers. From his outstretched hand he offered us a gift. At first I was transfixed by those luminous eyes, such a colour: the colour of water. When I did look down I saw in his hand a peeled egg. The man reached into his pocket and brought out a packet, of paper instead of leaf. He opened it and sprinkled a little of what was inside on to the top of the egg. Salt. Just salt. The man held it out in front of him and uttered a sound like the noise a donkey makes — though not so loud as that. Still, it caused me to jump backwards. He pulled his lips back and showed us his huge teeth: “Hee-ah,” he said, “hee-ah!”

I tried to warn Alusani. But he was less fearful than I, although l had never once thought so before. He reached out his fingers and he took the egg from the moon-shadow man.

It has been such a long time. In all that time I never spoke to anybody about what happened that day. Except now. Except to you.

Sometimes, when I used to remember, when I thought back to the beginning of what happened next, there was only one thing of which I was sure. That everything started with the man whose skin was like the shadows of the moon. The man who was busy filling cages with the souls of children.

Bloomsbury: © Aminatta Forna, 2007, Ancestor Stones, Bloomsbury Publishing Plc.David Godwin Associates: Copyright © Aminatta Forna.

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Marking notes Remarques pour la notation

Notas para la corrección

November / Novembre / Noviembre 2017

English / Anglais / Inglés A: literature / littérature / literatura

Higher level Niveau supérieur

Nivel superior

Paper / Épreuve / Prueba 1


These marking notes are the property of the International Baccalaureate and must not be reproduced or distributed to any other person without the authorization of the IB Global Centre, Cardiff.

Ces remarques pour la notation sont la propriété du Baccalauréat International. Toute reproduction ou distribution à de tierces personnes sans l’autorisation préalable du centre mondial de l’IB à Cardiff est interdite.

Estas notas para la corrección son propiedad del Bachillerato Internacional y no deben reproducirse ni distribuirse a ninguna otra persona sin la autorización del centro global del IB en Cardiff.


General marking instructions

These notes to examiners are intended only as guidelines to assist marking. They are not offered as an exhaustive and fixed set of responses or approaches to which all answers must rigidly adhere. Good ideas or angles not offered here should be acknowledged and rewarded as appropriate. Similarly, answers which do not include all the ideas or approaches suggested here should be rewarded appropriately.

Of course, some of the points listed will appear in weaker papers, but are unlikely to be developed.

Instructions générales pour la notation

Ces remarques sont de simples lignes directrices destinées à aider les examinateurs lors de la notation. Elles ne peuvent en aucun cas être considérées comme un ensemble fixe et exhaustif de réponses ou d’approches de notation auxquelles les réponses doivent strictement correspondre. Les idées ou angles valables qui n’ont pas été proposés ici doivent être reconnus et récompensés de manière appropriée. De même, les réponses qui ne comprennent pas toutes les idées ou approches mentionnées ici doivent être récompensées de manière appropriée.

Naturellement, certains des points mentionnés apparaîtront dans les épreuves les moins bonnes mais n’y seront probablement pas développés.

Instrucciones generales para la corrección

El objetivo de estas notas para los examinadores es servir de directrices para ayudar en la corrección. Por lo tanto, no deben considerarse una colección fija y exhaustiva de respuestas y enfoques por la que deban regirse estrictamente todas las respuestas. Los buenos enfoques e ideas que no se mencionen en las notas para la corrección deben recibir el reconocimiento y la valoración que les corresponda. De igual manera, las respuestas que no incluyan todas las ideas o los enfoques que se sugieren en las notas deben valorarse en su justa medida.

Por supuesto, algunos de los puntos que se incluyen en las notas aparecerán en exámenes más flojos, pero probablemente no se habrán desarrollado.


1. An adequate to good literary commentary will:• comment on the situation as perceived by the narrator• show some awareness of how the sense of threat is created• discuss some of the literary techniques, such as auditory and visual imagery, that

reinforce the “otherness” of the moon-shadow man• comment on some aspects of the structure, perhaps looking at the short, single lines,

paragraphing• show some awareness of the time shifts, with some consideration of their effects.

A very good to excellent literary commentary may also: • offer a more nuanced interpretation of the ambiguity in the situation, for example, the

connections implied between the birds and the children• show more sensitivity to the quality of the descriptive language, offering more detail on the

effects of word choice• provide a more developed interpretation of the overall ominous nature of the piece and

especially of the closing paragraphs• explore in greater depth the shifting perspective, perhaps recognising the reflective stance

and its effect• show some overview of the structural patterns, perhaps examining the effects of

observation, action and reaction.

2. An adequate to good literary commentary will:• identify some aspects of the speaker’s situation with regard to his/her journey, perhaps in

terms of identity, “home” and a sense of belonging• show some awareness of the interplay between past and present, with some attention to

memory• comment on the structure/organization of the poem• comment on some of the techniques used to create a strong impression of the journey

such as narrative perspective or imagery (perhaps colour and changing visualperspective).

A very good to excellent literary commentary may also: • offer perceptive comment on the speaker’s reflections on the journey (“Something sets us

looking for a place.”) and sense of enquiry (“And what has changed?”), perhaps offeringinsight into ideas about distance, change and relationship to place and the journey as ametaphorical one

• offer a more precise understanding of the effects created by the imagery and diction in thepoem with a more nuanced appreciation of natural and man-made

• explore in more detail reflections relating to time (with regard to the speaker, his/herpredecessor, the region), vision and growth, offering some interpretation of the repeatedphrase’...you can no longer see…’

• explore how the structure, organization and other formal elements of the poem operate tosupport an exploration and interplay of ideas.


Do not open this examination paper until instructed to do so.Answer one essay question only. You must base your answer on at least two of the part 3

works you have studied and compare and contrast these works in response to the question. Answers which are not based on a discussion of at least two part 3 works will not score high marks.









estudiadas de la parte 3, comparándolas y contrastándolas en relación con la pregunta. Las respuestas que no se basen en al menos dos obras de la parte 3 no recibirán una puntuación alta.




Friday 3 November 2017 (morning)Vendredi 3 novembre 2017 (matin)Viernes 3 de noviembre de 2017 (mañana)

3 pages/páginas © International Baccalaureate Organization 2017


8817 – 0058

Answer one essay question only. You must base your answer on at least two of the part 3 works you have studied and compare and contrast these works in response to the question. Answers which are not based on a discussion of at least two part 3 works will not score high marks.

Drama

1. Dramatictensionoftenarisesfromtheclashofseeminglyirreconcilabledifferencesbetweencompetingtruthsorbeliefs.Inwhatways,andtowhateffect,hastheworkofatleasttwoplaywrights you have studied created and used such tension?

2. Deceit, or the creation of false impressions, is often a driving force in drama. Discuss the ways inwhichtheworkofatleasttwoplaywrightsyouhavestudiedemploythisdeviceandtheeffectsachieved.

3. With reference to the work of at least two playwrights you have studied, consider to what extent the useofbarriers,whetherphysical,emotionalorsymbolic,hasasignificanteffectontheprogressand impact of the drama.

Poetry

4. Poetry is more concerned with the creation of snapshots and images than it is with creating a developed narration or plot. With reference to the work of at least two poets you have studied, discusstheextenttowhichyoufindthisclaimtobetrue.

5. With reference to the work of at least two poets you have studied, discuss the ways in which a persona is created in order to explore identity and/or an individual’s place in his/her world.

6. Some poems use repetition of language and/or content in order to reinforce and shape possible meanings. In what ways has this technique been employed in the work of at least two poets you have studied?



7. A writer may present us with characters who lack initial understanding of their own nature. Consider the ways in which the work of at least two writers you have studied present the progression of one or more characters towards self-discovery.

8. Someworksmaychallengereaderswithcontenttheyfinddisturbingorwithlanguagethatrevolts.Bywhatmeansandtowhateffecthasthistechniquebeenemployedintheworkofatleasttwowriters you have studied?

9. With reference to the work of at least two writers you have studied, explore the ways in which recurring motifs or symbols contribute to a richer understanding and appreciation of the works.

Prose other than fiction

10. Writersofproseotherthanfictioneitherclearlyseparatefactfromopinionorblendthetwo.Withreference to the work of at least two writers you have studied, discuss the ways in which they have usedsuchtechniquesandtowhateffect.

11. Thecatalystforaworkofproseotherthanfictionmaybechange,perhapspersonal,socialorpolitical. With reference to the work of at least two writers you have studied, consider the ways in whichtheymakeuseofsuchchange,andtheeffectsachieved.

12. Compareanddiscussthewaysinwhichatleasttwowritersofproseotherthanfictionyouhavestudied have created and used humour to engage the reader and stimulate thinking.


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