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Language A: Literature CourseAssessment Information for Year Two

(Exam Session: May 2013)

Table of Contents

2 Syllabus and Assessment Outline3 Assessment Objectives4 Understanding IB Rubrics

5 IOC and Discussion6 Conduct of7 FAQ7 Rubric

8 Paper 1: Literary commentary8 Rubric9 Sample Examination11

Sample Examination Marking Notes

12

Paper 2: Essay

12

Rubric

13

Sample Examination

14

Sample Examination Marking Notes

16

Academic Honesty

1 Class only: rubric conversion charts of 24

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Class only: modified IOC rubrics

Information herein, with the exception of the “class only” material, is taken directly from IBO Language A: Literature guides and teacher support material.

Syllabus Outline (two year study)

JUN

IOR

PART 1: WORLD LITERATURE

Abe, Kobo. Woman in the Dunes.Camus, Albert. The Stranger.Dostoyevsky, Fyodor. Crime and Punishment.

PART 4: SCHOOL’S FREE CHOICE

Kafka, Franz. Selected short stories.O’Conner, Flannery. Selected short stories.Poe, Edgar Allan. Selected short stories.

SEN

IOR

PART 2: DETAILED STUDY

Angelou, Maya. I Know Why the Caged Bird Sings.Hughes, Langston. Selected Poems.

“Ballad of the Landlord”“Being Old”“Brotherly Love”“The Cat and the Saxophone (2 a.m.)”“Dark Youth of the U.S.A.”“doorknobs”“Final Call”“Let America be America Again”“Madam and the Newsboy”“Madam and the Rent Man”“Mister Sandman”“Ruby Brown”“Scottsboro”“Song of Adoration”“Song of the Refugee Road”“Song of the Revolution”“The South”“Summer Night”“Theme for English B”“The Weary Blues”

Shakespeare, William. Othello. PART 3: GROUP OF WORKS

Atwood, Margaret. A Handmaid’s Tale.Ishiguro, Kazuo. Never Let Me Go.McCarthy, Cormac. The Road.Orwell, George. Nineteen Eighty-Four.

Assessment Outline (two year study)

JUN

IOR

WRITTEN ASSIGNMENT (externally assessed) 25%

300-400 word reflective statement1200-1500 word literary essayBased on one work from part 1

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INDIVIDUAL ORAL PRESENTATION (10-15 minutes – internally assessed, externally moderated)

15%

Presentation of a topic, chosen by the candidate, based on Part 4 work(s).SE

NIO

R

PAPER 1: LITERARY COMMENTARY (2 hours – externally set and assessed) 20%

Written commentary based on poetry or prose which the techniques of literary criticism can be applied.Two unseen texts for commentary; no guiding questions.One commentary to be written on one of the texts.

PAPER 2: ESSAY (2 hours – externally set and assessed) 25%

Three essay questions on each genre available for study in Part 3, Groups of Works.One question only to be answered, based on at least two of the Part 3 works studied.

INDIVIDUAL ORAL COMMENTARY (20 minutes – internally set and assessed, externally moderated)

15%

Commentary - Formal oral commentary on poetry, followed subsequent questions; extract accompanied by one to two guiding questions.Discussion – based on one of the other part 2 works

Assessment Objectives for Language A1 (two year study)

1. Knowledge and understanding Demonstrate knowledge and understanding of individual literary works as representatives

of their genre and period, and the relationships between them Demonstrate an understanding of the ways in which cultural values are expressed in

literature Demonstrate awareness of the significance of the context in which a work is written and

received Substantiate and justify ideas with relevant examples

2. Analysis, synthesis and evaluation Demonstrate an ability to analyze language, structure, technique and style, and evaluate

their effects on the reader Demonstrate an ability to engage in independent literary criticism on both familiar and

unfamiliar literary texts Show an ability to examine and discuss in depth the effects of literary techniques and the

connections between style and meaning3. Selection and use of appropriate presentation and language skills

Demonstrate an ability to express ideas clearly and fluently in both written and oral communication, with an effective choice of register and style

Demonstrate a command of terminology and concepts appropriate to the study of literature Demonstrate an ability to express well-organized oral and written arguments Demonstrate an ability to write a sustained and detailed literary commentary

Assessment Objective

Objective Component

How is the assessment objective addressed?

Knowledge andunderstanding

Paper 1 The response to a previously unseen passage requires students to show how they, as readers, have made their own meaning from the text.

Paper 2 The essay on at least two works from one literary genre of 24

requires students to show understanding of the works and the way in which meaning is conveyed through literary conventions.

Individual Oral Commentary and Discussion

Students are assessed on their detailed knowledge of an extract taken from one of the poems studied in part 2. The discussion assesses students’ knowledge and understanding of one other part 2 work.

Analysis,synthesis andevaluation

Paper 1 Students are required to analyze a previously unseen passage and produce an interpretation supported by evaluation of the writer’s choice of language, structure, technique and style.

Paper 2 Students are required to synthesize ideas from at least two works and to apply that knowledge to a question on conventions used in one literary genre.

IOC Students are required to analyze a short extract from a studied work and to evaluate the effectiveness of the literary techniques in that extract.

Selection and use of appropriatepresentation and language skills

Paper 1 Students are required to write a formal, well-organized and coherent literary commentary using language appropriate to a formal essay.

Paper 2 Students are required to write a formal essay comparing at least two works in response to one question.

IOC and Discussion

Students are required to deliver a structured and focused commentary using a formal spoken register.

Source: IBO Diploma Program. “Language A: literature guide.” Feb. 2011. Print.

Understanding the IB Rubric Criterion

Language very clear, effective, carefully chosen and precise high degree of accuracy in grammar, vocabulary and sentence construction effective and appropriate register and style

Organization effectively organized and developed reader is engaged and persuaded requires the coherence of ideas within should incorporate quotations into their writing in such a way that the development of their

ideas is enhanced and not impeded should avoid using large blocks of quotations consistent with required formatting

Presentation reader is engaged and persuaded require careful structuring a clear, sustained focus and purposeful development of ideas (with links between elements)

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Knowledge and understanding of literary works is the expression of an author’s individual creativity and as representatives of their genre and period. Knowledge refers to familiarity with the work. Understanding is the ability to interpret the writer’s intention and to understand how context may affect that interpretation—both the context of the work and what the reader brings to the reading.

know the main features of the genre the text exemplifies demonstrate the ability to evaluate the effectiveness of the use of the various conventions. discuss the links between works: differences and similarities in their context, style, structure,

theme and so on understand cultural values as expressed in literature, and the significance of context in

literary works. The actions of the characters in a literary work should not be judged by the student’s own time and culture.

statements or assertions must be validated and have evidence to support them carefully chosen, detailed references to the work(s), passage or extract demonstrate their independent interpretation and depth of understanding evidence provided in the form of quotations and line references should set quotations in context, integrated into the text of the essay and accompanied by

explanation or analysis

Analysis of literary techniques demonstrate an ability to analyze language, structure, technique and style know the difference between description and analysis

Evaluation recognize how and why literature affects the reader see how, in literary terms, one writer compares with another. Similar literary techniques will

affect readers differently and students are expected to be able to analyze, discuss and justify their own response to the choices that writers make.

Independent literary criticism acquire for themselves the skill of reading between the lines see how writers have achieved their effects and how they may be trying to persuade the

reader to accept their views of the subject of the prose passage or poem build on what they have learned in class, but also show that they have thought for themselves

about the topic

Individual Oral Commentary and Discussion (IA)Commentary

a close, detailed literary analysis of a poem, or an extract from a poem, selected from the poetry studied in part 2 of the syllabus

shows an understanding both of what is said and of how it is saidDiscussion

follows immediately after the individual oral commentary conducted by the teacher and based on one of the other part 2 works (not poetry)

Note: Recordings of the individual oral commentary and discussion are required for the purposes of moderation.

Commentary

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Choice of extract Candidates may not choose the extract, nor be told in advance which extracts will be used. The extract will be selected from the poetry studied in part 2 of the syllabus. It may be a

single complete poem, or a significant extract from a longer poem. All extracts will be of comparable difficulty. The suggested length of the extract is 20-30 lines. The extract will have line numbers and the poem’s title. All other information will be

removed. Extracts will be sealed in blank envelopes and candidates will choose one envelope at the

beginning of the preparation period.

Guiding questions one or two questions for each extract – to serve as a starting point for organizing the

commentary one question will be related to content and the other to style (writer’s choices) should not:

o refer to fine detail, or any particular interpretation of the extracto restrict the candidate’s ability to explore independently all significant aspects dealt

with in the extractCandidates do not have to use the guiding questions; there is no penalty for not directly addressing them.

Sample guiding questions: Which poetic techniques in this poem or extract from a poem are typical of the writer? What

are the effects of the dominant images used in this extract? Identify the poetic techniques used in this poem (or extract from a poem). Relate them to the

content. 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?

DiscussionChoice of work for the discussion

Candidates may not choose the work for discussion, nor be told in advance which work will be used.

The oral commentary is based on poetry, so the discussion must be based on one of the other two works.

Sample discussion questions: To what extent do you feel the writer is trying to persuade you to think about an issue or idea

in a particular way? What sort of techniques does the writer use to get you interested in the story and the

characters? Do you think they are successful? Do you think the writer is particularly sympathetic towards one of the characters? What

makes you think that? How clearly is the writer able to convey a meaningful idea while keeping an audience

entertained? In what ways does the writing produce a strong sense of the author? Can you identify some of the features of the writer’s 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?Conduct of the individual oral commentary

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Commentary Preparation (20 minutes)Under supervision, candidates will select an extract at random from a pool and prepare for their commentary:

read the extract and accompanying guiding questions carefully identify and analyze closely all the significant aspects of the extract make notes for the commentary organize the structure of the commentary

Commentary should: focus on the extract itself, 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.

situate the extract as precisely as possible in the context of the poem from which it has been taken (or in the body of work, in the case of a complete poem)

comment on the effectiveness of the writer’s techniques, including the use of stylistic devices and their effect(s) on the reader

be well structured (not a series of unconnected points nor a narration or line-by-line paraphrase)

Commentary Delivery (8 minutes) will be recorded should not read extract aloud must deliver commentary without interruption; teachers can intervene if a candidate panics

and needs positive encouragement or if he/she is off target or is finding it difficult to continue [begin with name, candidate number, and exam session – you’ll have a note card with this

information]

Subsequent Questions (2 minutes) engage in discussion with teacher about knowledge and understanding of the extract/poem expand on doubtful or inadequate statements, especially for those students who does not

manage to speak for the full 8 minutes [You will be stopped at 8 minutes to allow time for this portion of the commentary.]

Teachers must be satisfied that candidates: understand specific words, phrases and allusions as well as appreciated their importance understand the significance of the extract within the whole poem or, in the case of a complete

poem, the relationship between the poem and other poems by that author that have been studied

understand, and can comment on, the writer’s technique

Conduct of the discussion

After the 10-minute commentary and subsequent questions, the teacher informs the student that the discussion is commencing.

engage in a literary discussion of the work prepared questions will be a starting point, but the discussion need not be limited to those

questions (the ideal is an authentic literary exchange between the teacher and student) opportunity for candidates to demonstrate their independent understanding of the Part 2 work

under discussion

Frequently Asked Questions – IOC and DiscussionCan the oral commentary be done as a class activity?

No. It is a formal, individual oral and should be conducted separately from class activities. of 24

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 students have another chance at the oral if they don’t 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 doesn’t speak for 8 minutes during the individual commentary?

It is the teacher’s responsibility to fill in the rest of the time by asking questions. The student’s 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?No. This list is for the teacher only.

Internal Assessment Criteria – Oral Component0 1 2 3 4 5

Criterion A: Knowledge and understanding of the poem How well is the student’s

knowledge and understanding of the poem demonstrated by their interpretation?

does not reach standard

There is limited knowledge and little or no understanding, with poor interpretation and virtually no relevant references to the poem.

There is superficial knowledge and some understanding, with limited interpretation occasionally supported by references to the poem.

There is adequate knowledge and understanding, demonstrated by interpretation supported by appropriate references to the poem.

There is very good knowledge and understanding, demonstrated by careful interpretation supported by well-chosen references to the poem.

There is excellent knowledge and understanding, demonstrated by individual interpretation effectively supported by precise and well-chosen references to the poem.

Criterion B: Appreciation of the writer’s choices To what extent does the

student appreciate how the writer’s choices of language, structure, technique and style shape meaning?


There are few references to, and no appreciation, of the ways in which language, structure, technique and style shape meaning in the poem.

There is some mention, but little appreciation, of the ways in which language, structure, technique and style shape meaning in the poem.

There is adequate appreciation of the ways in which language, structure, technique and style shape meaning in the poem.

There is very good appreciation of the ways in which language, structure, technique and style shape meaning in the poem.

There is excellent appreciation of the ways in which language, structure, technique and style shape meaning in the poem.

Criterion C: Organization and presentation of the commentary To what extent does the

student deliver a structured, well-focused commentary?


The commentary shows little evidence of planning, with very limited structure and/or focus.

The commentary shows some structure and focus.

The commentary shows evidence of a planned structure and is generally focused.

The commentary is clearly structured and the focus is sustained.

The commentary is effectively structured, with a clear, purposeful and sustained focus.

Criterion D: Knowledge and understanding of the work used in the discussion How much knowledge and

understanding has the student shown of the work used in the discussion?


There is little knowledge or understanding of the content of the work discussed.

There is some knowledge and superficial understanding of the content of the work discussed.

There is adequate knowledge and understanding of the content and some of the implications of the work discussed.

There is very good knowledge and understanding of the content and most of the implications of the work discussed.

There is excellent knowledge and understanding of the content and the implications of the work discussed.

Criterion E: Response to the discussion questions How effectively does the

student respond to the discussion questions?

There is limited ability to respond meaningfully to the discussion questions.

Responses to the discussion questions are sometimes relevant.

Responses to the discussion questions are relevant and show some evidence of independent thought.

Well-informed responses to the discussion questions show a good degree of independent thought.

There are persuasive and independent responses to the discussion questions.

Criterion F: Language does The language is rarely The language is The language is The language is clear The language is very

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How clear, varied and accurate is the language?

How appropriate is the choice of register and style? (“Register” refers, in this context, to the student’s use of elements such as vocabulary, tone, sentence structure and terminology appropriate to the commentary.)

not reach standard

clear and appropriate, with many errors in grammar and sentence construction and little sense of register and style.

sometimes clear and appropriate; grammar and sentence construction are generally accurate, although errors and inconsistencies are apparent; register and style are to some extent appropriate.

mostly clear and appropriate, with an adequate degree of accuracy in grammar and sentence construction; the register and style are mostly appropriate.

and appropriate, with a good degree of accuracy in grammar and sentence construction; register and style are effective and appropriate.

clear and entirely appropriate, with a high degree of accuracy in grammar and sentence construction; the register and style are consistently effective and appropriate.

Paper 1: Literary commentary(2 hours)

Types of Passages two unseen texts for commentary: poetry and non-poetry (a novel or short story, an essay, a

biography, a journalistic piece) may either be a complete piece of writing or an extract from a longer piece unlikely to be familiar to students

Written Commentary respond to one of the two unseen texts explore aspects such as content, technique, style, structure, theme and language continuous and structured writing

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 author’s choices present their ideas in a formally organized and coherently developed piece of writing.

0 1 2 3 4 5Criterion A: Understanding and interpretation How well does the student’s

interpretation reveal understanding of the thought and feeling of the passage?

How well are ideas supported by references to the passage?


There is basic understanding of the passage but virtually no attempt at interpretation and few references to the passage.

There is some understanding of the passage, with a superficial attempt at interpretation and some appropriate references to the passage.

There is adequate understanding of the passage, demonstrated by an interpretation that is supported by appropriate references to the passage.

There is very good understanding of the passage, demonstrated by sustained interpretation supported by well-chosen references to the passage.

There is excellent understanding of the passage, demonstrated by persuasive interpretation supported by effective references to the passage.

Criterion B: Appreciation of the writer’s choices To what extent does the

analysis show appreciation of how the writer’s choices of language, structure, technique and style shape meaning?


There are few references to, and no analysis or appreciation of, the ways in which language, structure, technique and style shape meaning.

There is some mention, but little analysis or appreciation, of the ways in which language, structure, technique and style shape meaning.

There is adequate analysis and appreciation of the ways in which language, structure, technique and style shape meaning.

There is very good analysis and appreciation of the ways in which language, structure, technique and style shape meaning.

There is excellent analysis and appreciation of the ways in which language, structure, technique and style shape meaning.

Criterion C: Organization and development How well organized,

coherent and developed is the presentation of ideas?


Ideas have little organization; there may be a superficial structure, but coherence and development are lacking.

Ideas have some organization, with a recognizable structure; coherence and development are often lacking.

Ideas are adequately organized, with a suitable structure; some attention is paid to coherence and development.

Ideas are effectively organized, with very good structure, coherence and development.

Ideas are persuasively organized, with excellent structure, coherence and development.

Criterion D: 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 student’s use of elements such as vocabulary, tone, sentence structure and terminology appropriate to the commentary.)


Language is rarely clear and appropriate; there are many errors in grammar, vocabulary and sentence construction, and little sense of register and style.

Language is sometimes clear and carefully chosen; grammar, vocabulary and sentence construction are fairly accurate, although errors and inconsistencies are apparent; the register and style

Language is clear and carefully chosen, with an adequate degree of accuracy in grammar, vocabulary and sentence construction despite some lapses; register and style are mostly

Language is clear and carefully chosen, with a good degree of accuracy in grammar, vocabulary and sentence construction; register and style are consistently appropriate to the commentary.

Language is very clear, effective, carefully chosen and precise, with a high degree of accuracy in grammar, vocabulary and sentence construction; register and style are effective and appropriate to the

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are to some extent appropriate to the commentary.

appropriate to the commentary.

commentary.

Sample Paper 1 Examination(condensed for space)

– 1 –

ENGLISH A: LITERATURE – HIGHER LEVEL – PAPER 12 hours

Instructions to candidates Do not open this examination paper until instructed to do so. Write a literary commentary on one passage only.

– 2 –Write a literary commentary on one of the following:

1.

The buyers walk the line of our tobacco. Mum tightens her clutch. She whispers, “Here they come.” Dad nonchalantly stands, resting on one leg, like a horse at rest. He looks away, as if the buyers are a common, bland species of bird on an otherwise more exciting safari.

5 Mum hisses, “Try and look hungry, kids.” I suck in my belly as far as possible and open my eyes as wide as they will go, so that they will seem hollow and needy. Vanessa sinks her head to her chest and shrinks with not-wanting-to-be-here.

10

Mum turns a fierce, fixed, terrifying smile on the buyers. Her look says, “Give us a good price and you will be rewarded with my love for all time. Please give us a good price. Please.” Waves of her anxiety sink down into my belly and churn with the too-greasy excess of my recent breakfast. None of us look at the other farmers and their families, who are also hovering with palpably jittering nerves over their bales.

15

The bales are torn open, leaves are pulled up and smelled; the thin-veined crop is rubbed between thick fingers (fingers flashing with gold bands, which are among the many things that tell the buyers from the farmers: no farmer I know wears rings). A price is scrawled on a ticket. Dad waits until the buyers are out of earshot and then whispers to Mum in a soft, warning voice, “Steady. Hold it,” in the way he would talk to a fretful animal.

20

Now Mum, Vanessa and I watch Dad’s hands as he walks the line. If he agrees with the price we have been offered for each bale, he hesitates, fingers hovering briefly above the ticket, and then walks on, leaving the ticket intact. That tobacco will be taken away to cigarette factories: famous, well-travelled Rhodesian burley all the way from our lucky farm.

25

If Dad disagrees with the price the buyer has offered, he tears the ticket. Those bales will be rewrapped, loaded onto lorries, and brought back to unlucky Robandi. Dad will wait to sell them later in the season, when perhaps the buyers will be more hungry for tobacco. Those bales will sit in the grading shed, open to the air, where blasts of steam will keep the leaves in a fine balance between soft and mouldy. They will anger Dad whenever he sees them. Mum will spend hours, until her fingers burn with the sticky yellowing residue of the leaves, resorting and rebaling the leaves in the superstitious belief that a new presentation might bring a healthier price.

30

35

If Dad starts tearing tickets and his face becomes folded and deep, we feel ourselves become quiet and wishing-we-weren’t-here. But if he is walking quickly over the line of tobacco, leaving the tickets pristine, beautiful whole rectangles of yellow, we are giddy. Vanessa and I start to run between the bales, exuberant, silly, loud, and Mum doesn’t say, “Shhh girls!Behave yourselves!” And then Dad has walked the line and, without looking at the other farmers, he takes Mum by the hand and he says, “Come on, Tub.” Vanessa and I fall into line behind Mum and Dad. His fingers are wrapped round hers. By the end of today Dad will have gone to see the fat man with the wet lips from Tabex and Mum will have her rings back, and when we get home to Robandi she will polish them in Silvo to

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remove the tarnish of shame and disuse. Dad doesn’t smile, or concede any kind of victory in front of the buyers. He waits until we are in the car and then he says to Mum, “Fair price.”

Don’t Let’s Go To The Dogs Tonight, Alexandra Fuller, Pan Macmillan, LondonCopyright © Alexandra Fuller, 2002

From Don’t Let’s Go To The Dogs Tonight by Alexandra Fuller, copyright © 2001 by Alexandra Fuller.Used by Permission of Random House, Inc. For on-line information about other Random House, Inc.

books and authors, see the Internet web site at http://www.randomhouse.com– 3 –

2.

July Man

5

10

15

Old, rain-wrinkled, time-soiled, city-wise, morning manwhose weeping is for the dust of the elm-flowersand the hurting motes of time,rotted with rotting grape,sweet with the fumes,puzzled for good by fermented potatopeelout of the vat of the times,turned out and leftin this grass-patch, this city-gardener’s placeunder the buzzing populace’ssquare shadows, and the green shadowsof elm and ginkgo and lime(planted for Sunday strollers and summer eveningfamilies, and for thosebird-cranks with bread-crumbsand crumpled umbrellas who comewhile the dew is wet on the park, and beautyis fan-tailed, grey and dove grey, aslant, folding infrom the white fury of day).

20 In the sound of the fountainyou rest, at the cinder-rim, on your bench.

25

The rushing river of carsmakes you a stillness, a pivot, a heart-stoppingblurt, in the sorrowof the last rubbydub swig, the searing, andstone-jar solitude lost, and yet,and still – wonder (for good now) andtrembling:

30The too much none of us knowsis weight, sudden sunlight, fallingon your hands and arms, in your lap,all, all, in time.

Margaret Avison, The Dumbfounding (1966),taken from Always Now (2003)

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Paper 1 Sample Examination: Marking Notes

1.

An adequate to good literary commentary will: grasp the basic situation of the tobacco selling/buying and the economic situation of

the passage note the anticipation and tension of the various members of the family identify the particular attitudes of the mother, the father and the narrative voice in

relation to each other in this situation follow the implications of the use of the “ticket” in the transactions understand the conclusion of the morning’s event.

A very good to excellent literary commentary may also: probe the gestures and words of each of the characters for what they reveal of both

background and situation and the writer’s efficiency in the techniques of characterization

note the role that adjectives and adverbs play in delineating the content and tone of the passage

discuss the alternating attention of the narrator to each of the parents, and their own interactions

explore the way language is used to acquaint the reader with the particular practice of tobacco trading.

2.

An adequate to good literary commentary will: identify the central character and his situation in the park note the transition provided by lines 20–21 offer some interpretation of the two final stanzas and their relation to the main

description comment on the word choice and its effects note the use of parenthesis and its connection to the poem’s thought and feeling.

A very good to excellent literary commentary may also: explore in detail the way in which natural imagery is used to characterize the central

figure evaluate the use of hyphenated words in the poem offer a well-supported interpretation of the last two stanzas, connecting them

persuasively to the earlier part of the poem.

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Paper 2: EssayTypes of Questions

three essay questions on each genre (you will need to focus on the prose: novel or short story questions)

some questions may include a quotation worded to explore the ways in which content is delivered through the conventions of the

selected genre

“Literary conventions” refers to the characteristics of a literary genre, for example: Novels—the intrusive narrator, the unreliable narrator, multiple narrative voices, peripheral

first person narrators—the link is contrasting narrative voices. Short stories in historical, contemporary, foreign and future places—the link is the different

ways writers have used landscape, and for what purpose.

Written Response answer one essay question only focus on at least two Part 3 works compare similarities and differences of texts chosen address how work is representative of genre

Note: You will not have access to texts.

0 1 2 3 4 5Criterion A: Knowledge and understanding How much knowledge and

understanding has the student shown of the part 3 works studied in relation to the question answered?


There is some knowledge but virtually no understanding of the part 3 works in relation to the question answered.

There is mostly adequate knowledge and some superficial understanding of the part 3 works in relation to the question answered.

There is adequate knowledge and understanding of the part 3 works in relation to the question answered.

There is good knowledge and understanding of the part 3 works in relation to the question answered.

There is perceptive knowledge and understanding of the part 3 works in relation to the question answered.

Criterion B: Response to the question How well has the student

understood the specific demands of the question?

To what extent has the student responded to these demands?

How well have the works been compared and contrasted in relation to the demands of the question?


The student shows little awareness of the main implications of the question, and ideas are mainly irrelevant and/or insignificant. There is little meaningful comparison of the works used in relation to the question.

The student responds to some of the main implications of the question with some relevant ideas. There is a superficial attempt to compare the works used in relation to the question.

The student responds to most of the main implications of the question with consistently relevant ideas. There is adequate comparison of the works used in relation to the question.

The student responds to the main implications and some subtleties of the question, with relevant and carefully explored ideas. The comparison makes some evaluation of the works used in relation to the question.

The student responds to all the implications, as well as the subtleties of the question, with convincing and thoughtful ideas. The comparison includes an effective evaluation of the works in relation to the question.

Criterion C: Appreciation of the literary conventions of

does not

Some literary conventions are

Examples of literary




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the genre To what extent does the

student identify and appreciate the use of literary conventions in relation to the question and the works used?

reach standard

identified but there is limited development relevant to the question and/or the works used.

conventions are sometimes correctly identified and developed, with some relevance to the question and the works used.

conventions are satisfactorily identified and developed, with relevance to the question and the works used.

conventions are clearly identified and effectively developed, with relevance to the question and the works used.

conventions are perceptively identified and persuasively developed, with clear relevance to the question and the works used.

Criterion D: Organization and development How well organized,

coherent and developed is the presentation of ideas?


Ideas have little organization; there may be a superficial structure, but coherence and/or development are lacking.

Ideas have some organization, with a recognizable structure, but coherence and development are often lacking.

Ideas are adequately organized, with a suitable structure and attention paid to coherence and development.

Ideas are effectively organized, with a very good structure, coherence and development.

Ideas are persuasively organized, with excellent structure, coherence and development.

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 student’s use of elements such as vocabulary, tone, sentence structure and terminology appropriate to the task.)


Language is rarely clear and appropriate; there are many errors in grammar, vocabulary and sentence construction, and little sense of register and style.

Language is sometimes clear and carefully chosen; grammar, vocabulary and sentence construction are fairly accurate, although errors and inconsistencies are apparent; the register and style are to some extent appropriate to the task.

Language is clear and carefully chosen, with an adequate degree of accuracy in grammar, vocabulary and sentence construction despite some lapses; register and style are mostly appropriate to the task.

Language is clear and carefully chosen, with a good degree of accuracy in grammar, vocabulary and sentence construction; register and style are consistently appropriate to the task.

Language is very clear, effective, carefully chosen and precise, with a high degree of accuracy in grammar, vocabulary and sentence construction; register and style are effective and appropriate to the task.

Sample Paper 2 Examination(condensed for space)

– 1 –

ENGLISH A: LITERATURE – HIGHER LEVEL – PAPER 22 hours

INSTRUCTIONS TO CANDIDATES Do not open this examination paper until instructed to do so. Answer one essay question only. You must base your answer on at least two of the Part 3 works you have studied. Answers which are not based on a

discussion of at least two Part 3 works will not score high marks. You are not permitted to bring copies of the works you have studied into the examination room.

– 2 –

Answer one essay question only. You must base your answer on at least two of the Part 3 works you have studied 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. Explore the ways in which dramatists have made use of monologues and/or soliloquies in at least two plays you have studied.

2. Plays employ various kinds of structural divisions such as prologues and epilogues, act and scene divisions, even carefully placed intermissions. Discuss the dramatic uses made of these divisions in at least two plays you have studied.

3. “A play should make you laugh or should make you cry.” With reference to at least two plays you have studied, discuss the methods playwrights use to generate emotional response in their audiences.

Poetry

4. A poem on the page is often recognized immediately by its visual appearance. Using at least two poems you have studied, discuss the way the poets have arranged lines and stanzas in terms of length, spacing or position to create visual arrangements that mirror the thoughts and feelings of the poems.

5. Focusing on the works of at least two poets you have studied, discuss the effects created by metaphors in a poem.

6. Light and dark, country and city, proud and humble—these and numerous other contrasts have been used by poets to sharpen their expression of ideas or feelings. In the works of at least two poets you have studied, explore the ways contrasts have been used to achieve particular effects.

– 3 –

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Prose: novel and short story

7. Writers of fiction do not always relate events in chronological order. In at least two works you have studied, explore the effects of telling the story in a non-chronological manner.

8. The memorable impact of novels and short stories arises from the careful and often brilliant creation of detail by their writers. Using at least two writers you have studied, explore the role and impact of some significant details in the narratives.

9. Some writers select a narrative voice that sharpens or clarifies their stories; others choose a narrative voice that mystifies or misleads. How and to what effect have at least two of the writers you have studied employed narrative voice?

Prose other than fiction

10. Choosing at least two works you have studied, discuss the way the writers have structured their works to make their material clear and interesting to their audiences.

11. Personal history as well as the backdrop of events surrounding that personal history are both significant to many works of prose other than fiction. In at least two works you have studied, discuss the use made of the interplay between personal history and the background within which that personal history occurred.

12. How have two or more writers in your study made particular places or settings an element of significance in their works?

Paper 2 Sample Examination: Marking NotesExaminers: please note that the term “comparison”, both in the descriptors and in the marking notes, includes the discussion of relevant “contrasts” as well.

Drama

1.An adequate to good answer will select some significant monologues and/or soliloquies from at least two plays and compare the ways in which these speeches are used by the dramatists.

A good to excellent answer may offer closer scrutiny of the selected monologues and/or soliloquies, examining closely various ways in which dramatists use such speeches to impact their dramas as a whole and offering a closer analysis of the uniqueness of each dramatist’s approach.

2. An adequate to good answer will identify appropriate conventions that separate aspects of at least two plays and will compare some of the ways in which these divisions affect the dramatic presentation of the plays.

A good to excellent answer may offer more specific detail regarding the types of divisions that occur in the plays and distinguish more closely how the choices of each dramatist lead to the effectiveness of particular aspects of the drama.

3. An adequate to good answer will identify some methods by which at least two dramatists generate emotional responses and offer supportive detail for how such methods work, comparing the choice of methods employed by the dramatists and/or the outcomes achieved.

A good to excellent answer may offer a more in-depth and detailed discussion of the methods employed by dramatists to generate emotion, clearly evaluating the uniqueness of generating emotion in the separate dramas, and offering, perhaps, a distinction between comedy and tragedy.

Poetry

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4. An adequate to good answer will identify the visual and structural features of at least two poems (by two poets) and offer an analysis of the relationship of such features to the thoughts and feelings expressed in the poems, comparing the approaches of the poets in this regard.

A good to excellent answer may provide greater insight into the visual arrangement and structural features of the poems, evaluating closely the varying effects of these features on the “mirroring” of thought and feeling, clearly discerning the subtleties of the approaches as seen in the separate poems.

5. An adequate to good answer will identify some significant metaphors in at least two poems (by two poets) and discuss the effects of these metaphors, offering points of comparison on the use of metaphor in these poems.

A good to excellent answer may offer carefully selected examples of metaphor and a close analysis of their effects, showing a clear understanding of the uniqueness of the use of metaphor from poem to poem.

6. An adequate to good answer will identify some important contrasts in at least two poems (by two poets) and discuss the ways in which these contrasts have been used to sharpen ideas, feelings, or for some other effect, offering some comparison of the contrasts chosen and/or the effects achieved.

A good to excellent answer may offer a more considered discussion of the kinds (e.g. image patterns, settings, characterizations, etc.) of contrasts used, clearly comparing how these contrasts operate to achieve a particular effect.Prose: novel and short story

7. An adequate to good answer will accurately identify the narrative line of at least two works of fiction (by two writers) and compare the effects of the writers shifting the chronology of events in some way.

A good to excellent answer may discuss in greater detail the deviations from chronology and how they are achieved and offer a more in-depth discussion of the effects of such shifting, showing a clear awareness of how such authorial decisions add to the effectiveness of the individual work.

8. An adequate to good answer will choose some significant details from at least two works of fiction (by two writers) and compare the role and impact of these details in the individual works.

A good to excellent answer may show a more sophisticated sense of the ways in which details are incorporated into literary works and offer a more in-depth comparison of the role and impact of detail in the individual works, perhaps assessing how such detail makes a work memorable.

9. An adequate to good answer will identify the narrative voice in at least two works of fiction (by two writers) and compare how these narrators are used by the individual writers and to what effect.

A good to excellent answer may offer a more detailed analysis of the narrative voice and offer a more thoughtful understanding of how the choice of narrator affects the reader’s reception of the text, perhaps as to clarity or confusion, clearly distinguishing the impact of narrative voice from one text to the next.

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Prose other than fiction

10. An adequate to good answer will identify some structural features of at least two works (by two writers) and compare the effectiveness with which these features help convey the content in a clear and interesting fashion.

A good to excellent answer may offer some telling comparisons between the structuring of the works and the effects these structures have on clarity and interest.

11. An adequate to good answer will address, in at least two works (by two writers), personal history and the larger context of the work and discuss the degree to which these two are effectively combined, drawing some comparison from one work to the next.

A good to excellent answer may offer a more in-depth discussion, comparing how the writers have moved between these two realms, perhaps, to achieve a larger artistic effect.

12. An adequate to good answer will identify particular places or settings in at least two works (by two writers) and compare the significance that these places have in the works.

A good to excellent answer may offer a more specific discussion of place or setting and a more nuanced comparison of the various significances place and setting might hold within a work.

Understanding Academic Honesty and Malpractice(taken directly from IBO)

Academic Honesty

1.1

Academic honesty must be seen as a set of values and skills that promote personal integrity and good practice in teaching, learning and assessment. It is influenced and shaped by a variety of factors including peer pressure, culture, parental expectations, role modeling and taught skills. Although it is probably easier to explain to candidates what constitutes academic dishonesty, with direct reference to plagiarism, collusion and cheating in examinations, whenever possible the topic must be treated in a positive way, stressing the benefits of properly conducted academic research and a respect for the integrity of all forms of assessment for the Diploma Programme.

1.2

All Diploma Programme candidates must understand the basic meaning and significance of concepts that relate to academic honesty, especially authenticity and intellectual property.Ensuring that candidates understand and respect academic honesty should not be confined to original authorship and ownership of creative material: academic honesty includes, for example, proper conduct in relation to the written examinations.

1.3

The concept of intellectual property is potentially a difficult one for candidates to understand because there are many different forms of intellectual property rights, such as patents, registered designs, trademarks, moral rights and copyright. Candidates must at least be aware that forms of intellectual and creative expression (for example, works of literature, art or music) must be respected and are normally protected by national and international law. By

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implementing measures to prevent plagiarism, schools are helping to combat illegal out-of-school activities (for example, illegal music downloads, peer-to-peer or P2P file sharing) for which candidates may face legal proceedings.

1.4

An authentic piece of work is one that is based on the candidate’s individual and original ideas with the ideas and work of others fully acknowledged. Therefore all assignments, written or oral, completed by a candidate for assessment must wholly and authentically use that candidate’s own language and expression. Where sources are used or referred to, whether in the form of direct quotation or paraphrase, such sources must be fully and appropriately acknowledged.

1.5

Although the Regulations clearly define plagiarism as the representation of the ideas or work of another person as the candidate’s own, this definition alone does not provide candidates with sufficient information or guidance on what constitutes plagiarism and how it can be avoided. Candidates must receive guidance on when and how to include acknowledgments in their work. Similarly, the practice of paraphrasing is a skill that must be taught so that candidates do not simply copy a passage, substitute a few words with their own and then regard this as their own authentic work. When using the words of another person it must become habitual practice for a candidate to use quotation marks, indentation or some other accepted means of indicating that the wording is not their own. Furthermore, the source of the quotation (or paraphrased text) must be clearly identified along with the quotation and not reside in the bibliography alone. Using the words and ideas of another person to support one’s arguments is a fundamental part of any academic endeavor, and how to integrate these words and ideas with one’s own is an important skill that must be taught.

Malpractice

2.1

The Regulations define malpractice as behavior that results in, or may result in, the candidate or any other candidate gaining an unfair advantage in one or more assessment component.Malpractice includes:

– plagiarism: this is defined as the representation of the ideas or work of another person as the candidate’s own

– collusion: this is defined as supporting malpractice by another candidate, as in allowing one’s work to be copied or submitted for assessment by another

– duplication of work: this is defined as the presentation of the same work for different assessment components and/or diploma requirements

– any other behavior that gains an unfair advantage for a candidate or that affects the results of another candidate (for example, taking unauthorized material into an examination room, misconduct during an examination, falsifying a CAS record).

–2.2

Many candidates believe that because the Internet is in the public domain and largely uncontrolled, information can be taken from web sites without the need for acknowledgment. Candidates must record the addresses of all web sites from which they obtain information during their research, including the date when each web site was accessed. The uniform (or universal) resource locator (URL) constitutes the web site address for this purpose. (Simply stating the search engine that was used to find the web site is not acceptable.) This includes the copying of maps, photographs, illustrations, data, graphs and so on. For example, to cut and paste a graph from a web site without acknowledging its source constitutes plagiarism. CD-Roms, DVDs, e-mail messages and any other electronic media must be treated in the same way as the Internet, books and journals.

2.3

The issue of plagiarism is not confined to groups 1 to 5 of the Diploma Programme. In general, copying works of art, whether music, film, dance, theatre arts or visual arts, also constitutes plagiarism. There are circumstances where the creative use of part of the work of another artist is acceptable, but the original source must always be acknowledged. Candidates must understand that passing off the work of another person as their own is not acceptable and constitutes malpractice.

2.4

Copying text is not always a deliberate attempt by a candidate to present the ideas or work of another person as their own. In fact, in the experience of the final award committee it is

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apparent that many candidates are not aware of when or how to acknowledge sources. Occasionally, a candidate may copy one or two sentences from a book, journal or web site without showing it is a quotation, but indicating its source in a footnote or the bibliography. Although each case requires a separate judgment, in general such cases are the result of negligence or a lack of awareness on the part of the candidate and do not warrant an allegation of malpractice. These cases may attract the penalty applied to an academic infringement, and not malpractice. See sections 12.3 and 12.4 for further details.

2.5

For most assessment components candidates are expected to work independently with support from their subject teacher (or supervisor in the case of extended essays). However, there are occasions when collaboration with other candidates is permitted or even actively encouraged, for example, in the requirements for internal assessment. Nevertheless, the final work must be produced independently, despite the fact that it may be based on similar data. This means that the abstract, introduction, content and conclusion or summary of a piece of work must be written in each candidate’s own words and cannot therefore be the same as another candidate’s. If, for example, two or more candidates have exactly the same introduction to an assignment, the final award committee will construe this as collusion, and not collaboration. It is essential that both teachers and candidates are aware of the distinction between collaboration and collusion. Teachersmust pay particular attention to this important distinction to prevent allegations of collusion against their candidates.

2.6

The presentation of the same work for different assessment components and/or diploma requirements is a duplication of work and therefore constitutes malpractice. If, for example, a candidate submits the same or a very similar piece of work for the in-depth study in history internal assessment and for an extended essay in history, this would be viewed as malpractice. However, it is perfectly acceptable for a candidate to study one aspect of a topic for internal assessment and another aspect of the same topic for an extended essay.

2.7

Malpractice most commonly involves collusion or plagiarism. However, there are other ways in which a candidate may commit malpractice and thereby breach the Regulations. The following examples of malpractice do not constitute an exhaustive list and refer mainly to the written examinations:

– taking unauthorized material into an examination room (for example, an electronic device other than a permitted calculator, own rough paper, notes, a mobile phone) regardless of whether this material is used or potentially contains information pertinent to the examination

– misconduct during an examination, including any attempt to disrupt the examination or distract another candidate

– exchanging or in any way supporting, or attempting to support, the passing on of information that is related to the examination

– copying the work of another candidate– failing to comply with the instructions of the invigilator or other member of the school’s

staff responsible for the conduct of the examination – impersonating another candidate – stealing examination papers– using an unauthorized calculator during an examination – disclosing or discussing the content of an examination paper with a person outside the

immediate school community within 24 hours of the end of the examination– fabricating data for an assignment–

2.8

For all cases of malpractice in relation to the examinations, the coordinator must send a report to the coordinator help desk ([email protected]) at the International Baccalaureate Curriculum and Assessment Centre (IBCA) in Cardiff, Wales. The report must reach the coordinator help desk within ten days of the examination in which the incident occurred.

2.9

Breaches of regulations are not confined to candidates: improper conduct by a coordinator or teacher may be brought to the attention of the final award committee. The following are examples of unacceptable actions that will be investigated by the IBO:

– the unauthorized rescheduling of an examination of 24

– failing to keep the examination papers secure prior to an examination– opening examination paper packets prior to an examination– providing a candidate with undue assistance in the production of any work (whether

written or oral) that contributes to the assessment requirements of the Diploma Programme

– leaving candidates unsupervised during an examination– allowing additional time in examinations without authorization from the IBO– releasing an examination paper, or otherwise disclosing information about the content of

a paper, within 24 hours of the end of the examination.

Offences and their penalty

12.1

Penalties are imposed on a candidate found guilty of malpractice in order to:– ensure that the candidate does not gain an unfair advantage– maintain the integrity of the examination session by excluding those candidates who

have abused the system– deter other candidates from taking the same action.

12.2

The committee will not take into account the consequences of imposing a penalty; the penalty will be imposed according to the nature of the offence. However, the committee will take into consideration all the information presented by teachers and the coordinator in their statements on the case. This information may include mitigating circumstances.

12.3

There can be instances where work submitted by a candidate for assessment contravenes the standard academic practice of clearly acknowledging all ideas and words of other persons without the candidate having made a deliberate attempt to gain an unfair advantage (for example, where a candidate has not used some means of indicating a quotation, but has cited the source of the text in the bibliography or in a footnote). The final award committee may designate a case of this type an academic infringement and not malpractice.

12.4

If the final award committee decides that an academic infringement has been established, no marks will be awarded for the component or part(s) of the component. The candidate will still be eligible for a grade in the subject or diploma requirement concerned. No further penalty will be imposed and the case will not be recorded as malpractice. In such a case, the decision regarding academic infringement will be notified in accordance with 13.1 below.

12.5

If the final award committee decides that a case of malpractice has been established, no grade will be awarded in the subject concerned. No diploma will be awarded to the candidate, but a certificate will be awarded for other subjects in which no malpractice has occurred. The candidate will be permitted to register for future examinations at least one year after the session in which malpractice was established.

12.6

If a candidate is found guilty of malpractice in the production of one (or more) of several assignments required for a component, the candidate is not eligible for a mark based on his or her performance in the remaining assignments for the component: no grade will be awarded for the subject. For example, the internal assessment requirement for a subject may require a portfolio of four separate assignments. If a candidate is found to have plagiarized all or part of one assignment, a mark for his or her internal assessment will not be based on the remaining three assignments: no grade will be awarded for the subject.

12.7

If a case of malpractice is very serious, either because of its nature or because the candidate has already been found guilty of malpractice in a previous session, the final award committee is entitled to decide that the candidate will not be permitted to register for examinations in any future session.

12.8

An IB diploma, or a certificate, may be withdrawn from a candidate at any time if malpractice is subsequently established.

12. Although a case may not warrant a penalty against one or more candidates, it may be of 24

9 appropriate for a letter to be sent to the head of school on behalf of the final award committee insisting that greater care be taken to avoid a similar incident occurring again.

IB Conversion Charts(2013 cohort rubrics)

Paper 1 rubric

Rubric

Score

Converted

Score

%

20 20 100

19 19.6 9818 19 9517 18.6 9316 18 9015 17.6 8814 17 8513 16.6 8312 16 8011 15.6 7810 15 759 14.6 738 14 707 13.6 686 13 655 12.6 634 12 603 11.6 582 11 551 10.6 530 10 50

Written Paper 1 (unseen passage commentary)

May exam passages from

works we have not read

passages from works we will read but have not yet read

Paper 2 rubric

Rubric

Score

Converted

Score

%

25 25 100

24 24.5 9823 24 9622 23.5 9421 23 9220 22.5 9019 22 8818 21.5 8617 21 8416 20.5 8215 20 8014 19.5 7813 19 7612 18.5 74

11 18 7210 17.5 709 17 688 16.5 667 16.0 646 15.5 625 15.0 604 14.5 583 14.0 562 13.5 541 13.0 520 12.5 50

Written Paper 2 (groups of works – Part 3 questions)

May exam essays on whole

works any comparative

essay

IOC and discussion rubric

Rubric

Score

Converted

Score

%

30 30 10 of 24

029 29.4 9828 29.1 9727 28.5 9526 28.2 9425 27.6 9224 27 9023 26.4 8822 26.1 8721 25.5 8520 25.2 8419 24.6 8218 24 8017 23.4 7816 23.1 7715 22.5 7514 22.2 7413 21.6 7212 21 7011 20.4 6810 20.1 679 19.5 658 19.2 647 18.6 626 18 605 17.4 584 17.1 573 16.5 552 16.2 541 15.6 520 15 50

Internal Assessment IA examination passage

commentary and discussion

Modified IOC – commentary only(Criterion A-C, F)

Rubr Convert %

ic Scor

e

ed Score

20 20 100

19 19.6 9818 19 9517 18.6 9316 18 9015 17.6 8814 17 8513 16.6 8312 16 8011 15.6 7810 15 759 14.6 738 14 707 13.6 686 13 655 12.6 634 12 603 11.6 582 11 551 10.6 530 10 50

(IA - class only) passage

commentary without discussion questions

presentations on specific literature

Modified IOC – discussion only(Criterion D-F)

Rubric

Score

Converted

Score

%

15 15 10014 14.5 9713 14 9312 13.5 9011 13 8710 12.5 839 12 808 11.5 777 11 736 10.5 705 10 674 9.5 633 9 602 8.5 571 8 530 7.5 50

(IA - class only) discussions of

specific literature NOT for whole class

discussions

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IOP rubric

Rubric

Score

Converted

Score

%

30 30 100

29 29.4 9828 28.5 9527 27.9 9326 27.6 9225 27.3 9124 26.7 8923 26.4 8822 25.8 8621 25.5 85

20 25.2 8419 24.9 8318 24.3 8117 23.7 7916 23.4 7815 23.1 7714 22.8 7613 22.5 7512 22.2 7411 21.6 7210 21.3 719 20 708 20.7 697 20.4 686 19.8 665 19.5 654 18.9 633 18.6 622 18.3 611 18 600 15 50

Presentations – class only formal

presentations of supplementary material (context, criticism, etc.)

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Modified IOC rubrics

commentary only – HL (simplified rubric)0 1 2 3 4 5

Criterion A: Knowledge and understanding of the [work] demonstrate knowledge and

understanding

does

not

reac

h st

anda

rd

limited knowledge little or no

understanding poor interpretation no relevant

references

superficial knowledge

some understanding

limited interpretation

occasional references

adequate knowledge and understanding

interpretation supported by appropriate references

very good knowledge and understanding

careful interpretation

well-chosen references

excellent knowledge and understanding

individual interpretation

effectively supported by precise and well-chosen references

Criterion B: Appreciation of the writer’s choices appreciate how the writer’s

choices of language, structure, technique and style shape meaning

few references to no appreciation of

some references little appreciation

adequate appreciation

very good appreciation

excellent appreciation

Criterion C: Organization and presentation structured, well-focused

little evidence of planning

limited structure and/or focus.

some structure and focus

evidence of planned structure

generally focused.

clearly structured sustained focus

effectively structured

clear, purposeful and sustained focus

Criterion F: Language clear, varied and accurate

language appropriate choice of

register and style

(“Register” = student’s appropriate use of elements such as vocabulary, tone, sentence structure and terminology)

rarely clear and appropriate

many errors in grammar and sentence construction

little sense of register and style.

sometimes clear and appropriate

generally accurate grammar and sentence construction apparent errors and inconsistencies

register and style appropriate to some extent

mostly clear and appropriate

adequate degree of accuracy in grammar and sentence construction

register and style mostly appropriate

clear and appropriate

good degree of accuracy in grammar and sentence construction

effective and appropriate register and style

very clear and entirely appropriate

high degree of accuracy in grammar and sentence construction

consistently effective and appropriate register and style

discussion only – HL (simplified rubric)0 1 2 3 4 5

Criterion D: Knowledge and understanding of the work show knowledge and

understanding of work used in the discussion

does

not

reac

h st

anda

rd

little knowledge or understanding

some knowledge; superficial understanding

adequate knowledge and understanding of content and some implications of the work

very good knowledge and understanding of the content and most of the implications

excellent knowledge and understanding of the content and the implications

Criterion E: Response to the discussion questions effectively respond to

discussion questions

limited ability to respond meaningfully

sometimes relevant responses

relevant responses

some evidence of independent thought

well-informed responses

good degree of independent thought

persuasive and independent responses

Criterion F: Language clear, varied and accurate

language appropriate choice of

register and style

(“Register” = student’s appropriate use of elements such as vocabulary, tone, sentence structure and terminology)

rarely clear and appropriate

many errors in grammar and sentence construction

little sense of register and style.

sometimes clear and appropriate

generally accurate grammar and sentence construction apparent errors and inconsistencies

register and style appropriate to some extent

mostly clear and appropriate

adequate degree of accuracy in grammar and sentence construction

register and style mostly appropriate

clear and appropriate

good degree of accuracy in grammar and sentence construction

effective and appropriate register and style

very clear and entirely appropriate

high degree of accuracy in grammar and sentence construction

consistently effective and appropriate register and style

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