M21/1/AYENG/HP1/ENG/TZ1/XX
English A: language and literature – Higher level – Paper 1
Anglais A : langue et littérature – Niveau supérieur – Épreuve 1
Inglés A: Lengua y Literatura – Nivel Superior – Prueba 1
Monday 10 May 2021 (afternoon)
Lundi 10 mai 2021 (après-midi)
Lunes 10 de mayo de 2021 (tarde)
2 h 15 m
Instructions to candidates
Do not open this examination paper until instructed to do so.
Write a guided analysis of text 1.
Write a guided analysis of text 2.
Use the guiding question or propose an alternative technical or formal aspect of the text to focus
your analysis.
y The maximum mark for this examination paper is [40 marks].
y
y
y
y
Instructions destinées aux candidats
N’ouvrez pas cette épreuve avant d’y être autorisé(e).
Rédigez une analyse dirigée du texte 1.
Rédigez une analyse dirigée du texte 2.
Utilisez la question d’orientation ou proposez une autre manière d’aborder le texte en
choisissant un aspect technique ou formel sur lequel concentrer votre analyse.
y Le nombre maximum de points pour cette épreuve d’examen est de [40 points].
y
y
y
y
Instrucciones para los alumnos
No abra esta prueba hasta que se lo autoricen.
Escriba un análisis guiado del texto 1.
Escriba un análisis guiado del texto 2.
Utilice la pregunta de orientación o proponga otro aspecto técnico o formal del texto en el que
centrar su análisis.
y La puntuación máxima para esta prueba de examen es [40 puntos].
y
y
y
y
4 pages/páginas
2221 – 2013
© International Baccalaureate Organization 2021
M21/1/AYENG/HP1/ENG/TZ1/XX
–2–
2221 – 2013
Write a guided analysis of the following text.
1.
The following article is taken from the BuzzFeed News website, an international news organization for
readers looking for something original. It is featured in the “Reader” section, which focuses on culture
and criticism.
ABOUT US
GOT A TIP?
SUPPORT US
BUZZFEED.COM
SECTIONS
To Love Your Sister Is To Grieve Your Twin
It’s impossible to explain what having a twin is like to someone who asks, but I am going to try.
Tomi Obaro
5
10
15
20
25
30
Tweet
Share
Copy
My father prayed for twins. This is a fact my mother usually recites
during birthdays, the impending new year, Thanksgiving, and other
increasingly rare moments when mother, father, brother, sister, and I
are all in the same room in the same time zone. He prayed for twins
and we came.
First Dami, short for Oluwadamilola (which means “God has made
me rich” in Yoruba), and then 25 minutes later, me, Tomi, Oluwatomilola
(“God is my sufficiency”). My father prayed for twins, but the odds were
in his favor. The Yoruba have the highest twinning rate in the world.
Science cannot account for this strange phenomenon. Apparently it has
something to do with the skin of the yams we eat or the high amount
of a certain chemical found in the beans the women traditionally soak and cook in palm oil.
Whatever the reason, we’re supposed to bring good luck and prosperity to our families.
My first conscious memory involves my sister. We’re sitting on potties in our little bathroom
in Surrey, England, babbling to each other, trying to capture the tonal resonances of Yoruba and
failing. Laughing.
We are not identical, but for the first maybe 18 years of our lives, we just say yes when
people ask, because we might as well be. We have dark brown eyes that turn to slants when
we smile. Milk-white baby teeth that gradually grow apart, widening and widening until we (I)
demand braces and then I lose my retainer. My face is longer than hers. I am an inch taller. But
our voices are the same timbre. When we talk on the phone, our mother can’t tell us apart. We
say things at the same time in the same tone and then we laugh when that happens. We move
around a lot, England, Gambia, Ohio, two to three years in each place, and so we are natural
companions, drama kids who ham it up for the cameras, play elaborate games of make-believe,
sing in school musicals, ask obnoxious questions, enamored of our own cuteness.
It’s an overused trope, sure, twin as metaphor. Twins as represented in the popular culture
are usually one-dimensional carbon copies of each other, devoid of all individual autonomy, or,
if not that, cartoonish opposites, the contradictions emphasized to the extreme. But there’s a
subtlety about being a twin, about the myriad similarities and common interests encapsulated in
someone who is not you.
M21/1/AYENG/HP1/ENG/TZ1/XX
–3–
2221 – 2013
“Are you guys going to the same college?” Yes. But not on purpose… It will be the place
where the untwinning starts to happen and we won’t even realize it.
First to go, Dami’s hair. After sitting through years of cornrows, extensions, relaxers, and
quarterly sessions at the one black hairdresser that is sort of near us, Dami just gives up one
day and says, “I’m cutting it permanently.” She describes the shocked face of the barber as she
tells him, “Shorter, shorter.”
I don’t cut my hair. I keep it relaxed, and then when laziness takes over, I declare myself a
member of the third-wave natural hair movement.
The second thing to go, her faith. It had been on the fritz before, in high school. Struggles
with the usual questions — women, gay people, pain and suffering. There were shouting
matches when she refused to go to church. My mother was worried we’d become atheists in
college. But once we get there, I go to a Bible study and I like it. People are kind and thoughtful.
Smart. Open. I join a campus ministry and convince Dami to join too, and then one day she
flames out in spectacular, extravagant fashion… Suddenly, I’m going to church alone, campus
meetings alone, singing on the worship team alone.
Third to go, Dami herself, to France for 10 weeks. I am adamantly against it. I don’t tell her
this. I feign lack of interest. Oh really? You’re afraid you won’t get your visa? Oh, Mum and Dad
are worried about you going? Oh, they’ve relented. Oh you’re going? OK. Bye.
She comes back and things are different. So different that we can’t quite understand it. We
argue often and virulently. I don’t remember what the arguments were about (surely something
trivial), but I remember the tone vividly, the jabs, vicious jabs. It was misdirected anger, of
course. We were changing and we didn’t know how to cope with the change.
After graduation, I moved to D.C. for an internship and she stayed in Chicago, until she
decided to do an AmeriCorps program that took her across the country to California and I came
back to Chicago for a full-time job.
One consequence of moving so much is that you develop a numbing acceptance of
change, and thus a tendency to avoid attachment. Growing apart, or becoming — as we now
say to people who ask — sisters and not twins, was mostly horrifying, but sometimes it’s a relief.
It means that my worst fear can’t possibly devastate me as much as it once could.
Over this past Thanksgiving break, we watched the 2015 documentary Twinsters, about a
Los Angeles actress who discovers that she has an identical twin sister living in Paris. I was on
the verge of crying during the whole movie, but I could not bring myself to actually cry, because
Dami was dry-eyed and to admit that I was affected by this documentary would be to admit
feeling, emotion, attachment, sentiment. As passionate as both Dami and I are individually and
with others, amongst ourselves, we are understated. I think it’s because the intensity of our love
for each other is overwhelming. Loving someone that much is embarrassing.
We live in the same city now. It is a fortunate accident. Or maybe God ordained it. That’s
what my mother would say.
We are a ‘we’ again. It’s strange but exciting. If someone asks us if we are twins, we say
yes at the same time in the same tone and then we laugh. It’s nice. My father prayed for twins.
And we came.
35
40
45
50
55
60
65
70
Tomi Obaro is a
senior culture editor
for BuzzFeed and is
based in New York.
–
Sort by Top ^
^
1 Comment
Add a comment …
^^
How is the narrative structure used to explore ideas about identity?
Turn over / Tournez la page / Véase al dorso
M21/1/AYENG/HP1/ENG/TZ1/XX
–4–
2221 – 2013
Write a guided analysis of the following text.
2.
The following comic is taken from www.jakelikesonions.com, an online archive of comics by American
copywriter/cartoonist Jake Thompson. Thompson’s comics explore different topics such as work,
relationships and death.
JAKE LIKES
ONIONS
I can’t wait for the thought tube
–
How do text and image work together to convey the comic’s message?
Disclaimer:
Texts used in IB language assessments are taken from authentic, third-party sources. The views expressed within
them belong to their individual authors and do not necessarily reflect the views of the IB.
References:
1.
Obaro, T., 2016. To Love Your Sister Is To Grieve Your Twin. BuzzFeed News, [online] 27 March. Available at:
https://www.buzzfeednews.com/article/tomiobaro/to-love-your-sister-is-to-grieve-your-twin#.ru9Gr23Jx [Accessed
3 September 2020]. source adapted.
2.
Thompson, J., 2016. I can’t wait for the thought tube. [comic strip online] Available at: https://jakelikesonions.com/
post/153267587809/i-cant-wait-for-the-thought-tube [Accessed 4 September 2020]. source adapted.
M21/1/AYENG/SP1/ENG/TZ1/XX
English A: language and literature – Standard level – Paper 1
Anglais A : langue et littérature – Niveau moyen – Épreuve 1
Inglés A: Lengua y Literatura – Nivel Medio – Prueba 1
Monday 10 May 2021 (afternoon)
Lundi 10 mai 2021 (après-midi)
Lunes 10 de mayo de 2021 (tarde)
1 h 15 m
Instructions to candidates
y Do not open this examination paper until instructed to do so.
y Write a guided analysis of text 1 or text 2.
y Use the guiding question or propose an alternative technical or formal aspect of the text to focus
your analysis.
y The maximum mark for this examination paper is [20 marks].
Instructions destinées aux candidats
y N’ouvrez pas cette épreuve avant d’y être autorisé(e).
y Rédigez une analyse dirigée du texte 1 ou du texte 2.
y Utilisez la question d’orientation ou proposez une autre manière d’aborder le texte en
choisissant un aspect technique ou formel sur lequel concentrer votre analyse.
y Le nombre maximum de points pour cette épreuve d’examen est de [20 points].
Instrucciones para los alumnos
y No abra esta prueba hasta que se lo autoricen.
y Escriba un análisis guiado del texto 1 o del texto 2.
y Utilice la pregunta de orientación o proponga otro aspecto técnico o formal del texto en el que
centrar su análisis.
y La puntuación máxima para esta prueba de examen es [20 puntos].
4 pages/páginas
2221 – 2014
© International Baccalaureate Organization 2021
M21/1/AYENG/SP1/ENG/TZ1/XX
–2–
2221 – 2014
Write a guided analysis of one of the following texts.
1.
The following article is taken from the BuzzFeed News website, an international news organization for
readers looking for something original. It is featured in the “Reader” section, which focuses on culture
and criticism.
ABOUT US
GOT A TIP?
SUPPORT US
BUZZFEED.COM
SECTIONS
To Love Your Sister Is To Grieve Your Twin
It’s impossible to explain what having a twin is like to someone who asks, but I am going to try.
Tomi Obaro
5
10
15
20
25
30
Tweet
Share
Copy
My father prayed for twins. This is a fact my mother usually recites
during birthdays, the impending new year, Thanksgiving, and other
increasingly rare moments when mother, father, brother, sister, and I
are all in the same room in the same time zone. He prayed for twins
and we came.
First Dami, short for Oluwadamilola (which means “God has made
me rich” in Yoruba), and then 25 minutes later, me, Tomi, Oluwatomilola
(“God is my sufficiency”). My father prayed for twins, but the odds were
in his favor. The Yoruba have the highest twinning rate in the world.
Science cannot account for this strange phenomenon. Apparently it has
something to do with the skin of the yams we eat or the high amount
of a certain chemical found in the beans the women traditionally soak and cook in palm oil.
Whatever the reason, we’re supposed to bring good luck and prosperity to our families.
My first conscious memory involves my sister. We’re sitting on potties in our little bathroom
in Surrey, England, babbling to each other, trying to capture the tonal resonances of Yoruba and
failing. Laughing.
We are not identical, but for the first maybe 18 years of our lives, we just say yes when
people ask, because we might as well be. We have dark brown eyes that turn to slants when
we smile. Milk-white baby teeth that gradually grow apart, widening and widening until we (I)
demand braces and then I lose my retainer. My face is longer than hers. I am an inch taller. But
our voices are the same timbre. When we talk on the phone, our mother can’t tell us apart. We
say things at the same time in the same tone and then we laugh when that happens. We move
around a lot, England, Gambia, Ohio, two to three years in each place, and so we are natural
companions, drama kids who ham it up for the cameras, play elaborate games of make-believe,
sing in school musicals, ask obnoxious questions, enamored of our own cuteness.
It’s an overused trope, sure, twin as metaphor. Twins as represented in the popular culture
are usually one-dimensional carbon copies of each other, devoid of all individual autonomy, or,
if not that, cartoonish opposites, the contradictions emphasized to the extreme. But there’s a
subtlety about being a twin, about the myriad similarities and common interests encapsulated in
someone who is not you.
M21/1/AYENG/SP1/ENG/TZ1/XX
–3–
2221 – 2014
“Are you guys going to the same college?” Yes. But not on purpose… It will be the place
where the untwinning starts to happen and we won’t even realize it.
First to go, Dami’s hair. After sitting through years of cornrows, extensions, relaxers, and
quarterly sessions at the one black hairdresser that is sort of near us, Dami just gives up one
day and says, “I’m cutting it permanently.” She describes the shocked face of the barber as she
tells him, “Shorter, shorter.”
I don’t cut my hair. I keep it relaxed, and then when laziness takes over, I declare myself a
member of the third-wave natural hair movement.
The second thing to go, her faith. It had been on the fritz before, in high school. Struggles
with the usual questions — women, gay people, pain and suffering. There were shouting
matches when she refused to go to church. My mother was worried we’d become atheists in
college. But once we get there, I go to a Bible study and I like it. People are kind and thoughtful.
Smart. Open. I join a campus ministry and convince Dami to join too, and then one day she
flames out in spectacular, extravagant fashion… Suddenly, I’m going to church alone, campus
meetings alone, singing on the worship team alone.
Third to go, Dami herself, to France for 10 weeks. I am adamantly against it. I don’t tell her
this. I feign lack of interest. Oh really? You’re afraid you won’t get your visa? Oh, Mum and Dad
are worried about you going? Oh, they’ve relented. Oh you’re going? OK. Bye.
She comes back and things are different. So different that we can’t quite understand it. We
argue often and virulently. I don’t remember what the arguments were about (surely something
trivial), but I remember the tone vividly, the jabs, vicious jabs. It was misdirected anger, of
course. We were changing and we didn’t know how to cope with the change.
After graduation, I moved to D.C. for an internship and she stayed in Chicago, until she
decided to do an AmeriCorps program that took her across the country to California and I came
back to Chicago for a full-time job.
One consequence of moving so much is that you develop a numbing acceptance of
change, and thus a tendency to avoid attachment. Growing apart, or becoming — as we now
say to people who ask — sisters and not twins, was mostly horrifying, but sometimes it’s a relief.
It means that my worst fear can’t possibly devastate me as much as it once could.
Over this past Thanksgiving break, we watched the 2015 documentary Twinsters, about a
Los Angeles actress who discovers that she has an identical twin sister living in Paris. I was on
the verge of crying during the whole movie, but I could not bring myself to actually cry, because
Dami was dry-eyed and to admit that I was affected by this documentary would be to admit
feeling, emotion, attachment, sentiment. As passionate as both Dami and I are individually and
with others, amongst ourselves, we are understated. I think it’s because the intensity of our love
for each other is overwhelming. Loving someone that much is embarrassing.
We live in the same city now. It is a fortunate accident. Or maybe God ordained it. That’s
what my mother would say.
We are a ‘we’ again. It’s strange but exciting. If someone asks us if we are twins, we say
yes at the same time in the same tone and then we laugh. It’s nice. My father prayed for twins.
And we came.
35
40
45
50
55
60
65
70
Tomi Obaro is a
senior culture editor
for BuzzFeed and is
based in New York.
–
Sort by Top ^
^
1 Comment
Add a comment …
^^
How is the narrative structure used to explore ideas about identity?
Turn over / Tournez la page / Véase al dorso
M21/1/AYENG/SP1/ENG/TZ1/XX
–4–
2221 – 2014
2.
The following comic is taken from www.jakelikesonions.com, an online archive of comics by American
copywriter/cartoonist Jake Thompson. Thompson’s comics explore different topics such as work,
relationships and death.
JAKE LIKES
ONIONS
I can’t wait for the thought tube
–
How do text and image work together to convey the comic’s message?
Disclaimer:
Texts used in IB language assessments are taken from authentic, third-party sources. The views expressed within
them belong to their individual authors and do not necessarily reflect the views of the IB.
References:
1.
Obaro, T., 2016. To Love Your Sister Is To Grieve Your Twin. BuzzFeed News, [online] 27 March. Available at:
https://www.buzzfeednews.com/article/tomiobaro/to-love-your-sister-is-to-grieve-your-twin#.ru9Gr23Jx [Accessed
3 September 2020]. source adapted.
2.
Thompson, J., 2016. I can’t wait for the thought tube. [comic strip online] Available at: https://jakelikesonions.com/
post/153267587809/i-cant-wait-for-the-thought-tube [Accessed 4 September 2020]. source adapted.
M21/1/AYENG/BP1/ENG/TZ1/XX/M
Marking notes
Remarques pour la notation
Notas para la corrección
May / Mai / Mayo de 2021
English A: language and literature
Anglais A : langue et littérature
Inglés A: Lengua y Literatura
Standard and higher level
Niveau moyen et supérieur
Nivel Medio y Superior
Paper / Épreuve / Prueba 1
7 pages/páginas
–2–
M21/1/AYENG/BP1/ENG/TZ1/XX/M
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 Global Centre, Cardiff.
Ces remarques pour la notation sont confidentielles. Leur
usage est réservé exclusivement aux examinateurs participant
à cette session.
Ces remarques 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 confidenciales y para el uso
exclusivo de los examinadores en esta convocatoria de
exámenes.
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.
–3–
M21/1/AYENG/BP1/ENG/TZ1/XX/M
The following are the annotations available to use when marking responses.
Annotation
Explanation
Caret – indicates omission.
Incorrect point – indicates factual inaccuracies or
misinterpretations.
Ellipse that can be expanded.
Horizontal wavy line that can be expanded –
indicates language errors / incoherence.
Highlight tool that can be expanded.
On page comment – justifies application of
assessment criteria.
Unclear content or language.
SEEN - every scanned page must be annotated
or marked as SEEN.
Good Response/Good Point.
Vertical wavy line that can be expanded –
indicates irrelevance / going off the point.
You must make sure you have looked at all pages. Please put the
blank page, to indicate that you have seen it.
annotation on any
When using the On page comment annotation, please keep the following in mind:
• Avoid covering the candidate’s own writing. This can be done by writing your comments in
the margins then running the arrow attached to the “On page comment” annotation to the
appropriate place.
• Provide all comments in the target language.
• You may provide summative comments at the end of the script, but please do NOT record
numerical marks on the scripts.
–4–
M21/1/AYENG/BP1/ENG/TZ1/XX/M
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 features which all answers must include.
Answers which do not follow the approach suggested in the guiding question, but have provided
an alternative formal or technical focus should be rewarded appropriately in line with the
assessment criteria.
Instructions générales pour la notation
Ces notes ne sont que simples lignes directrices pour aider les examinateurs lors de la notation.
Elles ne peuvent en aucun cas être considérées comme un ensemble fixe et exhaustif de
caractéristiques que les réponses doivent présenter.
Les réponses qui ne suivent pas l’approche suggérée dans la question d’orientation, mais qui ont
adopté un autre angle technique ou formel doivent être récompensées de manière appropriée,
conformément aux critères d’évaluation.
Instrucciones generales para la corrección
El objetivo de estas notas para los examinadores es servir de directrices a fin de ayudar en la
corrección. No deben considerarse un conjunto fijo y exhaustivo de características que deban
estar presentes en todas las respuestas.
Las respuestas que no sigan el enfoque recomendado en la pregunta de orientación, pero
posean un enfoque alternativo, de carácter formal o técnico, también deberán ser valoradas
de acuerdo con los criterios de evaluación.
–5–
M21/1/AYENG/BP1/ENG/TZ1/XX/M
1.
Text type
article (essay)
Elements of the text significant for analysis
• themes (identity, intersectionality, change, growing up)
• structure (chronological, circular structure, Freytag’s plot pyramid, enticement of the reader,
elements of memoir, short paragraphs, repetition = to mirror the author dipping her feet in the
pool of memory—just enough to feel, but not so much as to drown)
• repetition (“My father prayed for twins. And we came.” “The first thing to go…second thing to
go…third to go”)
• metaphor (physical travel metaphor for the sisters’ emotional division)
• multi-faceted identity (gender, nationality, class, religion)
• culturally situated at the intersection of Nigeria/Gambia, England, and the United
States (“Third Culture Kids (TCKs)”)
• both individual and “twinned” identities
• religious upbringing vs secular/negotiated religious adult identity
• photograph – image of Yoruba twins in museum juxtaposed with the author’s contemporary
experience of being a Yoruba twin
• tone: lively, confident, conversational, personal tone (e.g. “enamored of our own cuteness”)
shifts to removed, reserved, and grieved after Dami’s visit to France (which is both a
geographic and emotional transition that provokes a change in the twins’ attitudes toward one
another)
• irony - as one sister draws closer to her individual identity, she draws away from her twinned
identity
• title: paradoxical nature of the title, ambiguous but made clear by the end, how the title
engages the reader
• Yoruba have highest twin rate in the world, and yet the author portrays her experience with
her twin as unique and special
• use of pronouns (using “we” to mean “I” at the beginning of the text; the comparison of the
“we” used at the beginning of the text to signify a lack of physical separation, and the new,
matured sense of “we” at the end that allows for physical and ideological separation—from
“twins” to “sisters”)
• shifts in verb tense (using dramatic present tense when writing about the past)
• dialogue (Oh really? You’re afraid you won’t get your visa? Oh, Mum and Dad are worried
about you going? Oh, they’ve relented. Oh, you’re going? OK. Bye.) and use of no quotation
marks
• use of Yoruba words (‘Oluwadamilola,’ or “God has made me rich,” and ‘Oluwatomilola,’ or
“God is my sufficiency”) which are religious in nature
• change in word choice (starts out with celebratory word choice and concludes with
harsher words such as “virulently,” “vicious jabs,” and “misdirected anger,” which chronicle
the author’s emotional transition and journey of identity and self-discovery).
–6–
M21/1/AYENG/BP1/ENG/TZ1/XX/M
2.
Text type
Comic
Elements of the text significant for analysis
• themes: technophilia/technophobia, methods and degrees of communication and connection,
impact of/integration of technology; nuanced
• in each panel, technology pushes the men further and further from their humanity
(dehumanization). The men reminisce about the “olden days,” but remain powerless against
the progression of technology. By the end, as robots, they have completely lost their humanity
• in each panel, the men get closer and closer communicationally. Letters, which take days or
more to compose and receive, give way to texts, which are immediate. Texts then give way to
Virtual Reality (VR), which is a much richer experience than short messages and emojis. VR
then gives way to an imaginary “Thought Tube,” where entire consciousnesses are
uploaded—how much more could people connect than to share complete consciousnesses?
Finally, the Thought Tube is replaced by a new technology where the gap between mind and
matter completely closes—as the language the men speak mirrors their physical form
• structure: four-panel comic showing progression of technology over time. It is certainly a
stretch to think that the same two men would still be alive from Panel 1 to Panel 4 (i.e. from
writing letters to becoming robots) but this could be taken as a comment on the fast-pace of
technology change
• colours: black and white (could be taken as a critique of technology leading to a “colorless”
world; could be taken as commentary that people often see technology with a “black or white”
lens; could be taken as an attempt by the comic to minimize distraction from the message)
• negative space and its effects
• physical bodies: in the first two panels, the men are unchanged by technology. But by the
third panel, the men have begun to change. Their heads are smaller (their heads have
“shrunk”) and their necks are narrower. An antenna or other technological device has been
implanted on their heads and is radiating from them. In the fourth panel, the men and
technology have completely integrated, resulting in a complete metamorphosis, and their
bodies are disconnected and fragmented. Interestingly, in none of the panels do the men
have ears and only one of the men ever speaks
• business attire: significance of the men’s ties and their shrinking and morphing shapes in
every panel; ties are the only distinguishing feature between the men (who seem clone-like);
comment on corporate culture
• facial expressions (e.g. lines and bags under the eyes) and their effects and significance
• tone: unemotional. This leaves room for the reader to interpret the text as a show of
technophilia or technophobia; implications of questions as a reference to the past but also
from a point in the future; multiple legitimate interpretations of tone (e.g. nostalgic, mocking,
critical, forewarning)
• use of humour, satire, irony, and absurdism
• relevant comments on “Jake Likes Onions” (e.g. multiplicity of layers)
• repetition: each panel begins with the unanswered question, “Do you remember
when..?”speech bubbles becoming thought bubbles
• language: as technology changes, the language the men speak changes. The final panel—
showing squares, circles, and triangles—appears a 2D version of their 3D bodies (a complete
merge of form and content)
• text: the words, “I can’t wait for the thought tube” appear under the comic. They could be read
as sarcastic or sincere, and an authorial intrusion
–7–
M21/1/AYENG/BP1/ENG/TZ1/XX/M
M21/1/AYENG/HP1/ENG/TZ2/XX
English A: language and literature – Higher level – Paper 1
Anglais A : langue et littérature – Niveau supérieur – Épreuve 1
Inglés A: Lengua y Literatura – Nivel Superior – Prueba 1
Monday 10 May 2021 (afternoon)
Lundi 10 mai 2021 (après-midi)
Lunes 10 de mayo de 2021 (tarde)
2 h 15 m
Instructions to candidates
Do not open this examination paper until instructed to do so.
Write a guided analysis of text 1.
Write a guided analysis of text 2.
Use the guiding question or propose an alternative technical or formal aspect of the text to focus
your analysis.
y The maximum mark for this examination paper is [40 marks].
y
y
y
y
Instructions destinées aux candidats
N’ouvrez pas cette épreuve avant d’y être autorisé(e).
Rédigez une analyse dirigée du texte 1.
Rédigez une analyse dirigée du texte 2.
Utilisez la question d’orientation ou proposez une autre manière d’aborder le texte en
choisissant un aspect technique ou formel sur lequel concentrer votre analyse.
y Le nombre maximum de points pour cette épreuve d’examen est de [40 points].
y
y
y
y
Instrucciones para los alumnos
No abra esta prueba hasta que se lo autoricen.
Escriba un análisis guiado del texto 1.
Escriba un análisis guiado del texto 2.
Utilice la pregunta de orientación o proponga otro aspecto técnico o formal del texto en el que
centrar su análisis.
y La puntuación máxima para esta prueba de examen es [40 puntos].
y
y
y
y
5 pages/páginas
2221 – 2016
© International Baccalaureate Organization 2021
M21/1/AYENG/HP1/ENG/TZ2/XX
–2–
2221 – 2016
Write a guided analysis of the following text.
1.
The following is an extract from India’s Soul Food by Julie Sahni, who is famous for writing about Indian
cooking, published in The New York Times Magazine.
The New York Times Magazine
BY Julie Sahni
FOOD; INDIA’S SOUL FOOD
5
10
15
20
25
30
TO AN INDIAN FAMILY, THE tandoori meal is not
just food. Like Sunday supper for some Americans,
this meal is the high point of the week. I remember
gathering with my family and friends in cool breezes
at an outdoor concert in New Delhi under tamarind
and mango trees. There, we would dig a pit to
smoke, grill and roast chicken and meat. As the juicy
morsels of meat were taken from the pit, we’d devour
them instantly.
Although tandoori cooking has become synonymous with India, it is not an Indian invention.
Tandoor originated in Syria, then spread through Central Asia, including India, as a clay pit for
baking bread. In the beginning of the 19th century, in Peshawar, in the northwest frontier region
of Pakistan, then part of India, an ingenious technique for cooking meat was invented. Meat
was first trimmed of all fat, then marinated for hours in a special yogurt and herb mixture. The
tenderized meat and poultry was skewered on spears and lowered into the glowing hot tandoor.
After being simultaneously baked, roasted, grilled and smoked, the meat was tender and moist,
imbued with a sweet smoky aroma and a rich flavor. The Pathans called this tandoori food.
To ensure that it was mistaken for no other, they colored it bright orange – a trademark of all
tandoori foods today.
The appeal of tandoori food is not surprising: children and adults alike love its mild herbal flavor.
Because the food is trimmed of all fat and marinated in yogurt, it is low in fat and cholesterol.
Tandoori food has not always been popular. As recently as 1947, when the first tandoori
restaurant opened in India, this food was labeled low-class. A visit to a tandoori joint was taboo
for members of society. This is probably because it was born not in a state, or royal, kitchen,
but in the open air among nomadic tribes. Tandoori food was meant to be enjoyed with wine
and music. Eventually, however, many members of the upper classes drove in limousines to the
narrow alleyways, where they sent their servants to pick up tandoori food.
Tandoori cooking is simple. It requires little time, effort or skill. The yogurt marinade reduces the
cooking time considerably, because the marinade breaks down the protein in the meat. Almost
any food that can be barbecued can be cooked in a tandoori oven. But many people never
attempt tandoori cooking at home because they assume that it requires the tandoor clay oven.
In fact, a traditional tandoori oven is not necessary for its preparation. What’s most important is
the enclosed heat, and a covered grill with an adjustable air vent is excellent for this. The kettle
M21/1/AYENG/HP1/ENG/TZ2/XX
–3–
2221 – 2016
grill with a domed lid works best because it reflects heat most evenly. The fire should be made
with wood charcoal because it burns hotter than charcoal briquettes. Fresh or pre-soaked dried
grapevine cuttings added just before barbecuing can substitute for the clay aroma of a true
tandoori oven. Dried grapevines are sold at many specialty food stores. The vines should be
soaked in water one hour before cooking.
35
The marinade ingredients vary slightly, depending on the meat used. For chicken, a marinade
with olive oil lends an earthy aroma. Cornish hens or small broilers are more flavorful and
absorb the marinade better than roasting chickens. Saffron is essential in the marinade for
tandoori squab or quail to balance the rich gamy flavor of these birds.
40
Tandoori cooking need not be restricted to meat and poultry alone. Fresh fish, shellfish and
vegetables work wonderfully, too. Take precaution not to over-marinate shrimp, or they will turn
pasty during cooking.
45
–
Discuss how different features are used on this webpage to create an impression of
Indian culture.
Turn over / Tournez la page / Véase al dorso
M21/1/AYENG/HP1/ENG/TZ2/XX
–4–
2221 – 2016
Write a guided analysis of the following text.
2.
The following is an infographic summarizing updated UK government medical advice on the importance
of a high level of activity for children from birth to five years.
*
* ‘tummy time’ refers to giving your baby time on its tummy, under supervision, as it is
important for the baby’s development and helps them learn to crawl and walk.
M21/1/AYENG/HP1/ENG/TZ2/XX
–5–
–
2221 – 2016
Comment on how the interplay of text and images is used to appeal to multiple audiences.
Disclaimer:
Texts used in IB language assessments are taken from authentic, third-party sources. The views expressed within
them belong to their individual authors and do not necessarily reflect the vie s of the IB.
References:
1.
Sahni, J., 1988. India’s Soul Food. The New York Times Magazine, [online] Available at: <https://www.nytimes.
com/1988/08/21/magazine/food-india-s-soul-food.html> [Accessed 03 September 2020].
[Image online] Available at: <https://www.pikist.com/free-photo-stawk> [Accessed 15 September 2020].
2.
UK government, 2019. Physical Activity Guidelines [online] Available at: < https://assets.publishing.service.gov.uk/
government/uploads/system/uploads/attachment_data/file/829882/1-physical-activity-for-early-years-birth-to-5.pdf >
[Accessed 03 September 2020].
M21/1/AYENG/SP1/ENG/TZ2/XX
English A: language and literature – Standard level – Paper 1
Anglais A : langue et littérature – Niveau moyen – Épreuve 1
Inglés A: Lengua y Literatura – Nivel Medio – Prueba 1
Monday 10 May 2021 (afternoon)
Lundi 10 mai 2021 (après-midi)
Lunes 10 de mayo de 2021 (tarde)
1 h 15 m
Instructions to candidates
y Do not open this examination paper until instructed to do so.
y Write a guided analysis of text 1 or text 2.
y Use the guiding question or propose an alternative technical or formal aspect of the text to focus
your analysis.
y The maximum mark for this examination paper is [20 marks].
Instructions destinées aux candidats
y N’ouvrez pas cette épreuve avant d’y être autorisé(e).
y Rédigez une analyse dirigée du texte 1 ou du texte 2.
y Utilisez la question d’orientation ou proposez une autre manière d’aborder le texte en
choisissant un aspect technique ou formel sur lequel concentrer votre analyse.
y Le nombre maximum de points pour cette épreuve d’examen est de [20 points].
Instrucciones para los alumnos
y No abra esta prueba hasta que se lo autoricen.
y Escriba un análisis guiado del texto 1 o del texto 2.
y Utilice la pregunta de orientación o proponga otro aspecto técnico o formal del texto en el que
centrar su análisis.
y La puntuación máxima para esta prueba de examen es [20 puntos].
5 pages/páginas
2221 – 2017
© International Baccalaureate Organization 2021
M21/1/AYENG/SP1/ENG/TZ2/XX
–2–
2221 – 2017
Write a guided analysis of one of the following texts.
1.
The following is an extract from India’s Soul Food by Julie Sahni, who is famous for writing about Indian
cooking, published in The New York Times Magazine.
The New York Times Magazine
BY Julie Sahni
FOOD; INDIA’S SOUL FOOD
5
10
15
20
25
30
TO AN INDIAN FAMILY, THE tandoori meal is not
just food. Like Sunday supper for some Americans,
this meal is the high point of the week. I remember
gathering with my family and friends in cool breezes
at an outdoor concert in New Delhi under tamarind
and mango trees. There, we would dig a pit to
smoke, grill and roast chicken and meat. As the juicy
morsels of meat were taken from the pit, we’d devour
them instantly.
Although tandoori cooking has become synonymous with India, it is not an Indian invention.
Tandoor originated in Syria, then spread through Central Asia, including India, as a clay pit for
baking bread. In the beginning of the 19th century, in Peshawar, in the northwest frontier region
of Pakistan, then part of India, an ingenious technique for cooking meat was invented. Meat
was first trimmed of all fat, then marinated for hours in a special yogurt and herb mixture. The
tenderized meat and poultry was skewered on spears and lowered into the glowing hot tandoor.
After being simultaneously baked, roasted, grilled and smoked, the meat was tender and moist,
imbued with a sweet smoky aroma and a rich flavor. The Pathans called this tandoori food.
To ensure that it was mistaken for no other, they colored it bright orange – a trademark of all
tandoori foods today.
The appeal of tandoori food is not surprising: children and adults alike love its mild herbal flavor.
Because the food is trimmed of all fat and marinated in yogurt, it is low in fat and cholesterol.
Tandoori food has not always been popular. As recently as 1947, when the first tandoori
restaurant opened in India, this food was labeled low-class. A visit to a tandoori joint was taboo
for members of society. This is probably because it was born not in a state, or royal, kitchen,
but in the open air among nomadic tribes. Tandoori food was meant to be enjoyed with wine
and music. Eventually, however, many members of the upper classes drove in limousines to the
narrow alleyways, where they sent their servants to pick up tandoori food.
Tandoori cooking is simple. It requires little time, effort or skill. The yogurt marinade reduces the
cooking time considerably, because the marinade breaks down the protein in the meat. Almost
any food that can be barbecued can be cooked in a tandoori oven. But many people never
attempt tandoori cooking at home because they assume that it requires the tandoor clay oven.
In fact, a traditional tandoori oven is not necessary for its preparation. What’s most important is
the enclosed heat, and a covered grill with an adjustable air vent is excellent for this. The kettle
M21/1/AYENG/SP1/ENG/TZ2/XX
–3–
2221 – 2017
grill with a domed lid works best because it reflects heat most evenly. The fire should be made
with wood charcoal because it burns hotter than charcoal briquettes. Fresh or pre-soaked dried
grapevine cuttings added just before barbecuing can substitute for the clay aroma of a true
tandoori oven. Dried grapevines are sold at many specialty food stores. The vines should be
soaked in water one hour before cooking.
35
The marinade ingredients vary slightly, depending on the meat used. For chicken, a marinade
with olive oil lends an earthy aroma. Cornish hens or small broilers are more flavorful and
absorb the marinade better than roasting chickens. Saffron is essential in the marinade for
tandoori squab or quail to balance the rich gamy flavor of these birds.
40
Tandoori cooking need not be restricted to meat and poultry alone. Fresh fish, shellfish and
vegetables work wonderfully, too. Take precaution not to over-marinate shrimp, or they will turn
pasty during cooking.
45
–
Discuss how different features are used on this webpage to create an impression of
Indian culture.
Turn over / Tournez la page / Véase al dorso
M21/1/AYENG/SP1/ENG/TZ2/XX
–4–
2221 – 2017
2.
The following is an infographic summarizing updated UK government medical advice on the importance
of a high level of activity for children from birth to five years.
*
* ‘tummy time’ refers to giving your baby time on its tummy, under supervision, as it is
important for the baby’s development and helps them learn to crawl and walk.
M21/1/AYENG/SP1/ENG/TZ2/XX
–5–
–
2221 – 2017
Comment on how the interplay of text and images is used to appeal to multiple audiences.
Disclaimer:
Texts used in IB language assessments are taken from authentic, third-party sources. The views expressed within
them belong to their individual authors and do not necessarily reflect the vie s of the IB.
References:
1.
Sahni, J., 1988. India’s Soul Food. The New York Times Magazine, [online] Available at: <https://www.nytimes.
com/1988/08/21/magazine/food-india-s-soul-food.html> [Accessed 03 September 2020].
[Image online] Available at: <https://www.pikist.com/free-photo-stawk> [Accessed 15 September 2020].
2.
UK government, 2019. Physical Activity Guidelines [online] Available at: < https://assets.publishing.service.gov.uk/
government/uploads/system/uploads/attachment_data/file/829882/1-physical-activity-for-early-years-birth-to-5.pdf >
[Accessed 03 September 2020].
M21/1/AYENG/BP1/ENG/TZ2/XX/M
Marking notes
Remarques pour la notation
Notas para la corrección
May / Mai / Mayo de 2021
English A: language and literature
Anglais A : langue et littérature
Inglés A: Lengua y Literatura
Standard and higher level
Niveau moyen et supérieur
Nivel Medio y Superior
Paper / Épreuve / Prueba 1
6 pages/páginas
–2–
M21/1/AYENG/BP1/ENG/TZ2/XX/M
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 Global Centre, Cardiff.
Ces remarques pour la notation sont confidentielles. Leur
usage est réservé exclusivement aux examinateurs participant
à cette session.
Ces remarques 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 confidenciales y para el uso
exclusivo de los examinadores en esta convocatoria de
exámenes.
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.
–3–
M21/1/AYENG/BP1/ENG/TZ2/XX/M
The following are the annotations available to use when marking responses.
Annotation
Explanation
Caret – indicates omission.
Incorrect point – indicates factual inaccuracies or
misinterpretations.
Ellipse that can be expanded.
Horizontal wavy line that can be expanded –
indicates language errors / incoherence.
Highlight tool that can be expanded.
On page comment – justifies application of
assessment criteria.
Unclear content or language.
SEEN - every scanned page must be annotated
or marked as SEEN.
Good Response/Good Point.
Vertical wavy line that can be expanded –
indicates irrelevance / going off the point.
You must make sure you have looked at all pages. Please put the
blank page, to indicate that you have seen it.
annotation on any
When using the On page comment annotation, please keep the following in mind:
• Avoid covering the candidate’s own writing. This can be done by writing your comments in
the margins then running the arrow attached to the “On page comment” annotation to the
appropriate place.
• Provide all comments in the target language.
• You may provide summative comments at the end of the script, but please do NOT record
numerical marks on the scripts.
–4–
M21/1/AYENG/BP1/ENG/TZ2/XX/M
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 features which all answers must include.
Answers which do not follow the approach suggested in the guiding question, but have provided
an alternative formal or technical focus should be rewarded appropriately in line with the
assessment criteria.
Instructions générales pour la notation
Ces notes ne sont que simples lignes directrices pour aider les examinateurs lors de la notation.
Elles ne peuvent en aucun cas être considérées comme un ensemble fixe et exhaustif de
caractéristiques que les réponses doivent présenter.
Les réponses qui ne suivent pas l’approche suggérée dans la question d’orientation, mais qui ont
adopté un autre angle technique ou formel doivent être récompensées de manière appropriée,
conformément aux critères d’évaluation.
Instrucciones generales para la corrección
El objetivo de estas notas para los examinadores es servir de directrices a fin de ayudar en la
corrección. No deben considerarse un conjunto fijo y exhaustivo de características que deban
estar presentes en todas las respuestas.
Las respuestas que no sigan el enfoque recomendado en la pregunta de orientación, pero
posean un enfoque alternativo, de carácter formal o técnico, también deberán ser valoradas
de acuerdo con los criterios de evaluación.
–5–
M21/1/AYENG/BP1/ENG/TZ2/XX/M
1.
Text type
Article
Elements of the text significant for analysis
• the evocative description of the setting parallels the love of the food, whilst the lively tone of
the introduction draws the reader in
• the presentation of food as linked to family and culture
• the presentation of food as cross cultural and also able to traverse social groups
• the sensory description of ‘cool breezes’ and ‘tamarind mango trees’ romanticises the
tandoori food and as such creates a sense of nostalgia around it (as does the black and white
image at the top of the article: if included)
• the use of language and stylistic features including diction, imagery and sonic effects, such as
sibilance, are used to create a colourful and multi-dimensional image of an Indian community
• the use of the plural pronoun ‘we’ creates a sense of a shared experience: as such the
language is used to convey ideas about Indian culture and tandoori cooking as part of its
historical heritage and also a meal that brings people together
• this article contains both historical background whilst also being instructive, this parallel
structure proves educational on a number of levels and is therefore effective in broadening
the readers ‘eating’ horizons
• the use of verbs to describe the specificity of the cooking processes shows the care taken to
cook this food correctly and in keeping with traditions, this extends the idea of tandoori food
being part of Indian heritage and how it is thought about in a nostalgic way
• the description of the meat being lean and cooked in a healthy way appeals to audiences as
much today as when it was first written
• through the description of the use of alternatives to a tandoor oven, this article offers broad
appeal to anyone wanting to cook their own tandoori food
• gustatory imagery is used for ‘mild herbal flavour’ to appeal to a Westernized palate
• the structure of the article is designed to move across a range of aspects of Indian culture
• the use of tone ranges between informative, nostalgic and lyrical, conveying the richness of
the Indian culture
• the choice of diction used in this article, whilst linked to Indian food is more closely aligned
with the lexical set of food more broadly, as such it seems to make this food seem accessible
to all
• the use of language to convey ideas about Indian culture and how this is represented in
tandoori cooking as part of its historical heritage and also a meal that brings people together
• the use of diction such as ‘tender and moist, imbued with a sweet smoky aroma’ creates a
strong sensory image combined with an opulence that is created through the combined use of
the tricolon and sibilance
• the shift in tone at the end of the article is worthy of note: going from descriptive and lyrical to
factual.
• Remember: Context is not assessed in Paper 1. In itself, it is not a choice or feature. If
addressed, it must link clearly to the analysis of choices/features and/or interpretation of
implications
–6–
M21/1/AYENG/BP1/ENG/TZ2/XX/M
2.
Text type
Infographic
Elements of the text significant for analysis
• the green boxes represent steps – these signal an increase in activity at the same time as the
children increase in years, the use of images and layout here is effective in reinforcing the
message to be increasingly active as you get older. Extended analysis here might consider
the concept of getting fit one ‘step at a time’, thus conveying the message that you can build
fitness
• use of colour: is used in a similar way to a traffic light system, green conveys health, amber
conveys the priorities (time active and to get very young children moving more), whilst red are
the areas we need to take care of, our heart and baby health
• font, the use of bold in the initial boxes, highlights the results of these actions, whilst also
drawing our attention to the imperative tricolon that conveys the importance of the
message/instruction in this infographic
• the simplicity of the images enable access to this text by all ages and cultures, as the
message is universally intelligible. It is also, notably accessible by the targeted age group –
and the fun images allow caregivers to communicate to young children through drawing on
the images as models of what children need to do
• the asexual characters are gender neutral and in turn universally encourage all children to be
more active
• the minor heading connects the link between physical activity, wellbeing and happiness
• the minor heading also infers that being fit is part of being ready for school, and in turn
introduces a sense of societal pressure. Extended arguments here might consider the role of
the Government in driving forward their agenda of improving health and fitness in society
• the images focus on social benefits/skills of fitness activities, with many images containing
more than one person
• ambiguity of “every movement counts”: this could be applicable at any and all levels of fitness,
as such, the phrase is timeless whilst making even small differences seem valuable
• chosen 180 minutes rather than 3 hours – implies it is more attainable
• the positioning of the benefits of exercise at the top of the page prioritise this as most
important
• the disproportionately large clock face infers time is moving on, the amber colour acts as a
warning, together could be read as a time to act. Combined with the imperative tone, there is
a sense of urgency here
• discussions on audience reactions could range from being simplistically useful, to intrusively
patronising
• there is scope for students to analyse the ‘bigger picture’ here and the agenda behind this
infographic; considering that whilst this appears simplistic and child friendly, the real message
is about a much more serious societal health crisis
• the structure of the text itself lends itself to being read (like a prose text) in as much as
readers will begin at the left and read to the right, whilst the growing columns of boxes shows
the increasing fitness levels, arguably conveying this as a natural progression.
• Remember: Context is not assessed in Paper 1. In itself, it is not a choice or feature. If
addressed, it must link clearly to the analysis of choices/features and/or interpretation of
implications
M21/1/AXENG/HP1/ENG/TZ1/XX
English A: literature – Higher level – Paper 1
Anglais A : littérature – Niveau supérieur – Épreuve 1
Inglés A: Literatura – Nivel Superior – Prueba 1
Monday 10 May 2021 (afternoon)
Lundi 10 mai 2021 (après-midi)
Lunes 10 de mayo de 2021 (tarde)
2 h 15 m
Instructions to candidates
Do not open this examination paper until instructed to do so.
Write a guided analysis of text 1.
Write a guided analysis of text 2.
Use the guiding question or propose an alternative technical or formal aspect of the text to focus
your analysis.
y The maximum mark for this examination paper is [40 marks].
y
y
y
y
Instructions destinées aux candidats
N’ouvrez pas cette épreuve avant d’y être autorisé(e).
Rédigez une analyse dirigée du texte 1.
Rédigez une analyse dirigée du texte 2.
Utilisez la question d’orientation ou proposez une autre manière d’aborder le texte en
choisissant un aspect technique ou formel sur lequel concentrer votre analyse.
y Le nombre maximum de points pour cette épreuve d’examen est de [40 points].
y
y
y
y
Instrucciones para los alumnos
No abra esta prueba hasta que se lo autoricen.
Escriba un análisis guiado del texto 1.
Escriba un análisis guiado del texto 2.
Utilice la pregunta de orientación o proponga otro aspecto técnico o formal del texto en el que
centrar su análisis.
y La puntuación máxima para esta prueba de examen es [40 puntos].
y
y
y
y
4 pages/páginas
2221 – 0046
© International Baccalaureate Organization 2021
M21/1/AXENG/HP1/ENG/TZ1/XX
–2–
2221 – 0046
Write a guided analysis of the following text.
1.
This is an extract from Prospero’s Cell, a non-fiction work by Lawrence Durrell.
DIVISIONS UPON GREEK GROUND
29.4.37
5
It is April and we have taken an old fisherman’s house in the extreme north of the island –
Kalamai1. Ten sea-miles from the town, and some thirty kilometres by road, it offers all the
charms of seclusion. A white house set like a dice on a rock already venerable with the scars
of wind and water. The hill runs clear up into the sky behind it, so that the cypresses and
olives overhang this room in which I sit and write. We are upon a bare promontory2 with its
beautiful clean surface of metamorphic stone covered in olive and ilex3. […] This is become our
unregretted home. A world. Corcyra4.
5.5.37
10
15
20
The books have arrived by water. Confusion, adjectives, smoke, and the deafening pumping of
the wheezy Diesel engine. Then the caique5 staggered off in the direction of St. Stephano and
the Forty Saints where the crew will gorge themselves on melons and fall asleep in their coarse
woollen vests, one on top of the other, like a litter of cats, under the ikon of St. Spiridion of Holy
Memory. We are depending upon this daily caique for our provisions.
6.5.37
Climb to Vigla6 in the time of cherries and look down. You will see that the island lies against
the mainland roughly in the form of a sickle. On the landward side you have a great bay, noble
and serene, and almost completely landlocked. Northward the tip of the sickle almost touches
Albania and here the troubled blue of the Ionian is sucked harshly between the ribs of limestone
and spits of sand. Kalamai fronts the Albanian foothills, and into it the water races as into a
swimming-pool: a milky ferocious green when the north wind curdles it.
7.5.37
25
30
The cape opposite is bald; a wilderness of rock-thistle and melancholy asphodel7 – the drear
sea-quill. It was on a ringing spring day that we discovered the house. The sky lay in a heroic
blue arc as we came down the stone ladder. I remember N. saying distinctly to Theodore: ‘But
the quietness alone makes it another country.’ We looked through the hanging screen of olivebranches on to the white sea wall with fishing-tackle drying on it. A neglected balcony. The floors
were cold. Fowls clucked softly in the gloom where the great olive-press lay, waiting its season.
A cypress stood motionless – as if at the gates of the underworld. We shivered and sat on the
white rock to eat, looking down at our own faces in the motionless sea. You will think it strange
to have come all the way from England to this fine Grecian promontory where our only company
can be rock, air, sky – and all the elementals. In letters home N. says we have been cultivating
M21/1/AXENG/HP1/ENG/TZ1/XX
–3–
the tragic sense. There is no explanation. It is enough to record that everything is exactly as the
fortune-teller said it would be. White house, white rock, friends and a narrow style of loving: and
perhaps a book which will grow out of these scraps, as from the rubbish of these old Venetian
tombs the cypress cracks the slabs at last and rises up fresh and green.
35
1
2
3
4
5
6
7
2221 – 0046
Kalamai: village on Corfu, Greece
promontory: a rocky ridge
ilex: holly
Corcyra: an alternative name for Corfu
caique: a fishing boat
Vigla: village on Corfu, Greece
asphodel: a plant common in Greece
–
How does the author use descriptive language to create atmosphere?
Turn over / Tournez la page / Véase al dorso
M21/1/AXENG/HP1/ENG/TZ1/XX
–4–
2221 – 0046
Write a guided analysis of the following text.
2.
Eleanor Farjeon wrote this poem in memory of a close friend (E.T. – Edward Thomas) who died in battle.
Easter Monday (In Memoriam E.T.)
5
10
–
In the last letter that I had from France
You thanked me for the silver Easter egg
Which I had hidden in the box of apples
You liked to munch beyond all other fruit.
You found the egg the Monday before Easter,
And said, ‘I will praise Easter Monday now –
It was such a lovely morning’. Then you spoke
Of the coming battle and said, ‘This is the eve.
Good-bye. And may I have a letter soon.’
That Easter Monday was a day for praise,
It was such a lovely morning. In our garden
We sowed our earliest seeds, and in the orchard
The apple-bud was ripe. It was the eve.
There are three letters that you will not get.
How is imagery used to convey the poet’s feelings?
Disclaimer:
Texts used in IB language assessments are taken from authentic, third-party sources. The views expressed within
the
el
t their i ivi
l th r
t ece
rily reflect the vie
the
References:
1.
Durrell, L., 1945. Prospero’s Cell. London: Faber & Faber.
2.
Farjeon, E., 1959. First and Second Love. Oxford: Oxford University Press.
M21/1/AXENG/SP1/ENG/TZ1/XX
English A: literature – Standard level – Paper 1
Anglais A : littérature – Niveau moyen – Épreuve 1
Inglés A: Literatura – Nivel Medio – Prueba 1
Monday 10 May 2021 (afternoon)
Lundi 10 mai 2021 (après-midi)
Lunes 10 de mayo de 2021 (tarde)
1 h 15 m
Instructions to candidates
y Do not open this examination paper until instructed to do so.
y Write a guided analysis of text 1 or text 2.
y Use the guiding question or propose an alternative technical or formal aspect of the text to focus
your analysis.
y The maximum mark for this examination paper is [20 marks].
Instructions destinées aux candidats
y N’ouvrez pas cette épreuve avant d’y être autorisé(e).
y Rédigez une analyse dirigée du texte 1 ou du texte 2.
y Utilisez la question d’orientation ou proposez une autre manière d’aborder le texte en
choisissant un aspect technique ou formel sur lequel concentrer votre analyse.
y Le nombre maximum de points pour cette épreuve d’examen est de [20 points].
Instrucciones para los alumnos
y No abra esta prueba hasta que se lo autoricen.
y Escriba un análisis guiado del texto 1 o del texto 2.
y Utilice la pregunta de orientación o proponga otro aspecto técnico o formal del texto en el que
centrar su análisis.
y La puntuación máxima para esta prueba de examen es [20 puntos].
4 pages/páginas
2221 – 0047
© International Baccalaureate Organization 2021
M21/1/AXENG/SP1/ENG/TZ1/XX
–2–
2221 – 0047
Write a guided analysis of one of the following texts.
1.
This is an extract from Prospero’s Cell, a non-fiction work by Lawrence Durrell.
DIVISIONS UPON GREEK GROUND
29.4.37
5
It is April and we have taken an old fisherman’s house in the extreme north of the island –
Kalamai1. Ten sea-miles from the town, and some thirty kilometres by road, it offers all the
charms of seclusion. A white house set like a dice on a rock already venerable with the scars
of wind and water. The hill runs clear up into the sky behind it, so that the cypresses and
olives overhang this room in which I sit and write. We are upon a bare promontory2 with its
beautiful clean surface of metamorphic stone covered in olive and ilex3. […] This is become our
unregretted home. A world. Corcyra4.
5.5.37
10
15
20
The books have arrived by water. Confusion, adjectives, smoke, and the deafening pumping of
the wheezy Diesel engine. Then the caique5 staggered off in the direction of St. Stephano and
the Forty Saints where the crew will gorge themselves on melons and fall asleep in their coarse
woollen vests, one on top of the other, like a litter of cats, under the ikon of St. Spiridion of Holy
Memory. We are depending upon this daily caique for our provisions.
6.5.37
Climb to Vigla6 in the time of cherries and look down. You will see that the island lies against
the mainland roughly in the form of a sickle. On the landward side you have a great bay, noble
and serene, and almost completely landlocked. Northward the tip of the sickle almost touches
Albania and here the troubled blue of the Ionian is sucked harshly between the ribs of limestone
and spits of sand. Kalamai fronts the Albanian foothills, and into it the water races as into a
swimming-pool: a milky ferocious green when the north wind curdles it.
7.5.37
25
30
The cape opposite is bald; a wilderness of rock-thistle and melancholy asphodel7 – the drear
sea-quill. It was on a ringing spring day that we discovered the house. The sky lay in a heroic
blue arc as we came down the stone ladder. I remember N. saying distinctly to Theodore: ‘But
the quietness alone makes it another country.’ We looked through the hanging screen of olivebranches on to the white sea wall with fishing-tackle drying on it. A neglected balcony. The floors
were cold. Fowls clucked softly in the gloom where the great olive-press lay, waiting its season.
A cypress stood motionless – as if at the gates of the underworld. We shivered and sat on the
white rock to eat, looking down at our own faces in the motionless sea. You will think it strange
to have come all the way from England to this fine Grecian promontory where our only company
can be rock, air, sky – and all the elementals. In letters home N. says we have been cultivating
M21/1/AXENG/SP1/ENG/TZ1/XX
–3–
the tragic sense. There is no explanation. It is enough to record that everything is exactly as the
fortune-teller said it would be. White house, white rock, friends and a narrow style of loving: and
perhaps a book which will grow out of these scraps, as from the rubbish of these old Venetian
tombs the cypress cracks the slabs at last and rises up fresh and green.
35
1
2
3
4
5
6
7
2221 – 0047
Kalamai: village on Corfu, Greece
promontory: a rocky ridge
ilex: holly
Corcyra: an alternative name for Corfu
caique: a fishing boat
Vigla: village on Corfu, Greece
asphodel: a plant common in Greece
–
How does the author use descriptive language to create atmosphere?
Turn over / Tournez la page / Véase al dorso
M21/1/AXENG/SP1/ENG/TZ1/XX
–4–
2221 – 0047
2.
Eleanor Farjeon wrote this poem in memory of a close friend (E.T. – Edward Thomas) who died in battle.
Easter Monday (In Memoriam E.T.)
5
10
–
In the last letter that I had from France
You thanked me for the silver Easter egg
Which I had hidden in the box of apples
You liked to munch beyond all other fruit.
You found the egg the Monday before Easter,
And said, ‘I will praise Easter Monday now –
It was such a lovely morning’. Then you spoke
Of the coming battle and said, ‘This is the eve.
Good-bye. And may I have a letter soon.’
That Easter Monday was a day for praise,
It was such a lovely morning. In our garden
We sowed our earliest seeds, and in the orchard
The apple-bud was ripe. It was the eve.
There are three letters that you will not get.
How is imagery used to convey the poet’s feelings?
Disclaimer:
Texts used in IB language assessments are taken from authentic, third-party sources. The views expressed within
the
el
t their i ivi
l th r
t ece
rily reflect the vie
the
References:
1.
Durrell, L., 1945. Prospero’s Cell. London: Faber & Faber.
2.
Farjeon, E., 1959. First and Second Love. Oxford: Oxford University Press.
M21/1/AXENG/BP1/ENG/TZ1/XX/M
Marking notes
Remarques pour la notation
Notas para la corrección
May / Mai / Mayo de 2021
English / Anglais / Inglés
A: literature / littérature / literatura
Higher level and standard level
Niveau supérieur et niveau moyen
Nivel Superior y Nivel Medio
Paper / Épreuve / Prueba 1
6 pages/páginas
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 Global Centre, Cardiff.
Ces remarques pour la notation sont confidentielles. Leur
usage est réservé exclusivement aux examinateurs participant
à cette session.
Ces remarques 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 confidenciales y para el uso
exclusivo de los examinadores en esta convocatoria de
exámenes.
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.
The following are the annotations available to use when marking responses.
Annotation
Explanation
Caret – indicates omission.
Incorrect point – indicates factual inaccuracies or
misinterpretations.
Ellipse that can be expanded.
Horizontal wavy line that can be expanded –
indicates language errors / incoherence.
Highlight tool that can be expanded.
On page comment – justifies application of
assessment criteria.
Unclear content or language.
SEEN - every scanned page must be annotated
or marked as SEEN.
Good Response/Good Point.
Vertical wavy line that can be expanded –
indicates irrelevance / going off the point.
You must make sure you have looked at all pages. Please put the
indicate that you have seen it.
annotation on any blank page, to
When using the On page comment annotation, please keep the following in mind:
• Avoid covering the candidate’s own writing. This can be done by writing your comments in
the margins then running the arrow attached to the “On page comment” annotation to the
appropriate place.
• Provide all comments in the target language.
• You may provide summative comments at the end of the script, but please do NOT record
numerical marks on the scripts.
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 features which all answers must include.
Answers which do not follow the approach suggested in the guiding question, but have provided
an alternative formal or technical focus should be rewarded appropriately in line with the
assessment criteria.
Instructions générales pour la notation
Ces notes ne sont que simples lignes directrices pour aider les examinateurs lors de la notation.
Elles ne peuvent en aucun cas être considérées comme un ensemble fixe et exhaustif de
caractéristiques que les réponses doivent présenter.
Les réponses qui ne suivent pas l’approche suggérée dans la question d’orientation, mais qui ont
adopté un autre angle technique ou formel doivent être récompensées de manière appropriée,
conformément aux critères d’évaluation.
Instrucciones generales para la corrección
El objetivo de estas notas para los examinadores es servir de directrices a fin de ayudar en la corrección.
No deben considerarse un conjunto fijo y exhaustivo de características que deban estar presentes en
todas las respuestas.
Las respuestas que no sigan el enfoque recomendado en la pregunta de orientación, pero posean un
enfoque alternativo, de carácter formal o técnico, también deberán ser valoradas de acuerdo con los
criterios de evaluación.
1.
Literary form
Prose non-fiction: Lawrence Durrell
Significant elements for analysis
•
•
•
•
•
•
•
•
•
•
•
•
use of simile and metaphor
visual aspects, use of colour
rich vocabulary e.g. venerable with scars,
personification of nature
sense of decay in ‘wheezy Diesel engine’, ‘staggered off’, ‘cracks the slabs’,
‘neglected balcony’
contrasts e.g. between frantic activity/noise and sleeping crew
references to Christianity, perhaps juxtaposed with Greek religion in ‘the gates of
the underworld’
references to history e.g. Venetian tombs, Corcyra
sense of isolation/wilderness/seclusion
interaction of the narrator with the landscape
tension between human in the landscape and the untouched landscape
the structure of the narrative, especially noting the ‘discovery’ of the house in the
final section.
2.
Literary form
Poetry: Easter Monday
Significant elements for analysis
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
imagery of everyday life
image of silver egg – emotional value
the use and significance of apple imagery throughout the poem
cycle of life and death – seeds
religious imagery of Easter Monday – rising from the dead
motifs – some circular replicating circle of life, and sense of progression, letter,
Easter Monday, the eve, the egg
importance of ‘eve’ in the penultimate line in each stanza
apparent simplicity of poem but with underlying deeper meanings
juxtaposition of mundanity of life with death
language of intimacy throughout the poem.
immediacy created by quoting the letter as if the speaker were still alive, creating a
personalised view of the subject
calm tone
ambiguity of time/tense – contrast between the past and the final line the future
the significance of the poet breaking the rules of a sonnet
use of irony throughout the poem
M21/1/AXENG/HP1/ENG/TZ2/XX
English A: literature – Higher level – Paper 1
Anglais A : littérature – Niveau supérieur – Épreuve 1
Inglés A: Literatura – Nivel Superior – Prueba 1
Monday 10 May 2021 (afternoon)
Lundi 10 mai 2021 (après-midi)
Lunes 10 de mayo de 2021 (tarde)
2 h 15 m
Instructions to candidates
Do not open this examination paper until instructed to do so.
Write a guided analysis of text 1.
Write a guided analysis of text 2.
Use the guiding question or propose an alternative technical or formal aspect of the text to focus
your analysis.
y The maximum mark for this examination paper is [40 marks].
y
y
y
y
Instructions destinées aux candidats
N’ouvrez pas cette épreuve avant d’y être autorisé(e).
Rédigez une analyse dirigée du texte 1.
Rédigez une analyse dirigée du texte 2.
Utilisez la question d’orientation ou proposez une autre manière d’aborder le texte en
choisissant un aspect technique ou formel sur lequel concentrer votre analyse.
y Le nombre maximum de points pour cette épreuve d’examen est de [40 points].
y
y
y
y
Instrucciones para los alumnos
No abra esta prueba hasta que se lo autoricen.
Escriba un análisis guiado del texto 1.
Escriba un análisis guiado del texto 2.
Utilice la pregunta de orientación o proponga otro aspecto técnico o formal del texto en el que
centrar su análisis.
y La puntuación máxima para esta prueba de examen es [40 puntos].
y
y
y
y
3 pages/páginas
2221 – 0049
© International Baccalaureate Organization 2021
M21/1/AXENG/HP1/ENG/TZ2/XX
–2–
2221 – 0049
Write a guided analysis of the following text.
1.
The following text is an extract from the opening of the book As I Walked Out One Midsummer Morning
by Laurie Lee.
I was propelled, of course, by the traditional forces that had sent many generations along this
road – by the small tight valley closing in around one, stifling the breath with its mossy mouth,
the cottage walls narrowing like the arms of an iron maiden*, the local girls whispering, ‘Marry,
and settle down.’ Months of restless unease, leading to this inevitable moment, had been spent
wandering about the hills, mournfully whistling, and watching the high open fields stepping away
eastwards under gigantic clouds…
And now I was on my journey, in a pair of thick boots with a hazel stick in my hand.
Naturally, I was going to London, which lay a hundred miles to the east; and it seemed equally
obvious that I should go on foot. But first, as I’d never yet seen the sea, I thought I’d walk to
the coast and find it. This would add another hundred miles to my journey, going by way of
Southampton. But I had all the summer and all time to spend.
That first day alone – and now I was really alone at last – steadily declined in excitement
and vigour. As I tramped through the dust towards the Wiltshire Downs a growing reluctance
weighed me down. White elder-blossom and dog-roses hung in the hedges, blank as unwritten
paper, and the hot empty road – there were few motor cars then – reflected Sunday’s waste
and indifference. High sulky summer sucked me towards it, and I offered no resistance at all.
Through the solitary morning and afternoon I found myself longing for some opposition or
rescue, for the sound of hurrying footsteps coming after me and family voices calling me back.
None came. I was free. I was affronted by freedom. The day’s silence said, Go where you
will. It’s all yours. You asked for it. It’s up to you now. You’re on your own, and nobody’s going to
stop you. As I walked, I was taunted by echoes of home, by the tinkling sounds of the kitchen,
shafts of sun from the windows falling across the familiar furniture, across the bedroom and the
bed I had left.
5
10
15
20
* iron maiden: enclosed instrument of torture
–
How and to what effect is the tension between the pull of home and the desire for freedom
created in this text?
M21/1/AXENG/HP1/ENG/TZ2/XX
–3–
2221 – 0049
Write a guided analysis of the following text.
2.
The following extract is the opening of a one-act play Campbell of Kilmohr by J.A. Ferguson. It is set in a
poor cottage in eighteenth century Scotland, where the women are waiting for the older one’s son who is
a rebel on the run.
MORAG is restlessly moving backwards and forwards. The old woman is seated on a low stool
beside the peat1 fire in the centre of the floor.
The room is scantily furnished and the women are poorly clad. MORAG is barefooted. At the
back is the door that leads to the outside. On the left of the door is a small window. On the right
side of the room there is a door that opens into a barn. MORAG stands for a moment at the
window, looking out.
5
MORAG: It is the wild night outside.
MARY STEWART: Is the snow still coming down?
MORAG: It is that then – dancing and swirling with the wind too, and never stopping at all. Aye,
and so black I cannot see the other side of the road.
MARY STEWART: That is good.
MORAG moves across the floor and stops irresolutely. She is restless, expectant.
MORAG: Will I be putting the light in the window?
MARY STEWART: Why should you be doing that! You have not heard his call (turns eagerly),
have you?
MORAG (with sign of head): No, but the light in the window would show him all is well.
MARY STEWART: It would not then! The light was to be put there after we had heard the signal.
MORAG: But on a night like this he may have been calling for long, and we never heard him.
MARY STEWART: Do not be so anxious, Morag. Keep to what he says. Put more peat on the
fire now and sit down.
MORAG (with increasing excitement): I canna2, I canna! There is that in me that tells me
something is going to befall us this night. Oh, that wind, hear to it, sobbing round the house as if
it brought some poor lost soul up to the door, and we refusing it shelter.
MARY STEWART: Do not be fretting yourself like that. Do as I bid you. Put more peats on
the fire.
MORAG (at the wicker peat-basket): Never since I… What was that? (Both listen for a moment.)
MARY STEWART: It was just the wind; it is rising more. A sore night for them that are out in
the heather.
10
15
20
25
MORAG puts peat on the fire
1
2
peat: turf used as fuel
canna: cannot (Scottish dialect)
–
In what ways does the relationship between the two women help to create the mood of this
opening to the play?
Disclaimer:
Texts used in IB language assessments are taken from authentic, third-party sources. The views expressed within
the
el
t their i ivi
l th r
t ece
rily reflect the vie
the
References:
1.
Lee, L., 1969. As I Walked Out One Midsummer Morning. London: Andre Deutsch. p.223.
2.
Ferguson, J.A., 1915. Campbell of Kilmohr. In: Charlton, J.M., ed. 1965. The Pan Book of One-Act Plays. London:
Samuel French. pp.37–38.
M21/1/AXENG/SP1/ENG/TZ2/XX
English A: literature – Standard level – Paper 1
Anglais A : littérature – Niveau moyen – Épreuve 1
Inglés A: Literatura – Nivel Medio – Prueba 1
Monday 10 May 2021 (afternoon)
Lundi 10 mai 2021 (après-midi)
Lunes 10 de mayo de 2021 (tarde)
1 h 15 m
Instructions to candidates
y Do not open this examination paper until instructed to do so.
y Write a guided analysis of text 1 or text 2.
y Use the guiding question or propose an alternative technical or formal aspect of the text to focus
your analysis.
y The maximum mark for this examination paper is [20 marks].
Instructions destinées aux candidats
y N’ouvrez pas cette épreuve avant d’y être autorisé(e).
y Rédigez une analyse dirigée du texte 1 ou du texte 2.
y Utilisez la question d’orientation ou proposez une autre manière d’aborder le texte en
choisissant un aspect technique ou formel sur lequel concentrer votre analyse.
y Le nombre maximum de points pour cette épreuve d’examen est de [20 points].
Instrucciones para los alumnos
y No abra esta prueba hasta que se lo autoricen.
y Escriba un análisis guiado del texto 1 o del texto 2.
y Utilice la pregunta de orientación o proponga otro aspecto técnico o formal del texto en el que
centrar su análisis.
y La puntuación máxima para esta prueba de examen es [20 puntos].
3 pages/páginas
2221 – 0050
© International Baccalaureate Organization 2021
M21/1/AXENG/SP1/ENG/TZ2/XX
–2–
2221 – 0050
Write a guided analysis of one of the following texts.
1.
The following text is an extract from the opening of the book As I Walked Out One Midsummer Morning
by Laurie Lee.
I was propelled, of course, by the traditional forces that had sent many generations along this
road – by the small tight valley closing in around one, stifling the breath with its mossy mouth,
the cottage walls narrowing like the arms of an iron maiden*, the local girls whispering, ‘Marry,
and settle down.’ Months of restless unease, leading to this inevitable moment, had been spent
wandering about the hills, mournfully whistling, and watching the high open fields stepping away
eastwards under gigantic clouds…
And now I was on my journey, in a pair of thick boots with a hazel stick in my hand.
Naturally, I was going to London, which lay a hundred miles to the east; and it seemed equally
obvious that I should go on foot. But first, as I’d never yet seen the sea, I thought I’d walk to
the coast and find it. This would add another hundred miles to my journey, going by way of
Southampton. But I had all the summer and all time to spend.
That first day alone – and now I was really alone at last – steadily declined in excitement
and vigour. As I tramped through the dust towards the Wiltshire Downs a growing reluctance
weighed me down. White elder-blossom and dog-roses hung in the hedges, blank as unwritten
paper, and the hot empty road – there were few motor cars then – reflected Sunday’s waste
and indifference. High sulky summer sucked me towards it, and I offered no resistance at all.
Through the solitary morning and afternoon I found myself longing for some opposition or
rescue, for the sound of hurrying footsteps coming after me and family voices calling me back.
None came. I was free. I was affronted by freedom. The day’s silence said, Go where you
will. It’s all yours. You asked for it. It’s up to you now. You’re on your own, and nobody’s going to
stop you. As I walked, I was taunted by echoes of home, by the tinkling sounds of the kitchen,
shafts of sun from the windows falling across the familiar furniture, across the bedroom and the
bed I had left.
5
10
15
20
* iron maiden: enclosed instrument of torture
–
How and to what effect is the tension between the pull of home and the desire for freedom
created in this text?
M21/1/AXENG/SP1/ENG/TZ2/XX
–3–
2221 – 0050
2.
The following extract is the opening of a one-act play Campbell of Kilmohr by J.A. Ferguson. It is set in a
poor cottage in eighteenth century Scotland, where the women are waiting for the older one’s son who is
a rebel on the run.
MORAG is restlessly moving backwards and forwards. The old woman is seated on a low stool
beside the peat1 fire in the centre of the floor.
The room is scantily furnished and the women are poorly clad. MORAG is barefooted. At the
back is the door that leads to the outside. On the left of the door is a small window. On the right
side of the room there is a door that opens into a barn. MORAG stands for a moment at the
window, looking out.
5
MORAG: It is the wild night outside.
MARY STEWART: Is the snow still coming down?
MORAG: It is that then – dancing and swirling with the wind too, and never stopping at all. Aye,
and so black I cannot see the other side of the road.
MARY STEWART: That is good.
MORAG moves across the floor and stops irresolutely. She is restless, expectant.
MORAG: Will I be putting the light in the window?
MARY STEWART: Why should you be doing that! You have not heard his call (turns eagerly),
have you?
MORAG (with sign of head): No, but the light in the window would show him all is well.
MARY STEWART: It would not then! The light was to be put there after we had heard the signal.
MORAG: But on a night like this he may have been calling for long, and we never heard him.
MARY STEWART: Do not be so anxious, Morag. Keep to what he says. Put more peat on the
fire now and sit down.
MORAG (with increasing excitement): I canna2, I canna! There is that in me that tells me
something is going to befall us this night. Oh, that wind, hear to it, sobbing round the house as if
it brought some poor lost soul up to the door, and we refusing it shelter.
MARY STEWART: Do not be fretting yourself like that. Do as I bid you. Put more peats on
the fire.
MORAG (at the wicker peat-basket): Never since I… What was that? (Both listen for a moment.)
MARY STEWART: It was just the wind; it is rising more. A sore night for them that are out in
the heather.
10
15
20
25
MORAG puts peat on the fire
1
2
peat: turf used as fuel
canna: cannot (Scottish dialect)
–
In what ways does the relationship between the two women help to create the mood of this
opening to the play?
Disclaimer:
Texts used in IB language assessments are taken from authentic, third-party sources. The views expressed within
the
el
t their i ivi
l th r
t ece
rily reflect the vie
the
References:
1.
Lee, L., 1969. As I Walked Out One Midsummer Morning. London: Andre Deutsch. p.223.
2.
Ferguson, J.A., 1915. Campbell of Kilmohr. In: Charlton, J.M., ed. 1965. The Pan Book of One-Act Plays. London:
Samuel French. pp.37–38.
M21/1/AXENG/BP1/ENG/TZ2/XX/M
Marking notes
Remarques pour la notation
Notas para la corrección
May / Mai / Mayo de 2021
English A: literature
Anglais A : littérature
Inglés A: Literatura
Higher level and standard level
Niveau supérieur et niveau moyen
Nivel Superior y Nivel Medio
Paper / Épreuve / Prueba 1
6 pages/páginas
–2–
M21/1/AXENG/BP1/ENG/TZ2/XX/M
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 Global Centre, Cardiff.
Ces remarques pour la notation sont confidentielles. Leur
usage est réservé exclusivement aux examinateurs participant
à cette session.
Ces remarques 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 confidenciales y para el uso
exclusivo de los examinadores en esta convocatoria de
exámenes.
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.
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M21/1/AXENG/BP1/ENG/TZ2/XX/M
The following are the annotations available to use when marking responses.
Annotation
Explanation
Caret – indicates omission.
Incorrect point – indicates factual inaccuracies or
misinterpretations.
Ellipse that can be expanded.
Horizontal wavy line that can be expanded –
indicates language errors / incoherence.
Highlight tool that can be expanded.
On page comment – justifies application of
assessment criteria.
Unclear content or language.
SEEN - every scanned page must be annotated
or marked as SEEN.
Good Response/Good Point.
Vertical wavy line that can be expanded –
indicates irrelevance / going off the point.
You must make sure you have looked at all pages. Please put the
blank page, to indicate that you have seen it.
annotation on any
When using the On page comment annotation, please keep the following in mind:
• Avoid covering the candidate’s own writing. This can be done by writing your comments in
the margins then running the arrow attached to the “On page comment” annotation to the
appropriate place.
• Provide all comments in the target language.
• You may provide summative comments at the end of the script, but please do NOT record
numerical marks on the scripts.
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M21/1/AXENG/BP1/ENG/TZ2/XX/M
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 features which all answers must include.
Answers which do not follow the approach suggested in the guiding question, but have provided
an alternative formal or technical focus should be rewarded appropriately in line with the
assessment criteria.
Instructions générales pour la notation
Ces notes ne sont que simples lignes directrices pour aider les examinateurs lors de la notation.
Elles ne peuvent en aucun cas être considérées comme un ensemble fixe et exhaustif de
caractéristiques que les réponses doivent présenter.
Les réponses qui ne suivent pas l’approche suggérée dans la question d’orientation, mais qui
ont adopté un autre angle technique ou formel doivent être récompensées de manière
appropriée, conformément aux critères d’évaluation.
Instrucciones generales para la corrección
El objetivo de estas notas para los examinadores es servir de directrices a fin de ayudar en la
corrección. No deben considerarse un conjunto fijo y exhaustivo de características que deban
estar presentes en todas las respuestas.
Las respuestas que no sigan el enfoque recomendado en la pregunta de orientación, pero
posean un enfoque alternativo, de carácter formal o técnico, también deberán ser valoradas
de acuerdo con los criterios de evaluación.
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M21/1/AXENG/BP1/ENG/TZ2/XX/M
1.
Literary form
Prose non-fiction
Elements of the text significant for analysis
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tension between home and travelling the world
contrast of narrow walls open landscape
deliberate choice of adjectives and verbs eg sucked,
comment on the fact that the author is making the journey by walking
state of mind conveyed through the narrative voice
description of landscape
movement between the two narrators, the younger man and the man he becomes
note the process of being alone, no ties
note the tone of anticipation, slight sense of “what have I done?”
use of features such as alliteration, tone and rhythm.
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M21/1/AXENG/BP1/ENG/TZ2/XX/M
2.
Literary form
Drama
Elements of the text significant for analysis
• dramatic impact of this as an opening to a play
• background of the weather, and the language and imagery used to convey it, eg the
personification of the snow and the wind. Why might the heavy snow be “good”?
• use of setting
• contrasting attitudes of the two women
• creation of the relationship between two women
• contrast in their behaviour
• sense of mystery/expectation/anticipation. Who is “he”?
• dramatic irony in the speeches of the women
• melodramatic elements.