w
w
ap
eP
m
e
tr
.X
w
om
.c
s
er
Coursework Training
Handbook
Cambridge IGCSE®
World Literature
0408
Cambridge Secondary 2
Cambridge International Examinations retains the copyright on all its publications. Registered Centres are
permitted to copy material from this booklet for their own internal use. However, we cannot give permission
to Centres to photocopy any material that is acknowledged to a third party even for internal use within a
Centre.
® IGCSE is the registered trademark of Cambridge International Examinations
© Cambridge International Examinations 2013
Contents
Introduction ....................................................................................................................... 3
Advice and guidance
Accreditation
Assessment of the work
Further help
Section 1: About the coursework ........................................................................................ 5
1.1
1.2
1.3
1.4
Content of the coursework portfolio
The advantages of coursework
Scheduling coursework
Scheme of work
Section 2: The critical essay ................................................................................................ 9
2.1 Guidance
2.2 Critical essay – assessment criteria
2.3 Examples of assignment 1 critical essay
Section 3: The empathic response ................................................................................... 21
3.1 Guidance
3.2 Empathic response – assessment criteria
3.3 Examples of assignment 2 empathic response
Section 4: Oral response ................................................................................................... 31
4.1
4.2
4.3
4.4
4.5
4.6
4.7
Guidance
Choice of texts
Preparing for the oral response
Oral response – assessment criteria
Conduct of the Oral response: for teachers
Types of question in the oral assessment: recorded conversation
Examples of assignment 3 Oral Responses
Section 5: Coursework administration ............................................................................... 37
5.1
5.2
5.3
5.4
5.5
5.6
5.7
5.8
5.9
Teacher supervision
Length of assignments
Technical accuracy in written coursework
Plagiarism in written coursework
Evidence of marking and annotation on candidate work
Presentation of assignments
Internal standardisation
Internal moderation
Individual Candidate Record Cards
Section 6: Accreditation .....................................................................................................43
6.1
6.2
6.3
6.4
6.5
What you need to do
On completion of the handbook
Critical essays A–D
Empathic responses E–H
Oral responses tracks 4–6
Appendix: Coursework Assessor Accreditation Forms ..................................................... 67
2
IGCSE World Literature
Introduction
Introduction
Advice and guidance
This handbook provides a guide to both the written and oral elements of the Coursework Portfolio,
Component 1, in the Cambridge IGCSE World Literature syllabus (0408).
It offers advice and clarification on:
•
The requirements of the two written coursework assignments (the Critical Essay and the Empathic
Response)
•
The requirements of the oral response: recorded conversation
•
Assessment standards
•
Marking candidates’ assignments
•
Preparing the written assignments for external moderation
Please note that, in the interests of having all information relating to coursework in one place, this handbook
reproduces some of the material that can be found in the Cambridge IGCSE World Literature Teacher Guide
(0408).
The written candidate work in this interim document is based on the Cambridge 0486 Literature (English)
syllabus, and the judgments made, focus on the quality of the writing. Cambridge will in due course publish
a revised handbook drawing on the coursework of 0408 Cambridge IGCSE World Literature candidates.
Accreditation
Teachers can seek accreditation by submitting a Curriculum Vitae (C.V.) to Cambridge for appraisal. Details
about this approach are available in the Cambridge Administrative Guide. Alternatively teachers can seek
accreditation by using this Coursework Training Handbook. To do this, teachers should assess:
•
the sample oral recordings which can be found on the accompanying CD
•
the accreditation scripts in Section 6.
Assessment should be carried out in the light of the guidance and advice in the main body of the handbook.
Marks and comments should be recorded on the Coursework Assessor Accreditation forms in the
Appendix, and sent to Cambridge.
Cambridge IGCSE Accreditation Coordinator (EDM)
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
United Kingdom
Please note: If you have already been accredited to mark IGCSE Literature (English) 0486 you will not need
to apply for accreditation to mark IGCSE World Literature 0408.
IGCSE World Literature
3
Introduction
Assessment of the work
Please allow between four and six weeks for the moderator to assess the work that is submitted and for
Cambridge to inform you of the outcome.
You will be informed by post whether you have achieved accredited status. If you are successful you will
receive a Certificate. If the Moderator feels that more practice is required, you will receive a letter informing
you of this. A Moderator’s Report will accompany the letter providing guidance in the cases where
accreditation has not been achieved and feedback where it has.
Please note it is not usual practice for Cambridge to inform teachers or schools of accreditation outcomes
over the telephone or by email.
If accreditation is not awarded by the Moderator on one particular occasion this does not mean a teacher
cannot continue to teach, it simply restricts their ability to moderate Coursework until accreditation is
awarded. You may re-submit work for assessment as many times as is necessary for accreditation to be
awarded. There is however, a charge each time for doing so.
Further help
We hope that this Coursework Training Handbook will provide a thorough introduction to the requirements
and criteria for the assessment of coursework in IGCSE World Literature. However, if you have any further
questions or difficulties, please do not hesitate to contact Cambridge.
The address to which your queries should be sent is:
Customer Services
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
United Kingdom
Telephone:
Fax:
Email:
Website:
4
+44 1223 553554
+44 1223 553558
info@cie.org.uk
www.cie.org.uk
IGCSE World Literature
Section 1: About the coursework
Section 1: About the coursework
1.1 Content of the coursework portfolio
The table sets out the key requirements of the Portfolio.
Assignment
1. Critical essay
2. Empathic
response
Total
marks
25
25
Requirements
•
800–1200 words (including quotations but not
references/bibliography).
•
Based on one text*.
•
The text must not be on the examination (Paper 3)
or the same text as for Assignment 2.
•
600–1000 words.
•
Assumes the voice of one character in one prose or
drama text.
•
The task prescribes a particular moment in the text
(which may be the end of the text).
The text must not be on the examination (Paper 3)
or the same text as for Assignment 1.
•
3. Oral response:
recorded conversation
15
•
4–7 minutes.
•
A conversation with the teacher on an aspect of the
candidate’s chosen text:
•
EITHER the way a novelist or playwright presents a
particular character
•
OR the way their chosen writer (from prose, drama
or poetry) presents a particular theme.
•
Text may be an examination (Paper 3) set text
or a text studied for one of the other coursework
assignments.
•
The conversation must be recorded.
This component carries 50% of the assessment of the syllabus as a whole.
Learners will submit a portfolio of two written assignments AND one oral assignment. [Note that this
Handbook relates to the written assignments.]
This component as a whole requires study of at least two different forms (poetry/prose/drama), with texts
drawn from at least two countries/cultures.
The assignments are set and marked by the teacher(s), and internally moderated where there is more than
one teacher doing the marking. They are subsequently externally moderated by Cambridge Examiners.
IGCSE World Literature
5
Section 1: About the coursework
Assignments should follow a programme of study undertaken by a teaching group and may be completed at
any stage during the course. It is advised that each learner undertakes more than two written assignments
during the course to provide a choice of work towards her/his portfolio, and that both teacher and learner
discuss which are the best assignments to submit. Leanrers should also have opportunities to prepare for
the oral responses.
Learners do not have to produce written assignments under examination-type conditions. The oral
assessment has to be recorded by the teacher. Guidance about the conduct of the oral assessment is
given in Section 4.5 of this handbook.
The Cambridge Handbook for Centres contains guidance and general regulations about internal (schoolbased) assessment of coursework.
1.2 The advantages of coursework
The Portfolio has been designed to test learners’ appreciation of literature in three strikingly different ways:
through critical or analytical writing; through more imaginative empathic writing; and by means of an oral
response.
Coursework allows you as a teacher greater flexibility and a degree of creativity in the way you design and
deliver your courses. Texts and tasks can be chosen which complement the study of the examination text(s)
and which take into account the interests and abilities of learners, as well as the literary enthusiasms of
teachers.
Coursework allows learners to re-draft their written responses, developing skills such as critical thinking,
editing and proof-reading, which will benefit them in other areas of the syllabus, in other subjects and in
future stages of their education.
1.3 Scheduling coursework
Careful consideration needs to be given to the scheduling of coursework assignments within the overall
course. Setting them near the beginning of the course may not lead to learners producing their best work.
For example, learners are likely to perform better in the Critical Essay assignment of the Portfolio if they
have developed suitable skills of textual analysis before they embark on this assignment. Similarly, it would
be prudent to offer opportunities for learners to practise empathic writing before working on the Empathic
Response assignment they are to submit. Centres will also need to give careful thought to the scheduling
and particular practicalities of the oral responses. Lessons leading up to the oral assessments should enable
learners to feel confident about:
•
the depth of their knowledge on their chosen topic
•
the requirements of the assessment.
Many Centres might conclude that coursework assignments are best not completed during the first term.
On the other hand, it is important to get all coursework assignments completed in such a way that sufficient
time is allowed for revision of the set text/s and for practice exercises for the Unseen paper. Schools also
need to allocate time for coursework administration so that relevant materials for external moderation arrive
at Cambridge by the deadline for coursework submission.
6
IGCSE World Literature
Section 1: About the coursework
1.4
Scheme of work
The Cambridge scheme of work for this syllabus can be found on Teacher Support (http://teachers.cie.org.uk);
it is designed to help Centres with medium-term planning. There are units on the three main literary forms
(Prose, Drama and Poetry) and on each of the coursework items:
Unit 5 Critical Essay
Unit 6 Empathic Response
Unit 7 Oral Response: recorded conversation.
IGCSE World Literature
7
Section 1: About the coursework
8
IGCSE World Literature
Section 2: The critical essay
Section 2: The critical essay
2.1 Guidance
When framing coursework tasks, it is important to refer to the relevant assessment criteria. It can be seen
that for learners to attain the highest marks there must be an ability to probe texts critically. Successful
essays are those which explore the ways in which writers make their characters, themes or settings
memorable and vivid. These essays examine how the writer uses form, structure and language to create
and shape meanings. Characters are seen as fictional or dramatic ‘constructs’ rather than real-life people,
and there is a clear focus on the role of the writer in presenting characters. The strongest responses
combine succinct, pertinent, textual reference with precise, critical comment; quotations are used to
substantiate a point about how a writer uses a particular word or phrase to create certain effects. By
contrast, copious quotation without pausing to comment does not contribute to the development of critical
analysis; inert quotation of this kind cannot lead to high reward.
Critical vocabulary, properly deployed, can enhance an argument, but it is not very helpful if merely used
to log literary devices. The observation ‘“Time’s winged chariot” is an example of personification’ is an
accurate description but should not be confused with analysis, which involves a consideration of the effects
created by using these words. Learners should be taught that generalised comments such as the following
may be true but do not constitute analysis: ‘the writer’s use of language draws you in’; ‘the description
makes you feel as if you are there’.
In order that learners have the opportunity to realise their potential, they need to respond to tasks which
have a precise and manageable focus and which invite a detailed engagement with the literary aspects
of texts. Unhelpful tasks are those that encourage the production of mere plot summaries or character
sketches.
Essays should not be used as a vehicle for unloading extraneous background material about the author’s
life or times. The assessment criteria do not reward this, and learners should be discouraged from offering
paragraphs of background before they proceed to answer the question.
Examples of suitable tasks
The following tasks explicitly target the writing. It is important to include the writer’s name in the task. Clear
command or question words are used at the beginning of each task: e.g. ‘How?’, ‘In what ways?’, ‘Explore’.
The focus of each task is specific and manageable for an 800–1200 word essay.
1. In what ways does Kafka memorably convey the isolation of Gregor Samsa in Metamorphosis?
2. Explore the ways in which Ibsen presents the character of Nora at two different moments in A Doll’s
House.
3. To what extent does Shakespeare make you sympathise with the Nurse and her actions in Romeo and
Juilet?
4. How does Hansberry vividly capture the dreams of two of the characters in A Raisin in the Sun?
5. How does [your chosen poet] strikingly convey the loss of childhood innocence in two of the poems
you have studied?
6. Explore the ways in which two short story writers strikingly present conflict between a man and a
woman.
IGCSE World Literature
9
Section 2: The critical essay
Note that in the last two examples there is no requirement to compare. The learner can deal with one short
story, and then the second.
Examples of unsuitable tasks
1. The House of Bernarda Alba
2. Write about what happens in Purple Hibiscus.
3. Nora in A Doll’s House
4. What does Orwell’s Animal Farm tell us about the Russian Revolution?
5. How do five of Neruda’s poems deal with nature?
6. Compare the ways in which two of the short story writers you have studied use first person narrators.
7. Explore the ways in which Ibsen presents the character of Nora throughout A Doll’s House.
Tasks 1 – 3 in the list above invite learners to write little more than plot synopses or unfocused character
sketches.
Task 4 does not have a literary focus.
Task 5 invites consideration of too many poems and the topic is somewhat vague; this would lead to a
superficial approach.
Task 6 asks for comparison, something which is not required, or rewarded, by the assessment criteria.
Task 7 has an engaging focus but could become unwieldy if the learner tries to cram too much into the
assignment, and in so doing produces a superficial commentary rather than a probing analysis.
It is certainly permissible for all your learners to study the same text for their critical essay. It is often
worthwhile offering a number of tasks from which learners can choose. They may, if they wish, propose
their own assignments, though you should check the wording of tasks in order to ensure that they meet the
assessment criteria.
Because the subject seeks to promote the importance of an informed personal response, it would be
disconcerting for an external moderator to see from any teaching group, essays which make the same
points and deploy the same quotations in the same order. Learners should be encouraged to think for
themselves rather than regurgitate what they have been told.
Learners should keep an eye on the word count as they draft and re-draft their essay. Very short essays
tend to be self-penalising as they fail to sustain critical analysis. Excessively long essays can lose focus.
The word count should be indicated at the end of the critical essay. The moderator will not consider work
beyond the 1200 word limit.
Remember that candidates must not submit a critical essay on a text being studied on Paper 3.
10
IGCSE World Literature
Section 2: The critical essay
2.2 Critical essay – assessment criteria
Band
Mark
Descriptors
Band 1
25
24
23
Answers in this band have all the qualities of Band 2 work, with further
insight, sensitivity, individuality and flair. They show complete and sustained
engagement with both text and task.
Band 2
22
21
20
Sustains a perceptive and convincing and relevant personal response
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
Below Band 8
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
•
shows a clear critical understanding of the text
•
responds sensitively and in detail to the way the writer achieves her/his
effects
•
integrates much well-selected reference to the text
Makes a well-developed, detailed and relevant personal response
•
shows a clear understanding of the text and some of its deeper implications
•
makes a developed response to the way the writer achieves her/his effects
•
supports with careful and relevant reference to the text
Makes a reasonably developed relevant personal response
•
shows understanding of the text and some of its deeper implications
•
makes some response to the way the writer uses language
•
shows some thoroughness in the use of supporting evidence from the text
Begins to develop a relevant personal response
•
shows some understanding of meaning
•
makes a little reference to the language of the text
•
uses some supporting textual detail
Attempts to communicate a basic personal response to the task
•
makes some relevant comments
•
shows a basic understanding of surface meaning of the text
•
makes a little supporting reference to the text
Some evidence of simple personal response to the task
•
makes a few straightforward comments
•
shows a few signs of understanding the surface meaning of the text
•
makes a little reference to the text
4
3
2
Limited attempt to respond
0/0–1
No answer/Insufficient to meet the criteria for Band 8.
•
shows some limited understanding of simple/literal meaning
IGCSE World Literature
11
Section 2: The critical essay
2.3 Examples of assignment 1 critical essay
This section contains three examples of assignment 1, together with commentaries on their strengths and
weaknesses. These should be read, together with all the guidance in this handbook, before the marking of
the sample assignments.
Script 1
How do you think Shakespeare makes Richard such a lively and humorous character?
12
IGCSE World Literature
Section 2: The critical essay
Comment
The response shows understanding of Richard’s character and some of the play’s deeper implications:
Richard is ‘an actor who masks his emotions’ and ‘he is in charge of the fate of most of the characters’.
There is some sense of the character’s dramatic impact evident in the opening sentences. However, the
comments on language are not developed in a clear response to the question. Richard’s ‘sugared words’
and use of words with double meanings are mentioned but not illustrated or explored in any detail. There
would need to be greater use of supporting evidence from the text for a higher mark than 14, at the
bottom of Band 4.
IGCSE World Literature
13
Section 2: The critical essay
Script 2
How does Fitzgerald make Tom Buchanan such an unpleasant character in The Great Gatsby? Support your
answer by close reference to Fitzgerald’s writing.
14
IGCSE World Literature
Section 2: The critical essay
IGCSE World Literature
15
Section 2: The critical essay
16
IGCSE World Literature
Section 2: The critical essay
Comment
The candidate engages confidently with the key words of the question right from the start: ‘Tom Buchanan
is presented…to be a villainous, unpleasant character’. The judgements made are supported by wellselected pertinent references which are skilfully integrated with clear critical comment:
e.g. ‘ “arrogant eyes” as a key feature of his appearance when creating an image of the man in our
heads, saying that these eyes had “established dominance over his face”. This could perhaps be a
metaphor for Tom’s personality – his arrogance has exceeded all other traits…’
This high quality of close analysis is in evidence throughout the essay, which shows a sensitive and
perceptive appreciation of Tom’s racism, hypocrisy and materialism. There is a sustained personal
engagement with both text and task, which places this essay at the top of Band 1, with a mark of 25.
IGCSE World Literature
17
Section 2: The critical essay
Script 3
Willy’s main support
A major reason for Willy’s tragedy
Which of these views of Linda do you think is nearer to the truth? Support your ideas with details from
Miller’s writing.
18
IGCSE World Literature
Section 2: The critical essay
IGCSE World Literature
19
Section 2: The critical essay
Comment
This essay glances at the task in the first sentence, but then digresses into areas that are not immediately
relevant to the actual question: e.g. ‘Shakespeare’s idea of a tragic hero’; ‘like Hamlet who is unable to
think’; ‘popularity is the way to success’. Points are made about Linda but largely at the level of description:
e.g. ‘As a good wife and supportive life partner, she is always there for Willy when he needs it’; ‘Linda’s help
comes in the form of kind words which affects Willy more. It keeps him going’.
There is some understanding of character and some use of supporting textual detail (though this tends to
be rather general in nature). The parts of the essay that are relevant ‘begin to develop a response’. This is
awarded a mark of 11, low Band 5. To achieve a higher mark, there would need to be a clearer focus on
the question, including explicit consideration of Miller’s writing.
20
IGCSE World Literature
Section 3: The empathic response
Section 3: The empathic response
3.1 Guidance
For this assignment, learners must assume the voice of one character in a prose or drama text. Tasks should
be framed in such a way that the author’s created world is central to any response. Responses should
assume the voice of a character at a particular moment in a prose or drama text. The most successful
empathic responses integrate a compellingly authentic voice for the character and a wide range of detail
convincingly rooted in the text.
Tasks should not be set at moments well outside the text, nor should they invite students to stray from
the recognisable world of the text. For example, it would be inappropriate to set alternative endings or the
‘voice’ of a character ten years into the future.
Examples of suitable tasks
The following examples indicate a precise moment for the learner to assume the voice of a particular
character in the prose or drama text. Each task ends with the instruction: ‘Write your thoughts’. This is a
formula that should be adopted by centres.
Hansberry, A Raisin in the Sun
You are Ruth. You are about to depart for the new family home in Clybourne Park.
Write your thoughts.
Ibsen, A Doll’s House
You are Torvald, just after Nora has left.
Write your thoughts.
Kafka, Metamorphosis
You are Grete at the end of the story, after Gregor’s death.
Write your thoughts.
Shakespeare, Romeo and Juliet
You are the Nurse after Tybalt’s death. Juliet has sent you to find Romeo at Friar Lawrence’s cell.
Write your thoughts.
These are well-framed empathic tasks, and challenging ones. In each task, character and moment are
clearly specified. Even where students cover the same text, the precise choice of character and moment in
the text should be left to the student. Students might be asked to submit their proposed choice of character
and moment to teachers so they can judge whether they are appropriate.
As with the critical essay, students should keep an eye on the word count as they draft and re-draft their
essay. The word count should be indicated at the end of the empathic response. Examiners will not mark
work beyond the word limit.
Remember that candidates must not submit an empathic response task on a text being studied on Paper 3.
IGCSE World Literature
21
Section 3: The empathic response
3.2 Empathic response – assessment criteria
Band
Mark
Descriptors
Band 1
25
24
23
Answers in this band have all the qualities of Band 2 work, with further insight,
sensitivity, individuality and flair.
They sustain an entirely convincing voice.
Band 2
22
21
20
Sustains a perceptive, convincing and relevant personal response
19
18
17
Makes a well-developed, detailed and relevant personal response
16
15
14
Makes a reasonably developed relevant personal response
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
Below Band 8
3.3
•
shows a detailed appreciation of character, rooted in the text
•
sustains an engagingly convincing voice
•
shows a clear understanding of character, rooted in the text
•
sustains a largely authentic voice
•
shows understanding of character and text, including some of the deeper
implications
•
uses suitable features of expression
13
12
11
Begins to develop a relevant personal response
10
9
8
Attempts to communicate a basic personal response to the task
7
6
5
Some evidence of simple personal response to the task
4
3
2
Limited attempt to respond
0/0–1
•
shows some understanding of character and text
•
begins to assume a voice appropriate to the character
•
•
•
shows a basic understanding of character and text
shows a few signs of understanding of character’s thoughts or feelings
shows some limited understanding of character’s thoughts or feelings
No answer/Insufficient to meet the criteria for Band 8.
Examples of assignment 2 empathic response
This section contains three examples of assignment 2, together with commentaries on their strengths and
weaknesses. These should be read, together with all the guidance in this handbook, before the marking of
sample assignments.
22
IGCSE World Literature
Section 3: The empathic response
Script 4
Jane Austen, Pride and Prejudice
You are Lady Catherine. You have just received the letter from Darcy telling you of his intention to marry
Elizabeth Bennett.
Write your thoughts.
IGCSE World Literature
23
Section 3: The empathic response
Comment
Knowledge of the text (of the arranged marriage of Darcy and his cousin) is clear from the first sentence.
There is also a sound understanding of Lady Catherine’s social attitudes: ‘Does Darcy realise how much
he is losing by marrying that low-class girl…’ Whilst the response captures something of Lady Catherine’s
arrogance and sense of position as head of the family, the voice is not always convincing. There are some
slightly anachronistic touches: ‘first I’ll have a chat with this Elizabeth girl’. The answer would have been
enhanced by the inclusion of a few more specific details, for example, about her knowledge of the Bennets.
The reference to Rosings Park seems to be a confusion with Pemberley. The answer is therefore placed in
Band 4, with a mark of 15: there are some suitable features of expression and a general understanding of
the character.
24
IGCSE World Literature
Section 3: The empathic response
Script 5
William Golding, Lord of the Flies
You are Ralph on the morning after Simon’s death. You have lied to Samneric about leaving the feast early.
Write your thoughts.
IGCSE World Literature
25
Section 3: The empathic response
Comment
This attempts to communicate a basic personal response to the character and moment. There is an
acknowledgement of Simon’s niceness and an awareness of Simon’s being confused with the ‘beastie’.
However, alongside this basic understanding there is also some misunderstanding: the allusion to Piggy’s
death shows confusion about the moment specified in the task. The voice is not really Ralph’s: e.g. ‘these
guys have become so savage’; ‘Well that is life, sometimes very nice and lovely and other times tragic and
with injustice’. Overall, this is an under-developed response, with uncertainty about the voice and moment
specified in the question.
This is awarded a mark of 9, in the middle of Band 6.
26
IGCSE World Literature
Section 3: The empathic response
Script 6
Arthur Miller, Death of a Salesman
You are Willy in Boston after Biff has discovered you with the Woman and has then left you.
Write your thoughts.
IGCSE World Literature
27
Section 3: The empathic response
28
IGCSE World Literature
Section 3: The empathic response
Comment
The opening sentence captures the moment precisely, with Willy kneeling on the floor as Biff departs. The
voice captured is recognisably Willy’s from the start: ‘I’m Willy Loman for God’s sake! I’m well-liked. I’m the
best goddam salesman this city’s ever seen. That lazy bum…’
This response captures in a short space Willy’s customary thoughts and echoes of the ways he speaks.
There is a wealth of compelling textual detail that enables the candidate to sustain an entirely convincing
voice for the moment specified: ‘He had some nerve calling me a fake! There’s nothing fake about Willy
Loman! I’m expecting an apology from that boy’. The response is developed and detailed, and to a very
great extent convincingly conveys Willy’s delusional thoughts. There is the occasionally slightly jarring note:
e.g. ‘It’s no use reaching the top in football if all you’re going to do is come straight back down because
you’ve gone and insulted somebody.’ This is nonetheless a Band 1 response, with a mark of 23.
IGCSE World Literature
29
Section 3: The empathic response
30
IGCSE World Literature
Section 4: Oral response
Section 4: Oral response
4.1 Guidance
The Oral response: recorded conversation, offers an innovative way for an IGCSE Literature course to test
learners’ appreciation of literature. At the outset, it should be emphasised that this is not a test of spoken
language skills. A glance at the assessment criteria for the oral response reveals that the following are being
tested:
•
quality of personal response and level of understanding
•
use of textual detail to support views.
As with written coursework, it is important for learners to select tasks which have a clear and manageable
focus. With this in mind, learners have to choose a particular character from a prose or drama text or a
particular theme from a prose, drama or poetry text. Here is a reminder of what the Syllabus states:
The conversation will be based on either the way a chosen writer presents a particular character or the way
a chosen writer presents a particular theme.
The focus should, therefore, be on the writer’s presentation of character or theme. Earlier questions in the
recorded conversation may well address character traits or explanations of themes. Subsequent questions
should deal with the writer’s methods.
4.2 Choice of texts
The text can be one used for:
•
Paper 3 (Set Text)
•
one of the written coursework texts
•
a totally different text.
If poems or short stories are being used, the oral response should deal with a minimum of two poems/
short stories. Dealing with too many poems/stories should be avoided, as this may lead to a fragmented
approach.
4.3 Preparing for the oral response
Before deciding on their chosen aspect, learners should be given opportunities to research their chosen
text. Research involving a range of secondary texts (e.g. print, online, video) is likely to give learners the
confidence to make appropriate choices. Notes made will inform their understanding and appreciation,
though it should be remembered that they may not refer to notes in the actual recorded conversation.
Learners’ performance in the oral assessment is likely to be strengthened by taking part in a range of
classroom activities designed to probe the detail of texts. For example, small group discussion could centre
on reasons for sympathising, admiring or disliking characters. Drama-focused work could explore how
writers present characters and themes.
Learners should be given concise details of the way the Oral response will be conducted as well as the
requirements of the assessment.
IGCSE World Literature
31
Section 4: Oral response
Examples of suitable tasks
The titles below include the name of the writer as well as the chosen character or theme. This is to remind
learners of the need to explore the writer’s techniques in presenting character or theme.
Kafka’s presentation of Gregor in Metamorphosis
How Ibsen portrays Nora in A Doll’s House
Mishima’s portrayal of Hatsue in The Sound of the Waves
How Dangarembga presents Tambu in Nervous Conditions
The ways Heaney presents childhood innocence in two poems from Death of a Naturalist
The ways Hansberry presents racism in A Raisin in the Sun
How Ibsen depicts corruption in An Enemy of the People
The ways writers convey ideas about the future in two short science fiction stories
The wording in the examples is deliberately varied: e.g. how a writer presents/portrays/depicts/conveys.
Centres are encouraged to adopt wording that is most useful for their own learners.
32
IGCSE World Literature
Section 4: Oral response
4.4 Oral response – assessment criteria
Band
Band 1
Mark
15
14
Descriptors
Demonstrates all the Band 2 qualities, together with insight, sensitivity,
individuality and flair
•
Band 2
Band 3
Band 4
Band 5
Band 6
Below Band 6
13
12
11
10
9
shows complete engagement with both text and task
Sustains a perceptive, convincing and relevant response
•
shows a detailed critical appreciation of how the writer presents character or
theme/ideas
•
integrates specific, well-selected references for support
Makes a well-developed, detailed and relevant personal response
•
shows a clear and sustained understanding of how the writer presents
character or theme/ideas
•
makes specific and relevant references for support
8
7
6
Makes a reasonably developed relevant personal response
5
4
3
Begins to develop a personal response to the task
2
1
Attempts to communicate a basic personal response
0
•
shows understanding of how the writer presents character or theme/ideas
•
makes some appropriate use of textual evidence for support
•
shows some understanding of character or theme/ideas
•
uses some textual detail for support
•
shows a basic understanding of character or theme/ideas
•
makes a little reference to the text
Does not meet the criteria for Band 6
•
responses are very hesitant and/or digressive, showing a very limited
understanding of task/text
4.5 Conduct of the Oral response: for teachers
Before the recording
1. Check that recording equipment is working properly.
2. Make a note of potential questions (this will most likely be done well in advance of the recording), but do
not give them to the learner in advance.
3. Welcome the learner and explain briefly and in general terms the way the conversation will be
conducted.
4. Put the learner at ease by asking a question or two about themselves. (Remember this is not assessed.)
IGCSE World Literature
33
Section 4: Oral response
During the recording
1. Begin by stating clearly the centre number, candidate number, candidate name and the chosen aspect.
2. Ask questions from the start of the conversation. Do not allow candidates to begin with a rehearsed
commentary.
3. Ask open questions as far as possible, as these enable the candidate to answer at reasonable length.
4. Ask follow-up questions which build on the points the candidate makes. Less confident speakers
are likely to need more prompt questions to help them to develop their points. Intervene when less
confident speakers are in need of positive encouragement.
5. Appear interested and supportive, doing nothing to distract. Do not make notes during the recording.
6. Do not correct mistakes, give the impression there is a ‘right’ answer, interrupt with your own views, or
show surprise or impatience.
7. Do not extend the conversation beyond 4 minutes if there is no benefit for the candidate.
8. After 6 minutes 30 seconds, begin to draw the conversation to a close.
9. Stop the recording after seven minutes have elapsed, saying ‘That concludes the conversation.’
10. Do not give your opinion of the candidate’s performance e.g. ‘That was very good’ or ‘You made some
excellent points’.
After the recording
Files should be organised in such a way that moderators can retrieve them easily. They should be labelled:
0408_01_Centre number_Candidate number_Candidate surname
e.g.
0408_01_AB123_1234_Chan
4.6 Types of question in the oral assessment: recorded
conversation
This list of possible questions is by no means exhaustive. The main aim is to ask open questions that allow
candidates to demonstrate a personal engagement with the detail of their chosen aspect. It is important,
too, to ask follow-up questions in the spirit of a conversation. This will enable learners to demonstrate
that they can ‘think on their feet’. The ways in which learners respond to open questions and follow-up
questions will be discriminators in the oral assignment. Less confident learners are likely to need more
closed questions to give them confidence, particularly in the first minutes of the assessment.
Some questions should focus explicitly on the role of the writer if the learner is to meet the various
assessment criteria. A conversation that neglects the role of the writer and, for example, treats a character
like a real-life person cannot score highly.
34
IGCSE World Literature
Section 4: Oral response
Examples of teacher questions
Discussion with other teachers in your school and from other schools will help you to build a repertoire of
useful questions. The following list provides a starting-point.
1. What were your initial impressions of your chosen character?
2. To what extent do you think it’s possible to admire or sympathise with your chosen character?
3. Do you think your chosen character is a hero or a villain? (Such a question used with characters
eliciting opposing judgements, for example, saint v. sinner, or hero v. villain, can provoke lively personal
responses.)
4. What, in your opinion, does the character contribute to the overall text?
5. Why do you think the writer made this such an important theme?
6. What do you find striking, dramatic, moving, amusing about your chosen aspect?
7. How effective do you find the opening or the ending in relation to your chosen theme?
8. What significance, in your view, does a particular chapter, scene or stanza have to the presentation of
the chosen theme?
9. What do you find powerful (or memorable/striking/vivid/ironic etc.) about the way the writer uses
language to present the chosen character or theme – with specific examples?
10. Why did you choose this topic?
11. How do you think the title relates to the theme?
Useful follow-up questions
It is important for teachers to respond to what learners actually say in order to develop and sustain the
conversation. Examples of follow-up questions include:
•
Why do you say that?
•
Is there any evidence to support that particular view?
•
What did you feel at that point in the play/story?
•
What effect does that have on you as a reader (or member of an audience)?
•
Is there another significant moment you could talk about?
IGCSE World Literature
35
Section 4: Oral response
4.7 Examples of assignment 3 Oral Responses
On the CD accompanying this handbook you will find six samples of recorded oral responses. The first three
tracks have been marked by a Cambridge moderator using the assessment criteria available in the syllabus
and reproduced on page 33 of this handbook.
The moderator’s comments are detailed below.
The final three tracks on the CD form part of the accreditation test. Instructions for this can be found in
Section 6.
All three recorded conversations are about characters in Yukio Mishima’s The Sound of Waves.
Comment on Track 1
Topic: the character Shinji
The candidate’s responses to a series of questions show understanding of Shinji’s character: he is a
fisherman, athletic and swims very fast. There is a grasp of the difference in class between Shinji and
Yasuo: the latter is ‘very rich and arrogant’; the former ‘not very rich’. There is some reference to textual
detail but it is not very developed. The conversation reveals a grasp of character but only an implicit
awareness of characterisation (i.e. the ways in which Mishima portrays Shinji). Some of the teacher’s
prompts are not taken up by the candidate who simply replies ‘Yes’ to the questions ‘Does he show
courage?’ and ‘Would you describe him as a religious person?’ Overall, there is ‘some understanding’ and
‘some textual detail for support’ in a Band 5 response.
Comment on Track 2
Topic: the character Shinji
The conversation begins with a well-developed response to the question ‘What do settings show about
his character?’ There is reference to Shinji’s role as fisherman and his bravery in saving the boat. There is
a clear understanding of the importance of the latter incident in what it reveals about Shinji’s character.
The candidate sustains a clear response to a range of questions about Shinji in relation to class, the title
of the book and in comparison with Yasuo. The candidate indicates the contrast between Shinji’s natural
relationship with Hatsue and Yasuo’s ‘forcing’ himself. Overall, this is a well-developed and detailed personal
response, in the middle of Band 3. A more detailed critical probing of Mishima’s writing would have lifted
the response.
Comment on Track 3
Topic: the character Chiyoko
The candidate makes a confident start to the conversation discussing the way Mishima describes Chiyoko,
making well-selected references to the text to support her view that the character is ‘cocooned in the
idea that she doesn’t look good’. There is some insight into the way Chiyoko contrasts with Hatsue: the
former is more learned and represents civilisation; the latter more natural, representing the culture of the
island. There is a sustained appreciation of the importance of the character to the novel. The candidate
notes that Mishima uses her to create the plot, move it on and resolve it. The extended responses to the
teacher’s questions are focused, well-developed and supported in a Band 1 response showing a complete
engagement with the ways in which Mishima presents this character.
36
IGCSE World Literature
Section 5: Coursework administration
Section 5: Coursework administration
5.1 Teacher supervision
Texts should be taught in such a manner that learners are encouraged to think for themselves rather than
merely reproduce what their teachers tell them. Teachers may suggest ways of approaching tasks and
planning assignments.
Written coursework
Sufficient work must be done under the supervision of the teacher so as to confirm the authenticity of a
learner’s work. The syllabus states that ‘if plans and first drafts are completed under teacher supervision,
then teachers can be reassured of the authenticity of the final assignment’ (Syllabus, section 4).
Teachers should give only general guidance about re-drafting. They might comment, for example, on the
need for a student to:
•
develop points more fully and/or more clearly
•
substantiate assertions
•
integrate quotation more succinctly
•
structure an argument more effectively
•
adopt a suitably formal critical register
•
edit or extend the piece of writing.
The learner must then be able to make a further draft without any help. Teachers should not mark,
correct or edit draft assignment material. Learners should not produce a fair copy after the teacher’s
detailed marking.
Additionally, a clear line needs to be drawn between the teacher offering opportunities in lessons for
exploring the text and the teacher giving a tightly structured framework which simply requires candidates to
regurgitate the same points, quotations and conclusions. Such an approach gives the mistaken impression
that there is such a thing as a correct answer, and this would not be in the spirit of the World Literature
syllabus.
Oral response
Details of the conduct of the oral assessment can be found in Section 4.5 of this handbook.
IGCSE World Literature
37
Section 5: Coursework administration
5.2 Length of assignments
Centres should not submit critical essays longer than 1200 words or empathic responses longer than 1000
words. Candidates should indicate the word count at the end of each assignment.
Oral assessments should not exceed 7 minutes. Teachers are advised not to extend the conversation
beyond the minimum of 4 minutes where there is no benefit for the candidate.
5.3 Technical accuracy in written coursework
You should note that learners may show a detailed appreciation of literature in spite of technical inaccuracies
in their writing. Conversely, a learner with a fluent and accurate control of English may not necessarily
demonstrate a good understanding of the literary aspects of a text. Because you are assessing literature,
there is no need to indicate errors of spelling, punctuation and grammar, though at the drafting stage
teachers are likely to want to remind learners of the need for accuracy and clarity of expression – in order to
practise those areas important for success in their language studies.
5.4 Plagiarism in written coursework
It is the school’s responsibility to make sure all coursework is the original work of learners. Teachers need
to make clear the consequences of plagiarism, both at the outset of the course and at intervals thereafter.
Teachers can generally detect writing which is not consistent in quality with a learner’s usual output. There
may, for example, be a lifted paragraph which sits oddly with the writing before and after it. Perhaps there is
some uncharacteristically ambitious phrasing; a simple enquiry about the meaning of the phrase will settle
doubts one way or the other.
The teacher’s role in detecting plagiarism is crucial. If you have doubts about the authenticity of an
assignment, it should not be included, even if this means an incomplete folder must be submitted.
5.5 Evidence of marking and annotation on candidate work
As well as providing comments on the overall quality of the Portfolio on the Individual Candidate Record
Card, teachers must mark each assignment, indicating strengths/weaknesses as appropriate, and providing
a final comment, making clear reference to the assessment criteria.
In the examination papers, examiners are instructed to tick points which are interesting, sensitive and
thoughtful. This is good practice, too, when marking written coursework assignments. The very occasional
tick with very little comment is not helpful to the moderation process. Indeed, such an approach betrays
a misunderstanding of the process. By contrast, the precise ticking of points and brief comments in the
margin (relating to the assessment criteria) allow both other teachers in the department and also external
moderators to see how the original teacher’s mark was arrived at. Unfocused ticking, at the end of every
page, paragraph or even sentence, does not contribute usefully to the dialogue between the original teacher
and others engaged in the moderation process. Likewise, unspecific comments such as ‘This work is very
good!’ do not assist the moderator.
38
IGCSE World Literature
Section 5: Coursework administration
5.6 Presentation of assignments
Assignments should be completed on A4 paper and may be handwritten or word-processed. If word
processed, the font size and type should be such as to guarantee readability. Small fonts are to be avoided
in word processed work in the same way as illegible script is in handwritten work. Discretion should be
exercised in choice of font and font size. Arial, point 11 or Times New Roman, point 12 are very good,
whereas ‘exotic’ fonts are not. Line spacing should ideally be set at 1.5. Whether word processed or
handwritten, the assignment should have margins that are sufficiently wide to enable teachers to make
suitable annotations.
Each piece must bear:
•
centre number
•
candidate number
•
candidate name
•
page numbers.
For the critical essay, the full title (not an abbreviation or approximation) must appear at the top of the first
page.
e.g. In what ways does Ibsen make you sympathise with Nora in A Doll’s House?
For the empathic response, both the name of the character and the chosen moment must be indicated at
the top of the first page:
e.g. Lady Macbeth – after the Banquet Scene (Act 3 Scene 4)
The written coursework should be attached by means of a treasury tag to the Individual Candidate Record
Card, in the following order:
•
Critical Essay
•
Empathic Response.
There is no requirement to submit drafts. Portfolios should not be submitted in plastic wallets, card folders
or ring-binder files.
5.7 Internal standardisation
This should take place at intervals during the course in order to ensure that work in the three separate
coursework assignments is being assessed to a common standard. For example, teachers might discuss
a number of unmarked critical essays (covering the whole range of responses) and arrive at agreed marks
for each essay. This would take place before the close marking of the assignments by individual teachers.
The discussion would reveal whether any teacher is not marking to the agreed standard, perhaps as a result
of placing excessive or insufficient emphasis on a particular aspect of the criteria. Similar standardisation
exercises should take place in respect of the Empathic Response and the Oral Response.
Over time, it is useful to develop, for the purpose of departmental reference, an archive of responses
representing all bands.
IGCSE World Literature
39
Section 5: Coursework administration
5.8 Internal moderation
If several teachers in a school are involved in internal assessment, then the school must make sure that all
learners are assessed to a common standard in order to produce a reliable order of rank. Each school must
have one teacher responsible for internal moderation who must ensure that all work is marked according to
the assessment criteria, and not the teachers’ views of the personal qualities of learners.
Each of the three coursework assignments needs to be moderated separately using the relevant
assessment criteria.
Using the Empathic Response as an illustration, a sample of ten assignments could be marked by two or
more teachers (one of whom should be the Internal Moderator). Any differences in marking between the
Internal Moderator and other markers should be talked through and resolved. Then a further sample of ten
from another teacher’s marking might be compared with the standard of the first set and any adjustment
made. Marks can be adjusted from any part of the range of marks, and if there is a discernible trend of
leniency or severity, marks should be adjusted for other coursework in that range. If the trend is consistent,
it is possible to scale marks upwards or downwards without the need to re-mark all assignments within the
range affected.
If, however, there is no clear pattern and if learners are at risk of being awarded the wrong mark, more
assignments from that teacher’s marking should be marked and adjustments made until all doubt about the
accuracy of the marking has been removed. Samples should be re-marked from the remaining teachers’
marking until the process is complete. The Individual Candidate Record Cards should bear evidence of
amendments made as a result of internal moderation.
5.9 Individual Candidate Record Cards
The card, together with teacher annotation of assignments, is the main contact between the school and
Cambridge’s external moderator. The card should set out the school’s definitive judgments on items in the
Coursework Portfolio.
Teachers should record a brief description of each assignment in the small box provided:
•
the author and title of the critical essay text (the full title will be at the top of the essay’s first page)
•
the character and moment for the empathic response
•
the text and chosen character/theme for the oral response.
Space is provided for comments and marks for each of the three coursework assignments. The marks
should be the final moderated marks, and not the teacher’s original marks (where these differ).
Comments should justify the award of a particular mark by referring to the relevant descriptors in the
assessment criteria. The tone should be objective; there is no room for summaries of candidates’ personal
qualities or histories, which can play no part in the final judgment. For example, the fact that a candidate has
been a model student, has loved reading and has worked hard are not relevant to the moderation process.
Comments must relate to a candidate’s work and draw on the wording of the band descriptors.
40
IGCSE World Literature
Section 5: Coursework administration
The following are, respectively, examples of helpful and unhelpful comments relating to the Critical Essay:
Helpful
Shazia produced perceptive and convincing exploration of Heaney’s use of imagery, integrating clear critical
comment with pertinent well-selected references.
Unhelpful
Omar was absent from school during many of the lessons on Kafka’s short stories – so all things considered
he did very well in his assignment which can be best described as good work.
IGCSE World Literature
41
Section 5: Coursework administration
42
IGCSE World Literature
Section 6: Accreditation
Section 6: Accreditation
6.1 What you need to do
For accreditation, you must assess the following 12 assignments:
•
6.3 Critical essays A-D
•
6.4 Empathic responses E-H
•
6.5 Oral response tracks 4–6
Use the relevant assessment criteria and exemplar assignments in Sections 2, 3 and 4 when determining
your marks.
The criteria are arranged in eight bands; if read from the bottom of the grid, each band describes a more
assured performance than the one preceding. Read the assignment and make a ‘best-fit’ judgment as to
which band to place it in. Often you may see qualities that appear to fit more than one band; so look at two
bands and come to a decision between them.
Your personal details, your marks and commentaries on the accreditation scripts and your declaration of
authenticity should be recorded on copies of the assessment forms supplied in the Appendix. You should
then send these documents to:
Cambridge IGCSE Accreditation Coordinator (EDM)
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
United Kingdom
6.2 On completion of the handbook
Assessment of the work
Please allow between four and six weeks for the moderator to assess the work that is submitted and for
Cambridge International Examinations to inform you of an outcome.
You will be informed of the Moderator’s decision regarding accreditation (the outcome) by post. This
will take the form of a Certificate in instances where accreditation is awarded, or in the cases where
accreditation cannot be awarded, a letter informing you of this. A Moderator’s Report may also be enclosed
which will give guidance in the cases of accreditation failure and feedback in the event that accreditation is
awarded.
Please note it is not usual practice for Cambridge to inform teachers of accreditation outcomes over the
telephone or by e-mail.
If accreditation is not awarded by the Moderator on one particular occasion this does not mean a teacher
cannot continue to teach, it simply restricts their ability to moderate Coursework until accreditation is
awarded. You may re-submit work for assessment as many times as is necessary for accreditation to be
awarded. There is, however, a charge each time for doing so.
IGCSE World Literature
43
Section 6: Accreditation
Further Help
We hope that this Coursework Training Handbook will provide a thorough introduction to the requirements
and criteria for the assessment of coursework in IGCSE World Literature. However, if you have any further
questions or difficulties, please do not hesitate to contact Cambridge and we will do our best to help.
The address to which your queries should be sent is:
Customer Services
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
United Kingdom
Telephone:
Fax:
Email
Website:
44
+44 1223 553554
+44 1223 553558
info@cie.org.uk
www.cie.org.uk
IGCSE World Literature
Section 6: Accreditation
6.3 Critical essays A–D
Script A
What does Lee make you feel about Robert Ewell in To Kill a Mockingbird? Refer to details in the novel in
your answer.
IGCSE World Literature
45
Section 6: Accreditation
46
IGCSE World Literature
Section 6: Accreditation
IGCSE World Literature
47
Section 6: Accreditation
Script B
How do you think Miller manages to make Danforth such a cold and terrifying character in The Crucible?
48
IGCSE World Literature
Section 6: Accreditation
IGCSE World Literature
49
Section 6: Accreditation
50
IGCSE World Literature
Section 6: Accreditation
Script C
How do the poets create a vivid picture of the places they describe in Lament by Gillian Clarke and in Report
to Wordsworth by Boey Kim Cheng.
IGCSE World Literature
51
Section 6: Accreditation
52
IGCSE World Literature
Section 6: Accreditation
Script D
Explore some of the ways in which Heaney uses imagery to powerful effect in two of the poems from
Death of a Naturalist that you have studied.
IGCSE World Literature
53
Section 6: Accreditation
54
IGCSE World Literature
Section 6: Accreditation
IGCSE World Literature
55
Section 6: Accreditation
6.4 Empathic responses E–H
Script E
Fitzgerald, The Great Gatsby
You are Tom Buchanan on hearing of the deaths of Gatsby and Wilson.
Write your thoughts.
56
IGCSE World Literature
Section 6: Accreditation
IGCSE World Literature
57
Section 6: Accreditation
Script F
Fitzgerald, The Great Gatsby
You are Daisy.
Write your thoughts.
58
IGCSE World Literature
Section 6: Accreditation
IGCSE World Literature
59
Section 6: Accreditation
60
IGCSE World Literature
Section 6: Accreditation
Script G
William Golding, Lord of the Flies
You are Ralph on the morning after Simon’s death. You have lied to Samneric about leaving the feast early.
Write your thoughts.
IGCSE World Literature
61
Section 6: Accreditation
62
IGCSE World Literature
Section 6: Accreditation
IGCSE World Literature
63
Section 6: Accreditation
Script H
Shakespeare, Much Ado about Nothing
You are Benedick. Beatrice has asked you to kill Claudio.
Write your thoughts.
64
IGCSE World Literature
Section 6: Accreditation
IGCSE World Literature
65
Section 6: Accreditation
6.5 Oral responses tracks 4–6
Using the assessment criteria for assignment 3 which you can find on page 18 of the syllabus or reproduced
on page 33 of this handbook, listen to and mark tracks 4–6 of the accompanying CD.
Record your marks and comments on copies of the forms provided in the Appendix.
When you have completed the marking of all three assignments send your work, together with the Cover
Sheet provided, to the address indicated on the forms.
66
IGCSE World Literature
Appendix: Coursework Assessor Accreditation Forms
Appendix: Coursework Assessor Accreditation Forms
Complete your personal details and sign the declaration that this submission for accreditation is your own
work on the form below. Enter your marks and comments on the accreditation scripts on the mark sheet
overleaf.
Send all documents to the address on the declaration form.
IGCSE World Literature
67
Appendix: Coursework Assessor Accreditation Forms
68
IGCSE World Literature
Appendix: Coursework Assessor Accreditation Forms
Evidence for Cambridge IGCSE® coursework assessor accreditation
Cover Sheet
Cambridge IGCSE World Literature (0408)
Please complete this form in BLOCK CAPITALS.
Centre number
Centre name
Teacher’s name
Contact email
Declaration of authenticity
I have read and understood the training materials and certify that the evidence submitted with this
form is my own original work.
Signed
Date
(DD/MM/YY)
Name
Return this form to
Cambridge IGCSE Accreditation Coordinator (EDM)
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
UK
Save a copy of the form for your own records.
IGCSE World Literature
69
Appendix: Coursework Assessor Accreditation Forms
IGCSE World Literature
Critical Essays A–D
Your comments should draw on the wording of the descriptors in the relevant assessment criteria.
Script
Mark
/25
A
B
C
D
70
IGCSE World Literature
Comment
Appendix: Coursework Assessor Accreditation Forms
IGCSE World Literature
Empathic responses E–H
Your comments should draw on the wording of the descriptors in the relevant assessment criteria.
Script
Mark
/25
Comment
E
F
G
H
IGCSE World Literature
71
Appendix: Coursework Assessor Accreditation Forms
IGCSE World Literature
Oral responses
Your comments should draw on the wording of the descriptors in the relevant assessment criteria.
Track
Mark
/15
Track 4
Track 5
Track 6
72
IGCSE World Literature
Comment
Appendix: Coursework Assessor Accreditation Forms
IGCSE World Literature
73
Cambridge International Examinations
1 Hills Road, Cambridge, CB1 2EU, United Kingdom
Tel: +44 (0)1223 553554 Fax: +44 (0)1223 553558
Email: info@cie.org.uk www.cie.org.uk
® IGCSE is the registered trademark of Cambridge International Examinations
© Cambridge International Examinations 2012. v1 3Y04
*9523253832*