Language A: Literature Course
Assessment Information for Year Two
(Exam Session: May 2013)
Table of Contents
2
Syllabus and Assessment Outline
3
Assessment Objectives
4
Understanding IB Rubrics
5
IOC and Discussion
6
Conduct of
7
FAQ
7
Rubric
8
Paper 1: Literary commentary
8
Rubric
9
Sample Examination
11
Sample Examination Marking Notes
12 Paper 2: Essay
12
Rubric
13
Sample Examination
14
Sample Examination Marking Notes
16 Academic Honesty
19 Class only: rubric conversion charts
21 Class only: modified IOC rubrics
Page 1 of 22
Information herein, with the exception of the “class only” material, is taken directly from IBO Language A:
Literature guides and teacher support material.
JUNIOR
Syllabus Outline (two year study)
PART 1: WORLD
LITERATURE
PART 4: SCHOOL’S
FREE CHOICE
SENIOR
PART 2:
DETAILED STUDY
PART 3: GROUP
OF WORKS
Abe, Kobo. Woman in the Dunes.
Camus, Albert. The Stranger.
Dostoyevsky, Fyodor. Crime and Punishment.
Kafka, Franz. Selected short stories.
O’Conner, Flannery. Selected short stories.
Poe, Edgar Allan. Selected short stories.
Angelou, Maya. I Know Why the Caged Bird Sings.
Hughes, Langston. Selected Poems.
“Ballad of the Landlord”
“Being Old”
“Brotherly Love”
“The Cat and the Saxophone (2 a.m.)”
“Dark Youth of the U.S.A.”
“doorknobs”
“Final Call”
“Let America be America Again”
“Madam and the Newsboy”
“Madam and the Rent Man”
“Mister Sandman”
“Ruby Brown”
“Scottsboro”
“Song of Adoration”
“Song of the Refugee Road”
“Song of the Revolution”
“The South”
“Summer Night”
“Theme for English B”
“The Weary Blues”
Shakespeare, William. Othello.
Atwood, Margaret. A Handmaid’s Tale.
Ishiguro, Kazuo. Never Let Me Go.
McCarthy, Cormac. The Road.
Orwell, George. Nineteen Eighty-Four.
SENIOR
JUNIOR
Assessment Outline (two year study)
WRITTEN ASSIGNMENT (externally assessed)
300-400 word reflective statement
1200-1500 word literary essay
Based on one work from part 1
25%
INDIVIDUAL ORAL PRESENTATION (10-15 minutes – internally assessed, externally moderated)
Presentation of a topic, chosen by the candidate, based on Part 4 work(s).
15%
20%
PAPER 1: LITERARY COMMENTARY (2 hours – externally set and assessed)
Written commentary based on poetry or prose which the techniques of literary criticism can be
applied.
Two unseen texts for commentary; no guiding questions.
One commentary to be written on one of the texts.
PAPER 2: ESSAY (2 hours – externally set and assessed)
Three essay questions on each genre available for study in Part 3, Groups of Works.
One question only to be answered, based on at least two of the Part 3 works studied.
25%
INDIVIDUAL ORAL COMMENTARY (20 minutes – internally set and assessed, externally
moderated)
15%
Page 2 of 22
Commentary - Formal oral commentary on poetry, followed subsequent questions; extract
accompanied by one to two guiding questions.
Discussion – based on one of the other part 2 works
Assessment Objectives for Language A1 (two year study)
1.
2.
3.
Knowledge and understanding
 Demonstrate knowledge and understanding of individual literary works as representatives of their genre and
period, and the relationships between them
 Demonstrate an understanding of the ways in which cultural values are expressed in literature
 Demonstrate awareness of the significance of the context in which a work is written and received
 Substantiate and justify ideas with relevant examples
Analysis, synthesis and evaluation
 Demonstrate an ability to analyze language, structure, technique and style, and evaluate their effects on the
reader
 Demonstrate an ability to engage in independent literary criticism on both familiar and unfamiliar literary texts
 Show an ability to examine and discuss in depth the effects of literary techniques and the connections between
style and meaning
Selection and use of appropriate presentation and language skills
 Demonstrate an ability to express ideas clearly and fluently in both written and oral communication, with an
effective choice of register and style
 Demonstrate a command of terminology and concepts appropriate to the study of literature
 Demonstrate an ability to express well-organized oral and written arguments
 Demonstrate an ability to write a sustained and detailed literary commentary
Assessment
Objective
Knowledge
and
understanding
Analysis,
synthesis and
evaluation
Selection and
use of
appropriate
presentation
and language
skills
Objective
Component
Paper 1
How is the assessment objective addressed?
Paper 2
The essay on at least two works from one literary genre requires students to
show understanding of the works and the way in which meaning is conveyed
through literary conventions.
Individual Oral
Commentary
and Discussion
Students are assessed on their detailed knowledge of an extract taken from
one of the poems studied in part 2. The discussion assesses students’
knowledge and understanding of one other part 2 work.
Paper 1
Students are required to analyze a previously unseen passage and produce an
interpretation supported by evaluation of the writer’s choice of language,
structure, technique and style.
Paper 2
Students are required to synthesize ideas from at least two works and to
apply that knowledge to a question on conventions used in one literary
genre.
IOC
Students are required to analyze a short extract from a studied work and to
evaluate the effectiveness of the literary techniques in that extract.
Paper 1
Students are required to write a formal, well-organized and coherent literary
commentary using language appropriate to a formal essay.
Paper 2
Students are required to write a formal essay comparing at least two works
in response to one question.
IOC and
Discussion
Students are required to deliver a structured and focused commentary using
a formal spoken register.
The response to a previously unseen passage requires students to show how
they, as readers, have made their own meaning from the text.
Page 3 of 22
Source: IBO Diploma Program. “Language A: literature guide.” Feb. 2011. Print.
Understanding the IB Rubric Criterion
Language
 very clear, effective, carefully chosen and precise
 high degree of accuracy in grammar, vocabulary and sentence construction
 effective and appropriate register and style
Organization
 effectively organized and developed
 reader is engaged and persuaded
 requires the coherence of ideas within
 should incorporate quotations into their writing in such a way that the development of their ideas is enhanced and
not impeded
 should avoid using large blocks of quotations
 consistent with required formatting
Presentation
 reader is engaged and persuaded
 require careful structuring
 a clear, sustained focus and purposeful development of ideas (with links between elements)
Knowledge and understanding of literary works is the expression of an author’s individual creativity and as
representatives of their genre and period. Knowledge refers to familiarity with the work. Understanding is the ability to
interpret the writer’s intention and to understand how context may affect that interpretation—both the context of the work
and what the reader brings to the reading.
 know the main features of the genre the text exemplifies
 demonstrate the ability to evaluate the effectiveness of the use of the various conventions.
 discuss the links between works: differences and similarities in their context, style, structure, theme and so on
 understand cultural values as expressed in literature, and the significance of context in literary works. The actions
of the characters in a literary work should not be judged by the student’s own time and culture.
 statements or assertions must be validated and have evidence to support them
 carefully chosen, detailed references to the work(s), passage or extract
 demonstrate their independent interpretation and depth of understanding
 evidence provided in the form of quotations and line references
 should set quotations in context, integrated into the text of the essay and accompanied by explanation or analysis
Analysis of literary techniques
 demonstrate an ability to analyze language, structure, technique and style
 know the difference between description and analysis
Evaluation
 recognize how and why literature affects the reader
 see how, in literary terms, one writer compares with another. Similar literary techniques will affect readers
differently and students are expected to be able to analyze, discuss and justify their own response to the choices that
writers make.
Independent literary criticism
 acquire for themselves the skill of reading between the lines
Page 4 of 22


see how writers have achieved their effects and how they may be trying to persuade the reader to accept their views
of the subject of the prose passage or poem
build on what they have learned in class, but also show that they have thought for themselves about the topic
Individual Oral Commentary and Discussion (IA)
Commentary
 a close, detailed literary analysis of a poem, or an extract from a poem, selected from the poetry studied in part 2 of
the syllabus
 shows an understanding both of what is said and of how it is said
Discussion
 follows immediately after the individual oral commentary
 conducted by the teacher and based on one of the other part 2 works (not poetry)
Note: Recordings of the individual oral commentary and discussion are required for the purposes of moderation.
Commentary
Choice of extract
 Candidates may not choose the extract, nor be told in advance which extracts will be used.
 The extract will be selected from the poetry studied in part 2 of the syllabus. It may be a single complete poem, or a
significant extract from a longer poem.
 All extracts will be of comparable difficulty.
 The suggested length of the extract is 20-30 lines.
 The extract will have line numbers and the poem’s title. All other information will be removed.
 Extracts will be sealed in blank envelopes and candidates will choose one envelope at the beginning of the
preparation period.
Guiding questions
 one or two questions for each extract – to serve as a starting point for organizing the commentary
 one question will be related to content and the other to style (writer’s choices)
 should not:
o refer to fine detail, or any particular interpretation of the extract
o restrict the candidate’s ability to explore independently all significant aspects dealt with in the extract
Candidates do not have to use the guiding questions; there is no penalty for not directly addressing them.
Sample guiding questions:
 Which poetic techniques in this poem or extract from a poem are typical of the writer? What are the effects of the
dominant images used in this extract?
 Identify the poetic techniques used in this poem (or extract from a poem). Relate them to the content.
 What use has the writer made of repetition to convey meaning and/or emotional effects?
 How does the use of a persona contribute to the dramatic force of the poem?
 How is symbolism used to convey meaning?
 In what ways does the final line/stanza change your understanding of the poem as a whole?
 In what ways does the poet use repetition to underline key ideas?
 How is rhythm used to complement the thought and feeling of the poem?
Discussion
Choice of work for the discussion
 Candidates may not choose the work for discussion, nor be told in advance which work will be used.
 The oral commentary is based on poetry, so the discussion must be based on one of the other two works.
Sample discussion questions:
 To what extent do you feel the writer is trying to persuade you to think about an issue or idea in a particular way?
 What sort of techniques does the writer use to get you interested in the story and the characters? Do you think they
are successful?
 Do you think the writer is particularly sympathetic towards one of the characters? What makes you think that?
 How clearly is the writer able to convey a meaningful idea while keeping an audience entertained?
Page 5 of 22



In what ways does the writing produce a strong sense of the author?
Can you identify some of the features of the writer’s technique that you find to be particularly effective?
Are there some ideas or opinions put forward in the writing that you feel particularly sympathetic or antagonistic
towards? What do you think prompted such a strong reaction?
Conduct of the individual oral commentary
Commentary Preparation (20 minutes)
Under supervision, candidates will select an extract at random from a pool and prepare for their commentary:
 read the extract and accompanying guiding questions carefully
 identify and analyze closely all the significant aspects of the extract
 make notes for the commentary
 organize the structure of the commentary
Commentary should:
 focus on the extract itself, not the whole work. Some contextualization is important to show understanding of how
the extract is related to the work as a whole, but the main part of the commentary should be detailed literary
analysis of the extract itself.
 situate the extract as precisely as possible in the context of the poem from which it has been taken (or in the body of
work, in the case of a complete poem)
 comment on the effectiveness of the writer’s techniques, including the use of stylistic devices and their effect(s) on
the reader
 be well structured (not a series of unconnected points nor a narration or line-by-line paraphrase)
Commentary Delivery (8 minutes)
 will be recorded
 should not read extract aloud
 must deliver commentary without interruption; teachers can intervene if a candidate panics and needs positive
encouragement or if he/she is off target or is finding it difficult to continue
 [begin with name, candidate number, and exam session – you’ll have a note card with this information]
Subsequent Questions (2 minutes)
 engage in discussion with teacher about knowledge and understanding of the extract/poem
 expand on doubtful or inadequate statements, especially for those students who does not manage to speak for the
full 8 minutes
 [You will be stopped at 8 minutes to allow time for this portion of the commentary.]
Teachers must be satisfied that candidates:
 understand specific words, phrases and allusions as well as appreciated their importance
 understand the significance of the extract within the whole poem or, in the case of a complete poem, the relationship
between the poem and other poems by that author that have been studied
 understand, and can comment on, the writer’s technique
Conduct of the discussion
After the 10-minute commentary and subsequent questions, the teacher informs the student that the discussion is
commencing.
 engage in a literary discussion of the work
 prepared questions will be a starting point, but the discussion need not be limited to those questions (the ideal is an
authentic literary exchange between the teacher and student)
 opportunity for candidates to demonstrate their independent understanding of the Part 2 work under discussion
Frequently Asked Questions – IOC and Discussion
Can the oral commentary be done as a class activity?
No. It is a formal, individual oral and should be conducted separately from class activities.
Page 6 of 22
Can more than one teacher conduct the oral?
There may be more than one teacher present during the oral, but only one teacher should be responsible for conducting
the oral and asking subsequent questions.
Can I use the same extracts for the individual oral as I have used in class practices?
There must be no possibility of a student receiving an extract or poem on which they have previously delivered an oral
commentary. For example, extracts or poems that are used in a mock examination or in a formal practice for the oral
must not be used in the final oral examination.
Can students be left by themselves to do the preparation?
No. Students must be supervised during the preparation time.
Can students have another chance at the oral if they don’t do well the first time?
No. The time designated for the individual oral is the equivalent of a scheduled examination and students only get one
chance.
What happens if the student doesn’t speak for 8 minutes during the individual commentary?
It is the teacher’s responsibility to fill in the rest of the time by asking questions. The student’s knowledge and
understanding, analytical abilities and language may be assessed by responses to questions, as well as through the
presentation. Criterion C, which assesses organization and presentation, is likely to be most affected.
What happens if a student speaks for the whole 10 minutes?
The teacher should keep track of the time and indicate to the student to stop before 10 minutes.
Should the student be given a printed list of the discussion questions?
No. This list is for the teacher only.
Internal Assessment Criteria – Oral Component
0
does
not
reach
standa
rd
1
There is limited
knowledge and little
or no understanding,
with poor
interpretation and
virtually no relevant
references to the
poem.
2
There is superficial
knowledge and some
understanding, with
limited interpretation
occasionally
supported by
references to the
poem.
3
There is adequate
knowledge and
understanding,
demonstrated by
interpretation
supported by
appropriate
references to the
poem.
4
There is very good
knowledge and
understanding,
demonstrated by
careful interpretation
supported by wellchosen references to
the poem.
Criterion B: Appreciation of
the writer’s choices

To what extent does the
student appreciate how the
writer’s choices of language,
structure, technique and
style shape meaning?
does
not
reach
standa
rd
There is very good
appreciation of the
ways in which
language, structure,
technique and style
shape meaning in the
poem.
does
not
reach
standa
rd
There is some
mention, but little
appreciation, of the
ways in which
language, structure,
technique and style
shape meaning in the
poem.
The commentary
shows some structure
and focus.
There is adequate
appreciation of the
ways in which
language, structure,
technique and style
shape meaning in the
poem.
Criterion C: Organization and
presentation of the
commentary

To what extent does the
student deliver a structured,
well-focused commentary?
Criterion D: Knowledge and
understanding of the work
used in the discussion

How much knowledge and
understanding has the
student shown of the work
used in the discussion?
Criterion E: Response to the
discussion questions

How effectively does the
student respond to the
discussion questions?
There are few
references to, and no
appreciation, of the
ways in which
language, structure,
technique and style
shape meaning in the
poem.
The commentary
shows little evidence
of planning, with very
limited structure
and/or focus.
The commentary
shows evidence of a
planned structure and
is generally focused.
The commentary is
clearly structured and
the focus is sustained.
The commentary is
effectively structured,
with a clear,
purposeful and
sustained focus.
does
not
reach
standa
rd
There is little
knowledge or
understanding of the
content of the work
discussed.
There is some
knowledge and
superficial
understanding of the
content of the work
discussed.
There is adequate
knowledge and
understanding of the
content and some of
the implications of the
work discussed.
There is very good
knowledge and
understanding of the
content and most of
the implications of the
work discussed.
There is excellent
knowledge and
understanding of the
content and the
implications of the
work discussed.
There is limited ability
to respond
meaningfully to the
discussion questions.
Responses to the
discussion questions
are sometimes
relevant.
Responses to the
discussion questions
are relevant and show
some evidence of
independent thought.
There are persuasive
and independent
responses to the
discussion questions.
Criterion F: Language

How clear, varied and
accurate is the language?

How appropriate is the
choice of register and style?
(“Register” refers, in this
context, to the student’s use
of elements such as
does
not
reach
standa
rd
The language is rarely
clear and appropriate,
with many errors in
grammar and
sentence construction
and little sense of
register and style.
The language is
sometimes clear and
appropriate; grammar
and sentence
construction are
generally accurate,
although errors and
inconsistencies are
The language is
mostly clear and
appropriate, with an
adequate degree of
accuracy in grammar
and sentence
construction; the
register and style are
Well-informed
responses to the
discussion questions
show a good degree
of independent
thought.
The language is clear
and appropriate, with
a good degree of
accuracy in grammar
and sentence
construction; register
and style are effective
and appropriate.
Criterion A: Knowledge and
understanding of the poem

How well is the student’s
knowledge and
understanding of the poem
demonstrated by their
interpretation?
5
There is excellent
knowledge and
understanding,
demonstrated by
individual
interpretation
effectively supported
by precise and wellchosen references to
the poem.
There is excellent
appreciation of the
ways in which
language, structure,
technique and style
shape meaning in the
poem.
The language is very
clear and entirely
appropriate, with a
high degree of
accuracy in grammar
and sentence
construction; the
register and style are
Page 7 of 22
vocabulary, tone, sentence
structure and terminology
appropriate to the
commentary.)
apparent; register and
style are to some
extent appropriate.
mostly appropriate.
consistently effective
and appropriate.
Paper 1: Literary commentary
(2 hours)
Types of Passages
 two unseen texts for commentary: poetry and non-poetry (a novel or short story, an essay, a biography, a
journalistic piece)
 may either be a complete piece of writing or an extract from a longer piece
 unlikely to be familiar to students
Written Commentary
 respond to one of the two unseen texts
 explore aspects such as content, technique, style, structure, theme and language
 continuous and structured writing
Students are assessed on their ability to:
 show they understand the prose passage or poem through well-supported interpretation
 identify language usage, structure, technique and style used by the author
 discuss the effects that arise from the author’s choices
 present their ideas in a formally organized and coherently developed piece of writing.
0
does
not
reach
standa
rd
1
There is basic
understanding of
the passage but
virtually no
attempt at
interpretation and
few references to
the passage.
2
There is some
understanding of
the passage, with
a superficial
attempt at
interpretation and
some appropriate
references to the
passage.
3
There is adequate
understanding of
the passage,
demonstrated by
an interpretation
that is supported
by appropriate
references to the
passage.
4
There is very good
understanding of
the passage,
demonstrated by
sustained
interpretation
supported by wellchosen references
to the passage.
Criterion B: Appreciation of
the writer’s choices

To what extent does the
analysis show appreciation of
how the writer’s choices of
language, structure,
technique and style shape
meaning?
does
not
reach
standa
rd
There is very good
analysis and
appreciation of the
ways in which
language,
structure,
technique and
style shape
meaning.
does
not
reach
standa
rd
There is some
mention, but little
analysis or
appreciation, of
the ways in which
language,
structure,
technique and
style shape
meaning.
Ideas have some
organization, with
a recognizable
structure;
coherence and
development are
often lacking.
There is adequate
analysis and
appreciation of the
ways in which
language,
structure,
technique and
style shape
meaning.
Criterion C: Organization and
development

How well organized,
coherent and developed is
the presentation of ideas?
Ideas are
adequately
organized, with a
suitable structure;
some attention is
paid to coherence
and development.
Ideas are
effectively
organized, with
very good
structure,
coherence and
development.
Ideas are
persuasively
organized, with
excellent
structure,
coherence and
development.
Criterion D: Language

How clear, varied and
accurate is the language?

How appropriate is the
choice of register, style and
terminology? (“Register”
refers, in this context, to the
student’s use of elements
such as vocabulary, tone,
sentence structure and
terminology appropriate to
the commentary.)
does
not
reach
standa
rd
There are few
references to, and
no analysis or
appreciation of,
the ways in which
language,
structure,
technique and
style shape
meaning.
Ideas have little
organization;
there may be a
superficial
structure, but
coherence and
development are
lacking.
Language is rarely
clear and
appropriate; there
are many errors in
grammar,
vocabulary and
sentence
construction, and
little sense of
register and style.
5
There is excellent
understanding of
the passage,
demonstrated by
persuasive
interpretation
supported by
effective
references to the
passage.
There is excellent
analysis and
appreciation of the
ways in which
language,
structure,
technique and
style shape
meaning.
Language is
sometimes clear
and carefully
chosen; grammar,
vocabulary and
sentence
construction are
fairly accurate,
although errors
and
inconsistencies
are apparent; the
register and style
are to some
extent appropriate
to the
commentary.
Language is clear
and carefully
chosen, with an
adequate degree
of accuracy in
grammar,
vocabulary and
sentence
construction
despite some
lapses; register
and style are
mostly
appropriate to the
commentary.
Language is clear
and carefully
chosen, with a
good degree of
accuracy in
grammar,
vocabulary and
sentence
construction;
register and style
are consistently
appropriate to the
commentary.
Language is very
clear, effective,
carefully chosen
and precise, with
a high degree of
accuracy in
grammar,
vocabulary and
sentence
construction;
register and style
are effective and
appropriate to the
commentary.
Criterion A: Understanding
and interpretation

How well does the student’s
interpretation reveal
understanding of the thought
and feeling of the passage?

How well are ideas supported
by references to the
passage?
Page 8 of 22
Sample Paper 1 Examination
(condensed for space)
–1–
ENGLISH A: LITERATURE – HIGHER LEVEL – PAPER 1
2 hours
Instructions to candidates
 Do not open this examination paper until instructed to do so.
 Write a literary commentary on one passage only.
–2–
Write a literary commentary on one of the following:
1.
5
10
15
20
25
30
35
The buyers walk the line of our tobacco.
Mum tightens her clutch. She whispers, “Here they come.”
Dad nonchalantly stands, resting on one leg, like a horse at rest. He looks away, as if the buyers are a
common, bland species of bird on an otherwise more exciting safari.
Mum hisses, “Try and look hungry, kids.”
I suck in my belly as far as possible and open my eyes as wide as they will go, so that they will seem
hollow and needy. Vanessa sinks her head to her chest and shrinks with not-wanting-to-be-here.
Mum turns a fierce, fixed, terrifying smile on the buyers. Her look says, “Give us a good price and you will
be rewarded with my love for all time. Please give us a good price. Please.” Waves of her anxiety sink down
into my belly and churn with the too-greasy excess of my recent breakfast.
None of us look at the other farmers and their families, who are also hovering with palpably jittering nerves
over their bales.
The bales are torn open, leaves are pulled up and smelled; the thin-veined crop is rubbed between thick
fingers (fingers flashing with gold bands, which are among the many things that tell the buyers from the
farmers: no farmer I know wears rings). A price is scrawled on a ticket. Dad waits until the buyers are out of
earshot and then whispers to Mum in a soft, warning voice, “Steady. Hold it,” in the way he would talk to a
fretful animal.
Now Mum, Vanessa and I watch Dad’s hands as he walks the line. If he agrees with the price we have been
offered for each bale, he hesitates, fingers hovering briefly above the ticket, and then walks on, leaving the
ticket intact. That tobacco will be taken away to cigarette factories: famous, well-travelled Rhodesian burley
all the way from our lucky farm.
If Dad disagrees with the price the buyer has offered, he tears the ticket. Those bales will be rewrapped,
loaded onto lorries, and brought back to unlucky Robandi. Dad will wait to sell them later in the season, when
perhaps the buyers will be more hungry for tobacco. Those bales will sit in the grading shed, open to the air,
where blasts of steam will keep the leaves in a fine balance between soft and mouldy. They will anger Dad
whenever he sees them. Mum will spend hours, until her fingers burn with the sticky yellowing residue of the
leaves, resorting and rebaling the leaves in the superstitious belief that a new presentation might bring a
healthier price.
If Dad starts tearing tickets and his face becomes folded and deep, we feel ourselves become quiet and
wishing-we-weren’t-here. But if he is walking quickly over the line of tobacco, leaving the tickets pristine,
beautiful whole rectangles of yellow, we are giddy. Vanessa and I start to run between the bales, exuberant,
silly, loud, and Mum doesn’t say, “Shhh girls!
Behave yourselves!” And then Dad has walked the line and, without looking at the other farmers, he takes
Mum by the hand and he says, “Come on, Tub.” Vanessa and I fall into line behind Mum and Dad. His fingers
are wrapped round hers. By the end of today Dad will have gone to see the fat man with the wet lips from
Tabex and Mum will have her rings back, and when we get home to Robandi she will polish them in Silvo to
remove the tarnish of shame and disuse.
Dad doesn’t smile, or concede any kind of victory in front of the buyers. He waits until we are in the car
and then he says to Mum, “Fair price.”
Don’t Let’s Go To The Dogs Tonight, Alexandra Fuller, Pan Macmillan, London
Page 9 of 22
Copyright © Alexandra Fuller, 2002
From Don’t Let’s Go To The Dogs Tonight by Alexandra Fuller, copyright © 2001 by Alexandra Fuller.
Used by Permission of Random House, Inc. For on-line information about other Random House, Inc.
books and authors, see the Internet web site at http://www.randomhouse.com
–3–
2.
July Man
5
10
15
20
25
30
Old, rain-wrinkled, time-soiled, city-wise, morning man
whose weeping is for the dust of the elm-flowers
and the hurting motes of time,
rotted with rotting grape,
sweet with the fumes,
puzzled for good by fermented potatopeel
out of the vat of the times,
turned out and left
in this grass-patch, this city-gardener’s place
under the buzzing populace’s
square shadows, and the green shadows
of elm and ginkgo and lime
(planted for Sunday strollers and summer evening
families, and for those
bird-cranks with bread-crumbs
and crumpled umbrellas who come
while the dew is wet on the park, and beauty
is fan-tailed, grey and dove grey, aslant, folding in
from the white fury of day).
In the sound of the fountain
you rest, at the cinder-rim, on your bench.
The rushing river of cars
makes you a stillness, a pivot, a heart-stopping
blurt, in the sorrow
of the last rubbydub swig, the searing, and
stone-jar solitude lost, and yet,
and still – wonder (for good now) and
trembling:
The too much none of us knows
is weight, sudden sunlight, falling
on your hands and arms, in your lap,
all, all, in time.
Margaret Avison, The Dumbfounding (1966),
taken from Always Now (2003)
Page 10 of 22
Paper 1 Sample Examination: Marking Notes
1.
An adequate to good literary commentary will:
 grasp the basic situation of the tobacco selling/buying and the economic situation of the passage
 note the anticipation and tension of the various members of the family
 identify the particular attitudes of the mother, the father and the narrative voice in relation to each other in
this situation
 follow the implications of the use of the “ticket” in the transactions
 understand the conclusion of the morning’s event.
A very good to excellent literary commentary may also:
 probe the gestures and words of each of the characters for what they reveal of both background and
situation and the writer’s efficiency in the techniques of characterization
 note the role that adjectives and adverbs play in delineating the content and tone of the passage
 discuss the alternating attention of the narrator to each of the parents, and their own interactions
 explore the way language is used to acquaint the reader with the particular practice of tobacco trading.
2.
An adequate to good literary commentary will:
 identify the central character and his situation in the park
 note the transition provided by lines 20–21
 offer some interpretation of the two final stanzas and their relation to the main description
 comment on the word choice and its effects
 note the use of parenthesis and its connection to the poem’s thought and feeling.
A very good to excellent literary commentary may also:
 explore in detail the way in which natural imagery is used to characterize the central figure
 evaluate the use of hyphenated words in the poem
 offer a well-supported interpretation of the last two stanzas, connecting them persuasively to the earlier
part of the poem.
Page 11 of 22
Paper 2: Essay
Types of Questions
 three essay questions on each genre (you will need to focus on the prose: novel or short story questions)
 some questions may include a quotation
 worded to explore the ways in which content is delivered through the conventions of the selected genre
“Literary conventions” refers to the characteristics of a literary genre, for example:
 Novels—the intrusive narrator, the unreliable narrator, multiple narrative voices, peripheral first person
narrators—the link is contrasting narrative voices.
 Short stories in historical, contemporary, foreign and future places—the link is the different ways writers have used
landscape, and for what purpose.
Written Response
 answer one essay question only
 focus on at least two Part 3 works
 compare similarities and differences of texts chosen
 address how work is representative of genre
Note: You will not have access to texts.
0
does
not
reach
standa
rd
1
There is some
knowledge but
virtually no
understanding of
the part 3 works
in relation to the
question
answered.
Criterion B: Response to the
question

How well has the student
understood the specific
demands of the question?

To what extent has the
student responded to these
demands?

How well have the works
been compared and
contrasted in relation to the
demands of the question?
does
not
reach
standa
rd
Criterion C: Appreciation of
the literary conventions of
the genre

To what extent does the
student identify and
appreciate the use of literary
conventions in relation to the
question and the works
used?
does
not
reach
standa
rd
The student shows
little awareness of
the main
implications of the
question, and
ideas are mainly
irrelevant and/or
insignificant.
There is little
meaningful
comparison of the
works used in
relation to the
question.
Some literary
conventions are
identified but
there is limited
development
relevant to the
question and/or
the works used.
Criterion D: Organization and
development

How well organized,
coherent and developed is
the presentation of ideas?
does
not
reach
standa
rd
Criterion E: Language

How clear, varied and
accurate is the language?

How appropriate is the
choice of register, style and
terminology? (“Register”
refers, in this context, to the
student’s use of elements
such as vocabulary, tone,
sentence structure and
terminology appropriate to
the task.)
does
not
reach
standa
rd
Criterion A: Knowledge and
understanding

How much knowledge and
understanding has the
student shown of the part 3
works studied in relation to
the question answered?
Ideas have little
organization;
there may be a
superficial
structure, but
coherence and/or
development are
lacking.
Language is rarely
clear and
appropriate; there
are many errors in
grammar,
vocabulary and
sentence
construction, and
little sense of
register and style.
2
There is mostly
adequate
knowledge and
some superficial
understanding of
the part 3 works
in relation to the
question
answered.
The student
responds to some
of the main
implications of the
question with
some relevant
ideas. There is a
superficial attempt
to compare the
works used in
relation to the
question.
3
There is adequate
knowledge and
understanding of
the part 3 works
in relation to the
question
answered.
4
There is good
knowledge and
understanding of
the part 3 works
in relation to the
question
answered.
5
There is
perceptive
knowledge and
understanding of
the part 3 works
in relation to the
question
answered.
The student
responds to most
of the main
implications of the
question with
consistently
relevant ideas.
There is adequate
comparison of the
works used in
relation to the
question.
Examples of
literary
conventions are
sometimes
correctly identified
and developed,
with some
relevance to the
question and the
works used.
Ideas have some
organization, with
a recognizable
structure, but
coherence and
development are
often lacking.
Examples of
literary
conventions are
satisfactorily
identified and
developed, with
relevance to the
question and the
works used.
The student
responds to the
main implications
and some
subtleties of the
question, with
relevant and
carefully explored
ideas. The
comparison makes
some evaluation
of the works used
in relation to the
question.
Examples of
literary
conventions are
clearly identified
and effectively
developed, with
relevance to the
question and the
works used.
Ideas are
adequately
organized, with a
suitable structure
and attention paid
to coherence and
development.
Ideas are
effectively
organized, with a
very good
structure,
coherence and
development.
The student
responds to all the
implications, as
well as the
subtleties of the
question, with
convincing and
thoughtful ideas.
The comparison
includes an
effective
evaluation of the
works in relation
to the question.
Examples of
literary
conventions are
perceptively
identified and
persuasively
developed, with
clear relevance to
the question and
the works used.
Ideas are
persuasively
organized, with
excellent
structure,
coherence and
development.
Language is
sometimes clear
and carefully
chosen; grammar,
vocabulary and
sentence
construction are
fairly accurate,
although errors
and
inconsistencies
are apparent; the
Language is clear
and carefully
chosen, with an
adequate degree
of accuracy in
grammar,
vocabulary and
sentence
construction
despite some
lapses; register
and style are
Language is clear
and carefully
chosen, with a
good degree of
accuracy in
grammar,
vocabulary and
sentence
construction;
register and style
are consistently
appropriate to the
Language is very
clear, effective,
carefully chosen
and precise, with
a high degree of
accuracy in
grammar,
vocabulary and
sentence
construction;
register and style
are effective and
Page 12 of 22
register and style
are to some
extent appropriate
to the task.
mostly
appropriate to the
task.
task.
appropriate to the
task.
Sample Paper 2 Examination
(condensed for space)
–1–
ENGLISH A: LITERATURE – HIGHER LEVEL – PAPER 2
2 hours
INSTRUCTIONS TO CANDIDATES
 Do not open this examination paper until instructed to do so.
 Answer one essay question only. You must base your answer on at least two of the Part 3 works you have studied. Answers which are not based on a
discussion of at least two Part 3 works will not score high marks.
 You are not permitted to bring copies of the works you have studied into the examination room.
–2–
Answer one essay question only. You must base your answer on at least two of the Part 3 works you have studied and compare and contrast
these works in response to the question. Answers which are not based on a discussion of at least two Part 3 works will not score high marks.
Drama
1.
Explore the ways in which dramatists have made use of monologues and/or soliloquies in at least two plays you have studied.
2.
Plays employ various kinds of structural divisions such as prologues and epilogues, act and scene divisions, even carefully placed
intermissions. Discuss the dramatic uses made of these divisions in at least two plays you have studied.
3.
“A play should make you laugh or should make you cry.” With reference to at least two plays you have studied, discuss the
methods playwrights use to generate emotional response in their audiences.
Poetry
4.
A poem on the page is often recognized immediately by its visual appearance. Using at least two poems you have studied, discuss
the way the poets have arranged lines and stanzas in terms of length, spacing or position to create visual arrangements that mirror
the thoughts and feelings of the poems.
5.
Focusing on the works of at least two poets you have studied, discuss the effects created by metaphors in a poem.
6.
Light and dark, country and city, proud and humble—these and numerous other contrasts have been used by poets to sharpen their
expression of ideas or feelings. In the works of at least two poets you have studied, explore the ways contrasts have been used to
achieve particular effects.
–3–
Prose: novel and short story
7.
Writers of fiction do not always relate events in chronological order. In at least two works you have studied, explore the effects of
telling the story in a non-chronological manner.
8.
The memorable impact of novels and short stories arises from the careful and often brilliant creation of detail by their writers.
Using at least two writers you have studied, explore the role and impact of some significant details in the narratives.
9.
Some writers select a narrative voice that sharpens or clarifies their stories; others choose a narrative voice that mystifies or
misleads. How and to what effect have at least two of the writers you have studied employed narrative voice?
Prose other than fiction
10. Choosing at least two works you have studied, discuss the way the writers have structured their works to make their material clear
and interesting to their audiences.
Page 13 of 22
11. Personal history as well as the backdrop of events surrounding that personal history are both significant to many works of prose
other than fiction. In at least two works you have studied, discuss the use made of the interplay between personal history and the
background within which that personal history occurred.
12. How have two or more writers in your study made particular places or settings an element of significance in their works?
Paper 2 Sample Examination: Marking Notes
Examiners: please note that the term “comparison”, both in the descriptors and in the marking notes, includes the
discussion of relevant “contrasts” as well.
Drama
1.
An adequate to good answer will select some significant monologues and/or soliloquies from at least two plays and compare
the ways in which these speeches are used by the dramatists.
A good to excellent answer may offer closer scrutiny of the selected monologues and/or soliloquies, examining closely
various ways in which dramatists use such speeches to impact their dramas as a whole and offering a closer analysis of the
uniqueness of each dramatist’s approach.
2.
An adequate to good answer will identify appropriate conventions that separate aspects of at least two plays and will compare
some of the ways in which these divisions affect the dramatic presentation of the plays.
A good to excellent answer may offer more specific detail regarding the types of divisions that occur in the plays and
distinguish more closely how the choices of each dramatist lead to the effectiveness of particular aspects of the drama.
3.
An adequate to good answer will identify some methods by which at least two dramatists generate emotional responses and
offer supportive detail for how such methods work, comparing the choice of methods employed by the dramatists and/or the
outcomes achieved.
A good to excellent answer may offer a more in-depth and detailed discussion of the methods employed by dramatists to
generate emotion, clearly evaluating the uniqueness of generating emotion in the separate dramas, and offering, perhaps, a
distinction between comedy and tragedy.
Poetry
4.
An adequate to good answer will identify the visual and structural features of at least two poems (by two poets) and offer an
analysis of the relationship of such features to the thoughts and feelings expressed in the poems, comparing the approaches of
the poets in this regard.
A good to excellent answer may provide greater insight into the visual arrangement and structural features of the poems,
evaluating closely the varying effects of these features on the “mirroring” of thought and feeling, clearly discerning the
subtleties of the approaches as seen in the separate poems.
5.
An adequate to good answer will identify some significant metaphors in at least two poems (by two poets) and discuss the
effects of these metaphors, offering points of comparison on the use of metaphor in these poems.
A good to excellent answer may offer carefully selected examples of metaphor and a close analysis of their effects, showing a
clear understanding of the uniqueness of the use of metaphor from poem to poem.
6.
Page 14 of 22
An adequate to good answer will identify some important contrasts in at least two poems (by two poets) and discuss the ways
in which these contrasts have been used to sharpen ideas, feelings, or for some other effect, offering some comparison of the
contrasts chosen and/or the effects achieved.
A good to excellent answer may offer a more considered discussion of the kinds (e.g. image patterns, settings,
characterizations, etc.) of contrasts used, clearly comparing how these contrasts operate to achieve a particular effect.
Prose: novel and short story
7.
An adequate to good answer will accurately identify the narrative line of at least two works of fiction (by two writers) and
compare the effects of the writers shifting the chronology of events in some way.
A good to excellent answer may discuss in greater detail the deviations from chronology and how they are achieved and offer
a more in-depth discussion of the effects of such shifting, showing a clear awareness of how such authorial decisions add to
the effectiveness of the individual work.
8.
An adequate to good answer will choose some significant details from at least two works of fiction (by two writers) and
compare the role and impact of these details in the individual works.
A good to excellent answer may show a more sophisticated sense of the ways in which details are incorporated into literary
works and offer a more in-depth comparison of the role and impact of detail in the individual works, perhaps assessing how
such detail makes a work memorable.
9.
An adequate to good answer will identify the narrative voice in at least two works of fiction (by two writers) and compare
how these narrators are used by the individual writers and to what effect.
A good to excellent answer may offer a more detailed analysis of the narrative voice and offer a more thoughtful
understanding of how the choice of narrator affects the reader’s reception of the text, perhaps as to clarity or confusion,
clearly distinguishing the impact of narrative voice from one text to the next.
Prose other than fiction
10.
An adequate to good answer will identify some structural features of at least two works (by two writers) and compare the
effectiveness with which these features help convey the content in a clear and interesting fashion.
A good to excellent answer may offer some telling comparisons between the structuring of the works and the effects these
structures have on clarity and interest.
11.
An adequate to good answer will address, in at least two works (by two writers), personal history and the larger context of
the work and discuss the degree to which these two are effectively combined, drawing some comparison from one work to the
next.
A good to excellent answer may offer a more in-depth discussion, comparing how the writers have moved between these two
realms, perhaps, to achieve a larger artistic effect.
12.
An adequate to good answer will identify particular places or settings in at least two works (by two writers) and compare the
significance that these places have in the works.
A good to excellent answer may offer a more specific discussion of place or setting and a more nuanced comparison of the
various significances place and setting might hold within a work.
Page 15 of 22
Understanding Academic Honesty and Malpractice
(taken directly from IBO)
Academic Honesty
1.1
Academic honesty must be seen as a set of values and skills that promote personal integrity and good practice in
teaching, learning and assessment. It is influenced and shaped by a variety of factors including peer pressure, culture,
parental expectations, role modeling and taught skills. Although it is probably easier to explain to candidates what
constitutes academic dishonesty, with direct reference to plagiarism, collusion and cheating in examinations, whenever
possible the topic must be treated in a positive way, stressing the benefits of properly conducted academic research and
a respect for the integrity of all forms of assessment for the Diploma Programme.
1.2
All Diploma Programme candidates must understand the basic meaning and significance of concepts that relate to
academic honesty, especially authenticity and intellectual property.
Ensuring that candidates understand and respect academic honesty should not be confined to original authorship and
ownership of creative material: academic honesty includes, for example, proper conduct in relation to the written
examinations.
1.3
The concept of intellectual property is potentially a difficult one for candidates to understand because there are many
different forms of intellectual property rights, such as patents, registered designs, trademarks, moral rights and
copyright. Candidates must at least be aware that forms of intellectual and creative expression (for example, works of
literature, art or music) must be respected and are normally protected by national and international law. By
implementing measures to prevent plagiarism, schools are helping to combat illegal out-of-school activities (for
example, illegal music downloads, peer-to-peer or P2P file sharing) for which candidates may face legal proceedings.
1.4
An authentic piece of work is one that is based on the candidate’s individual and original ideas with the ideas and work
of others fully acknowledged. Therefore all assignments, written or oral, completed by a candidate for assessment must
wholly and authentically use that candidate’s own language and expression. Where sources are used or referred to,
whether in the form of direct quotation or paraphrase, such sources must be fully and appropriately acknowledged.
1.5
Although the Regulations clearly define plagiarism as the representation of the ideas or work of another person as the
candidate’s own, this definition alone does not provide candidates with sufficient information or guidance on what
constitutes plagiarism and how it can be avoided. Candidates must receive guidance on when and how to include
acknowledgments in their work. Similarly, the practice of paraphrasing is a skill that must be taught so that candidates
do not simply copy a passage, substitute a few words with their own and then regard this as their own authentic work.
When using the words of another person it must become habitual practice for a candidate to use quotation marks,
indentation or some other accepted means of indicating that the wording is not their own. Furthermore, the source of
the quotation (or paraphrased text) must be clearly identified along with the quotation and not reside in the
bibliography alone. Using the words and ideas of another person to support one’s arguments is a fundamental part of
any academic endeavor, and how to integrate these words and ideas with one’s own is an important skill that must be
taught.
Malpractice
2.1
The Regulations define malpractice as behavior that results in, or may result in, the candidate or any other candidate
gaining an unfair advantage in one or more assessment component.
Malpractice includes:
–
plagiarism: this is defined as the representation of the ideas or work of another person as the candidate’s own
–
collusion: this is defined as supporting malpractice by another candidate, as in allowing one’s work to be copied
or submitted for assessment by another
–
duplication of work: this is defined as the presentation of the same work for different assessment components
and/or diploma requirements
–
any other behavior that gains an unfair advantage for a candidate or that affects the results of another
candidate (for example, taking unauthorized material into an examination room, misconduct during an
examination, falsifying a CAS record).
Page 16 of 22
–
2.2
Many candidates believe that because the Internet is in the public domain and largely uncontrolled, information can be
taken from web sites without the need for acknowledgment. Candidates must record the addresses of all web sites from
which they obtain information during their research, including the date when each web site was accessed. The uniform
(or universal) resource locator (URL) constitutes the web site address for this purpose. (Simply stating the search
engine that was used to find the web site is not acceptable.) This includes the copying of maps, photographs,
illustrations, data, graphs and so on. For example, to cut and paste a graph from a web site without acknowledging its
source constitutes plagiarism. CD-Roms, DVDs, e-mail messages and any other electronic media must be treated in the
same way as the Internet, books and journals.
2.3
The issue of plagiarism is not confined to groups 1 to 5 of the Diploma Programme. In general, copying works of art,
whether music, film, dance, theatre arts or visual arts, also constitutes plagiarism. There are circumstances where the
creative use of part of the work of another artist is acceptable, but the original source must always be acknowledged.
Candidates must understand that passing off the work of another person as their own is not acceptable and constitutes
malpractice.
2.4
Copying text is not always a deliberate attempt by a candidate to present the ideas or work of another person as their
own. In fact, in the experience of the final award committee it is apparent that many candidates are not aware of when
or how to acknowledge sources. Occasionally, a candidate may copy one or two sentences from a book, journal or web
site without showing it is a quotation, but indicating its source in a footnote or the bibliography. Although each case
requires a separate judgment, in general such cases are the result of negligence or a lack of awareness on the part of the
candidate and do not warrant an allegation of malpractice. These cases may attract the penalty applied to an academic
infringement, and not malpractice. See sections 12.3 and 12.4 for further details.
2.5
For most assessment components candidates are expected to work independently with support from their subject
teacher (or supervisor in the case of extended essays). However, there are occasions when collaboration with other
candidates is permitted or even actively encouraged, for example, in the requirements for internal assessment.
Nevertheless, the final work must be produced independently, despite the fact that it may be based on similar data. This
means that the abstract, introduction, content and conclusion or summary of a piece of work must be written in each
candidate’s own words and cannot therefore be the same as another candidate’s. If, for example, two or more candidates
have exactly the same introduction to an assignment, the final award committee will construe this as collusion, and not
collaboration. It is essential that both teachers and candidates are aware of the distinction between collaboration and
collusion. Teachers
must pay particular attention to this important distinction to prevent allegations of collusion against their candidates.
2.6
The presentation of the same work for different assessment components and/or diploma requirements is a duplication
of work and therefore constitutes malpractice. If, for example, a candidate submits the same or a very similar piece of
work for the in-depth study in history internal assessment and for an extended essay in history, this would be viewed as
malpractice. However, it is perfectly acceptable for a candidate to study one aspect of a topic for internal assessment and
another aspect of the same topic for an extended essay.
2.7
Malpractice most commonly involves collusion or plagiarism. However, there are other ways in which a candidate may
commit malpractice and thereby breach the Regulations. The following examples of malpractice do not constitute an
exhaustive list and refer mainly to the written examinations:
– taking unauthorized material into an examination room (for example, an electronic device other than a
permitted calculator, own rough paper, notes, a mobile phone) regardless of whether this material is used or
potentially contains information pertinent to the examination
– misconduct during an examination, including any attempt to disrupt the examination or distract another
candidate
– exchanging or in any way supporting, or attempting to support, the passing on of information that is related
to the examination
– copying the work of another candidate
– failing to comply with the instructions of the invigilator or other member of the school’s staff responsible for
the conduct of the examination
– impersonating another candidate
– stealing examination papers
– using an unauthorized calculator during an examination
– disclosing or discussing the content of an examination paper with a person outside the immediate school
community within 24 hours of the end of the examination
– fabricating data for an assignment
–
For all cases of malpractice in relation to the examinations, the coordinator must send a report to the coordinator help
2.8
Page 17 of 22
desk (help@ibo.org) at the International Baccalaureate Curriculum and Assessment Centre (IBCA) in Cardiff, Wales.
The report must reach the coordinator help desk within ten days of the examination in which the incident occurred.
2.9
Breaches of regulations are not confined to candidates: improper conduct by a coordinator or teacher may be brought to
the attention of the final award committee. The following are examples of unacceptable actions that will be investigated
by the IBO:
–
the unauthorized rescheduling of an examination
–
failing to keep the examination papers secure prior to an examination
–
opening examination paper packets prior to an examination
–
providing a candidate with undue assistance in the production of any work (whether written or oral) that
contributes to the assessment requirements of the Diploma Programme
–
leaving candidates unsupervised during an examination
–
allowing additional time in examinations without authorization from the IBO
–
releasing an examination paper, or otherwise disclosing information about the content of a paper, within 24
hours of the end of the examination.
Offences and their penalty
12.1
Penalties are imposed on a candidate found guilty of malpractice in order to:
–
ensure that the candidate does not gain an unfair advantage
–
maintain the integrity of the examination session by excluding those candidates who have abused the system
–
deter other candidates from taking the same action.
12.2
The committee will not take into account the consequences of imposing a penalty; the penalty will be imposed
according to the nature of the offence. However, the committee will take into consideration all the information
presented by teachers and the coordinator in their statements on the case. This information may include mitigating
circumstances.
12.3
There can be instances where work submitted by a candidate for assessment contravenes the standard academic
practice of clearly acknowledging all ideas and words of other persons without the candidate having made a deliberate
attempt to gain an unfair advantage (for example, where a candidate has not used some means of indicating a
quotation, but has cited the source of the text in the bibliography or in a footnote). The final award committee may
designate a case of this type an academic infringement and not malpractice.
12.4
If the final award committee decides that an academic infringement has been established, no marks will be awarded for
the component or part(s) of the component. The candidate will still be eligible for a grade in the subject or diploma
requirement concerned. No further penalty will be imposed and the case will not be recorded as malpractice. In such a
case, the decision regarding academic infringement will be notified in accordance with 13.1 below.
12.5
If the final award committee decides that a case of malpractice has been established, no grade will be awarded in the
subject concerned. No diploma will be awarded to the candidate, but a certificate will be awarded for other subjects in
which no malpractice has occurred. The candidate will be permitted to register for future examinations at least one
year after the session in which malpractice was established.
12.6
If a candidate is found guilty of malpractice in the production of one (or more) of several assignments required for a
component, the candidate is not eligible for a mark based on his or her performance in the remaining assignments for
the component: no grade will be awarded for the subject. For example, the internal assessment requirement for a
subject may require a portfolio of four separate assignments. If a candidate is found to have plagiarized all or part of
one assignment, a mark for his or her internal assessment will not be based on the remaining three assignments: no
grade will be awarded for the subject.
12.7
If a case of malpractice is very serious, either because of its nature or because the candidate has already been found
guilty of malpractice in a previous session, the final award committee is entitled to decide that the candidate will not
be permitted to register for examinations in any future session.
12.8
An IB diploma, or a certificate, may be withdrawn from a candidate at any time if malpractice is subsequently
established.
12.9
Although a case may not warrant a penalty against one or more candidates, it may be appropriate for a letter to be
sent to the head of school on behalf of the final award committee insisting that greater care be taken to avoid a similar
incident occurring again.
Page 18 of 22
IB Conversion Charts
(2013 cohort rubrics)
Paper 1 rubric
Rubric Converted
Score
Score
20
20
19
19.6
18
19
17
18.6
16
18
15
17.6
14
17
13
16.6
12
16
11
15.6
10
15
9
14.6
8
14
7
13.6
6
13
5
12.6
4
12
3
11.6
2
11
1
10.6
0
10
%
100
98
95
93
90
88
85
83
80
78
75
73
70
68
65
63
60
58
55
53
50
Written Paper 1 (unseen
passage commentary)
 May exam
 passages from works we
have not read
 passages from works we
will read but have not
yet read
Paper 2 rubric
Rubric Converted
Score
Score
25
25
24
24.5
23
24
22
23.5
21
23
20
22.5
19
22
18
21.5
17
21
16
20.5
15
20
14
19.5
13
19
12
18.5
11
18
10
17.5
9
17
8
16.5
7
16.0
6
15.5
5
15.0
4
14.5
3
14.0
2
13.5
1
13.0
0
12.5
%
100
98
96
94
92
90
88
86
84
82
80
78
76
74
72
70
68
66
64
62
60
58
56
54
52
50
Written Paper 2 (groups of
works – Part 3 questions)
 May exam
 essays on whole works
 any comparative essay
IOC and discussion rubric
Rubric Converted
Score
Score
30
30
29
29.4
28
29.1
27
28.5
26
28.2
25
27.6
24
27
23
26.4
22
26.1
21
25.5
20
25.2
19
24.6
18
24
17
23.4
16
23.1
15
22.5
14
22.2
13
21.6
12
21
11
20.4
10
20.1
9
19.5
8
19.2
7
18.6
6
18
5
17.4
4
17.1
%
100
98
97
95
94
92
90
88
87
85
84
82
80
78
77
75
74
72
70
68
67
65
64
62
60
58
57
Page 19 of 22
3
2
1
0
16.5
16.2
15.6
15
55
54
52
50
Internal Assessment
 IA examination
 passage commentary
and discussion
Modified IOC –
discussion only
(Criterion D-F)
Modified IOC –
commentary only
(Criterion A-C, F)
Rubric Converted
Score
Score
20
20
19
19.6
18
19
17
18.6
16
18
15
17.6
14
17
13
16.6
12
16
11
15.6
10
15
9
14.6
8
14
7
13.6
6
13
5
12.6
4
12
3
11.6
2
11
1
10.6
0
10
%
100
98
95
93
90
88
85
83
80
78
75
73
70
68
65
63
60
58
55
53
50
(IA - class only)
 passage commentary
without discussion
questions
 presentations on specific
literature
Rubric Converted
Score
Score
15
15
14
14.5
13
14
12
13.5
11
13
10
12.5
9
12
8
11.5
7
11
6
10.5
5
10
4
9.5
3
9
2
8.5
1
8
0
7.5
IOP rubric
%
100
97
93
90
87
83
80
77
73
70
67
63
60
57
53
50
(IA - class only)
 discussions of specific
literature
 NOT for whole class
discussions
Rubric Converted
Score
Score
30
30
29
29.4
28
28.5
27
27.9
26
27.6
25
27.3
24
26.7
23
26.4
22
25.8
21
25.5
20
25.2
19
24.9
18
24.3
17
23.7
16
23.4
15
23.1
14
22.8
13
22.5
12
22.2
11
21.6
10
21.3
9
20
8
20.7
7
20.4
6
19.8
5
19.5
4
18.9
3
18.6
2
18.3
1
18
0
15
%
100
98
95
93
92
91
89
88
86
85
84
83
81
79
78
77
76
75
74
72
71
70
69
68
66
65
63
62
61
60
50
Page 20 of 22
Presentations – class only
 formal presentations of
supplementary material
(context, criticism, etc.)
Page 21 of 22
Modified IOC rubrics
commentary only – HL (simplified rubric)
0
Criterion A: Knowledge and
understanding of the [work]

demonstrate knowledge and
understanding




1
limited knowledge
little or no
understanding
poor interpretation
no relevant
references



Criterion B: Appreciation of
the writer’s choices

appreciate how the writer’s
choices of language,
structure, technique and
style shape meaning
Criterion C: Organization and
presentation

structured, well-focused
Criterion F: Language

clear, varied and accurate
language

appropriate choice of register
and style
does not reach standard



3
adequate
knowledge and
understanding
interpretation
supported by
appropriate
references



4
very good
knowledge and
understanding
careful
interpretation
well-chosen
references





few references to
no appreciation of

some references
little appreciation

adequate
appreciation

very good
appreciation


little evidence of
planning
limited structure
and/or focus.
rarely clear and
appropriate
many errors in
grammar and
sentence
construction
little sense of
register and style.

some structure and
focus

evidence of
planned structure
generally focused.


clearly structured
sustained focus

sometimes clear
and appropriate
generally accurate
grammar and
sentence
construction
apparent errors
and inconsistencies
register and style
appropriate to
some extent

mostly clear and
appropriate
adequate degree of
accuracy in
grammar and
sentence
construction
register and style
mostly appropriate

clear and
appropriate
good degree of
accuracy in
grammar and
sentence
construction
effective and
appropriate
register and style




(“Register” = student’s
appropriate use of elements
such as vocabulary, tone,
sentence structure and
terminology)
2
superficial
knowledge
some
understanding
limited
interpretation
occasional
references












5
excellent
knowledge and
understanding
individual
interpretation
effectively
supported by
precise and wellchosen references
excellent
appreciation
effectively
structured
clear, purposeful
and sustained focus
very clear and
entirely appropriate
high degree of
accuracy in
grammar and
sentence
construction
consistently
effective and
appropriate
register and style
discussion only – HL (simplified rubric)
0

Criterion E: Response to
the discussion questions

effectively respond to
discussion questions

Criterion F: Language

clear, varied and accurate
language

appropriate choice of
register and style
(“Register” = student’s
appropriate use of elements
such as vocabulary, tone,
sentence structure and
terminology)
does not reach standard
Criterion D: Knowledge
and understanding of the
work

show knowledge and
understanding of work
used in the discussion



1
little knowledge
or understanding

limited ability to
respond
meaningfully

rarely clear and
appropriate
many errors in
grammar and
sentence
construction
little sense of
register and style.



2
some knowledge;
superficial
understanding

sometimes
relevant
responses

sometimes clear
and appropriate
generally
accurate
grammar and
sentence
construction
apparent errors
and
inconsistencies
register and style
appropriate to
some extent




3
adequate
knowledge and
understanding of
content and
some
implications of
the work
relevant
responses
some evidence of
independent
thought
mostly clear and
appropriate
adequate degree
of accuracy in
grammar and
sentence
construction
register and style
mostly
appropriate






4
very good
knowledge and
understanding of
the content and
most of the
implications
well-informed
responses
good degree of
independent
thought
clear and
appropriate
good degree of
accuracy in
grammar and
sentence
construction
effective and
appropriate
register and style

5
excellent
knowledge and
understanding of
the content and
the implications

persuasive and
independent
responses

very clear and
entirely
appropriate
high degree of
accuracy in
grammar and
sentence
construction
consistently
effective and
appropriate
register and style


Page 22 of 22