English Language & Literature Handbook

Studies in language and literature aims

The aims of all subjects in studies in language and literature are to enable students to:

1. engage with a range of texts, in a variety of media and forms, from different periods, styles, and

cultures

2. develop skills in listening, speaking, reading, writing, viewing, presenting and performing

3. develop skills in interpretation, analysis and evaluation

4. develop sensitivity to the formal and aesthetic qualities of texts and an appreciation of how they

contribute to diverse responses and open up multiple meanings

5. develop an understanding of relationships between texts and a variety of perspectives, cultural

contexts, and local and global issues and an appreciation of how they contribute to diverse responses

and open up multiple meanings

6. develop an understanding of the relationships between studies in language and literature and other

disciplines

7. communicate and collaborate in a confident and creative way

8. foster a lifelong interest in and enjoyment of language and literature.

Know, understand and interpret:

• a range of texts, works and/or performances, and their meanings and implications

• contexts in which texts are written and/or received

• elements of literary, stylistic, rhetorical, visual and/or performance craft

• features of particular text types and literary forms.

Analyse and evaluate:

• ways in which the use of language creates meaning

• uses and effects of literary, stylistic, rhetorical, visual or theatrical techniques

• relationships among different texts

• ways in which texts may offer perspectives on human concerns.

Communicate

• ideas in clear, logical and persuasive ways

• in a range of styles, registers and for a variety of purposes and situations

• (for literature and performance only) ideas, emotion, character and atmosphere through performance.

 At the heart of the study of all three courses are the domains of language, literature and performance. Each course stresses these elements to a different degree, but all engage with them to some extent.The study of language, literature and performance, and the development of the relevant skills, is divided into three areas of exploration—the exploration of the nature of the interactions between readers, writers and texts; the exploration of how texts interact with time and space and the exploration of

intertextuality and how texts connect with each other. Although these three areas seem to offer an ordered approach to progression through the course, they are, as represented in the diagram, inherently over-lapping, iterative or circular and allow for flexibility in course design.

What students will learn in the language A: language and literature course 

In the language A: language and literature course students will learn about the complex and dynamic nature of language and explore both its practical and aesthetic dimensions. They will explore the crucial role language plays in communication, reflecting experience and shaping the world. Students will also learn about their own roles as producers of language and develop their productive skills. Throughout the course, students will explore the various ways in which language choices, text types, literary forms and contextual

elements all effect meaning. Through close analysis of various text types and literary forms, students will consider their own interpretations, as well as the critical perspectives of others, to explore how such positions are shaped by cultural belief systems and to negotiate meanings for texts. Students will engage in activities that involve them in the process of production and help shape their critical awareness of how texts and visual and audio elements work independently or together to influence the audience/reader and

how audiences/readers open up the possibilities of texts. With its focus on a wide variety of communicative acts, the course is meant to develop sensitivity to the foundational nature, and pervasive influence, of language in the world at large.

“Text” in this subject, and in the published guide, is defined as anything from which information can be extracted, and includes the widest range of oral, written and visual materials present in society. This range will include single and multiple images with or without text, literary and nonliterary written texts and extracts, media texts (for example, films), radio and television programmes and their scripts, and electronic texts that share aspects of a number of these areas (for example, video-sharing websites, web pages, social

media messages, blogs, wikis and tweets). Oral texts will include readings, speeches, broadcasts and transcriptions of recorded conversation.

There must be a minimum of one work for each area of exploration. Works must be selected to cover two literary forms, two periods and two places as defined on the Prescribed reading list covering at least two continents.

HL students must study at least six works of which:

• a minimum of two must be written originally in the language studied, by authors on the Prescribed reading list

• a minimum of two must be works in translation written by authors on the Prescribed reading list

• two can be chosen freely—from the Prescribed reading list or elsewhere—and may be in translation.

There must be a minimum of two works for each of the areas of exploration. Works must be selected to cover three literary forms, three periods and three places as defined on the Prescribed reading list covering at least two continents.

A work is defined for studies in language and literature courses as one single literary text, such as a novel, autobiography or biography; two or more shorter literary texts such as novellas; 5-10 short stories; 5-8 essays; 10-15 letters; or a substantial section or the whole of a long poem (at least 600 lines) or 15-20 shorter poems. Where more than one text is studied as part of a work, texts must be from the same author and belong to the same subcategory within one literary form.

The ideas and skills introduced in each of the areas are integral to and embedded throughout the course, and there is a significant overlap. Teachers should take into account the type and range of works to be studied, the time required for each area of the course, the development of student skills, learning outcomes, performance work to be undertaken and assessment deadlines when making decisions regarding teaching sequence. 

Authors

One same author cannot be studied twice within a language A: language and literature course.

Additionally, a language A: language and literature candidate may not study:

• an author that they may already be studying as part of another studies in language and literature

course

• an author that they may already be studying as part of a language B course

A language A: language and literature candidate may write their extended essay on an author studied as

part of the course provided they choose a different work by that author.

Literary forms

The Prescribed reading list includes four literary forms. At SL two of the literary forms must be selected for the study of works. At HL three literary forms must be studied. An author on the Prescribed reading list can be studied in any of the forms in which they wrote, even if those forms are not mentioned in relation to them.

Period

The Prescribed reading list contains different periods, which classify authors according to the century/ centuries in which they lived. The language A: language and literature syllabus at standard level must include works by authors from at least two different periods. At HL, the syllabus must include works by authors from at least three different periods.

Place

The Prescribed reading list indicates the countries or regions with which authors are closely associated. The language A: language and literature syllabus at SL must include works by authors from at least two different countries or regions and must cover at least two continents. At HL, the syllabus must include works by authors from at least three different countries or regions and must cover at least two continents.

Selection of non-literary texts

The following list of non-literary text types is designed to help construct the course, as well as to encourage variety and exploration. The list is not exhaustive and it must be emphasised that students are not expected to learn the features or characteristics of them all. The skills of analysing one text type can be transferrable to another.

To prepare themselves for some of the assessment components where non-literary texts can or must be used, students will need to study extended, full-length major non-literary texts or groups of shorter nonliterary texts that share the same text type and authorship in order to be able to demonstrate an understanding and appreciation of the characteristics of a specific author or creator. In this guide, an extended, full-length non-literary text or a group of shorter non-literary texts that are of one same text

type and that share the same authorship is called a “body of work”. 

A list of text types 

Advertisement Encyclopedia entry Parody* Appeal Film/television Pastiche* Biography* Guide book Photographs Blog Infographic Radio broadcast Brochure/leaflet Interview Report Cartoon Letter (formal)* Screenplay Diagram Letter (informal) * Set of instructions Diary* Magazine article Speech* Electronic texts Manifesto* Textbook Essay* Memoir* Travel writing*

*

Area of exploration—readers, writers and texts

A word after a word after a word is power. Margaret Atwood

This area introduces students to the nature of language and literature and its study. The investigation undertaken involves close attention to the details of texts in a variety of types and literary forms so that students learn about the choices made by creators and the ways in which meaning is communicated through words, image, and sound. At the same time, study will focus on the role receivers play in generating meaning as students move from personal response to understanding and interpretation influenced by the classroom community. Students will learn to understand the creativity of language, the relationship between language and thought and the aesthetic nature of literature. Students will see that texts are powerful means to express individual thoughts and feelings, and that their own perspectives as experienced users of language are integral to the effect and success of a communicative act.

Study in this area should be structured to allow students to become more confident in their ability to recognize key textual and rhetorical features and how they create or affect meaning. Non-literary texts and literary works can be chosen that lend themselves to close reading and give students a sense of stylistic,

rhetorical and literary elements across a variety of text types and literary forms. The aim is not to enumerate or define various features and study will move beyond the identification of elements or the consideration of individual effects to see the complex constructed nature of texts. While conducting detailed study, learning activities can be structured to introduce students to the ways in which linguistic and literary professionals attend to communicative acts and their concerns. Student writing and response can involve moving between personal and academic response or between the creative and the expository.

Readers, writers and texts aims to introduce students to the skills and approaches required to closely examine texts as well as to introduce metacognitive awareness of the nature of the discipline by considering the following guiding conceptual questions:

1. Why and how do we study language and literature?

2. How are we affected by texts in various ways?

3. In what ways is meaning constructed, negotiated, expressed and interpreted?

4. How does language use vary amongst text types and amongst literary forms?

5. How does the structure or style of a text affect meaning?

6. How do texts offer insights and challenges?

Area of exploration—time and space

I think the use of language is a very important means by which this species, because of its biological nature, creates a kind of social space, to place itself in interactions with other people.               Noam Chomsky

This area of exploration focuses on the idea that language is a social capacity and as such is intertwined with community, culture and history. It explores the variety of cultural contexts in which texts are produced and read across time and space as well as the ways texts themselves reflect or refract the world at large. Students will examine how cultural conditions can affect language and how these conditions are a product of language. Students will also consider the ways culture and identity influence reception.

Students will investigate ways in which texts may represent, and be understood from, a variety of cultural and historical perspectives. Through this exploration students will recognize the role of relationships among text, self and other, and the ways in which the local and the global connect. These relationships are complex and dynamic. The background of an author and the make-up of an audience are not necessarily clear or easily described. Texts are situated in specific contexts and deal with or represent social, political

and cultural concerns particular to a given time and place. For example, a text written to address the concerns of an author in contemporary society can be set in ancient times. Cultures that are geographically separated can share mores or ideas, while people living in proximity can embrace disparate traditions.

Students will consider the intricacies of communication within such a complex societal framework and the implications that language and text take on when produced and read in shifting contexts. Study and work selection in this area should allow students to explore texts and issues from a variety of places, cultures and/or times. The culture, biography of an author, historical events or narratives of critical reception will be considered and may be researched, but the focus of study will be on the ideas and issues raised by the texts themselves and a consideration of whether these are best understood in relation to an informed consideration of context. In this area of exploration, students examine the ways in which a text may illuminate some aspect of the political or social environment, or the ways in which a more nuanced understanding of events may affect their understanding or interpretation of a text. The study of contexts does not imply a static, one-to-one relationship between a text and the world, but sees the former as a powerful “non-human actor” across time and space.

Time and space aims to broaden student understanding of the open, plural, or cosmopolitan nature of texts ranging from advertisements to poems by considering the following guiding conceptual questions:

1. How important is cultural or historical context to the production and reception of a text?

2. How do we approach texts from different times and cultures to our own?

3. To what extent do texts offer insight into another culture?

4. How does the meaning and impact of a text change over time?

5. How do texts reflect, represent or form a part of cultural practices?

6. How does language represent social distinctions and identities?

Area of exploration—intertextuality: connecting texts

I will not deny that language is based on difference; rather I will argue that it is also based on reference. Robert Scholes

This area of exploration focuses on the concerns of intertextuality, or the connections between and among media, text and audience involving diverse traditions and ideas. It focuses on the comparative study of texts so that students may gain deeper appreciation of both unique characteristics of individual texts and complex systems of connection. Throughout the course, students will be able to see similarities and differences among diverse texts. This area allows for a further exploration of literary and linguistic concerns,

examples, interpretations and readings by studying a grouping of texts set by the teacher or set in close conversation with a class or groups of students. Students will gain an awareness of how texts can provide critical lenses to reading other texts and of how they can support a text's interpretation by expanding on it or question it by providing a different point of view.

This area of exploration aims to give students a sense of the ways in which texts exist in a system of relationships with other communicative acts past and present. Students will further engage with literary and linguistic traditions and new directions by considering the following guiding conceptual questions:

1. How do texts adhere to and deviate from conventions associated with literary forms or text types?

2. How do conventions and systems of reference evolve over time?

3. In what ways can diverse texts share points of similarity?

4. How valid is the notion of a classic text?

5. How can texts offer multiple perspectives of a single issue, topic or theme?

6. In what ways can comparison and interpretation be transformative?

The learner portfolio

The learner portfolio is a central element of the language A: language and literature course, and is mandatory for all students. It is an individual collection of student work done throughout the two years of the course.

The work carried out for the learner portfolio forms the basis of preparation for the assessment, although the portfolio itself will not be directly assessed or moderated by the IB. However, it is a fundamental element of the course, providing evidence of the student’s work and a reflection of their preparation for the assessment components. Schools may be required to submit these learner portfolios in cases in which it is necessary to determine the authenticity of student’s work in a component, to certify that the principles of

academic honesty have been respected or to evaluate the implementation of the syllabus in a school.

The learner portfolio is a place for a student to explore and reflect upon literary and non-literary texts, and to establish connections among them and with the areas of exploration and the central concepts in thesubject. In the learner portfolio, students will be expected to reflect on their responses to the works being

studied in the corresponding area of exploration. They will also be expected to establish connections between these works and previous ones they have read, and between their perspectives and values as readers and those of their peers. As they progress through the syllabus, it is expected that these connections will be drawn between works within and across areas of exploration, and that they will provide a foundation for the construction of broader knowledge about the transactions between texts, culture and

identity.

The learner portfolio is also a space in which students can prepare for assessment. They will use the portfolio to make decisions about the most appropriate and productive connections between the works they have studied and the assessment components. It should be introduced at the beginning of the course and become increasingly important as students progress, and prepare for external and internal assessment.

The learner portfolio must consist of a diversity of formal and informal responses to the literary and nonliterary texts studied, which may come in a range of critical and/or creative forms, and in different media. It is the student’s own record of discovery and development throughout the course. It could be used to document:

• reflections related to the guiding conceptual questions of the course

• reflections on the assumptions, beliefs, and values that frame a response to texts

• explorations of texts and the insights they offer into social, global and real-world issues

• detailed evaluations and critical analysis of texts or extracts which explore the potential meanings for

language used in them

reflections on the connections across a range of texts studied

• experiments with form, media and technology

• creative writing tasks for exploration of different literary forms and text types, and development of the

students’ personal responses to texts

• reading, research and inquiry carried out beyond the classroom experience

• records of valued feedback received

• reports of classroom or group activities or discussions that explore the diverse values and perspectives negotiated and the process of negotiation in itself

• challenges faced and achievements

• selections of suitable extracts that could form the basis of the individual oral

• instances of self-assessment to evaluate the student’s own progress.

Conceptual understanding in studies in language and literature courses

Concepts are vital in studies in language and literature courses since they help to organise and guide the study of texts across the three areas of exploration. The concepts interact with the three areas of exploration in numerous ways and contribute a sense of continuity in the transition from one area to the next. They also facilitate the process of establishing connections between texts, making it easier for students to identify different ways in which the texts they study relate to one another. Although they are not explicitly assessed in any component, the concepts constitute an essential part of a student’s investigation and should therefore be included in the discussion of each of the texts studied.The seven concepts which structure the teaching and learning of these courses have been selected because of the central position they occupy in the study of both language and literature. They foreground aspects of linguistic and literary study that have been the focus of attention and inquiry. Brief explanations of the seven concepts are provided. These explanations are not meant to be exhaustive, although they will serve as a guiding set of ideas for the course.

Identity

When reading texts, students will encounter and interact with a multiplicity of perspectives, voices and characters. It is usual when reading and interpreting a text to assume that the views are to some extent representative of the writer’s identity. However, the relationship between an author and the different perspectives and voices they assume in the texts is frequently complex, and this makes the concept of identity an elusive one. The figure that emerges from the reading of various texts by the same author adds to the complexity of the discussion. Conversely, the ways in which the identity of a reader comes into play at the moment of reading a text are equally central to the analysis of the act of reading and interpretation.

Culture

The concept of culture is central to the study of language and literature. It raises the question of how a text relates to the context of its production and reception, and to the respective values, beliefs and attitudes prevalent in them. This concept also plays an important role with regards to the relationship that is established between an individual text and the writing tradition that precedes it. In both senses, the application of this concept to the study of a text should prompt reflection on the extent to which it is the product of a particular cultural and literary context and how it interacts with it.

Creativity

Creativity plays an important part in the experience of reading and writing. The concept is fundamental to analyse and understand the act of writing, and the role that imagination plays. When applied to the act of reading, creativity highlights the importance of the reader being able to engage in an imaginative interaction with a text which generates a range of potential meanings from it, above and beyond established interpretations. Creativity is also related to the notion of originality and to the question of the extent to which it is important or desirable in the production and reception of a text.

Communication

The concept of communication revolves around the question of the relationship that is established between a writer and a reader by means of a text. The extent to which writers facilitate communication through their choices of style and structure may be an aspect to analyse in this exploration. The writer may also have a particular audience in mind which may mean assumptions have been made about the reader’s knowledge or views which might make communication with some readers easier than with others. Alternatively, the amount of cooperation that a text demands from a reader for communication to take place, and the readiness of the reader to engage is also important as a topic for discussion. Even with cooperative readers, the meaning of a text is never univocal, which makes the concept of communication a particularly productive, and potentially problematic one in relation to both literary and non-literary texts.

Perspective

A text may offer a multiplicity of perspectives which may, or may not, reflect the views of its author. Readers have also their own perspectives which they bring to their interaction with the text. This variety of perspectives impacts on the interpretation of a text and therefore deserves critical attention and discussion. The fact that the acts of reading and writing happen in a given time and place poses the additional question of how far the contexts of production and reception have influenced and even shaped those perspectives.

Transformation

The study of the connections among texts constitutes the focus of one of three areas of exploration, namely intertextuality: connecting texts. The complex ways in which texts refer to one another, appropriate elements from each other and transform them to suit a different aesthetic or communicative purpose, are evidence of the importance of transformation in the process of creating a text. Additionally, the act of reading is potentially transformative in itself, both for the text and the reader. Different readers may transform a text with their personal interpretation. The text can also have an impact on the reader which potentially might lead to action and to the transformation of reality.

Representation

The way in which language and literature relate to reality has been the subject of long running debate among linguists and literary theorists. Statements and manifestos by writers have made claims about this relationship which range from affirming that literature should represent reality as accurately as possible, to claiming art’s absolute detachment and freedom from reality and any duty to represent it in the work of art. Irrespective of such a discussion, the concept is a central one to the subject in connection with the way in which form and structure interact with, and relate to, meaning.

Book List- Language A: English Language and Literature (2025-2027) Higher Level 

Literary Texts-

1. Short Stories -R K Narayan (India- 19th Century- Short stories)

2.  Hedda Gabler- Henrik Ibsen(Norway- 19th century-Drama)

3.  Poems-Carol Ann Duffy ( UK-20th century-Poetry)

4.  Metamorphosis- Franz Kafka (Germany- 20th Century- Novel)

5. The Merchant of Venice- Shakespeare  (UK- 16th C- Drama)

6. Pride and Prejudice- Jane Austen (UK 19thth Century)

A Collection of Non Literary bodies of work

Book List- Language A: English Language and Literature (2025-2027) Standard Level 

Literary Texts

1. Short Stories -R K Narayan (India- 19th Century- Short stories)

2.  Hedda Gabler- Henrik Ibsen(Norway- 19th century-Drama)

3.   Metamorphosis- Franz Kafka (Germany- 20th Century- Novel)

4. Pride and Prejudice- Jane Austen (UK 19th Century)

A Collection of Non Literary bodies of work

Book List- Language A: English Language and Literature (2024-2026) Higher Level 

Literary Texts

1.  A Doll's House- Henrik Ibsen (Norway- 19th Century- Drama)

2. Poems-Maya Angelou ( USA-20th century-Poetry)

3.  The Wise Woman-Mannu Bhandari (India- 20th Century- Short stories)

4. Antigone- Sophocles (Greece- 441 BC- Drama)

5. The Guide- R.K. Narayan (India- 20th Century- Novel)

6. 1984- George Orwell (UK- 20th century- Novel)

A Collection of Non Literary bodies of work

Book List- Language A: English Language and Literature (2024-2026) Standard Level 

Literary Texts

1.  A Doll's House- Henrik Ibsen (Norway- 19th Century- Drama)

2. Poems-Maya Angelou ( USA-20th century-Poetry)

3.  The Wise Woman-Mannu Bhandari (India- 20th Century- Short stories)

4. 1984- George Orwell (UK- 20th century- Novel)

Assessment component Weighting

External assessment (3 hours) 70%

Paper 1: Guided textual analysis (1 hour 15 minutes)

The paper consists of two non-literary passages, from two different text types, each accompanied by a question. Students choose one passage and write an analysis of it. (20 marks)  35%

Paper 2: Comparative essay (1 hour 45 minutes)

The paper consists of four general questions. In response to one question students write a

comparative essay based on two literary works studied in the course. (30 marks) 35%

Internal assessment

This component consists of an individual oral which is internally assessed by the teacher and externally moderated by the IB at the end of the course.

Individual oral (15 minutes)

Supported by an extract from one non-literary body of work and one from a literary work, students will offer a prepared response of 10 minutes, followed by 5 minutes of questions by the teacher, to the following prompt:

Examine the ways in which the global issue of your choice is presented through the content and form of one of the works and one of the bodies of work that you have studied.  (40 marks)  30%

External assessment details—HL

Paper 1: Guided textual analysis

Duration: 2 hours 15 minutes

Weighting: 35%

Paper 1 contains two previously unseen non-literary passages and students are instructed to write a separate guided analysis of each of these passages. A guided analysis in this context refers to an exploration of the passage supported by a guiding question which asks the students to consider a technical or formal aspect of the passage. The passages could be taken from any of the text types listed in "Course requirements". Each of the passages will be from a different text type.

The passages for analysis may be either a complete piece of writing or an extract from a longer piece. One guiding question will be provided for each passage on a central technical or formal element that may provide an interesting point of entry into the text.

Although it is not compulsory to answer this question, students should be aware that it is expected that the analysis will be focused on a particular aspect of the text. Students may propose an alternative point of entry about any other technical or formal element of the text they feel important in order to provide such a focus.

The assessment criteria for this paper are the same at HL and SL. 20 marks will be allotted to each answer.                                     The maximum mark for paper 1 is 40.

Paper 2: Comparative essay

Duration: 1 hour 45 minutes

Weighting: 25%

Paper 2 contains four questions of a general nature which require students to write a comparative essay referring to two works studied during the course. Students are required to answer one question only.

The format of paper 2 and the four questions are the same for both SL and HL students, and for both the literature and language and literature courses. The assessment criteria will also be shared by both levels and both courses.

The essay is written under examination conditions, without access to the studied works. Students will be expected to compare and contrast two of the works studied in relation to the question chosen. Attention should be paid to the relevance of the argument to the question chosen and to the appropriateness of the works selected by the student to address the question. Students are expected to make detailed reference to the works in their answer, but they are not expected to include quotations from them. Given the open and flexible nature of the course, potentially any work studied can be used by students for paper 2. It is highly recommended, however, that three of the works studied should be preselected by students in preparation for this paper, either individually or in conjunction and in consultation with the teacher. This will make it more manageable for students, at the moment of the exam, to select both the essay question and the two works to answer it with. Under no circumstances can students use for paper 2 a work that has been already used for another assessment component, be it the internal assessment for both SL and HL, or the HL essay for HL.

The paper is assessed according to the assessment criteria published in this guide. The maximum mark for paper 2 is 25..

Higher level essay

Weighting: 20%

The nature of the task

At HL, students are required to write a 1,200 –1,500 word formal essay which develops a particular line of inquiry of their own choice in connection with a non-literary body of work or a literary work studied during the course. The HL essay offers students an opportunity to develop as independent, critical and creative readers, thinkers and writers by exploring a literary or language topic over an extended period of time, refining their ideas by means of a process of planning, drafting and re-drafting. The essay requires students to construct a focused, analytical argument examining the work from a broad literary or linguistic perspective. It also requires them to adhere to the formal framework of an academic essay, using citations and references.

External assessment details—SL 

External assessment details—SL

Paper 1: Guided textual analysis

Duration: 1 hour 15 minutes

Weighting: 35%

Paper 1 contains two previously unseen non-literary passages. Students write a guided analysis of one of these passages. A guided analysis in this context refers to an exploration of the passage supported by a guiding question which asks the students to consider a technical or formal aspect of the passage. The passages could be taken from any of the text types listed in "Course requirements". Each of the passages will be from a different text type. The passages for analysis may be either complete pieces of writing or extracts from longer pieces. One guiding question will be provided for each passage on a central technical or formal element that may provide an interesting point of entry into the text. Although it is not compulsory to answer this question, students should be aware that it is expected that the analysis will be focused on a particular aspect of the text. Students may propose an alternative point of entry about any other technical or formal element of the text they feel important in order to provide such a focus.

The paper is assessed according to the assessment criteria published in this guide. The maximum mark for paper 1 is 20.

Paper 2: Comparative essay

Duration: 1 hour 45 minutes

Weighting: 35%

Paper 2 contains four questions of a general nature which require students to write a comparative essay referring to two literary works studied during the course. Students are required to answer one question only. The format of paper 2 and the four questions are the same for both SL and HL students, and for both the literature and language and literature courses. The assessment criteria will also be shared by both levels and both courses. The essay is written under examination conditions, without access to the studied works. Students will be expected to compare and contrast two of the works studied in relation to the question chosen. Attention should be paid to the relevance of the argument to the question chosen and to the appropriateness of the works selected by the student to address the question. Students are expected to make detailed reference to the works in their answer, but they are not expected to include quotations from them. Under no circumstances can students use for paper 2 a work that has been already used for another assessment component, be it the Internal Assessment for both SL and HL, or the HL essay for HL.

The paper is assessed according to the assessment criteria published in this guide. The maximum mark for paper 2 is 25.

Internal assessment

Internal assessment details—SL/HL

Individual oral

Duration: 15 minutes (10 minutes: student individual oral; 5 minutes: teacher questions)

Weighting: 30% for SL, 20% for HL

The nature of the task

The individual oral addresses the following prompt:

Examine the ways in which the global issue of your choice is presented through the content and form of one of the works and one of the bodies of work that you have studied.

Explanation of the task

The individual oral is based on the exploration the student has carried out in the learner portfolio. During this exploration process, the student will have investigated a series of non-literary bodies of work and literary works and a variety of global issues. In the lead up to the individual oral, the student must make a decision about which global issue and which body of work and work will be explored in the task. One work and one non-literary body of work must be selected. An extract of no more than 40 lines should be selected

from each which is representative of the presence of the global issue in it. In forms or text types where the number of lines may not be applicable, teachers should be guided by the volume of text that can be discussed in sufficient depth in the time available. Selection of body of work, work and extracts The work and body of work selected must have a clear connection with the global issue. The individual oral should be a well-supported argument about the ways in which both represent and explore the global issue. Students must select two extracts, one from the body of work and one from the work, that clearly show significant moments when this global issue is being focused on. Normally these extracts should not exceed 40 lines or present an unmanageable amount of material to be analysed. As the student brings unannotated copies of these extracts to the individual oral, extracts which are too lengthy may hinder their ability to effectively expand the discussion to the body of work or work as a whole. An extract may be a complete text in itself, for example a whole poem or an advertisement.

If the extract is from a literary text which is part of a larger work studied, such as a short story, or if it is a complete text which is part of a work studied, such as a poem, students should discuss relevant aspects of the broader work as a whole in their individual oral. If the extract is a complete non-literary text, students should discuss relevant aspects of the broader body of work of the author of the text. In the case of a photograph, for example, the broader discussion should refer to other photographs by the same photographer. If identifying the single author of a non-literary text is not possible, students should use an ampler definition of authorship to broaden their discussion of the global issue. In the case of an advertisement, for example, students could refer to the other advertisements or commercials belonging to the same campaign, to other campaigns of the same brand or to other work produced by the advertising agency. In the case of an article, students could refer either to other articles by the same author, provided it had a byline, or to the general editorial line of the medium in which the article was published if it had no byline. In cases such as the latter two, students should make explicit what constitutes their definition of authorship.

The extracts are meant to help students focus their responses, remove the need to learn quotations and enable them to explore more precise issues, such as style, specific devices and other distinct techniques used by authors to present the global issue. The choice of extracts should show the student’s understanding of the relevance of the part to the whole and enable coverage of larger and smaller choices made by the writers to shape their perspectives on the global issue.

Determining the global issue

A global issue incorporates the following three properties:

• It has significance on a wide/large scale.

• It is transnational.

• Its impact is felt in everyday local contexts.

Students may look to one or more of the following fields of inquiry for guidance on how to decide on a global issue to focus their orals on. These topics are not exhaustive and are intended as helpful starting points for students to generate ideas and derive a more specific global issue on which to base their individual oral. It should also be noted that there is the potential for significant overlap between the areas.

Culture, identity and community

Students might focus on the way in which texts explore aspects of family, class, race, ethnicity, nationality, religion, gender and sexuality, and the way these impact on individuals and societies. They might also focus on issues concerning migration, colonialism and nationalism.

Beliefs, values and education

Students might focus on the way in which texts explore the beliefs and values nurtured in particular societies and the ways they shape individuals, communities and educational systems. They might also explore the tensions that arise when there are conflicts of beliefs and values, and ethics.

Politics, power and justice

Students might focus on the ways in which texts explore aspects of rights and responsibilities, the workings and structures of governments and institutions. They might also investigate hierarchies of power, the distribution of wealth and resources, the limits of justice and the law, equality and inequality, human rights and peace and conflict.

Art, creativity and the imagination

Students might focus on the ways in which texts explore aspects of aesthetic inspiration, creation, craft, and beauty. They might also focus on the shaping and challenging of perceptions through art, and the function, value and effects of art in society.

Science, technology and the environment

Students might focus on the ways in which texts explore the relationship between humans and the environment and the implications of technology and media for society. They might also consider the idea of scientific development and progress.

Internal assessment criteria—SL and HL 

Sample: Extended Essay-1

Sample: Extended Essay-2

Sample: Higher Level Essay-1

Sample: Higher Level Essay-2

Sample: Specimen  Paper 1

Sample 1: Paper 1

Sample: Specimen Paper 2

Sample 1: Paper 2

Sample 2: Paper 2