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N15/1/AYENG/SP1/ENG/TZ0/XX

English A: language and literature – Standard level – Paper 1Anglais A : langue et littérature – Niveau moyen – Épreuve 1Inglés A: lengua y literatura – Nivel medio – Prueba 1

© International Baccalaureate Organization 20154 pages/páginas

Instructions to candidates

yy Do not open this examination paper until instructed to do so.yy Write an analysis on one text only.yy It is not compulsory for you to respond directly to the guiding questions provided. However, you

may use them if you wish.yy The maximum mark for this examination paper is [20 marks].

Instructions destinées aux candidats

yy N’ouvrez pas cette épreuve avant d’y être autorisé(e).yy Rédigez une analyse d’un seul texte.yy Vous n’êtes pas obligé(e) de répondre directement aux questions d’orientation fournies. Vous

pouvez toutefois les utiliser si vous le souhaitez.yy Le nombre maximum de points pour cette épreuve d’examen est de [20 points].

Instrucciones para los alumnos

yy No abra esta prueba hasta que se lo autoricen.yy Escriba un análisis de un solo texto.yy No es obligatorio responder directamente a las preguntas de orientación que se incluyen,

pero puede utilizarlas si lo desea.yy La puntuación máxima para esta prueba de examen es [20 puntos].

1 hour 30 minutes / 1 heure 30 minutes / 1 hora 30 minutos

Tuesday 3 November 2015 (morning)Mardi 3 novembre 2015 (matin)Martes 3 de noviembre de 2015 (mañana)

8815 – 2015

– 2 –

Write an analysis on one of the following texts. Include comments on the significance of context, audience, purpose and formal and stylistic features.

Text 1

Removed for copyright reasons


– 3 –

Turn over / Tournez la page / Véase al dorso

– How does point of view contribute to humour/amusement in this article?

– Comment on the ways in which the writer attempts to challenge the reader’s perception of the world.


N15/1/AYENG/SP1/ENG/TZ0/XX – 4 –

Text 2

“Madam & Eve” written by Stephen Francis and illustrated by Enrico Schacherl, Mail & Guardian (2012), www.madamandeve.co.za. Used with permission.

– In what ways do the pictures convey ideas that would be difficult to express in few words?

– Comment on how irony is used in this cartoon.


N15/1/AYENG/SP1/ENG/TZ0/XX/M

4 pages/páginas

Marking notes Remarques pour la notation

Notas para la corrección

November / Novembre / Noviembre 2015

English / Anglais / Inglés A: language and literature /

langue et littérature / lengua y literatura

Standard level Niveau moyen

Nivel medio

Paper / Épreuve / Prueba 1

– 2 – N15/1/AYENG/SP1/ENG/TZ0/XX/M

These marking notes are confidential and for the exclusive use of examiners in this examination session. They are the property of the International Baccalaureate and must not be reproduced or distributed to any other person without the authorization of the IB Assessment Centre. Ces remarques pour la notation sont confidentielles. Leur usage est réservé exclusivement aux examinateurs participant à cette session. Ces remarques sont la propriété de l’Organisation du Baccalauréat International. Toute reproduction ou distribution à de tierces personnes sans l’autorisation préalable du centre de l’évaluation de l’IB est interdite. Estas notas para la corrección son confidenciales y para el uso exclusivo de los examinadores en esta convocatoria de exámenes. Son propiedad del Bachillerato Internacional y no se pueden reproducir ni distribuir a ninguna otra persona sin la autorización previa del centro de evaluación del IB.


Text 1 This question asks candidates to analyse “Every Dog Should Own a Man”, from an article by Corey Ford published in 1952 in This Week Magazine, a Sunday insert for numerous US newspapers. An adequate to good analysis will: • consider the intended audience and the possible context in which this article was published • consider the imaginary context of the article established by the point of view of a man who finds

himself “owned” by his dog and in the “sincere” position of speaking from the dog’s perspective, all of which occurs in a recognizable home setting in a fairly well-to-do situation (big overstuffed chair, living room, train trips, etc)

• discuss how point of view contributes to the humour of the article due to the fact that everything is “upside-down”: the reversed sayings (“man-tired”, “teach an old man new tricks”) and the reversed situations (man being housebroken, man’s pedigree, man being physically conditioned, etc)

• discuss elements of the article that might challenge the reader’s perception of the world, or at least make him or her see it from the dog’s point of view

• discuss the text type as a well organized article, its title then the step-by-step advice of what is necessary for a successful man-dog relationship, characterized by clear discussion points ear-marked by transition words and topic sentences, concluding with a punch line

• discuss the effects of the pictures and the caption as well as the context they convey • discuss the use of the narrative voice as the man speaking for his dog and how this fits the overall

humour of the piece: the tongue in cheek objective tone interspersed with subjective comments about himself and his setter

• recognize that the article’s primary purpose is to amuse and entertain.

A very good to excellent analysis will also: • offer a much more in-depth discussion of context and audience, seeing, perhaps, that the tone of the

article carries many implications as to the lifestyle explored and the attitudes such a lifestyle invokes • explore much more closely the narrative voice, for example the irony of the man speaking for dogs

and the implications of this • offer a more in-depth analysis of the article itself, possibly exploring how the writing style contributes

to tone and how the clearly structured format ironically underpins the humour of the piece • offer a sensitive exploration of the purpose of the article, seeing it perhaps as mockingly critical of dog

owners, or as a reverse lesson on a person’s relationship to his dog and an easing of some of the frustrations of training and keeping a dog

• consider other levels of understanding by readers in different contexts, commenting for example on gender stereotypes.

These notes to examiners are intended only as guidelines to assist marking. They are not offered as an exhaustive and fixed set of responses or approaches to which all answers must rigidly adhere. Good ideas or angles not offered here should be acknowledged and rewarded as appropriate. Similarly, answers which do not include all the ideas or approaches suggested here should be rewarded appropriately.


Text 2 This question asks candidates to analyse a Madam and Eve comic strip from 2012 written by Stephen Francis and illustrated by Enrico Schacherl. An adequate to good analysis will: • consider that this is a comic strip not so much for children as for adults who may have an interest in

education • consider some contextual elements of time and place as deduced from the comic strip itself:

observations about the characters and the setting as well as the implied state of education at this time • discuss how pictures can quickly and efficiently convey ideas and attitudes, eg a line of the brow, an

eye or even eyelid, helping to convey the “story,” or adding to characterization, a satirical point, etc • discuss the role of dialogue in further revealing the characters of the little girl and the young men, the

developing nature of the narrative, frame by frame, and the climactic impact of the final frame • consider how the situation is humorous, indicating some elements that make the reader laugh or be

amused, eg that the young men, though ignorant, have a human side that makes them somewhat endearing (high-five for failure, fear of the number 13, taking rotten apples back to the store, counting on fingers to four, and blithely assuming 2+2=5), that a little girl wants to take the teacher to task, etc

• consider some of the aspects of irony, eg that the young girl is further advanced than the older students, that the test scores of the young men are in direct correlation to the teacher’s presence in the classroom, the fact that the young men miss the little girl’s points, the conclusion, etc

• consider the purpose of the comic strip as criticizing the status of education. A very good to excellent analysis will also: • consider more closely the contextual elements in the comic strip and the comment they make about

education, for example gender stereotypes and the gender/age gap • analyse in greater depth and detail the use of comic devices, both in the dialogue and the pictures • analyse more insightfully the characterizations of the little girl and the two young men and how they

contribute to the response writer and illustrator want to elicit from the reader • offer further discussion of the use of irony • offer a clear understanding of how humour is employed as a tool of criticism and, perhaps, offer a

discussion of how the comic strip offers a gentle social satire.

N15/1/AYENG/BP2/ENG/TZ0/XX/M

4 pages/páginas






Higher level and standard level Niveau supérieur et niveau moyen

Nivel superior y nivel medio


– 2 – N15/1/AYENG/BP2/ENG/TZ0/XX/M

These marking notes are confidential and for the exclusive use of examiners in this examination session. They are the property of the International Baccalaureate and must not be reproduced or distributed to any other person without the authorization of the IB Assessment Centre. Ces remarques pour la notation sont confidentielles. Leur usage est réservé exclusivement aux examinateurs participant à cette session. Ces remarques sont la propriété de l’Organisation du Baccalauréat International. Toute reproduction ou distribution à de tierces personnes sans l’autorisation préalable du centre de l’évaluation de l’IB est interdite. Estas notas para la corrección son confidenciales y para el uso exclusivo de los examinadores en esta convocatoria de exámenes. Son propiedad del Bachillerato Internacional y no se pueden reproducir ni distribuir a ninguna otra persona sin la autorización previa del centro de evaluación del IB.


1. An adequate to good answer will identify a character or characters, or narrative voice in the works

studied and discuss how the writers use that medium to explore a particular social or intellectual concern.

A good to excellent answer may offer more detailed and nuanced examples and explore with greater sophistication how the writers use characters or narrative voice to explore social/intellectual concerns.

2. An adequate to good answer will offer a definition of happiness, perhaps differing from work to

work, and discuss what the works seem to say about the ability to achieve happiness.

A good to excellent answer may offer a more insightful definition of happiness and engage in a more thorough discussion of what the works convey about the pursuit of happiness.

3. An adequate to good answer will select various stylistic features from the works studied and

discuss how such features might add to or detract from a work's popularity over time, or from a work’s wider appeal.

A good to excellent answer may offer a more detailed and knowledgeable awareness of stylistic features from the works studied and offer a more insightful discussion of how such features might add to or detract from a work's popularity over time or a work’s wider appeal.

4. An adequate to good answer will establish in what manner the works studied could be explicitly or

implicitly considered works of protest and offer a discussion of how such protest is presented within the works.

A good to excellent answer may offer a sharper awareness of what is being explicitly or implicitly protested in the works studied and give a more nuanced discussion of how the writers have used various literary features to convey such a sense of protest.

5. An adequate to good answer will identify ‘families’ in the works studied and explore how the

interactions between them lead to an understanding of the differences and similarities between the cultures they represent.

A good to excellent answer may offer a more in-depth view of the way families are representative of different cultures and explore in more detail how such depictions enable the reader/audience to understand various cultural nuances.

Context should be understood in the widest possible sense. It may include the social and/or historical setting of the work; it may include the context of a situation within the work and will certainly include contexts of production and reception of a work. In addition to the notes below, responses should be structured with a logical sequence and development. Clear, varied and accurate language should be used, as well as appropriate register, style and terminology.


6. An adequate to good answer will identify instances of irony in the works studied and discuss the purpose to which such instances were employed.

A good to excellent answer may offer a sharper and more fully developed discussion of the irony in the works studied, exploring, perhaps, how such instances enhance the overall effect of the work.





• Do not turn over this examination paper until instructed to do so.• Answer one essay question only. You must base your answer on both of the part 3 works you

have studied.• You are not permitted to bring copies of the works you have studied into the examination room.• The maximum mark for this examination paper is [25 marks].


• Ne retournez pas cette épreuve avant d’y être autorisé(e).• Traitez un seul sujet de composition. Vous devez baser votre réponse sur les deux œuvres de

la troisième partie que vous avez étudiées.• Vous n’êtes pas autorisé(e) à apporter des exemplaires des œuvres que vous avez étudiées

dans la salle d’examen.• Le nombre maximum de points pour cette épreuve d’examen est de [25 points].


• No dé la vuelta al examen hasta que se lo autoricen.• Conteste una sola pregunta de redacción. Base su respuesta en las dos obras estudiadas de

la parte 3.• No está permitido traer copias de las obras estudiadas a la sala de examen.• La puntuación máxima para esta prueba de examen es [25 puntos].


Wednesday 4 November 2015 (afternoon)Mercredi 4 novembre 2015 (après-midi)Miércoles 4 de noviembre de 2015 (tarde)

8815 – 2016

– 2 –

Answer one essay question only. You must base your answer on both of the part 3 works you have studied. Answers which are not based on a discussion of both part 3 works will not score high marks. Your answer should address the ways in which language and context contribute to your reading of each work.

1. How have writers used narrative voice and/or characterization to explore a social or intellectual concern in the two works you have studied?

2. Discuss the pursuit of happiness in the two works you have studied.

3. In what ways may a work’s stylistic features (the writer’s use of language, literary conventions, devices, etc.) add to or detract from its popularity over time? Discuss with reference to the two works you have studied.

4. To what extent could the two works you have studied be considered works of protest?

5. In what ways do the families depicted in the two works you have studied help you to understand cultural similarities and differences?

6. Irony can be used for either humorous or tragic effect. To what purpose has irony been employed in the two works you have studied?






yy Do not open this examination paper until instructed to do so.yy Write an analysis on one text only.yy It is not compulsory for you to respond directly to the guiding questions provided.

However, you may use them if you wish.yy The maximum mark for this examination paper is [20 marks].


yy N’ouvrez pas cette épreuve avant d’y être autorisé(e).yy Rédigez une analyse d’un seul texte.yy Vous n’êtes pas obligé(e) de répondre directement aux questions d’orientation fournies.

Vous pouvez toutefois les utiliser si vous le souhaitez.yy Le nombre maximum de points pour cette épreuve d’examen est de [20 points].





Wednesday 2 November 2016 (morning)Mercredi 2 novembre 2016 (matin)Miércoles 2 de noviembre de 2016 (mañana)

8816 – 2015

N16/1/AYENG/SP1/ENG/TZ0/XX– 2 –


Text 1

“The Missing Slate” is a “borderless” magazine with a culturally and intellectually diverse team that believes if art can’t be quantified, it can’t be mapped either.

HOME MAGAZINE IN THIS ISSUE LITERATURE ARTS AND CULTURE ESSAYS CONTESTS SHOP

AUTHOR OF THE MONTH: MINOLI SALGADO

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Minoli Salgado, The Missing Slate’s Author of the Month for December, talks to assistant fiction editor Isra Ansari about voicing Sri Lanka’s ‘silenced’ stories, the rise of ‘South Asian’ literature, and how writing felt like the only way to respond to the horrors of Sri Lanka’s civil war.

In both ‘The Breach’ and your novel, ‘A Little Dust on the Eyes’, not only do you write specifically about Sri Lankan culture, your characters are predominantly female. You have also said that one of your abiding concerns is to give voice to some of the ‘silenced’ stories from Sri Lanka. Why do you use women to voice these unheard narratives?

I don’t consciously choose to use women characters to articulate the silences I write about. In my novel and stories such as ‘Releasing Marius’ and ‘The Map’, men are also silent or silenced in various ways. But your question makes me aware that the silence of women might well be different from the silence of men. There are social expectations that reinforce the notion that women should not speak out at times when men might. Perhaps being raised, at least in part, in South Asia, I am very conscious of this. In this sense, silence is gendered and women and girls have more to overcome. I am interested in this experience where speaking out is not simply a dangerous act, but a self-reclamation of sorts.

Sumana, your protagonist in ‘The Breach’, and her mother prepare to flee the bomb ridden area; the passage is intense and in its brevity captures desperation, fear and the will to survive. Where do you gather the inspiration to write about war and loss so captivatingly, portraying it vividly as if you were there yourself?

I wrote ‘The Breach’ in 2009, in the final stages of the civil war. This was a time when thousands of civilians were trapped in the tragically misnamed No Fire Zone. Like many diasporic* Sri Lankans, I followed the media coverage at the time. The news coverage abroad, here in the UK, was very different from that in the country. It was graphic, disturbing and very painful to watch. What was obvious to me at the time was that this was a human story, a tragedy that need not play out the way it did.




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I wrote this story then – writing was the only way I felt I could respond at the time. It was a way of wresting the human story from the competing versions of reality emerging from the war.

How significant are the influences of environment and history on your characters and their development in your stories?

That sounds a bit like an essay title! I think it’s probably best answered by readers. Time and place are crucial factors for all writers of course.

Do you believe that the publishing world is, in any way, biased in favour of ‘Western’ authors? Does South Asian literature get the recognition it deserves?

The publishing world is a very big place and it’s expanding as we speak. Globalization and the digital age have changed things a lot. Though recognition may still be played out through metropolitan circuits, things have opened up. When I began writing, South Asian writers in English, both diasporic and national, were beginning to make their mark in Western universities. They were initially labeled as such but things have changed as many of them […] have transformed the literary landscape. Writers can now be recognized as international writers who happen to come from South Asia. And this wealth of talent continues to grow. I think the difficulty is not so much in getting South Asian literature recognized, but finding a space for it in the market that doesn’t compromise its literary integrity by putting exclusive value on its cultural status as ‘South Asian’.

We could talk at length about writing techniques, the role of women in South Asian literature, numerous other topics… but I’m sure our readers would be interested to know which authors have inspired you and been there throughout your growth as a writer and person. Who would be on your essential reading list?

Ah, reading lists. I must admit I have a lot of those. There are writers I read for pleasure, writers I read to learn from, writers I read because they teach us about how literature has evolved and developed in ways that have brought us to where we are, writers I read because they have been recommended to me by friends. When I was a teenager I was addicted to nineteenth-century realist novels, then, at university, I lost and found myself in contemporary writing and postcolonial literature. So it is difficult to put together an essential reading list, as it were, because I read very widely and for different reasons. Having said that, I do have an abiding preference for beautifully written, historical novels with an epic reach, and for lyrical poetry that carries me into other worlds and selves.

Minoli Salgado’s novel ‘A Little Dust on the Eyes’ is to be published later this year.

Adapted from an interview by Isra Ansari, for The Missing Slate: Art & Literary Journal, (January 2014), from http://themissingslate.com

* diasporic: dispersed from one’s homeland

– Comment on the way the interview format reveals both the interviewer and interviewee.

– Comment on the cultural and literary opinions that emerge from this interview.

“The difficulty is not so much in getting South Asian literature recognized, but finding a space for it in the market that doesn’t compromise its literary integrity by putting exclusive value on its cultural status


Text 2

$1.99Category: BooksUpdated: Apr 04, 2013Version: 1.5Size: 46.4 MBLanguage: EnglishSeller: Ying Horowitz & Quinn LLC© Ying Horowitz & Quinn LLCRated 12+ for the following:Infrequent/Mild Profanity or Crude HumorInfrequent/Mild Alcohol, Tobacco, or Drug Use or References

Compatibility: Requires iOS 5.0 or later. Compatible with iPhone, iPad, and iPod touch.

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DescriptionHonored by Apple as one of the Best Apps of 2012. Webby Awards winner. SXSW Interactive Awards finalist.

** The download includes access to Volume One, a 20-part serialization covering the first decade of the phenomenon. **

The Silent History is a groundbreaking innovation in digital fiction, the story of a generation of unusual children, told through serialization, collaboration, and exploration.

“Entirely revolutionary.” —Wired

“A landmark project that illuminates a possible future for e-book novels.” —LA Times

In the early years of the 21st century, doctors begin to notice more and more children being born with a strange condition: silence. No speech, no comprehension, and soon a complete lack of engagement with most human interaction. The kids are seen as not much more than empty vessels, and many are sent to orphanages and group homes — until a teacher at one of these facilities realizes that the children have developed enigmatic, powerful skills of their own.

Testimonials are presented in the form of oral histories told by characters directly affected by the condition — parents, teachers, doctors, cult leaders, faith healers, and government officials, with unexpected intersections and unifying narratives. The 120 Testimonials provide the central backbone of the story.

The Field Reports are short, site-specific accounts that deepen and expand the central narrative, written and edited in collaboration with the readers of the Testimonials. To access and comprehend a Field Report, the reader must be physically present in the location where the Report is set. Reports are deeply entwined with the particularities of their specific physical environments — the stains on the sidewalk, the view between the branches, a strangely ornate bannister, etc — so that the text and the actual setting support and enhance each other. Each of these reports can be read on its own, but they all interrelate and cohere within the larger narrative.


More by Ying Horowitz & Quinn LLC

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Screenshots

Customer Reviews

Love the concept and story but... by Clotaire

I love the concept of this different way of storytelling and am enjoying the characters and storyline as the plot slowly moves forward through the years. However, while I appreciate the IDEA of the location-based field reports, I absolutely hate that there are no such reports anywhere near my area (the South in the US) and that I will never be able to travel to any places where they do exist… I would be willing to pay an additional fee to gain access to the field reports.

More…

Just Wow by MommyCrazyLady

This was one of those finds I didn’t expect to really draw me in and now I’m hooked. It’s like this new reality but still a believable progression without pushing too hard or not enough. I have found myself looking for and imagining how I would deal in these silent groups and it’s a completely remarkable experience. A very highly recommended piece and probably a favorite for a long time to come.

More…

Copyright Sudden Oak (www.suddenoak.com]

– Comment on the different ways this iTunes webpage appeals to a prospective buyer of this product.

– To what degree do you find this product to be “entirely revolutionary”?















Thursday 3 November 2016 (morning)Jeudi 3 novembre 2016 (matin)Jueves 3 de noviembre de 2016 (mañana)

8816 – 2016



1. Discussthesignificanceofparticulartimes,placesoreventsfromreallife,eithermentionedorimplied,inthe two works you have studied.

2. How do the twowritersyouhavestudiedforeshadoweventsorideastocomelaterintheirworks,and what is the effect of such foreshadowing?

3. Discuss whether or not the endings/conclusions of the two works you have studied are satisfactory.

4. Appearances can be deceptive. Discuss the relevance of this statement in regard to the two works you have studied.

5. Pridecanleadtofailureandself-destructionortoaccomplishmentandself-fulfillment.Discussthepresentation of pride and its consequences in the two works you have studied.

6. To what effect is contrast and/or juxtaposition used in the two works you have studied?



Thursday 2 November 2017 (afternoon)Jeudi 2 novembre 2017 (après-midi)Jueves 2 de noviembre de 2017 (tarde)

8817 – 2015



yy Do not open this examination paper until instructed to do so.yy Write an analysis on one text only.yy It is not compulsory for you to respond directly to the guiding questions provided.

However, you may use them if you wish.yy The maximum mark for this examination paper is [20 marks].


yy N’ouvrez pas cette épreuve avant d’y être autorisé(e).yy Rédigez une analyse d’un seul texte.yy Vous n’êtes pas obligé(e) de répondre directement aux questions d’orientation fournies.

Vous pouvez toutefois les utiliser si vous le souhaitez.yy Le nombre maximum de points pour cette épreuve d’examen est de [20 points].







Text 1

The Pleasure of Books

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The habit of reading is one of the greatest resources of mankind; and we enjoy reading books that belong to us much more than if they are borrowed. A borrowed book is like a guest in the house; it must be treated with punctiliousness, with a certain considerate formality. You must see that it sustains no damage; it must not suffer while under your roof. You cannot leave it carelessly, you cannot mark it, you cannot turn down the pages, you cannot use it familiarly. And then, some day, although this is seldom done, you really ought to return it.

But your own books belong to you; you treat them with that affectionate intimacy that annihilates formality. Books are for use, not for show; you should own no book that you are afraid to mark up, or afraid to place on the table, wide open and face down. A good reason for marking favorite passages in books is that this practice enables you to remember more easily the significant sayings, to refer to them quickly, and then in later years, it is like visiting a forest where you once blazed a trail. You have the pleasure of going over the old ground, and recalling both the intellectual scenery and your own earlier self.

Everyone should begin collecting a private library in youth; the instinct of private property, which is fundamental in human beings, can here be cultivated with every advantage and no evils. One should have one’s own bookshelves, which should not have doors, glass windows, or keys; they should be free and accessible to the hand as well as to the eye. The best of mural decorations is books; they are more varied in color and appearance than any wallpaper, they are more attractive in design, and they have the prime advantage of being separate personalities, so that if you sit alone in the room in the firelight, you are surrounded with intimate friends. The knowledge that they are there in plain view is both stimulating and refreshing. You do not have to read them all. Most of my indoor life is spent in a room containing six thousand books; and I have a stock answer to the invariable question that comes from strangers. “Have you read all of these books?” “Some of them twice.” This reply is both true and unexpected.

There are of course no friends like living, breathing, corporeal men and women; my devotion to reading has never made me a recluse. How could it? Books are of the people, by the people, for the people. Literature is the immortal part of history; it is the best and most enduring part of personality. But book-friends have this advantage over living friends; you can enjoy the most truly aristocratic society in the world whenever you want it. The great dead are beyond our physical reach, and the great living are usually almost as inaccessible; as for our personal friends and acquaintances, we cannot always see them. Perchance1 they are asleep, or away on a journey. But in a private library, you can at any moment converse with Socrates or Shakespeare or Carlyle or Dumas or Dickens or Shaw or Barrie or Galsworthy. And there is no doubt that in these books you see these men at their best. They wrote for you. They “laid themselves out,” they did their ultimate best to entertain you, to make a favorable impression. You are necessary to them as an audience is to an actor; only instead of seeing them masked2, you look into their innermost heart of heart.

Radio address by William Lyon Phelps3 (6 April, 1933) USA

1 perchance: perhaps 2 masked: playing a part3 William Lyon Phelps: (1865–1943), US university professor, literary critic, author

and popular speaker



– How are rhetorical and figurative devices used to engage the listener?

– What assumptions are made and what values are implied in this talk?


Text 2

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[© Oxford University Press]We all know that life without emojis, (the small digital icons that we use ad nauseam) would be extremely boring. Hence, it is only fitting that the editors of the prestigious Oxford English Dictionary chose – The emoji with the tears of joy as its “Word of the Year” for 2015.The company that announced its unusual word choice on November 16th said that it was picked over several other traditional contenders. Among them were “refugee”, “sharing economy” and “on fleek”. However, it was this simple emoji that resonated with the editors because it appeared to best describe the “ethos, mood, and preoccupations of 2015.”

[© Oxford University Press]They also thought that this was a good year to pay homage to the emoji. For though they have been around since the late 1990s, the use of the digital icons and the word that describes them, has escalated sharply this year. Besides, emojis are now used by people of all ages, not just teenagers.

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N 17 /1/AYENG/SP1/ENG/TZ0/XX– 5 –

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Also, though the word stems from the Japanese language – e (picture), moji (character or lett er), the digital icons can be understood by everyone regardless of the language they speak. Hence it only makes sense to acknowledge their importance to global communicati on.

[Source: PA Photos Limited]

As to how they selected from the thousands of emojis that are available? The company says that they partnered with a leading mobile technology company Swi� Key to determine the most popular emoji. Turns out that “tears of joy” is the most used icon. According to Swi� Key, made up 17% of all emojis used in the U.S.A and an astounding 20 % in the United Kingdom!

Though this is the fi rst ti me the Oxford University Press has selected an image for its “word of the year”, it is not the fi rst ti me they have tried to incorporate modern lingo into their 150-year-old publicati on. In 2013, in recogniti on of the growing popularity of self-portraits, the editors selected “selfi e”, for the “Word of the Year”!

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6. This Tiny Iron Fish May Help Prevent Global Anaemia

Vocabulary ad nauseam astounding contenders ethos homage incorporate lingo on fl eek presti gious recogniti on refugee resonated sharing economy

GeographyUnited Kingdom!

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swbat 11 months ago

I really think that emoji shouldnt be the word of the year because I think that the word minecraft should because everyone lovesminecraft

Reply

emilyi liked the point of this video I also love emoji it was a great video

GabneI love emojis! They are my favourite thing! I even made chocolate emoji lollipops!

Reply

Reply

11 months ago

11 months ago

Excerpt from www.dogonews.com* www.dogonews.com: online network that allows 10 to 14-year-olds to engage

with digital media “in a fun, safe and social environment”

– In what ways do the layout and design of this web page engage younger readers?

– How do the news item and the associated activities on the web page teach both subject matter and skills?


5 pages/páginas







Nivel medio



These marking notes are the property of the International Baccalaureate and must not be reproduced or distributed to any other person without the authorization of the IB Global Centre, Cardiff.

Ces remarques pour la notation sont la propriété du Baccalauréat International. Toute reproduction ou distribution à de tierces personnes sans l’autorisation préalable du centre mondial de l’IB à Cardiff est interdite.

Estas notas para la corrección son propiedad del Bachillerato Internacional y no deben reproducirse ni distribuirse a ninguna otra persona sin la autorización del centro global del IB en Cardiff.


General marking instructions


Of course, some of the points listed will appear in weaker papers, but are unlikely to be developed.

Instructions générales pour la notation

Ces remarques sont de simples lignes directrices destinées à aider les examinateurs lors de la notation. Elles ne peuvent en aucun cas être considérées comme un ensemble fixe et exhaustif de réponses ou d’approches de notation auxquelles les réponses doivent strictement correspondre. Les idées ou angles valables qui n’ont pas été proposés ici doivent être reconnus et récompensés de manière appropriée. De même, les réponses qui ne comprennent pas toutes les idées ou approches mentionnées ici doivent être récompensées de manière appropriée.

Naturellement, certains des points mentionnés apparaîtront dans les épreuves les moins bonnes mais n’y seront probablement pas développés.

Instrucciones generales para la corrección

El objetivo de estas notas para los examinadores es servir de directrices para ayudar en la corrección. Por lo tanto, no deben considerarse una colección fija y exhaustiva de respuestas y enfoques por la que deban regirse estrictamente todas las respuestas. Los buenos enfoques e ideas que no se mencionen en las notas para la corrección deben recibir el reconocimiento y la valoración que les corresponda. De igual manera, las respuestas que no incluyan todas las ideas o los enfoques que se sugieren en las notas deben valorarse en su justa medida.

Por supuesto, algunos de los puntos que se incluyen en las notas aparecerán en exámenes más flojos, pero probablemente no se habrán desarrollado.


Text 1

This question asks candidates to analyse a radio address given by William Phelps, an American educator, literary critic, author and popular speaker, on April 6, 1933.

An adequate to good analysis will:

• identify the likely audience of the radio address from the provenance and internal contextualelements

• show some understanding of the specific nature of the text type within its historical, social orcultural context

• make some comments characterising the speaker and identify what might be the purpose orpurposes of his talk

• analyse some of the rhetorical and figurative devices used by Phelps to engage his listeningaudience, specifically: repetition, analogy, simile, metaphor, extended metaphor, enumeration;his use of images and his diction; his viewpoint (direct address to the listener, use of personalanecdote, literary and cultural allusions, etc.); structure (the organisation of the argument, thedeductive strategy, syntax, punctuation); the effects of sound devices (repetition, alliteration,rhythm); tone and register

• refer to some of the assumptions about the audience that the speaker is making: that thelistener enjoys reading, has acquired numerous books, has a comfortable living space withroom for books, etc. Refer to some of the values implied: that owning a book is preferable toborrowing one, that books should be “used” and revisited as a measure of self, that books bringpleasure on many levels, that books are immortal, that books are a personal link to greatthinkers of the past, that writers are dependent upon their readers, that reading is a socialactivity, that books are superior to corporeal friends, etc.)

A good to very good analysis may also:

• offer a more perceptive understanding of the contextual elements within the speech that revealcharacteristics of the author, his purpose(s) and the time and place he is speaking

• offer a more informed understanding of radio broadcasting, the likely radio audience or otheraspects of the historical, social or cultural context

• comment on the relevance of the talk today, including perhaps a comparison of its effects onreaders past and present

• offer a more thorough and detailed understanding of the rhetorical and figurative devices usedby Phelps and how they engage listeners and shape meaning

• offer a more detailed analysis of the assumptions made and the values implied• consider more closely the clear, logical organization of the speaker’s argument perhaps

referring to its persuasiveness.


Text 2

This question asks candidates to analyse a “news” web page from DOGO news, an online media network for students aged 10–14 from 2015


• identify the likely audience of this web page as seen from the provenance material and theinternal contextual elements

• identify from contextual elements the overall purpose of this web page, recognizing that it islikely to be read as part of a school (educational) activity (as seen, for example, by the option foreither “teacher” or “kids” and the choice of topics to click on)

• analyse some of the linguistic features of the text such as sentence structure, diction, rhetoricalquestions, punctuation, voice and tone

• analyse some of the features of the layout and design of the web page (the world header, thehighlighting of vocabulary, the use of colour, pictures and other graphics, video, interactiveelements and links, sidebar options, comprehension questions, vocabulary game, studentcomments, etc) in terms of their attractiveness and accessibility to younger readers

• analyse the educational nature of the web page through the manner in which it is presented:direct address to engage the reader, suggested books and comprehension questions (readingskills), the integration of vocabulary words within a more informal use of language (languageskills), the use of a frequency graph (math skills), applied links (research skills), references tothe UK and other international news (geography/social science), the Oxford Dictionary process,visual, listening, and computer skills, etc.

• make some comment on the structure and organization that shows how the news item achievesits primary didactic purpose of explaining how and why ‘emoji’ was chosen as word of the year.


• offer a more insightful analysis of contextual elements relating to audience and purpose,showing a clear awareness of the text’s educational relevance for both students and teachersas well as aspects of its entertainment value

• offer a more detailed analysis of the linguistic features of the news item and the associatedactivities presented, bringing out clearly the ways in which language is used in an engaging waythat is appropriate to the audience, including perhaps comment on the advertising, thereferences to pet animals or the comments section for example

• offer a more thorough and insightful analysis of the layout and design of the web page, giving aconvincing account of the ways in which the features of this design might appeal specifically toan audience of 10-14 year-olds, referring perhaps to uses of humour (e.g., the ‘tears of joy’ thatpunctuate the news item, the photographic image)

• offer a more sophisticated analysis of text type and subject matter, showing how this web pageengages students on various educational levels so as to improve both their knowledge andunderstanding of various academic subjects and their related skills

• make more detailed comments about the structure and organization of the news item.















Friday 3 November 2017 (morning)Vendredi 3 novembre 2017 (matin)Viernes 3 de noviembre de 2017 (mañana)

8817 – 2016



1. Many works are concerned with human suffering. How has this concern been expressed in a way that engages audiences of various times and/or places in the two works you have studied?

2. Tension often builds to a critical point in a piece of literature. How is tension created in the two works you have studied and for what purpose?

3. Explorethepresentationandsignificanceofjealousyinthetwo works you have studied.

4. In what ways do the form and content of the twoworksyouhavestudiedreflectthetimeandplacein which they were written?

5. What techniques did your two writers use to convey the “thoughts” of their characters, narrators or speakers and to what effect?

6. In what ways have your two writers explored the role of the individual within society and what conclusions might be drawn from these explorations?



Monday 7 May 2018 (afternoon)Lundi 7 mai 2018 (après-midi)Lunes 7 de mayo de 2018 (tarde)

5 pages/páginas


y Do not open this examination paper until instructed to do so. y Write an analysis on one text only. y It is not compulsory for you to respond directly to the guiding questions provided

However, you may use them if you wish. y The maximum mark for this examination paper is [20 marks].


y N’ouvrez pas cette épreuve avant d’y être autorisé(e). y Rédigez une analyse d’un seul texte. y Vous n’êtes pas obligé(e) de répondre directement aux questions d’orientation fournies.

Vous pouvez toutefois les utiliser si vous le souhaitez. y Le nombre maximum de points pour cette épreuve d’examen est de [20 points].


y No abra esta prueba hasta que se lo autoricen. y Escriba un análisis de un solo texto. y No es obligatorio responder directamente a las preguntas de orientación que se incluyen,

pero puede utilizarlas si lo desea. y La puntuación máxima para esta prueba de examen es [20 puntos].

© International Baccalaureate Organization 2018

M18/1/AYENG/SP1/ENG/TZ0/XX

2218 – 2015


Text 1


– 2 – M18/1/AYENG/SP1/ENG/TZ0/XX

Text 2

MAP YOUR STORY PRE PLANNED TRIPS VIDEO GALLERY INSIDERS’ GUIDE #TASSIESTYLE WIN A TRIP

INSIDERS’ GUIDEDiscover some of Tasmania’s best-kept secrets and destinations

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10

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20

In an increasingly accelerated world the need to snap out of our wifi-induced comas, ignore the urge to check emails, and seek relief from busy routines has never been greater.

Heading somewhere unexpected and unknown is just the prescription you need to relieve the boredom and stresses of modern day life. The medicine – nature.

But not the nature you might expect.

With our lives so caught up with what’s going on above ground, we don’t give a thought to what lies beneath. An underworld separated from the rush above, where you can sink deeply into yourself and listen to your truest thoughts. Taking a moment to stop and appreciate nature makes you feel connected to a tiny part of a massive universe.

Deep you go, beyond the surface to a land submerged under a shallow sea. Where time is measured by drips of water, and things glow brighter without light. Caves that came into being when Tasmania was still a part of the supercontinent Gondwana. Shaped when glaciers grew, and melted, and burrowed into the limestone leaving behind the cave systems you see today.

For a small island, it might surprise you to find more caves in Tasmania than anywhere in Australia – and Tassie has the deepest, longest and wildest of them all. At 394 meters below ground Niggly Cave is by far the deepest. With a length of 23km, Exit Cave is the longest. The Kubla Khan cave is long, but it’s better known for its whopping 18 metre high stalagmite.


25

30

35

40

45

50

Tasmanian caves have a better natural integrity. Rivers still flow through them and keep them active. Stalagmites form in front of your eyes, although if you stop to watch them you might not notice – growing at a rate of ten centimetres every thousand years. You can also expect the temperature to drop to about nine degrees when you step through a cave entrance. You could liken it to walking through the entrance of a David Jones store and being greeted by a blast of cool air conditioning. It makes you feel alive.

Although there are over 300 caves in Tasmania, most are not “tourist” caves. Separated into “show” and “wild” caves, most wild caves are restricted to avoid degradation. Not to worry, Tasmania has some of the most beautiful caves on show. Park guides keen to show off these otherworldly caverns will take you on an underworld exploration into Tasmania’s show caves, showing you how these extraordinary worlds form. But if you’re tired of crowds and concrete paths Wild Cave Tours in the Mole Creek area can take you into wild caves.

MOLE CREEK KARST NATIONAL PARK

Mole Creek is a town in the upper Mersey Valley, in the central north of Tasmania. The name Mole Creek comes from a nearby stream which flows above ground, and in portions underground through the caves underlying the area. The caves of the nearby Mole Creek Karst National Park are a world of subterranean adventures that would satisfy any modern cave dweller.

Guides teach the difference between stalagmites, stalactites, shawls, columns and flowstones in Marakoopa Cave. See sparkling crystals, reflection pools, the Great Cathedral and glow-worms. For those not shy to belt out a tune, the dimly lit expanse of the Great Cathedral cavern gives a chance to test the vocals. It’s lights out in the glow-worm cavern. As your eyes adjust, the tiny larvae fill the pitch-black walls like city lights turning on at dusk.

Operating near Mole Creek, Wild Cave Tours expert crew can take as few as two people on half-day guided tours of stream caves, glow-worm chambers and honeycombed hills in some of these lesser-known wild caves. These unusual experiences invigorate the soul.

You’ll be geared up from head to toe in overalls, and a helmet with head lamp and be led down horizontal caves, through streams into glow-worm caverns, coming out the other end for a gourmet picnic spread of local organic salads, homemade pickles and preserves and a selection of cheeses from nearby Ashgrove Farm.

Kathryn LeahyKathryn Leahy

Adapted from the Tasmanian tourism website https://gobehindthescenery.com.au (2016)Text: Kathryn Leahy

Mole Creek Karst National Park image: George Apostolidis

– In what ways does the interplay between image, layout and language help the guide to achieve its purpose?

– How do Leahy’s language choices and style of writing indicate the assumptions she is making about the target audience and their expectations?


M18/1/AYENG/SP1/ENG/TZ0/XX/M

6 pages/páginas



May / Mai / Mayo de 2018




Nivel medio


– 2 – M18/1/AYENG/SP1/ENG/TZ0/XX/M

These marking notes are confidential and for the exclusive use of examiners in this examination session. They are the property of the International Baccalaureate and must not be reproduced or distributed to any other person without the authorization of the IB Global Centre, Cardiff. Ces remarques pour la notation sont confidentielles. Leur usage est réservé exclusivement aux examinateurs participant à cette session. Ces remarques sont la propriété du Baccalauréat International. Toute reproduction ou distribution à de tierces personnes sans l’autorisation préalable du centre mondial de l’IB à Cardiff est interdite. Estas notas para la corrección son confidenciales y para el uso exclusivo de los examinadores en esta convocatoria de exámenes. Son propiedad del Bachillerato Internacional y no deben reproducirse ni distribuirse a ninguna otra persona sin la autorización del centro global del IB en Cardiff.


The following are the annotations available to use when marking responses.

Annotation Explanation Associated shortcut

Caret – indicates omission.

Incorrect point – indicates factual inaccuracies or misinterpretations.

Ellipse that can be expanded.

Horizontal wavy line that can be expanded – indicates language errors / incoherence.

Highlight tool that can be expanded.

On page comment – justifies application of assessment criteria.

Unclear content or language.

SEEN - every scanned page must be annotated or marked as SEEN.

Good Response/Good Point.

Vertical wavy line that can be expanded – indicates irrelevance / going off the point.

You must make sure you have looked at all pages. Please put the annotation on any blank page, to indicate that you have seen it. When using the On Page Comments annotation, please keep the following in mind:

• Avoid covering the candidate’s own writing. This can be done by writing your comments in the margins then running the arrow attached to the ‘on-page comment’ annotation to the appropriate place.

• Provide all comments in the target language. • You may provide summative comments at the end of the script, but please do NOT record

numerical marks on the scripts.


General marking instructions These notes to examiners are intended only as guidelines to assist marking. They are not offered as an exhaustive and fixed set of responses or approaches to which all answers must rigidly adhere. Good ideas or angles not offered here should be acknowledged and rewarded as appropriate. Similarly, answers which do not include all the ideas or approaches suggested here should be rewarded appropriately. Of course, some of the points listed will appear in weaker papers, but are unlikely to be developed.

Instructions générales pour la notation Ces remarques sont de simples lignes directrices destinées à aider les examinateurs lors de la notation. Elles ne peuvent en aucun cas être considérées comme un ensemble fixe et exhaustif de réponses ou d’approches de notation auxquelles les réponses doivent strictement correspondre. Les idées ou angles valables qui n’ont pas été proposés ici doivent être reconnus et récompensés de manière appropriée. De même, les réponses qui ne comprennent pas toutes les idées ou approches mentionnées ici doivent être récompensées de manière appropriée. Naturellement, certains des points mentionnés apparaîtront dans les épreuves les moins bonnes mais n’y seront probablement pas développés.


El objetivo de estas notas para los examinadores es servir de directrices para ayudar en la corrección. Por lo tanto, no deben considerarse una colección fija y exhaustiva de respuestas y enfoques por la que deban regirse estrictamente todas las respuestas. Los buenos enfoques e ideas que no se mencionen en las notas para la corrección deben recibir el reconocimiento y la valoración que les corresponda. De igual manera, las respuestas que no incluyan todas las ideas o los enfoques que se sugieren en las notas deben valorarse en su justa medida. Por supuesto, algunos de los puntos que se incluyen en las notas aparecerán en exámenes más flojos, pero probablemente no se habrán desarrollado.


Text 1 The text is an editorial from the online Washington Times, July 15 in response to recent shark attacks on the east coast of the USA coinciding with “Shark Week” on the Discovery Channel. An adequate to good analysis will: • identify that the text type is an editorial (or opinion) on a website and show knowledge of some

of its conventions • identify the target audience as, for example, readers of the Washington Times or web-users

interested in shark attacks, “Shark Week” or sharks generally • recognize that the context and the reason the editorial was written is the coincidence of shark

attacks on bathers with the transmission of a series of TV programmes about sharks • show a general understanding of the key purpose: to persuade readers that the fear of sharks is

irrational and due to media coverage of shark attacks and to human attitudes to sharks generally

• make some comments about the way the editorial is structured • give some examples of the type of arguments the editorial uses to persuade readers to agree

with its point of view. Perhaps refer to the way the editorialist takes the side of the shark and tries to put the phenomenon of human reactions to shark attacks into historical perspective

• comment on how the diction and tone lends a persuasive edge to the piece, for example: the statistical arguments, the references to historical context, the assertions (“nobody’s fault”), the criticism of the media’s obsession with blood

• comment on the critical yet humorous tone of the editorial, referring, for example to cultural allusions, pathos, hyperbole, parenthetical remarks, use of slang

• include some comment about the layout and design, for example: the title, tabs, social media logo as well as the image and its caption

A good to very good analysis may also: • demonstrate greater familiarity with the text type and some of its conventions (for example:

impersonal style, link to current news of concern to readers, clear exposition of the problem, arguments supported by facts, unequivocal expression of opinion, criticism)

• demonstrate deeper insight into the target audience, for example, an educated reader, as indicated by the level of language and with some awareness of pop culture, etc.

• show understanding of wider aspects of the context, for example, awareness of the ecological impact, the internet context, the historical context, the modern need for entertainment

• show understanding of how the editorial combines news of recent shark attacks with a criticism of sensationalist media coverage as well as of the attitudes of television viewers

• comment more perceptively on the structure of the text in terms of the conventions of editorials • make more detailed comments on the type of arguments the editorial uses to persuade readers,

with particular emphasis perhaps on the way it relativizes the current news by putting the phenomenon of shark attacks into historical perspective; its mockery of human folly; its defence of the shark

• analyse in greater depth the way diction and tone is used, particularly humour, to make the opinion of the Washington Times clear to the reader and to entertain, for example, commenting perhaps on the use of hyperbole and its effects on the reader

• comment further on the title, noticing, for example both the use of alliteration, of wordplay and irony, and perhaps on the odd choice of illustration and caption used.


Text 2 The text, in the form of an “insider’s guide”, is taken from a Tasmanian tourist website advertising adventure holidays to young people. An adequate to good analysis will: • identify type of website, its general promotional purpose and target audience (people looking to

escape from their busy/stressful lives; possibly young professionals seeking adventure) • analyse the interplay of image, layout and language, for example, how the images support the

purpose, contribute to the sense of wonder and mystery conveyed • recognise that the writer’s tone is both awestruck and reassuring, and that the text seeks to

convey wonder to readers about the world inside (for example, through the use of superlatives, statistics, historical perspective), in contrast with the assumptions made about the hectic lives they lead in the world outside (for example, through comic exaggeration and contrast)

• comment on the effect of the use of pronouns (you, we) and on other features of persuasive writing (hyperbole, simile, alliteration)

• comment on the way language is used to inform as well as to persuade (facts, explanations) • comment on the headline, banner, tabs, including the first image, the writing on it and how these

features support the purpose A good to very good analysis may also: • make more detailed comments about the type of website, its participative nature (“map your

story”, “insider’s guide”) and the audience it seeks to appeal to • comment on the context, for example, the internet context, the ecological, the socio-historical • give more detailed consideration to the interplay of text and image, paying particular attention

perhaps to analysis of the first image and its invitation to “Enter Tasmania’s Labyrinth”, to the use of colours, to the contrast within and between images as well as to the contrasts used in the text itself (for example, between the modern world and the world of nature, between present and distant past, outside and inside, surface and depth, dark and light)

• make more detailed comments about the structure, layout and visual features of the guide and the way they attract the reader

• make more detailed comments on the writer’s diction and style, including tone, that clearly show the assumptions she is making about the target audience and their expectations

• analyse in more detail the stylistic features and persuasive devices used by the writer, for example: the address used; enumeration; the metaphor of medicine; references to Australian culture; historical allusions, the connotations of “labyrinth”.



Tuesday 8 May 2018 (morning)Mardi 8 mai 2018 (matin)Martes 8 de mayo de 2018 (mañana)

2 pages/páginas













2218 – 2016


1. In what ways do the two works you have studied (in form and/or content) question or subvert norms, conventions or traditions?

2. Explore how women are represented as stronger than men in the two works you have studied.

3. How do the two works you have studied show that good can come out of destruction or violence?

4. Howandtowhateffectarestrangersorstrangenessrepresentedinthetwo works you have studied?

5. Discusshowoneormoreoftheformalcharacteristicsofagenreinfluencemeaninginthetwo works you have studied.

6. Show how aspects of the two works you have studied can be better understood with a knowledge of the time and context in which they were written.





5 pages/páginas


y Do not open this examination paper until instructed to do so. y Write an analysis on one text only. y It is not compulsory for you to respond directly to the guiding questions provided.










8818 – 2015


Text 1



Text 2

Mars water: will it be contaminated by Earth cooties1?Humans are amazing. We can fly a spaceship to Mars but we can’t clean the Mars Rover – or Earth, for that matter?

COOTIES!

First Dog on the Moon3

SUPERDUPERSPACE–O–

SCOPE

© https://firstdogonthemoon.com.au/ (2 October 20154)

2


1 Cooties: child’s term for an imaginary germ or disease that one can catch by touching a person who is disliked or socially avoided

2 Ewww: exclamation of disgust3 First Dog on the Moon: pseudonym of the award winning Australian political

cartoonist Andrew Marlton4 Published following news in September 2015 of NASA’s discovery of water on

Mars and concerns about its contamination by the Mars Rover

– How do the various cartoon techniques help establish both tone and meaning?

– Comment on the ways in which this cartoon reveals uncomfortable truths about human priorities.





November / Novembre / Noviembre de 2018




Nivel medio


5 pages/páginas


These marking notes are the property of the International Baccalaureate and must not be reproduced or distributed to any other person without the authorization of the IB Global Centre, Cardiff.

Ces remarques pour la notation sont la propriété du Baccalauréat International. Toute reproduction ou distribution à de tierces personnes sans l’autorisation préalable du centre mondial de l’IB à Cardiff est interdite.

Estas notas para la corrección son propiedad del Bachillerato Internacional y no deben reproducirse ni distribuirse a ninguna otra persona sin la autorización del centro global del IB en Cardiff.


Text 1

This question asks candidates to analyze an open letter from Barbara Bush and Jenna Bush Hager, daughters of former US President George W Bush, to Malia and Sasha Obama, on their leaving the White House at the end of their father’s presidential term. The letter was printed in the Time Magazine, Ideas section, January 12, 2017 at time.com.


consider the context in which this letter was printed and the possible audience and purpose itimplies, recognizing that an “open” letter is intended for general reading and not just the namedrecipients, the Obama sisters

discuss some of the parallels, and their effects, that are developed in the letter: parallelexperiences, parallel emotions, parallel concerns—for sisters by sisters, etc.

discuss some of the other structural devices and their effects: introduction, body andconclusion, listing of actions to be taken, balance of “you” instances and “we” instances,informal in style and in tone, etc.

discuss some of the stylistic features and their effects: use of descriptive detail, variety ofsentence structure, integration of anecdote, use of action verbs to convey advice (never forget,enjoy, make mistakes, take all), etc.

discuss the visual features – colours, banner, headline, image, interactivity offer consideration of how this letter works on both a personal and private level: informative

about growing up in the White House with both its pluses and minuses, of interest on a humanlevel (children and parents), the use of an understanding tone, and a sensitivity of the oldersisters to the situation of the younger girls, offering both advice and encouragement.


offer a much more in-depth and perhaps critical discussion of context, audience and purpose –perhaps mentioning the empowerment of women or perhaps mentioning the context of therecent shift in presidential power from one political party to another and bridging the gapbetween these political parties. These are Republican 1st children addressing Democrat 1st

children; the possible promotional or public relations purpose offer a more detailed and insightful discussion of the structure, style and techniques used in the

letter, examining clearly the effects of such choices – may also explore the image in more detail consider more closely the public and private nature of the letter, seeing it as both universal and

yet particular, for both the USA and for the world consider what the readers learn about the writers of this letter consider why this was an apt choice for the IDEAS magazine.


Text 2

This question asks candidates to analyze a 2015 cartoon by Australian cartoonist, Andrew Marlton.


offer some consideration of audience, context and purpose as implied by the cartoon itself andthe footnote

consider some of the techniques employed (on-going narrative voice at top of frames, informallanguage juxtaposed with factual detail, cartoon figures illustrating the narrative in a humourousmanner, speech bubbles, labeling, use of colour, attention to detail, etc.) and determine whattone and meaning the author conveys (humour, scorn, contempt…?) through these techniques

offer some close consideration of the details in the cartoon and what they imply: the purpleMartian, the rover, the Super-Duper Space-o-Scope, the dog (or other valid animalinterpretations) with goggles and snorkel, the drawing not to scale, cooties, dog with jar onhead, the illustrated list in the final panel, the lobster, etc.

comment on the drawing style, colours and font choice draw a reasonable conclusion about the purpose of the cartoon, discussing “uncomfortable

truths” such as human arrogance and indifference, perhaps noting the use of irony and humour.


offer a more in-depth consideration of audience, context and purpose, perhaps noting the liberalperspective of the Guardian, the socio-economic class of the audience and the globalizedcontext of space exploration vs. humanitarian concerns

consider the nuances of the political cartoon’s style and tone consider with greater detail and insight the use of various techniques employed in the cartoon

and how they work in unison to convey the writer’s tone and meaning – for example, the title,the use of The First Dog on the Moon as the cartoonist’s alter ego, the anthropomorphism, andhow the name is reflected in the content

offer a close consideration of the details to see the numerous implications they have: humantendency to racially profile, to think of themselves as greater than they really are, to suspectothers of “having cooties”, to think only of financial gain while others struggle just to carry waterto their home, that humans engage in costly (both economically and environmentally)conveniences rather than to assist others, etc.

consider how the images offer humour and wit and yet ironically make the reader complicit inthe problems mentioned

offer some consideration of the shift in tone as the cartoon progresses.




2 pages/páginas


yy Do not turn over this examination paper until instructed to do so.yy Answer one essay question only. You must base your answer on both of the part 3 works you

have studied.yy You are not permitted to bring copies of the works you have studied into the examination room.yy The maximum mark for this examination paper is [25 marks].


yy Ne retournez pas cette épreuve avant d’y être autorisé(e).yy Traitez un seul sujet de composition. Vous devez baser votre réponse sur les deux œuvres de

la troisième partie que vous avez étudiées.yy Vous n’êtes pas autorisé(e) à apporter des exemplaires des œuvres que vous avez étudiées

dans la salle d’examen.yy Le nombre maximum de points pour cette épreuve d’examen est de [25 points].


yy No dé la vuelta al examen hasta que se lo autoricen.yy Conteste una sola pregunta de redacción. Base su respuesta en las dos obras estudiadas de

la parte 3.yy No está permitido traer copias de las obras estudiadas a la sala de examen.yy La puntuación máxima para esta prueba de examen es [25 puntos].



8818 – 2016


1. Discuss how moral and/or ethical issues are explored in the two works you have studied.

2. Discussthesignificanceofapivotalmoment,shiftorturningpointinthe two works you have studied.

3. Explore the role minor characters play in the development of major characters in the two works you have studied.

4. Towhateffecthavewritersuseddeathordyinginthe two works you have studied?

5. How does a physical journey contribute to the two works you have studied?

6. Howandtowhateffecthaschildhoodbeenexploredinthe two works you have studied?


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Thursday 16 May 2019 (afternoon)Jeudi 16 mai 2019 (après-midi)Jueves 16 de mayo de 2019 (tarde)

5 pages/páginas












2219 – 2015

Write an analysis on one of the following texts. Include comments on the signifi cance of context, audience, purpose and formal and stylistic features.

Text 1

M19 /1 /AYENG/S P 1 / ENG /TZ0 / XX– 2 –

Adapted from a comic strip by Gabby Schulz. Used with permission.

1 a panopticon: a circular building so arranged that all parts of the interior are visible from a single point

2 chorizo: type of Spanish sausage usually eaten in slices

– Analyse the words and images that characterize the protagonist and his world.

– Comment on the signifi cance of the fi nal frame in relation to the cartoon as a whole.

2

1


M19 /1 /AYENG/S P 1 / ENG /TZ0 / XX– 3 –

Text 2


M19/1/AYENG/SP1/ENG/TZ0/XX– 4 –

– Explore the psychological aspects of this personal story and their possible appeal for the readers of this type of magazine.

– How do the contrasts of the text make the reader think about materialism and about other social and cultural issues?



M19/1/AYENG/SP1/ENG/TZ0/XX/M

5 pages/páginas



May / Mai / Mayo de 2019




Nivel medio



Text 1

The text is a comic strip from an American cartoonist’s website dealing with the 21st-century evolution of smartphone technology and the surveillance issues to which it has given rise.


• identify the text type as a comic/cartoon on the Internet, its possible purpose (to critique orentertain), and target audience as smartphone users in the 21st Century

• refer to the context of the evolution of smartphone technology and of surveillance issues

• make some observations about the personal situation and social background of the comicstrip’s main character from what he says and from the way he is represented

• make some comments about the protagonist’s attitude to the smartphone and his assessmentof its advantages and disadvantages

• make some observation and comments about some of the graphic features of the comic strip,for example: the cartoon’s graphic style, the progression shown through its images, the coloursused, the contrast between the world of nature and that of technology and details like the scenein the forest, the panoptic eye in the clouds, the precipice, hell

• comment on some of the humour in the text, referring to some of the comparisons andmetaphors

• refer to and comment on some of the exaggerated or non-realistic aspects of the text

• make some concluding assessment of the cartoonist’s views or his message.


• make more detailed comments about the text type as a webcomic, referring perhaps to themasthead as well as to the cartoon strip; the cartoonist’s possible purpose (to comment onsociety or even as a call to action); and target audience as mobile phone users in the 21st

Century

• show more extensive appreciation of context, particularly of the surveillance issues to which thecomic strip’s character refers

• make more detailed observations about the way the protagonist is represented in word andimage, including his deterioration as he uses a smartphone, and the story structure of the comicstrip

• recognize the ambivalence apparent in the evolution of the protagonist’s attitudes and opinions

• analyse a range of graphic features such as speech bubbles, monologue, and narration;hyperbole or exaggeration; flashback and symbolism; comic conventions such as emanata; aswell as making comments about the presence of frames depicting the natural world as well asthose focused on the technology

• characterize the spoken style of the comic strip character, commenting on his choices of diction,comparison or metaphor and simile, his use of humour and irony, juxtaposition or oxymoron,and tone

• reflect on the purpose of the comic strip, the views it puts forward, and the message its authorconveys.


Text 2

The text is an article from the mass market print magazine, Psychologies, written in the first person by a young woman who wants to live a less materialistic life.


• make some observations about the type of article (feature article), its purpose (self-help andinform), and the potential audience (middle/upper-class in the “developed”/”Western” world)

• recognize that the article is a first-person account and that its main focus is the author’scompulsion to shop, perhaps commenting on how this topic may resonate with readers

• provide some examples of the contradictions or ambivalences in the author’s attitudes, perhapscommenting on materialism versus minimalism

• bring out the psychological aspects of the author’s discourse, supported by examples of thediction

• identify some of the more social and cultural aspects of the author’s discourse and comment onthe significance of some of these

• make some comment on the author’s contrasts between the author’s home and the parts ofNigeria where she worked

• make some observations about the structure and layout of the article with particular attentionperhaps to its time sequencing

• make some observations and comments on some stylistic features and their effects: anecdote,diction, questions, imagery, etc.


• show familiarity with the type of article, its style and layout and the ways in which it may appealto a young adult and predominantly female audience in a capitalist society

• show understanding that the focus on the compulsion to shop is also the primary psychologicalfocus

• analyse in more detail the language of contradiction and ambivalence in the writer’s discourse

• make more detailed comments on the social and cultural aspects of the author’s discourse,perhaps exploring the issue of gender

• make some critical comment on the author’s aspirations as symptomatic of specificallymaterialistic values and on her admiration for non-materialistic values that she associates withthe remote parts of Nigeria where she worked

• make more detailed observations about the structure of the personal story, commentingperhaps on how it begins with a flashback in the narrative present before continuing inretrospective and chronological narrative fashion

• analyse more stylistic features and their effects: metaphors, alliteration, juxtaposition, irony,tone, etc.



Friday 17 May 2019 (morning)Vendredi 17 mai 2019 (matin)Viernes 17 de mayo de 2019 (mañana)

2 pages/páginas













2219 – 2016


1. Discuss the ways in which philosophical or aesthetic ideas are represented in the two works you have studied.

2. There is no love without suffering. Discuss the extent to which the two works you have studied support this view.

3. In the two works you have studied, discuss the means as well as the effectiveness with which power or authority is exercised.

4. Pleasure is often deferred, delayed or denied. Discuss why this is so by analysing examples in the two works you have studied.

5. In what ways are the contradictory or the paradoxical significant aspects of the two works you have studied?

6. Consider why writers create characters who do not conform to norms in the two works you have studied.





5 pages/páginas












8819 – 2015

Write an analysis on one of the following texts. Include comments on the signifi cance of context, audience, purpose and formal and stylistic features.

Text 1

QUEENSLAND

MAY 25, 2014 Traveller ON SUNDAY 13

Push pause and hit refreshIt would be a mistake to focus on what you can’thave at Gwinganna1. The rewards far outweigh the sacrifi ces, writes Angie Kelly.

A three-day news blackout ain’t easy for a current-aff airs junkie. Doing without coff ee, tea, alcohol, salt, butter and water with meals is no picnic either. I didn’t quite get the ban on perfume, but the most confronting aspect of my stay at this sprawling retreat was going cold turkey2 on TV.

When bedtime is 8pm, the silence of the long night ahead is somehow deepened when there is no way of breaking it.

The irony of Gwinganna – on a luscious mountain-top behind the Gold Coast – is that it looks like a resort. Seductive swimming pools; impressive gym facilities; fun activities; outdoor dining; grounds with sweeping sea views; plus a luxe spa bulging with wish-list treatments.

And therein lies the contradiction of “lifestyle” retreats. The very people who

can think of nothing worse than having no stimulants, junk food, late nights or digital playthings are the ones who would probably benefi t most from the chance to push the pause button and focus on their health.

In truth, what this is really about is nutrition talks with practical, take-home tips, fi tness classes laced with research-based advice, getting access to naturopaths, counsellors, spa treatments and delicious, organic food. Far from being hardcore, the overwhelming vibe is supportive and nurturing.

My two-night visit is part of the new Wellness Weekend program, a Friday afternoon until Sunday noon stint where coff ee and tea is allowed until 11am, and 100 ml of wine is permitted with dinner.

The rationale is that there is no need to scare people on this

two-day road test. The seven-day detoxers meanwhile, sign up for the total bans.

This weekend I fi nd myself among high achievers. Smart, sassy3 people aged from their 20s to their 60s, each seeking something diff erent. Many were immersed in the seven-day detox, while a handful of fi ve-dayers had elected to stay longer for an extra dose of whatever it was they were being nourished by in the 200-hectare bush4

setting.And when it comes to

sharing life stories, it was to be a weekend to remember, full of wisdom and cautionary tales in equal measure.

While some guests are seeking strength to endure the big ones, such as separation, health scares and grief, others might be trying to give up

Images removed for copyright reasons

N19 /1 /AYENG/S P 1 / ENG /TZ0 / XX– 2 –

Text and web header: Angie Kelly / Traveller

1 Gwinganna: a “lifestyle retreat” on the Gold Coast of Queensland, Australia2 going cold turkey: to stop a habit suddenly3 sassy: lively4 bush: wild, uncultivated country5 wallaby: medium-sized animal in the kangaroo family

– What purposes might the writer hope to achieve with this article?

– Comment on the ways in which the writer engages the reader.

smoking, cut down on drinking or to lose weight.

Others are hard-working, hard-playing corporate types who need stress-handling tips for boardroom battles or the juggle of work and family. I was told exhausted lawyers make up a fair chunk of customers.

Being here presents an opportunity to think in the absence of a to-do list. A break from responsibility and freedom to rest. The fi rst steps towards living a healthier, more energetic life.

After a silent night in one of two large signature villas, a cheery good morning call at 5.45am got me out of bed in

the pre-dawn darkness. What followed was a dream Saturday of self-indulgence.

First, a Qigong session (a variation on tai chi) on the plateau with the sun rising over Burleigh Heads below, wallabies5 eyeing our slow, fl owing movements. Next, a strength-training class. Guided bush walks were an option, as was a run up the steep mountainside.

An energising organic breakfast with eggs from the hen house, gluten-free bread and zingy juice combos set us up. A stretch class, optional boxing or tennis and water polo game takes us to lunch. Broccoli and

zucchini soup followed by grilled barramundi with sweet potato got my tick, as did cucumber soup with prawn salsa, baked fi sh with parsnip puree, quinoa and basil. Fillet of beef was also on the menu.

Afternoons are set aside for spa treatments, sleeping, swimming or chatting over herbal tea.

Even if you head straight for the barista at the airport, are deeply sceptical or adore your bad habits, it’s impossible to leave Gwinganna without feeling hopeful and healthier.

The writer was a guest of Gwinganna.

TRIP NOTES

GETTING THERE Virgin Australia fl ies from Sydney to the Gold Coast; see virginaustralia.com.au.

STAYING THERE Accommodation options include modern Orchard Suites or Villas, which come with plunge pool or steam room, laundry and bath.

CHILLING THERE Weekend Wellness program from A$980 (NZ$1075) a person double share, including two nights, a 50-minute massage, seminar, use of all facilities. Singles from A$1095.


N19 /1 /AYENG/S P 1 / ENG /TZ0 / XX– 3 –

Text 2

Journal entry written and illustrated by JD Hooker, and published following his expedition to the Himalayas (1847–1851):

We reached the boundary between Sikkim1 and Tibet early in the afternoon… I determined the altitude by barometer 15 745 feet above the sea, and by boiling water, 15 694 feet, the water boiling at 184.1 degrees (F); the temperature of the air between 2:40 and 4 pm varied from 41.3 degrees to 42.5 degrees, the dew-point 39.8 degrees… We were bitterly cold; as the previous rain had wetted us through, and a keen wind was blowing up the valley. The continued mist and fog intercepted all view, except of the flanks of the great mountains on either hand, of the rugged snowy ones to the south, and of those bounding the village of Lachen to the north.

Isolated patches of vegetation appeared on the top of the pass, where I gathered forty kinds of plants, most of them being of a tufted habit characteristic of an extreme climate; some (as species of Caryophylleae) forming hemi-spherical balls on the naked soil; others growing in matted tufts level with the ground. The greater portion had no woolly covering; nor did I find any of the cottony species of Saussurea, which are so common on the wetter mountains to the southward. Some most delicate-flowered plants even defy the biting winds of these exposed regions; such are a prickly Meconopsis with slender flower-stalks and four large blue poppy-like petals, and a Cyananthus with a membranous bell-shaped corolla.

After two hours I was very stiff and cold, and suffering from headache and giddiness, owing to the elevation; and having walked about thirteen miles botanizing, I was glad to ride down. As the moon sank, and we descended the narrowing valley, darkness came on, and with a boy to lead my sure-footed pony, I was at liberty uninterruptedly to reflect on the events of a day, on which I had attained the object of so many years’ ambition. Now that all obstacles were surmounted, and I was returning laden with materials for extending the knowledge of a science which had formed the pursuit of my life, will it be wondered at that I felt proud, not less for my own sake, than for that of the many friends, both in India and at home, who were interested in my success? We arrived at Tungu at 9 pm, my pony not having stumbled once, though the path was rugged, and crossed by many rapid streams.

On the 26th of July the Phipun2, who waited on me every morning with milk and butter, and whose civility and attentions were now unremitting, proposed that I should accompany him to an encampment of Tibetans, at the foot of Kinchinjhow mountain. We mounted ponies, and ascended the Tunguchoo eastwards: it was a rapid river for the first thousand feet, flowing in a narrow gorge, between sloping, grassy, and rocky hills, on which large herds of yaks were feeding, tended by women and children, whose black tents were scattered about.

On ascending a low hill, we came in sight of the Tibet camp at the distance of a mile.

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The people were natives of Gearee and Kambajong, in the adjacent province of Dingcham, which is the loftiest, coldest, most windy and arid in Eastern Tibet; these families repair yearly to Palung, with their flocks, herds, and tents, paying tribute to the Sikkim Rajah for the privilege: they arrive in June and leave in September. Both men and women were indescribably filthy; as they never wash, their faces were perfectly black with smoke and exposure, and the women’s with a pigment of grease as a protection from the wind. The men were dressed as usual, in the blanket-cloak, with brass pipes, long knives, flint, steel, and amulets4; the women wore similar, but shorter cloaks, with silver and copper girdles5, trowsers, and flannel boots. Their head-dresses were very remarkable. A circular band of plaited yak’s hair was attached to the back hair, and encircled the head like a saint’s glory6.

Image from: “HIMALAYAN JOURNALS or NOTES OF A NATURALIST IN BENGAL, THE SIKKIM AND NEPAL HIMALAYAS, THE KHASIA MOUNTAINS, ETC.” by JOSEPH DALTON HOOKER, M.D., R.N.,

F.R.S., published in Kew, Jan. 12th, 1854 (see https://www.gutenberg.org/files/6478/6478-h/)

Text: adapted from the Himalayan Journals, Vol. 2, by JD Hooker, 19th century British botanist and explorer (1854)

1 Sikkim: a state in northeast India, in the eastern Himalayas2 Phipun: chief man of the village3 Lepcha girls: natives of Sikkim4 amulets: small ornaments thought to ward off evil5 girdles: belts6 glory: halo

– In what ways is the language in this text both scientific and personal?

– Consider why this journal was of interest in Hooker’s time and remains so today.

Lepcha girls3 (the outer figures), and Tibetan women

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– 5 – N19/1/AYENG/SP1/ENG/TZ0/XX




November / Novembre / Noviembre de 2019




Nivel medio


5 pages/páginas


Text 1

This question asks candidates to analyse an article from the Wellness section of the Traveller supplement of the Sun-Herald, an Australian newspaper, from May 25, 2014. The article is written by Angie Kelly, who was a guest of the Gwinganna Lifestyle Retreat.


• consider the context of the newspaper article and the possible audience and purposes it hasand the relation of these purposes to the sections of the newspaper in which the article is found,perhaps seeing, that while informative, the article also includes opinion and is likely to drum upbusiness for Gwinganna

• comment on the newspaper format and how the various techniques catch the reader’s eye andhold his or her attention: title, fonts, pictures, colour, Trip Notes, etc

• comment on the writing style of the article: first-person direct address, referring to the readerpersonally as “you,” the use of casual language and sentence construction, first-handexperience underscored with enticing specific details, embedding information without beingoverwhelming, encouraging a visit to the retreat by making the guests seem “special” (highachievers) and yet “ordinary” (dealing with loss or just needing to lose weight), etc

• comment on how the article is structured so as to engage the reader, to put down the“nay-sayers” and to encourage people to go to Gwinganna: opening with some of her worries(summed up by “long night ahead…deepened”) to get everyone on her side, moving to adefinition of a “lifestyle retreat,” taking the viewpoint of the skeptic, but then leading into anargument that gradually integrates the positives of the experience and offers a positiveconclusion, softened with the alliteration of “hopeful and healthier”

• draw some conclusion regarding the overall impact of the article on the reader.


• offer a much more in-depth discussion of context (such as fast-paced, technologically-obsessed, developed societies with a focus on self-help and wellness), audience (perhapsreferring to socio-economic class, city dwellers, Australians and New Zealanders, predominantlywomen) and purpose (perhaps implicitly promoting Gwinganna and health and wellness ingeneral)

• comment in more detail on the newspaper format and the various techniques (such astechnological allusion in the alliterative title, specific effects of the photographs and the TripNotes shaped as a ticket, etc)

• analyse the writing style in more detail, how it is both laid back and lively, colloquial and lyrical(such as a humorous and ironic tone)

• offer a more detailed and insightful discussion of the structure, style and techniques of thearticle, clearly examining the effects of the choices made

• consider the voice of the writer as, perhaps, both personal and detached, and the connotationsof diction choices (such as seductive, luscious, and harmonious)

• comment on the overall effectiveness of the article and the subtlety with which it is constructed.


Text 2

This question asks candidates to analyse an extract from JD Hooker’s Himalayan Journals, Vol. 2, first published in 1854.


• consider the context of the journal and possible audience and purpose: though the journalwould be of interest to the casual reader of the 19th century, persons interested in botany,exploration (particularly of the Himalayas) and scientific and cultural pursuits would be the mostlikely audience. Hooker’s journal purposes to record the plant life of the region, but it alsorecords other scientific data and observations on the place, the time and the culture of theinhabitants of the Himalayas

• comment on the language of the journal as scientific: first person account written in past tense,the recording of minute details that could be of scientific interest, careful choice of descriptivevocabulary which is largely literal in nature with an occasional figurative comment, a drawing,the use of largely compound and complex sentences so as to concisely consolidate information,scientific jargon, etc

• comment on the language of the journal as personal: use of kinaesthetic imagery, occasionalrepetition of the “I was…” sentence structure allowing for personal reactions, rhetorical question,occasional subjective description (biting winds, indescribably filthy, loftiest), etc

• comment on the manner in which the journal is able to interest readers from various times bydiscussing personal experiences with the cold, the wet, the altitude, darkness, difficult terrain,etc which offer the reader a sense of adventure and by offering insights into the vicissitudes ofscientific investigation and exploration in the 19th century (determining altitude by bothbarometer and boiling water, travel by foot and pony, reliance on local inhabitants for food,direction, protection, having a keen eye for observation, continual gathering of informationwhether relevant to the study at hand or not, etc), which are both informative and interesting

• draw some conclusion about the overall nature of the journal, its relevance, and effect on thereader.


• offer a more insightful and detailed discussion of context (such as Industrial Revolution,Victorian Era, British colonialism), audience (perhaps distinguishing between the context ofproduction and reception then and now) and purpose (was a scientific/anthropologicaldocument and is now a historical document)

• offer a thorough and well-supported analysis of the language and techniques employed byHooker, demonstrating their value to both the scientific community and the world of explorationboth then and now (perhaps commenting in more detail about the need for, style, and effects ofthe sketch; the observational account of the Tibetans)

• consider how Hooker as a person is revealed through his writing and how this personalization isrelevant to the engagement of the reader

• offer a succinct conclusion about the overall nature of the journal, its relevance, and effect onthe reader.




2 pages/páginas













8819 – 2016


1. In the two works you have studied, explore how the title and/or opening lines take on increasing significance throughout the work.

2. With reference to the two works you have studied, examine how writers structure their works to engage the reader and to explore their ideas.

3. Many works of literature have caused controversy. Examine how the form and/or content of the two works you have studied have caused controversies.

4. In the two works you have studied, discuss the significance of characters’ relationships with their pasts.

5. Discuss the role of the villain or villainous forces in the two works you have studied.

6. In what ways could you say that the two writers you have studied distort reality in order to create a particular effect or to present a particular idea?


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