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The new course invites consideration of literary works in a way that will be important to establish from the beginning. Traditional reading models locate the meaning of the work inside the text itself and encourage readers to 'find sense' in the text in front of them. More modern ways of thinking show that meaning is far less fixed and determined - existing in the space/s between the text,...
Probably the most exciting aspect of the new course is the freedom it gives to teachers in terms of planning their course, with texts no longer organised according to parts or linked to specific assessment tasks. However, this freedom also presents a challenge and, whether you are in a department of two or twenty teachers, you have probably started thinking and talking about how you might organise your course, and also possibly started to feel a little overwhelmed by the range of choices the new course presents.
This Standard Level course design offers a more straight-forward approach than the HL sample (example outline 1). It is built around the areas of exploration, with each year following a sequence of four units. The sequence consists of one unit on each area of exploration followed by an independent unit where students have more choice and autonomy as they prepare for a major assessment - the IO at the end of Year 1 (or the start of Year 2) and Paper 2 at the end of Year 2. We welcome your feedback on this model and your own thoughts on course design as you start to discuss this within your departments.
Rather than just adopting one organizing principle - concepts or areas of exploration, for example - this approach seeks to integrate and interleave the three areas of exploration, the seven concepts and the conceptual questions associated with each area of exploration. It also includes possible texts and links to assessments. Each unit is built around two or three connected concepts, linked to one, two or three of the areas of exploration, with the associated conceptual questions from the guide (pages 22 - 24) also included. We welcome your feedback on this model and your own thoughts on course design as you start to discuss this within your departments.
Although it is obviously true to say that Paper 2 exam preparation is particular to the various texts students have been studying, there are nonetheless a range of more generic skills associated with preparing the answer. The notes and PowerPoint below are designed to be applicable for a range of question types, as well as a range of texts. But you may feel you need to adapt further. The key thing, perhaps obviously, is to make sure students know how to use the time before they start to write the essay in a meaningful and purposeful manner.
Assessment of Paper 2 is broken up into five strands of criteria each weighted equally. The strands are similar to other parts of the course although for Paper 2 there is a little more weighting on elements that reward the content of student writing over elements that are more technically focused. There is also a strong emphasis on a student's ability to answer the question: this is a Criterion...
Written Assignment 1: One Day in the Life of Ivan Denisovich, by Aleksandr Solzhenitsyn Reflective Statement: How was your understanding of cultural and contextual considerations of the work developed through the Interactive Oral? In the Interactive Oral we looked into subjects varying from the history of the book 'One Day in the Life of Ivan Denisovich' to the conditions in the labor...
Part 1 is assessed through the submission of one 1500 word coursework essay, and is assessed externally. However, the syllabus asks all students to approach the final essay through a particular series of steps which are designed to address a range of issues: 1. The need to address the various contexts in which the text was written and in which it is being read. 2. Provide students with guidance...
Once the Interactive Oral has been completed, all students must answer the question above, as prescribed by the syllabus. Before writing the RS, however, it is important to discuss with students the kind of things that might be written for it because the 3 marks awarded are easily compromised if students (or teachers!) think about the statement in the wrong way. Essentially, the RS should present...
Written Assignment 2 Therese Raquin, by Emile Zola Reflective Statement: How was your understanding of cultural and contextual considerations of the work developed through the Interactive Oral? The interactive oral covered a range of issues relevant to the novel’s cultural context. The emergence of the scientific method and positivism as a way of acquiring knowledge was introduced as a key...
The site offers an engaging and imaginative approach to IB English - clear and informative it would be of use to both new and experienced teachers alike.
An excellent and invaluable site that will make the teaching of IB Literature both fun and engaging for students and teachers. The quality and quantity of material, tips and resources is impressive.
I was very impressed with the site. It is very user friendly, gives students (and teachers) easy access to excellent resources. I also enjoyed the opportunity to be able to check my marks (and my students peer marking) for tasks against IB criteria and...
2 January 2019
As we look ahead to 2019 and all the things that a new year may bring, not the least will be developments in the Group 1 courses. As you will... more
25 Mar David White
Part 1: Works in TranslationHi Brian. Your Ib Coordinator should be able to guide you re: formatting coursework but this is what it says in the IB's 'Assessment Procedures': "Use of fonts such as Arial, minimum font size 11 (where the language/script supports it) Single...
24 Mar Brian Bodell
Part 1: Works in TranslationCan I ask about the formatting of a Written Assignment submission and predictive marks. 1. What layout and format should the essay adopt (e.g. 12pt Arial, title page, double spaced etc.)? 2. All papers require a predictive mark for submission...
23 Mar David White
Tone and registerOf course she is - thanks again, Anne, all corrected now! Glad you find the materials useful!
23 Mar David White
WA lesson ideas: Use a Reading Blog/JournalThanks Anne. Corrected now!
23 Mar Anne de la Paz
WA lesson ideas: Use a Reading Blog/JournalTypo in 1. Pre-reading notes? What exceptions do you have of it? do you mean expectations?
23 Mar Anne de la Paz
Tone and registerHeads up. In the voice category above, there is a typo. Scout Finch is the first-person narrator of the novel, not Atticus. Thank you for all these materials!! They are so useful
21 Mar Mark Beverley
Marking the Written AssignmentHi Sian: probably, especially if these facts were not particularly well known. I'd advise not referring to many, however, given that the focus is on literary elements.
21 Mar Sian Davies
Marking the Written AssignmentHello both. If students are referencing contextual facts (not focusing on, but referring to) in their WT, do they need to include a source list and bibliography for this information?
20 Mar RACHELLE DOWNEY
Overview of the new courseMark, Thank you so much!
20 Mar Mark Beverley
Overview of the new courseHello Rachelle: I have double checked this because I didn't want to give the wrong advice, but this comes from the upper echelons of the IB: Guidelines for choosing works from the PRLs: Any author on the Prescribed reading list can be read...
19 Mar RACHELLE DOWNEY
Overview of the new courseHello, Looking at the PRL--can you clarify the following: Will be allowed to teach anything by the author as long as they are on the list? Or, are we only allowed to teach the literary form of the author that is provided in the PRL? For example--I...
19 Mar Will Tomford
HL Paper 2 exemplar: Drama (The Glass Menagerie and Amadeus)Thanks for your thoughts, David. Yes, that is what I've had in mind as well.