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1/LWA
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Language A: literature - Part 1 written assignment cover sheet
- Please retain a copy of this form either using the Save as function or by printing a copy.
- Candidate is to complete the relevant details on this form (personal and subject details, programme and assignment summaries).
- Attach this form to the written assignment (including reflective statement).
- Number each page of the assignment and ensure that the candidate session number is included on each page of the work.
- After completing this form it must be printed and then signed by the teacher and candidate to confirm the authenticity of the work.
Language studied:
Examination session:
Level:
Programme Summary
Part 1: works studied (2 at standard level, 3 at higher level)
Please indicate the particular work on which the written assignment is based by checking the appropriate box.
Work
Title
Author
1
2
3
Assignment summary
Number of words (assignment):
Number of words (reflective statement):
Total number of sheets attached:
Written assignment title:
Candidate declaration: I confirm that this is my own work and is the final version. I have acknowledged each use of the words or
ideas of another person, whether written, oral or visual.
Candidate's signature:
Date:
Teacher declaration: I confirm that, to the best of my knowledge, the material submitted is the authentic work of the candidate.
Teacher's name:
Signature:
Examiner use only:
Date:
Assessment criteria
Examiner
Code
A
(0-3)
B
(0-6)
C
(0-6)
D
(0-5)
E
(0-5)
Total
(0-25)
Examiner 1
Examiner 2
Examiner 3
IB Assessment Centre use only: B:
A:_______________
Assessment outline—HL
First examinations 2013
Assessment component
Weighting
External assessment (4 hours)
70%
Paper 1: Literary commentary (2 hours)
The paper consists of two passages: one prose and one poetry.
20%
Students choose one and write a literary commentary. (20 marks)
Paper 2: Essay (2 hours)
The paper consists of three questions for each literary genre.
25%
In response to one question students write an essay based on at least two works studied
in part 3. (25 marks)
Written assignment
Students submit a reflective statement and literary essay on one work studied in part 1.
(25 marks)
25%
The reflective statement must be 300–400 words in length.
The essay must be 1,200–1,500 words in length.
Internal assessment
30%
This component is internally assessed by the teacher and externally moderated by the IB
at the end of the course.
Individual oral commentary and discussion (20 minutes)
Formal oral commentary on poetry studied in part 2 with subsequent questions
(10 minutes) followed by a discussion based on one of the other part 2 works
(10 minutes). (30 marks)
15%
Individual oral presentation (10–15 minutes)
The presentation is based on works studied in part 4. It is internally assessed and
externally moderated through the part 2 internal assessment task. (30 marks)
15%
Language A: literature subject outline
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Language A: literature teacher support material
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Assessment Language A: literature teacher support material
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Written assignment (part 1—works in translation)
Translation can be a linguistic bridge into another culture and may illuminate our understanding of some aspects of that
culture.
Different translations of the same work will differ; when exploring the “literariness” of the work it is worth keeping in mind
that the translator has used craft in finding equivalent words and art in working to convey literary elements such as the
style and tone of the original author.
If possible, compare different translations of the same work—even short extracts. This is a valuable exercise that highlights
issues such as:
• what is translated
• how it is translated
• how it is received in translation
• what is lost in translation.
Choosing works in translation for part 1
The works must be titles chosen from the prescribed literature in translation (PLT) list: two works at SL and three works at
HL.
The written assignment process
Stage 1: The interactive oral
There are many ways to organize an interactive oral. The demonstration in the Language A teacher support film shows
four students each presenting a different aspect of a work, followed by class discussion, and this works very well for that
group of students. However, it is just one of any number of ideas that would work in the classroom.
Essentials
At least one interactive oral must be conducted for each work studied.
Each student should have some specific role in one of the orals (across all the works studied).
The prompts that students work with must require them to probe into the cultural and contextual underpinnings of the
work and to consider how these considerations affect their understanding of the work.
The orals ideally should be an integral part of teaching the work, not an artificial “add-on”.
The following suggestions show the range of possible types of interactive orals. In all cases it is advisable to ensure the
prompts (or stimulus for discussion) have a tight focus that relates directly to a specific part of the work.
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• During the course of one lesson, several students could introduce a problem they have in understanding the culture
or the context, with the class and the teacher discussing each issue raised.
• Students could introduce the discussion, adopting the teacher’s role for lessons on the work, and lead the class
discussion.
• Students, either individually or working in groups, could choose a clip of a film or other visual medium and lead a
discussion on how it may deepen understanding of culture or context.
Stage 2: The reflective statement
Essentials
It must be written as soon as possible following the interactive oral. As shown in the Language A teacher support film,
it is advisable for students to take notes during the interactive oral discussion to assist them in writing the reflective
statement.
Each student must write one reflective statement on each work studied. Where there is more than one interactive oral
on a work, which is likely, writing on each interactive oral is advised, but optional.
Students must know that the reflective statement on the work on which the essay is written will be assessed, along
with the essay.
There is one guiding question for the reflective statement, which is:
• How was your understanding of cultural and contextual considerations of the work developed through the
interactive oral?
“Context” refers to all possible contexts. It is intended to embrace the cultural underpinnings of the works by looking at
specifics such as:
• the time and place in which the work was written
• information about the author (particularly as it relates to the way in which the author’s ideas as presented in the
work do, or do not, accord with situations in the contemporary society)
• philosophical, political and social contexts
• ideas that the students themselves bring to the work.
“Developed” is the other key word in the question. It is a personal statement that is most likely to be written in the first
person, and should be an honest account of the evolution of understanding. If the student feels that they have not really
learned anything, then they should reflect on what they still do not understand.
The aim is to ensure the focus of discussion is sufficiently challenging so that students will be stimulated to think more
deeply about some aspect of the work.
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The criterion by which students are assessed uses the same words as the question on which the reflective statement is
based. If they answer this honestly and fully, then they should be able to achieve the three points.
Sample reflective statement
Example 3 is a sample of what a reflective statement on Fathers and Sons by Ivan Turgenev might look like.
The question that must be addressed is written at the top of the reflection; the title and the author of the work used are also
clearly stated.
Stage 3: Developing the topic—supervised writing
Essentials
At the beginning of the lesson, the teacher should provide three or four prompts for the work studied. The students
must not have seen these prompts prior to the lesson.
Supervised writing is intended to stimulate independent thinking and choice of topic. It must be in continuous prose.
However, the format is not prescribed—it could be journal writing, or it may be more like a draft.
At this stage, it is no longer important to consider the cultural or contextual elements of the work.
The students complete three pieces of supervised writing and their essay topic must be generated by one of them.
The link between the final choice of title and the supervised writing does not have to be direct, but there must be a
recognizable germ of an idea that can be tracked.
When students are deciding on which work to write (and hence which piece of supervised writing to use as a starting
point), it is not the quality of the supervised writing that counts, but the link with the essay.
Teachers must play a key role in helping the student to develop from the supervised writing a tightly focused title for the
essay. The examples below demonstrate how prompts for the supervised writing can lead to a precise title for the essay.
Supervised writing prompts and essay titles
Prompt: In what ways are the voices of history and tradition present in the work?
Work: God’s Bits of Wood by Sembène Ousmane
Essay title: Age and wisdom: The significance of Ramatoulaye in God’s Bits of Wood
Prompt: To what extent is the natural landscape important for the impact of the work?
Work: The Sorrow of War by Bao Ninh
Essay title: How the landscape affects the outcome for Kien in The Sorrow of War
Prompt: How does the writer convey a sense of time passing in the work?
Work: One Day in the Life of Ivan Denisovich by Aleksandr Solzhenitsyn
Essay title: The significance of time for Shukhov in One day in the Life of Ivan Denisovich
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Prompt: How are different voices used to express thoughts and feelings? What effect do these have on your responses to
the poems?
Work: Selected poems of Derek Walcott
Essay title: Allegiance and identity in the poems of Derek Walcott
Prompt: In what ways is memory important in the work?
Work: Jane Eyre by Charlotte Brontë
Essay title: The significance of memory for Jane in Jane Eyre
Prompt: How do external and internal structures work together?
Work: Waiting for Godot by Samuel Beckett
Essay title: Conveying a sense of purpose in Waiting for Godot
Stage 4: Production of the essay
The teacher’s role
Essentials
The teacher should assist the student to develop a suitably challenging topic that will allow him or her to show insight
into the work chosen for the assignment.
Teachers are encouraged to comment on the first draft, either orally or through notes on a separate sheet of paper.
However, they may not annotate the essay nor assist with subsequent drafts.
Presentation
The essay should be a formal piece of writing with a title and a developed argument. The main references are likely to be
to the literary work chosen for the essay. It is essential that a recognized reference system is used consistently throughout
and that the bibliography includes the full provenance of the work used, including the edition. Secondary sources may be
used, although they are not essential, and they must also be referenced using the same system and included in the
bibliography.
Students are assessed on their ability to organize and develop their ideas, and to integrate examples from the works used.
Before they begin to write their essays, it is important that they have had plenty of practice in using quotations from literary
works to support and further their arguments.
Written assignment checklist
Has an interactive oral been completed by the class on each work?
Has each student written their reflective statement?
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Has each student done supervised writing on each of the works?
Does the topic of the essay derive from one of the pieces of supervised writing?
Is the reflective statement 300–400 words in length and the essay 1,200–1,500 words?
Have the student and teacher signed the coversheet?
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Example 3 (Reflective statement)
Question: How was your understanding of cultural and contextual considerations of the work developed through the
interactive oral?
Work used: Fathers and Sons by Ivan Turgenev
During the discussion, several articles were presented to the class. The subjects brought to light were the Russian economy
during the 1850s, serfdom, and the question of whether Turgenev was obsolete or not. The articles on the Russian economy
explained the state of transition the Russian economy was in during the mid-1850s. Prior to this period, there were members
of the society called serfs. These were essentially slaves who worked on the fields of rich peasants, or the upper class. However,
at this time Russia began to move away from serfdom.
After this discussion, it would appear Turgenev places great importance on the time, place, and culture of his novel, as
serfdom and the existence of social classes are a predominant feature in Fathers and Sons. I found this discussion interesting,
as it clarified some aspects of the novel. For example, in Fathers and Sons, Nikolai is a relatively well off land owner, and he
‘owns’ many serfs. However, as the system begins to evolve, the serfs and their owners have some trouble adjusting to the
new system of land ownership. The serfs are misbehaved and irresponsible, and these aspects of the culture and context
form the setting of the novel.
The article on the ‘Turgenev Question’ was interesting as well, because it highlighted some of Turgenev’s techniques,
and what he’s famous for. According to the article, the art of Turgenev is in understatement: he manages to capture large
philosophical, social, and historical movements as manifested in everyday life.
This can indeed be seen in Fathers and Sons. Turgenev paints a picture of commonplace Russian life with characters like
Nikolai Arkady, Pavel, Bazarov and Fenichka, using barely any overly dramatic devices. Yet, through the characters’ thoughts
and interactions with each other Turgenev explores ideas such as familial relationships. Furthermore, he portrays other
aspects of Russian life, including the wide gap between social classes and the idea of young people rejecting all authorities.
Language A: literature teacher support material
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Example 3 (Supervised writing)
Prompt: Choose one key episode in the novel and consider its significance to the work as a whole.
Key episode: Bazarov’s duel with Pavel Petrovich
Significance: highlighting key themes: the conflict between the generations. It’s almost as if the duel is a physical
representation of the animosity between Pavel and Bazarov. Right from their first meeting they disliked each other and Pavel
always seems to be rudely challenging Bazarov’s ideas (and even his personal traits). So when Pavel sees Bazarov kissing
Fenichka, he immediately seems to see it as an opportunity to vent his anger against Bazarov.
Significance: highlighting key themes: chivalry. The episode shows the idea of chivalry. Pavel finds it quite natural to use the
notion of fighting for the honour of Fenichka as an excuse to duel with Bazarov, even though the real reason is that he detests
him. The patriarchal structure of society, as well as the supposed nonexistence of female intellect is emphasized in the book
and is connected with chivalry towards women. It’s Pavel who challenges Bazarov and who represents the older generation’s
tradition of settling disputes through organized violence, though the shooting is managed in a sophisticated, formal way.
The way that it’s arranged so casually (and that Bazarov goes along with it, even though he thinks it’s stupid) shows that it’s
still accepted in the Russian society.
Significance: high point of tension. Tension has been building throughout between the two characters. It ‘erupts’ in this
episode.
Significance: depicts transformation of character. The duel helps both Bazarov and Pavel (mainly Pavel) overcome their
arrogance. They become much more cordial to each other afterwards. It gives Pavel perspective about his ‘aristocratic
outlook’ and prompts him to reconsider his family. Despite Pavel’s earlier disapproval of inter-class marriage, he urges
Nicholas to marry the one he loves (Fenichka).
Language A: literature teacher support material
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Example 3 (Essay)
Title: The importance of the duel in Turgenev’s Fathers and Sons
Ivan Turgenev, a prominent Russian author, is considered a masterful writer on culture and society, noted for showing aspects
of society through the depiction of everyday life. Such an art can be observed in his novel Fathers and Sons, written In 1862.
As the title suggests, the plot of the novel revolves around Arkady and his father Nikolai, and Arkady’s friend Bazarov and his
family. Through these characters and their interactions, Turgenev explores some important aspects of society in Russia in
the 1860s, and the changes occurring as the old gives way to the new. A key episode that Turgenev uses to highlight some of
these ideas is the duel between Bazarov and Nikolai’s’ brother Pavel Petrovich. This episode is particularly significant because
it acts as a physical symbol for the generational conflict and social tensions that are explored in the novel. The duel also shows
the patriarchal attitudes prevailing in the society at that time, and it results in a significant transformation of Pavel’s character
and his attitude towards his brother. Perhaps most importantly, through Bazarov’s victory, it suggests the beginning of the
dominance of the younger, intellectual generation over the refined but outmoded aristocracy.
Pavel represents the older, (although he is still in his forties), cultured class in Russia at that time. The son of a general, he has
an ‘elegant and aristocratic cast’ (Turgenev,11) and he holds tradition and principles so strongly that he believes that ‘without
principes taken on faith, there’s no taking a step, no breathing’ (Turgenev,17). The use of the French word for ‘principles’ is
significant in itself as it shows the attachment to foreign languages and ideas in the upper classes at that time in Russia. In
contrast, Bazarov, the son of a provincial doctor, and a nihilist who sees everything from a critical point of view, represents the
younger generation. As Arkady explains, a nihilist ‘does not take any principle on faith, whatever the reverence that principle
may be enshrined in” (Turgenev,17). Part of Pavel’s tradition is the notion of chivalry and the underlying animosity between
these two men is escalated to a duel when he sees Bazarov kissing Fenichka, the de facto wife of Nikolai. Pavel’s reason is
ostensibly to protect her honour, but in reality he has been contemptuous of Bazarov right from their first meeting. At that
meeting, he barely acknowledges Bazarov when he is introduced to him, inclining only slightly without offering him his hand
and referring to him as that ‘unkempt creature’ (Turgenev,12). On his part, Bazarov is equally unimpressed, calling Pavel a
‘queer fish’ (Turgenev,12) and showing his disdain of his stylish way of dressing and presenting himself when he remarks ‘his
nails, his nails – you could send them to an exhibition!’ (Turgenev,12). This animosity between the two men worsens until
Pavel grows to detest Bazarov.
The dislike between the two men ends in a duel as a result of Pavel’s belief in the idea of tradition and chivalry, and Turgenev
seems to use it to show the emptiness of some of the traditions that the older generation cling to. Chivalry is also connected
to the idea of patriarchy, something that both men seem to accept. For example, Bazarov seems to think nothing about
flirting with Fenichka, and tricking her into letting him kiss her. Pavel, in a more complicated way, follows Fenichka around
and observes her so closely that she becomes scared of him (Turgenev,120). The patriarchal assumption of male dominance
leads to the duel in what is presented as an almost natural, inevitable way, because at the basis of it is Fenichka, the young,
pretty, woman. After seeing Bazarov kissing Fenichka, Pavel doesn’t think twice about challenging Bazarov. And even though
Bazarov adheres to beliefs of critical thought and empiricism, he also seems to accept the idea of duelling over a woman as
a practical reality, even though he says that ‘from the theoretical standpoint, duelling is absurd.’ (Turgenev,121) Meanwhile,
Fenichka, about whom such a violent encounter has been arranged, is completely unnoticed and has no role in the matter, as
she ‘sat in her little room like a mouse in its hole’.
The duel acts is a catalyst and results in a dramatic change in Pavel’s attitude towards his brother’s relationship with Fenichka.
With his elegance and refinement, and his adherence to old traditions and the importance of appearances, Pavel has
not shown sympathy towards the awkwardness of his brother’s relationship with Fenichka, the daughter of his deceased
housekeeper and with whom he has had a child. The minor wound sustained by Pavel during the duel has a strong effect on
him. When Pavel faints after he’s wounded during the duel, Bazarov refers to him as one of ‘these nervous people’ (Turgenev,
126), and it does seem that his emotions and nerves are stirred up by the encounter. Though his own beliefs and values are
against such an inter-class marriage, Pavel urges Nikolai to marry Fenichka. (Turgenev,133) In a sense, this may be considered
something of a sacrifice on Pavel’s part. The duel seems to have given him some perspective on the fragility of life, and Pavel
decides that he wants his brother to lead a life in which he is truly happy. Whatever the case, Pavel’s paternalistic, passionate
and teary outburst to Fenichka saying ‘love him, love my brother!’ (Turgenev,132), shows a significant development of his
character and seems to indicate that, with his loss in the duel, he is already giving up some of his traditional beliefs.
Turgenev presents Bazarov as a character who has both positive and negative sides. His manner is abrupt and he doesn’t pay
attention to his appearance or to other people’s feelings. However, despite this, he often acts in a humane and polite way,
and the episode of the duel is significant in showing both the positive and negative sides of his character. Turgenev shows
Language A: literature teacher support material
1
Example 3 (Essay)
him to be slightly ashamed of the way he took advantage of Fenichka by flirting with her and tricking her into smelling the
flowers with him and then suddenly kissing her. By showing him shaking his head and assuming an ironic attitude, Turgenev
shows us that Bazarov does have a conscience about his actions which he has to deliberately push aside (Turgenev,120).
The duel is used as a physical manifestation of the struggle of ideas, and the fact that Bazarov is the victor symbolizes
the ascendancy of the young intellectuals, with their nihilistic ideas, over the older generation clinging to traditions and
principles. Pavel places emphasis on right ways of dressing and behaving, but while he superficially follows painstaking rituals
his actual behaviour is sometimes less thoughtful than Bazarov’s. The tone with which Pavel and Bazarov discuss the idea of
a duel is written in such a way as to make that traditional notion of chivalry quite ridiculous. For example, Pavel is ‘compelled
to beg…five minutes’ of Bazarov’s time and Bazarov responds that ‘all my time is at your disposal.” And yet the subject under
discussion is a duel with pistols that could lead to the death of one of them. Bazarov’s calm acceptance, and polite mocking
tone, highlights the underlying viciousness of Pavel’s challenge. Even when Bazarov is waiting for Pavel to arrive at the duel
he thinks to himself ‘What a piece of foolery’ (Turgenev,124) and yet he is prepared to go ahead with it. As with so many
disputations between them, it is Pavel who is the aggressor and Bazarov who takes the line of least resistance. Therefore,
when Pavel’s shot misses and Bazarov’s shot wounds Pavel, our sympathy is with Bazarov. That sympathy is heightened when
Bazarov ignores his right to one more shot, and instead declares ‘I’m not a duellist but a doctor’ (Turgenev,126) and proceeds
to take care of the wound. Although it is Bazarov who leaves Nikolai’s house as a result of the duel, and his disregard of
Fenichka seems callous, nevertheless, he is presented as intelligent and humane, in comparison with Pavel’s aggression and
sentimentality.
The challenge to a duel, even though part of society’s tradition, is quite out of the ordinary, but Turgenev has written it in an
understated style, without making it overly dramatic. In doing so, he has managed to attach many layers of importance to the
episode. Turgenev uses the episode to depict some tensions in Russian society in the 1860s, especially the contrast between
ideas of chivalry and tradition, represented by Pavel, and the rational, empirical ideas of Bazarov. The victory of Bazarov,
followed by the significant transformation of Pavel’s views, suggests that Turgenev uses the episode to show us the direction
society is taking. However, the characters of Pavel and Bazarov are not all completely good or bad and although the duelling
episode suggests that Turgenev is sympathetic to Bazarov, it also shows that Pavel is capable of changing and becoming less
selfish and hemmed in by traditions.
Edition used: Turgenev, Ivan Fathers and Sons NY: WW Norton & Company, 1989
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Language A: literature teacher support material
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Assessment Language A: literature teacher support material
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Example 3 (HL): Written assignment
Suggested source for the text: Turgenev, I. 1989. Fathers and Sons. New York, USA. WW Norton & Company. (Original
work published 1862.)
Examiner’s comments
Reflective statement
The length of the statement is 321 words. It is clear that, after listening to the discussion on the articles that were
presented, the student has furthered to some extent his understanding of the cultural and contextual elements of the novel.
The student has tried to include rather a lot of quite complicated information and ideas, which takes the sharpness off the
reflection, but there is no doubt that he has at least started to think about issues in the novel in a different way as a result
of the interactive oral. That would place the reflective statement in the middle range of the descriptors for criterion A:
fulfilling the requirements of the reflective statement.
Supervised writing
This is an example of what the supervised writing might look like and how it might lead to an individual title. In this sample,
the student has used the supervised writing time to develop a logical set of ideas in response to the prompt. The choice of
a key episode is apt and the student has purposefully written about the various ways in which it is significant to the novel.
When compared with the final essay, the connection between the two pieces of writing is clear.
Essay
Criterion A: Fulfilling the requirements of the reflective statement
• To what extent does the student show how their understanding of cultural and contextual elements was developed
through the interactive oral?
(See comments on the sample reflective statement.)
Criterion B: Knowledge and understanding
• How effectively has the student used the topic and the essay to show knowledge and understanding of the chosen
work?
The topic chosen allows the student to show that they have a good understanding of Fathers and Sons. There is insight
shown into the ideas underpinning the story, for example, the tensions between the generations and the patriarchal nature
of the society. However, tightening the focus of the topic may have allowed the student to show more perceptive insight.
There is a lot to discuss in regard to the duel, and there is a sense that the student is trying to fit in a lot of quite complex
ideas. Perhaps a topic such as “How does the duel show Turgenev’s sympathies towards the ideas represented by the
young and older generations?” would have allowed for tighter analysis.
Criterion C: Appreciation of the writer’s choices
• To what extent does the student appreciate how the writer’s choices of form, structure, technique and style shape
meaning?
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The student has consistently included discussion on the choices Turgenev made in presenting this episode and shows
quite a high level of appreciation. Some examples mentioned are the language used by Bazarov when considering his
action towards Fenichka, the significance of the use of French, and the way the characters are used to show some key
ideas.
Criterion D: Organization and development
• How effectively have the ideas been organized, and how well are references to the works integrated into the
development of the ideas?
The essay has a logical structure, with the ideas in the introduction developed systematically and a conclusion that pulls
the ideas together. Within the paragraphs the development of ideas could have been tightened and the transition between
ideas could be improved. The supporting references are quite effectively incorporated into the flow of the essay.
Criterion E: Language
• How clear, varied and accurate is the language?
• How appropriate is the choice of register, style and terminology? (“Register” refers, in this context, to the student’s
use of elements such as vocabulary, tone, sentence structure and terminology appropriate to the task.)
There is a high degree of accuracy, and the register and style are appropriate, although there is a slight tendency to be
colloquial in some places. The language is quite precise and well chosen, but in places the phrasing is slightly awkward
and there is a sense that the essay could have done with some more rigorous proofreading on the part of the student.
Reflective statement (PDF)
(http://xmltwo.ibo.org/publications/DP/Group1/d_1_a1lan_tsm_1105_1a/pdf/example03_statement_en.pdf)
Supervised writing (PDF)
(http://xmltwo.ibo.org/publications/DP/Group1/d_1_a1lan_tsm_1105_1a/pdf/example03_writing_en.pdf)
Essay (PDF)
(http://xmltwo.ibo.org/publications/DP/Group1/d_1_a1lan_tsm_1105_1a/pdf/example03_essay_en.pdf)
Examiner’s comments
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