English A lang/lit workbook by Brad Philpot

English A: Language and Literature Workbook for teacher-training workshop 22 November 2013 Brad Philpot Alison Whitehurst Â Â

Author’s note Date of publication: 18 August 2013 While the contents of this workbook are not in copyright, the authors kindly ask that you respect their work. Rather than photocopying or redistributing this work digitally, please contact the authors directly for an updated, original version of this workbook. Furthermore you are kindly asked to give the authors credit when citing their ideas or text. Brad Philpot Director of Philpot Education brad@philpot.nl

Workshop Leader Agenda Amsterdam International Community School Amsterdam, the Netherlands 22 November 2013 Workshop: English A: Language and Literature Workshop leader: Brad Philpot Category: 3

Friday, 22 November

Time

Session 1

9:00 – 10:30

This session explores teaching strategies that are informed by assessment and exam results. Participants will simulate classroom activities that help develop a range of useful skills, and there will be an opportunity to reflect upon exam results.

Coffee break

10:30 – 11:00

Session 2

11:00 – 12:30

This session explores teaching strategies for differentiated language learning. We will discuss the importance of text types and different ways of teaching them. Furthermore, participants will receive a range of student samples that can be used as model work.

Lunch

12:30 – 13:15

Session 3

13:15 – 14:45

This session asks participants to study a range of sample student work, in an effort to understand the kinds of skills that the exam requires. Participants will explore several teaching strategies that are informed by assessment and help students develop the necessary skills to tackle this challenging exam.

Coffee break

14:45 – 15:00

Session 4

15:00 – 16:30

This session builds on the ideas explored in Session 3. Participants will study several good sample tasks in depth and discuss the nature of this form of assessment. This session will explore various applications of 'concept-‐based learning'.

1 2

Table of Contents

Introduction What is an activity book (1) Course overview (3) Learning outcomes (4) 1 – Language in cultural context Mystery texts (5) Ads through the ages (13) 2 – Language and mass communication Text type scavenger hunt (26) 3 – Literature: Text and context Author, reader and text (48) 4 – Literature: Detailed study Discussion carousel (53) 5 – Paper 1: The (comparative) commentary Do’s and don’ts of Paper 1 (66) Specimen Paper 1 SL (72) Specimen Paper HL (76) Paper 1 HL Samples 1-‐4 (83) Paper 1 criteria (89) 6 – Paper 2 Essay The examiner’s puzzle (91) Specimen Paper 2 (100) Paper 2 HL Samples 1-‐5 (102) Paper 2 criteria (112) 7 – Written task 1 Imitating form (114) WT1 Samples 1-‐2 (119) WT1 criteria (124) 8 – Written task 2 Coherent writing (126) Applying the criteria (134) WT2 Samples 1-‐2 (138) WT2 Assessment criteria (143) 9 – Individual oral commentary Reconstructing annotations (144) IOC criteria (149)

10 – Further oral commentary Exam retake (150) Further oral assessment criteria (156) Appendices Sample grade boundaries (157) Answers (158) Acknowledgements (162)

Introduction Objectives This introduction aims to: • help you understand the nature of this Activity Book. • give you an overview of the IBDP Language A: Language and Literature course. • make you more familiar with the learning outcomes for this course.

What is an ‘Activity Book’?

This book is neither a student textbook nor a teacher guide. Whereas textbooks tend to be read privately to ascertain facts or knowledge, this book asks you to engage in activities that stimulate understanding through group work. This Activity Book may also be used at teacher training workshops, as it offers teachers hands-‐‑on strategies for in the classroom that are built on sound pedagogy. For these reasons this Activity Book may be used to complement a separate textbook or course curriculum that you are using in the class. The design of this Activity Book is built around its purposes in the following ways: • The spiral binding allows you to rest the book on your desk so that you can view one or both pages at a time for various activities. • You are asked to write in this book, cut out certain pages and highlight texts with different colours. Make it your own book (though others may be asked to write in it too!). • The source texts and worksheets appear in such a way that they can be used to facilitate activities. For example, you may be asked to place several texts in a certain order by opening several workbooks to different pages, so that you can move them around on a large table. This Activity book includes the following features: • Activities – These provide you with strategies for engaging with materials and other members of a classroom setting. They form the basis of this Activity Book. Each activity includes guiding questions, a list of steps to undertake, reflection questions, suggestions on alternative applications and suggestions for exam preparation. • Key concepts – These marginal features, allow you to gain a quick understanding of terms and concepts that are used for the activities. • Texts – The texts used in this Activity Book are suggested for conducting the activities, though you may apply activities to other texts as well. • Worksheets – The worksheets should be used to help you organise and document your discussions and activities. They provide you a framework for understanding. • Approaches to learning – While you may be using this book as a student or teacher, it is important to gain insight into the learning process. This marginal feature highlights the five learning skills from the IB publication, Approaches to Teaching and Learning across the Diploma Programme (2013): o thinking skills o social skills o research skills

•

o communication skills o self management skills Approaches to teaching – Teachers of the Diploma Programme aim to develop the above-‐‑mentioned skills through an understanding that learning should be: o inquiry based o conceptually focused o contextualized o collaborative o differentiated o informed by assessment Figures – Various diagrams and images are numbered, so that you can refer to them easily. They can also be found online if you would like to see them on a screen in the classroom. Video and audio – On the accompanying website, you can find several numbered videos and audio files, which include sample student work (further oral activities), instructions on how to run activities and stimulus visual or audio sources for discussion or activities.

Course overview The parts of this course can be studied in any sequence. Each part of the course corresponds to one or more forms of assessment. See Figure 0.1 for an overview of the course. Each part of the course and each form of assessment will be explored throughout this activities book.

Figure 0.1 – Course overview PLA – a work from the Prescribed List of Authors PLT – a work from the Prescribe Literature in Translation SFC – School’s free choice SFC* - At standard level, the school’s free choice must be a work written in the target language

Part 1 Language in cultural context

topics and texts Further oral activities

Part 2 Language and mass communication

Paper 1

Written tasks

Part 3 Literature: text and context

Part 4 Literature: a critical study SL: 2 PLA HL: 3 PLA

SL: 1 PLT, 1 SFC* HL: 1 PLT, 1 SFC, 1 PLA Individual oral commentary

Paper 2 3

Learning outcomes for IBDP Language A: Language and Literature As you engage in activities throughout this course, it is recommended you return to the to the following learning outcomes for this course and check to see that you have met them. There are various ways to arrive at them, but you will want to keep them in the back of your mind if the activities are to be relevant to the aims of the course. Part 1 • Analyse how audience and purpose affect the structure and content of texts. • Analyse the impact of language changes. • Demonstrate an awareness of how language and meaning are shaped by culture and context. Part 2 • Examine different forms of communication within the media. • Show an awareness of the potential for educational, political or ideological influence of the media. • Show the way mass media use language and image to inform, persuade or entertain. Part 3 • Consider the changing historical, cultural and social contexts in which particular texts are written and received. • Demonstrate how the formal elements of the text, genre and structure can not only be seen to influence meaning but can also be influenced by context. • Understand the attitudes and values expressed by literary texts and their impact on readers. Part 4 • Explore literary works in detail. • Analyse elements such as theme and the ethical stance or moral values of literary texts. • Understand and make appropriate use of literary terms.

1 – Language in cultural context Objectives This section aims to: • help you meet the learning outcomes for Part 1 • engage you in close reading of several unseen, non-‐‑literary texts • help you appreciate the importance of culture and context when constructing meaning.

Activity 1.1 – Mystery texts

Key concepts

In the language and literature course, we explore how the meaning of a text is constructed. There are several questions to consider when interpreting a text, such as: ‘Who wrote it?’ ‘Where was it written?’ Who did the author have in mind, when writing the text?’ ‘Who read it?’ ‘What type of text is it?’ Figure 1.1 effectively illustrates three key concepts that come into play when analyzing texts, through the use of a Venn diagram: target audience, context of composition and context of interpretation (see key terms). Interestingly, these contextual clues that help readers construct meaning are often conveyed through the formatting of a text. In other words, the type of font, the layout or

Context of composition describes the world in which the author wrote, which affects the author’s writings. Target audience describes the kind or reader the author has in mind when writing Context of interpretation describes how the world of the reader affects his/her understanding of the text.

Figure 1.1 – Context theory

Target audience

Text

Context of composition

Context of interpretation

placement of a text often affects our understanding of it. This Approaches to learning activity asks you to try to ascertain the meaning of four texts that have been unformatted. By excluding such formatting, you This activity asks you do develop certain thinking are forced to play detective and look for contextual clues in the skills that are promoted in text. the diploma programme. because you have to ‘read Guiding questions between the lines’, and find • How can you place a text in context? contextual clues. • What must you know about a text’s context in order to Furthermore, as you discuss understand it? these ‘mystery texts’ in groups, you are developing Getting started various communication • Find several texts that are particularly rich in meaning skills. You will have to and style. present ideas, come to a • With the help of text editing software, remove all consensus and interact, as formatting. you fill in Worksheet 1.1 • Number the texts, like those on the following pages together. (Texts 1.1.1-‐‑1.1.4) • Get into groups of four. Approaches to teaching Step by step This activity is inquiry 1. Pass the numbered texts around the room, so that each based, as you discover group has about 5 minutes to study each text. contextual clues within the 2. As you study the text that is on your table, answer the text that help you answer the questions on Worksheet 1.1 with regards to each text. worksheet questions. 3. After you have filled in the worksheet, do an online Information gap activities are search to find out more about the ‘mystery’ texts. What quite powerful, as most kinds of terms will you use for an online search? What people want to find answers can you learn about the real contexts of these texts? to questions. 4. After this activity discuss Figure 1.1 and the reflection questions below. Reflection questions • For each text, explain what clues within the text helped you define the author, audience, purpose and text type. • How was your understanding of the text determined by your context of interpretation? How might you differ from the intended target audience? • What similarities or differences can you find among the four texts that you studied? • Review the learning outcomes for Part 1. How did this activity help you meet the learning outcomes for this part of the course? Towards assessment This activity helps student prepare for the Paper 1 exam, the (comparative commentary). On this exam very little contextual information will be available. Being perceptive is a useful skill for this exam that can only be developed through much practice. Other applications The ‘mystery’ idea can be applied in various ways. For example you can organize a

mystery text type activity where you are given three different, unformatted texts on a range of themes and are asked to find common structural features in an effort to define the mystery text type. With some advertisements you can remove an element from the advertisement and guess what has gone missing.

Language tools You may find the following terms and phrases useful for analyzing unseen texts. They are neither exhaustive nor comprehensive. Select phrases from each row of the table to construct sentences by moving from left to right. Text X was written by… The author of Text X is…

someone who… a journalist who… a playwright who…

The audience includes… readers who… This text is aimed at… those who... The targeted reader might be... young adults who... homeowners who...

enjoy the genre of.. are interested in… care about… wish to...

The text aims to… Text X’s purpose is to… The intention of Text X is to...

enlighten readers on… capture the audience’s interest in… explore the topic of…

This text contains… The text consists of… The structure of this text includes…

featues that are… a structure that is… devices that are…

characteristic of… typical of… often found in…

understands the nature of… writes for... has an interest in…

What type of text is this?

Whom does this text target?

Who wrote this text?

Why did the author write this text?

Text 1.1.2

Text 1.1.1

Text 1.1.3

As a group, answer the following questions with regards to each Texts 1.1.1-1.1.4

Worksheet 1.1 – Mystery text

Text 1.1.4

Text 1.1.1 1

"ʺStrength and honour are her clothing; and she shall rejoice in time to time. She openeth her mouth with wisdom; and in her tongue is the law of kindness. She looketh well to the ways of her household; and eateth not the bread of idleness. Her children arise up, and call her blessed; her husband also, and he praiseth her."ʺ Proverbs , xxx1, 25-‐‑28

5 10 15

As with the commander of an army, or the leader of any enterprise, so it is with the mistress of a house. Her spirit will be seen through the whole establishment; and just in proportion as she performs her duties intelligently and thoroughly, so will her domestics follow in her path. Of all those acquirements, which more particularly belong in the feminine character, there are none which take a higher rank, in our estimation, than such as enter into a knowledge of household duties; for on these are perpetually dependent the happiness, comfort and well-‐‑being of a family. In this opinion we are borne out by the author of "ʺThe vicar of Wakefield"ʺ, who says, "ʺThe modest virgin, the prudent wife, and the careful matron, are much more serviceable in life than petticoated philosophers, blustering heroines, or virago queens. She who makes her husband and her children happy, who reclaims the one from vice and trains up the others to virtue, is a much greater character than ladies described in romances, whose whole occupation is to murder mankind with shafts from their quiver, or their eyes."ʺ

[…]

DINNER BEING ANNOUNCED, the host offers his arm to, and places on his right hand at the dinner-‐‑table, the lady to whom he desires to pay most respect, either on account of her age, position, or from her being the greatest stranger in the party. If this lady be married and her husband present, the latter takes the hostess to her place at the table, and seats himself at her right hand. The rest of the company follow in couples, as specified by the master and mistress of the house, arranging the party according to rank and other circumstances which may be known to the host and hostess.

25 30

It will be found of great assistance to the placing of a party at the dinner-‐‑table, to have the names of the guests neatly (and correctly) written on small cards, and placed at that part of the table where it is desired they should sit. With respect to the number of guests, it has often been said that a private dinner-‐‑party should consist of not less than the number of the Graces, or more than that of the Muses. A party of ten or twelve is, perhaps, in a general way, sufficient to enjoy themselves and be enjoyed. White kid gloves are worn by ladies at dinner-‐‑parties, but should be taken off before the business of dining commences..

Text 1.1.2 1

Dreaming of buying a home someday soon? When it comes to the complexities of purchasing real estate, knowledge is power. And if you’re looking to buy, understanding — and raising — your credit score may save you thousands of dollars by helping you qualify for a home loan at a lower interest rate.

What is a credit score? It’s a three-‐‑digit number used by lenders and other financial institutions to assess your credit worthiness. Most scores range from 300—900, with the majority of people in the 600—800 range.

Depending on your personal financial means, a score of 720 or higher may help you to qualify for the lowest interest rates available at the time.

This score may be the single most important factor in determining what type of home loan you may qualify for. Your history of borrowing and paying back loans on time is collected and documented by three main companies, called “credit bureaus.”

These bureaus then sell this information to banks, credit card companies, and most any entity that is interested in measuring the risk of lending you money.

But how do they rate your credit risk? In a very real sense, your credit score is a representation of your financial reputation.

Lenders mainly consider these four variables on your credit report: outstanding debt; outstanding debt relative to your total available credit; the length of your credit history; and whether or not you’ve recently applied for new credit (other than a mortgage).

While you can’t change the past, keep in mind that few borrowers have a perfect track record of repaying loans. The good news is that there are a number of things you can start doing that, over time, may help raise your score.

Make your payments on time. This is the most important factor affecting your score. Payments that are 30 days or more past due will negatively impact your score, and may show up on your report for up to seven years.

Keep total debt under control. If you have high balances on one or more credit accounts, for example, make it a priority to borrow less and bring the balances down.

Keep old accounts open. Length of credit history is another important factor, so it works to your advantage to keep older accounts in good standing open. Closing an old account may negatively affect your score. […]

You may have heard that credit standards have changed since the financial crisis. While that’s true, you may be in a better position than you think to start the process of buying a home. A great place to start is to know your credit score and consult a qualified mortgage professional.

Text 1.1.3 1

Captain'ʹs log, Star date 1312.4. The impossible has happened. From directly ahead, we'ʹre picking up a recorded distress signal, the call letters of a vessel which has been missing for over two centuries. Did another Earth ship once probe out of the galaxy as we intend to do? What happened to it out there? Is this some warning they'ʹve left behind?

[Briefing room]

5 10 15

SPOCK: Your move, Captain. KIRK: We should have intercepted by now. The Bridge said they'ʹd call. SPOCK: I'ʹll have you checkmated your next move. KIRK: Have I ever mentioned you play a very irritating game of chess, Mister Spock? SPOCK: Irritating? Ah, yes. One of your Earth emotions. KIRK: Certain you don'ʹt know what irritation is? SPOCK: The fact one of my ancestors married a human female KIRK: Terrible having bad blood like that. KELSO [on monitor] Bridge to briefing lounge. Object is now within tractor beam range. KIRK: No visual contact, Mister Kelso? KELSO [on monitor]: No, sir. It'ʹs too small to be a vessel. It only reads about one metre in diameter. SPOCK: Not large enough even for a lifeboat. KELSO [on monitor] Small enough to bring it aboard, sir, if you want to risk it. KIRK: Lock onto it, Mister Kelso.

[Transporter room]

20 25

SCOTT: Materialiser ready, sir. KIRK: Bring it aboard. Old-‐‑style ship recorder that could be ejected when something threatened the ship. SPOCK: More like destroyed the ship in this case. Look at it. Burnt, pitted. KIRK: Let'ʹs hope its tapes are intact. We'ʹll feed it through Mister Spock'ʹs computer. SCOTT: Yes, sir. It'ʹs begun transmitting, sir. KIRK: Flash the Bridge. Put all decks on the alert.

[Turbolift]

MITCHELL: Hold it, Jim. KIRK: Getting into shape? MITCHELL: Yeah, well I figured you weren'ʹt on the Bridge. Kelso'ʹs voice sounded a little nervous. Well, uh, you finish the game? SPOCK: He played most illogically. His next move should have been the rook.

Text 1.1.4 1 5 10

As golf grew hugely popular through the latter part of the 1900s, rich and powerful men took to building wildly heroic golf courses as tributes to themselves. But the grand and classic American golf courses from the turn of the 1800s-‐‑1900s were the product of wealthy men who wanted social playgrounds. There was, for example, W. K. Vanderbilt, of the Vanderbilt millions, who discovered golf on a visit to France. “This game will work in the U.S.,” he said, or words to that effect, and he all but shanghaied Willie Dunn, Scottish pro and course architect, and behold -‐‑-‐‑ Shinnecock Hills Golf Club emerged at the Hamptons on Long Island. Then there was the young lady who showed up at her aunt’s estate in an exclusive Boston suburb, clubs in hand, asking the guys for a game. There being no courses at the time, they couldn’t oblige her. But the boys were taken by the game and soon enough had stuck a course in that bastion of the Boston elite, The Country Club of Brookline. And so it went. Before long, golf had replaced cricket as the game Americans played.

The story of Oakmont Country Club is the story of Henry Clay Fownes, and his equally intelligent, resourceful and willful son, William Clark Fownes Jr. (named after an uncle). H.C., the son of English immigrants, had to leave school at age 15 to work in the family’s iron business in Pittsburgh. Before long, he was running it, and built it into a small empire. H.C. was 21 when W.C. Jr. was born. The family business offered an insight into the character of H.C. Patriarchal even among his brothers, he retained a controlling interest in all the family business ventures. He called the shots.

20 25

Father and son were often regarded as brothers, thinking alike and acting alike. This would set the stage for the care and feeding of Oakmont, a club with a history unmatched in American golf. Oakmont has hosted 20 national championships, all of them events that travel to courses around the country. Among these are 11 majors – an unprecedented eight U.S. Opens along with three PGA Championships. There also have been five U.S. Amateurs, and the 2010 playing of the U.S Women’s Open will be the Oakmont’s second.

Oakmont has to be the only course born of a household accident. One day in 1898, H.C., then 39, was using a welding or burning torch to patch a bicycle tire, but neglected to put on a welder’s mask. Later, H.C. had alarming spots in his vision. His doctor diagnosed arteriosclerosis and gave him two or three years to live. Depressed, H.C decided to enjoy what time he had left.

“…he gave up business and traveled about the country seeking relaxation,” W.C. wrote. W.C., in a kind of family biography. Sometime later, H.C. got a second medical opinion: The spots were due to the burning torch. The death sentence was lifted. It was during this time that H.C. had chanced upon golf, and soon, though in his 40s, he became one of the better golfers in the Pittsburgh area. He would qualify for five U.S. Amateur Championships, the most important event in the country at the time. W.C. qualified for 19 U.S. Amateurs, won one, in 1910, and capped his career by becoming president of the U.S. Golf Association, the ruling body of the game.

Activity 1.2 – Ads through the ages

Key concept

It can be said that texts are like mirrors that reflect the values of the culture in which they were written. Studying an old advertisement is like taking a trip on a time machine, where you can study outdated cultural values. This activity asks you to study a series of advertisements for the same product, Heinz ketchup, to see how cultural values in the United States and the

Culture often refers to the values and beliefs shared by a community. The term can also be used to refer to the fine arts that a community holds in high esteem.

United Kingdom have evolved over the past 100 years. Approaches to learning Guiding questions This activity asks you to • How does the language of an advertisement (including work as a team to find the image and layout) reflect the cultural values of the right sequence of Texts 1.1.1-‐‑ target audience? 1.1.9. You will need certain • How has the language of an advertising campaign social and communication changed over time, to reflect the changing values of a skills as you discuss the particular culture? nature of each text and fill in Getting started Approaches to teaching • Find several advertisements for a product that has You may find that this existed for decades. Find both new ads and old ads for activity particularly focuses this product or company. (You can use Text 1.1.1-‐‑1.1.9, on collaborative learning, which do not appear the order in which they were where each group member published.) builds on the knowledge of • Remove any dates that may appear on the ads and other group members. You number them in a random order. can make this activity quite • Get into groups that have the same number of contextualized, if you work participants as texts. with ads that you see in your every day life. Step by step 1. Each person is assigned one of the advertisements. 2. Together as a group try to place your texts in the order in which they were originally published. Each group member can open this Activity Book to a different page and move the books around the table to form the correct chronological order. 3. Discuss your answers to Worksheet 1.2 and the reflection questions below. Reflection questions 1. Worksheet 1.2 asks you to describe cultural values. How would you describe ‘cultural values’ expressed in each ad? How does the key concept of ‘culture’ as defined on this page, apply to the ads that you have studied? 2. Which learning outcomes from Parts 1 and 2 have you met through doing this activity? Other applications • You may want to create your own activity similar to this one, based on ads for a product other than Heinz Ketchup. Ask classmates to place them in the right order and comment on the cultural values expressed in these ads. What textual features indicated the right chronological order?

•

Sequencing activities can be built around other texts as well. For example, you can remove the dates from six articles about a conflict in the world. Judging by the content of the articles and your understanding of war and conflict, how can you place them in the right order?

Towards assessment • The further oral activity must be based on course material. This means that you could potentially give an oral presentation on one or more of the Heinz ads. Or you may wish to analyze how other advertising campaigns have evolved over the years.

Key concepts Copy refers to the text or language used in advertisements. The Image in an advertisement serves the purpose of capturing the viewers attention. Signature in advertising refers to a depiction of the product or its brand name. It usually appears in the lower left or right corner. Slogan, or tagline, is a sentence or phrase that adds meaning to the image. It is usually snappy and catchy as the audience has a brief attention span.

Language tools You may find the following terms and phrases useful when placing texts in chronological order like the Heinz advertisements from this activity. Select phrases from each row of the table to construct sentences by moving from left to right.

Text X is characteristic of… This text is most likely from…

the 19XXs, because… the copy suggests… a decade when social relations the image illustrates… were different, as… the slogan indicates…

In this ad, certain cultural values… Outdated beliefs…

are depicted, through the use of… are expressed, by…

stereotypical characters. the ad’s signature, which…

The ad aims to… Text X’s purpose is to…

convince the audience… persuade the consumer…

that Heinz Ketchup is pure and organic. that children love it. that…

The copy of this text… The image in this ad… The slogan…

uses language… includes features uses devices…

that is typical of the 19XXs that appeal to the reader’s appetitie.

1940s

1920s

1910s

1930s

What cultural values are expressed in these texts?

Text 1.2.11.2.9?

How are these cultural values expressed in each text?

After placing texts 1.2.1 – 1.2.9 in the sequence in which they were published, answer the questions below.

Worksheet 1.2 – Ads through the ages

What cultural values are expressed in these texts?

Text 1.2.11.2.9?

1950s

1960s

1970s

1990s

2000s

How are these cultural values expressed in each text?

Text 1.2.1

Text 1.2.2

Text 1.2.3

Text 1.2.4

Text 1.2.5

Text 1.2.6

Text 1.2.7

Text 1.2.8

Text 1.2.9

2 – Language and mass communication Objectives This section aims to: • help you meet the learning outcomes for Part 2 • help you explore the various conventions of different text types • deepen your understanding of a specific topic, the economic crisis.

Activity 2.1 – Text type scavenger hunt

Key concept

Stylistic and structural As you analyze and comment on texts, you come to realize that features describe the there is a broad range of text types out there. Each type of text, elements of a text that help from brochure to letters, seems to have its own set of rules and define it as both a unique conventions. A letter includes ‘Dear sir or madam’ and a movie text and a type of text. Here poster includes an image of its main characters. How do we are several features that can define the conventions of a text type? We often define a type of be found in Texts 2.1.1-‐‑2.1.20. text according to its stylistic and structural elements or This is neither a definitive ‘features’. This activity asks you to hunt for stylistic and nor exhaustive list of stylistic structural features in a forest of texts. By doing so you will and structural features. become more aware of the different conventions of text types. 1. analogy 2. anecdote Guiding question 3. antithesis • What are the defining stylistic and structural features of 4. complaint different text types? 5. ethos 6. explanation Getting started 7. figurative language • Place a range of different texts on tables that are spread 8. frame around to the edges of your classroom. You may use 9. generalization Texts 2.1.1 – 2.1.10, which have a common theme. It is 10. hypophora good to have as many texts as students. 11. humour • Beside each text, include Worksheet 2.1. If each text 12. irony from this Activity Book (Texts 2.1.1-‐‑2.1.10) is opened flat 13. logos on the table then you will have a copy of Worksheets 14. pathos 2.1.1-‐‑2.1.10 on the right side. 15. summarization 16. slogan Step by step 17. symbolism 1. Each member of the class is assigned a stylistic or 18. topical statement structural feature from the box opposite. If you are not familiar with your term, look up its definition online or ask a friend. 2. Walk around the room and read the texts that have been placed on the surrounding tables. If you see an example of your stylistic or structural feature, then fill out an entry on Worksheet 2.1 on the opposite page, with the name of the feature in the left column and the example in the right column. 3. Find your Activity Book and return the classroom to its original state. State what types of

texts you think these are at the top of each Approaches to learning corresponding worksheet. At the bottom of each In this activity you are asked worksheet, answer the question about how unique or to research the meaning of uncharacteristic these texts are as text types. an abstract concept and 4. Each person in the class should present one text (2.1.1-‐‑ apply it to one or more texts, 2.1.10) and explain which stylistic and structural which requires certain features pertain to it. Comment on the final question at thinking skills. Finding the bottom of your text’s worksheet as well. examples of your concepts 5. Discuss the reflection questions below as a class. makes you a kind of expert on the concepts. You’re Reflection questions asked to share your 1. Return to the learning outcomes for Part 2. How have ‘expertise’ with others you met one or more of these through this activity? through the worksheet. 2. What have you learned about the topic of Texts 2.1.1-‐‑ 2.1.10? What is your opinion of the ‘Occupy Movement’ and how have various media and the texts before you Approaches to teaching shaped that opinion? This activity is inquiry 3. Do you think you will be able to use these stylistic and based, as you move through structural features when writing a written task? the room to discover examples of your stylistic or Towards assessment structural feature. Because • You can use this activity as a springboard for written these abstract features form task 1. You may have seen a text that captures your the basis of the activity, you attention. For example you could write a letter to its could say this is an example author that includes your response. You could write a of concept-‐‑based learning. transcribed interview with one of the Occupy protesters What’s more the activity for a ‘counter-‐‑culture’ magazine, such as Adbusters. creates a culture of • You could also compare and contrasts two texts as a interdependence, where mock Paper 1 HL. Start with a group discussion on participants have to present which two of the twenty texts should be used for this on what others wrote in their mock. You may want to outline a collective response. Activity Book. • Is there a text that you could use as a stimulus for a further oral activity? You could prepare a presentation or a persuasive speech in response to one or more of the texts.

Text 2.1.1

Worksheet 2.1.1 – Text type scavenger hunt What type of text is 2.1.1? Stylistic and structural features of Text 2.1.1

Example of each feature taken from Text 2.1.1

In what ways is Text 2.1.1 unique and uncharacteristic of its text type?

Text 2.1.2 5 10 15 20 25 30 35

Good evening. This is an extraordinary period for America'ʹs economy. Over the past few weeks, many Americans have felt anxiety about their finances and their future. I understand their worry and their frustration. We'ʹve seen triple-‐‑digit swings in the stock market. Major financial institutions have teetered on the edge of collapse, and some have failed. As uncertainty has grown, many banks have restricted lending, credit markets have frozen, and families and businesses have found it harder to borrow money. We'ʹre in the midst of a serious financial crisis, and the federal government is responding with decisive action. We boosted confidence in money market mutual funds and acted to prevent major investors from intentionally driving down stocks for their own personal gain. Most importantly, my administration is working with Congress to address the root cause behind much of the instability in our markets. Financial assets related to home mortgages have lost value during the house decline, and the banks holding these assets have restricted credit. As a result, our entire economy is in danger. So I propose that the federal government reduce the risk posed by these troubled assets and supply urgently needed money so banks and other financial institutions can avoid collapse and resume lending. This rescue effort is not aimed at preserving any individual company or industry. It is aimed at preserving America'ʹs overall economy. It will help American consumers and businesses get credit to meet their daily needs and create jobs. And it will help send a signal to markets around the world that America'ʹs financial system is back on track. I know many Americans have questions tonight: How did we reach this point in our economy? How will the solution I propose work? And what does this mean for your financial future? These are good questions, and they deserve clear answers. First, how did our economy reach this point? Well, most economists agree that the problems we'ʹre witnessing today developed over a long period of time. For more than a decade, a massive amount of money flowed into the United States from investors abroad because our country is an attractive and secure place to do business. This large influx of money to U.S. banks and financial institutions, along with low interest rates, made it easier for Americans to get credit. These developments allowed more families to borrow money for cars, and homes, and college tuition, some for the first time. They allowed more entrepreneurs to get loans to start new businesses and create jobs. Unfortunately, there were also some serious negative consequences, particularly in the housing market. Easy credit, combined with the faulty assumption that home values would continue to rise, led to excesses and bad decisions. […]

Worksheet 2.1.2 – Text type scavenger hunt What type of text is 2.1.2? Stylistic and structural features of Text 2.1.2

Example of each feature taken from Text 2.1.2

In what ways is Text 2.1.2 unique and uncharacteristic of its text type?

Text 2.1.3

Worksheet 2.1.3 – Text type scavenger hunt What type of text is 2.1.3? Stylistic and structural features of Text 2.1.3

Example of each feature taken from Text 2.1.3

In what ways is Text 2.1.3 unique and uncharacteristic of its text type?

Text 2.1.4

Worksheet 2.1.4 – Text type scavenger hunt What type of text is 2.1.4? Stylistic and structural features of Text 2.1.4

Example of each feature taken from Text 2.1.4

In what ways is Text 2.1.4 unique and uncharacteristic of its text type?

Text 2.1.5 5 10 15 20 25 30 35

Watching the Twitter feeds light up as the #OccupyGezi protests metastasized from a local protest against the destruction of a historic park into something much grander and more ambitious, it was hard not to get excited. A part of me could not help but envy Lisa Morrow'ʹs vantage point. There'ʹs nothing like seeing ordinary people joining together and rising up against a nasty government. In Cairo, when attacked by the army and police they tore up the very streets, and turned them into weapons. It was a powerful demonstration of the truth recognized by all great political thinkers, from Hobbes, through Hume to Chomsky, that power lies at the end of the day not in the hands of the rulers, but of the ruled. The police don'ʹt give us permission to take to the streets, we give it to them. Following quickly on the heels of this euphoria, however, was a nagging sense of doubt. I'ʹd seen this movie before. In Iran in 2009, and again in Egypt – not during the 2011 protests against first Mubarak and then the US funded Military – but in 2012, when Cairo, Alexandria, Suez and other secular strongholds rose up against the Muslim Brotherhood. In both those cases, as in Turkey now, a cosmopolitan 'ʹsecular'ʹ minority with a historically enlarged role rose up in what looked like a revolutionary outpouring. But their targets were not dictators, they were democratically elected leaders. The same thing is happening now with Istanbul'ʹs "ʺwhite Turks"ʺ. Reporting from Tehran in 2009, I am very embarrassed to say, I was taken in. Younger and dumber even than I am now, I went along with the press pack that surrounded me, who in turn relied on local sources who were far from a representative sample of the Iranian population. I am still not 100 per cent certain about the election of 2009, but have been forced to concede over the years that serious evidence of result-‐‑altering-‐‑scale fraud has just not been produced. It was a situation where a sizable minority were richer than their opponents not only in material but in cultural wealth – their bookshelves often overflowing with tomes in many languages. Thus plugged in to global culture and communications technologies, as well as being concentrated in the big cities where all the press and government buildings are, they were able to amplify their voice on the global stage. More power to them. A specialty of the Iranian regime thugs was sending in packs of men on high-‐‑powered dirt-‐‑bikes, two to a bike one driving and one wielding a kind of modern adaptation of the medieval mace. A stick with a chain on the end of it, which in turn had a Taser on the end of it. It was very ugly. Similarly ugly was the repression against anti-‐‑Brotherhood protests in Cairo. However, the protesters'ʹ side had some pretty ugly elements too, which often went under-‐‑reported in the Western media, both left and right alike. […]

Worksheet 2.1.5 – Text type scavenger hunt What type of text is 2.1.5? Stylistic and structural features of Text 2.1.5

Example of each feature taken from Text 2.1.5

In what ways is Text 2.1.5 unique and uncharacteristic of its text type?

Text 2.1.6

Worksheet 2.1.6 – Text type scavenger hunt What type of text is 2.1.6? Stylistic and structural features of Text 2.1.6

Example of each feature taken from Text 2.1.6

In what ways is Text 2.1.6 unique and uncharacteristic of its text type?

Text 2.1.7 5 10 15 20 25 30 35

Around the world people are taking to the streets: protestors wielding slogan-‐‑splattered banners have occupied financial districts from Wall Street to London, while in Poland economic leaders deliberate over measures to stabilise the Eurozone. But sat at home in sunny California, Michael Lewis is nonplussed: "ʺI'ʹm just surprised it has taken this long."ʺ The Vanity Fair contributing editor, Bloomberg columnist and author of Liar'ʹs Poker has seen his fair share of financial turmoil. After the bestselling success of The Big Short, his seminal account of the 2008 financial crisis, Lewis been touring Europe chronicling the fallout from Iceland to Greece. He has collected his findings into the cheerily titled book Boomerang: The Meltdown Tour which is typical Lewis: simultaneously funny, foreboding and tragic. To mark its UK release, GQ.com caught up with him for his thoughts on the protests, austerity measures and how to reform the system... What'ʹs your opinion on the financial protests? It seems too big to call it "ʺOccupy Wall Street"ʺ any more. I felt the same outrage for three years working on The Big Short. Although I had this Wall Street background, I hadn'ʹt paid very much attention to the financial world. Until I started digging around and asking questions, I couldn'ʹt believe how bad it had gotten. When I published The Big Short, I sensed a level of outrage in this country that I had never felt before. I'ʹm surprised it has taken this long for the political energy to develop, because it'ʹs so obviously outrageous what is happening. There are people at the top of the financial sector who think that the financial sector is out of control. The Chairman of the Federal Reserve has said he is sympathetic to the protesters. What impact do you think the protests will have on President Obama? Obama is going to have trouble, because he has pursued much the same policy in relation to the Wall Street firms that the Bush administration did. My feeling is that these people are more likely to energise the candidacy of some outsider, for example Elizabeth Warren, who is running for senate in Massachusetts. Her career could get very interesting very quickly, because she'ʹs been basically right about all this, yet she'ʹs been ostracised by the political system. She has this outsider, third party-‐‑ish aroma about her. Do you think the protests will have any long-‐‑term financial impact? I'ʹve wondered why people haven'ʹt floated more specific goals. I don'ʹt mean "ʺLet'ʹs define this movement"ʺ, but all those people in the streets could agree to ostracise the big Wall Street firms in the same way, say, that tobacco companies were, or South African countries before the end of apartheid. They could say, "ʺWe are going to call attention to politicians who take money from these firms. We'ʹre going to boycott any businesses that invest in them or have their money managed by them."ʺ That could be devastating. I can'ʹt believe that anyone would disapprove of that either. It'ʹs only a matter of time before they create a more pointed attack on the "ʺtoo big to fail"ʺ firms.

Worksheet 2.1.7 – Text type scavenger hunt What type of text is 2.1.7? Stylistic and structural features of Text 2.1.7

Example of each feature taken from Text 2.1.7

In what ways is Text 2.1.7 unique and uncharacteristic of its text type?

Text 2.1.8 5 10 15 20 25 30 35 40

Four women from the Occupy London movement have chained themselves to the pulpit of St Paul’s Cathedral in London in protest at the Church of England’s refusal to stand up to the City and in solidarity with the members of Pussy Riot who were jailed in Russia for a similar stunt. As the four women, all dressed in white, entered the cathedral to perform a ‘mic check’ and deliver a speech during Evensong, a banner displaying the message ‘throw the money changers out of the temple’ was unfurled on its front steps. Tomorrow marks one year since protesters set up camp outside St Paul’s as part of the global Occupy movement when they were prevented from doing so in Paternoster Square. Despite initially being sympathetic towards the demonstrators, the cathedral eventually won a court battle for them to be evicted in February. Prior to this, St Paul’s canon chancellor Giles Fraser quit in protest at the impending eviction. The Very Reverend Dr. David Ison, dean of St Paul’s, said he was conducting a prayer with a member of Occupy Faith, the movement’s religious wing, when the women entered shouting. ‘It will be a long cold night if they want to stay there. I don’t know what they want to do,’ he said. ‘I’m just sorry they have decided to do this, which makes it hard for members of Occupy Faith, who have been working together with us on something which is respectful.’ In a statement read out by the four women and carried on the website of Occupy London, the group said it wanted St Paul’s to ‘stop sitting on the fence and join the fight against rising inequality in the UK and beyond’. ‘In the fight for economic justice Jesus threw the money changers out of the temple, but you invited them in and instead evicted us,’ the statement said. ‘Your collusion with the City of London Corporation led to our violent eviction on your doorstep. You testified against us which acted to uphold injustice and inequality that is growing by the day.’ The group continued: ‘St Paul’s Cathedral, you must stand up and be counted at this great trial of history. But you have denied us twice already. ‘Once when you closed your doors on us and watched on as praying Christians were dragged from the steps of St Paul’s and twice when you failed to act when we were gone. ‘Today we offer you a third chance.’ A message on Occupy London’s Twitter feed added that the protest was ‘in solidarity with Pussy Riot who were imprisoned for action in Moscow Cathedral’. Five members of the female protest band staged a punk prayer in the cathedral in February, with three being jailed for two years after being convicted of hooliganism. Yekaterina Samutsevic was recently freed on probation after her sentence was suspended, but Nadezhda Tolokonnikova and Maria Alyokhina are to serve out the remainder of their sentences in a penal colony. The sentences received widespread international condemnation.

Worksheet 2.1.8 – Text type scavenger hunt What type of text is 2.1.8? Stylistic and structural features of Text 2.1.8

Example of each feature taken from Text 2.1.8

In what ways is Text 2.1.8 unique and uncharacteristic of its text type?

Text 2.1.9 5 10 15 20 25 30 35 40

We are living in a world controlled by forces incapable of giving freedom and dignity to the world'ʹs population. A world where we are told "ʺthere is no alternative"ʺ to the loss of rights gained through the long, hard struggles of our ancestors, and where success is defined in opposition to the most fundamental values of humanity, such as solidarity and mutual support. Moreover, anything that does not promote competitiveness, selfishness and greed is seen as dysfunctional. But we have not remained silent! From Tunisia to Tahrir Square, Madrid to Reykjavik, New York to Brussels, people are rising up to denounce the status quo. Our effort states "ʺenough!"ʺ, and has begun to push changes forward, worldwide. This is why we are uniting once again to make our voices heard all over the world this 12 May. We condemn the current distribution of economic resources whereby only a tiny minority escape poverty and insecurity, and future generations are condemned to a poisoned legacy thanks to the environmental crimes of the rich and powerful. "ʺDemocratic"ʺ political systems, where they exist, have been emptied of meaning, put to the service of those few interested in increasing the power of corporations and financial institutions. The current crisis is not a natural accident; it was caused by the greed of those who would bring the world down, with the help of an economics that is no longer about management of the common good, but has become an ideology at the service of financial power. We have awakened, and not just to complain! We aim to pinpoint the true causes of the crisis, and to propose alternatives. The statement below does not speak on behalf of everyone in the global spring/Occupy/Take the Square movements. It is an attempt by some inside the movements to reconcile statements written and endorsed in the different assemblies around the world. The process of writing the statement was consensus-‐‑based, open to all, and regularly announced on our international communications platforms. It was a hard and long process, full of compromises; this statement is offered to people'ʹs assemblies around the world for discussions, revisions and endorsements. It is a work in progress. We do not make demands from governments, corporations or parliament members, which some of us see as illegitimate, unaccountable or corrupt. We speak to the people of the world, both inside and outside our movements. We want another world, and such a world is possible: A. The economy must be put to the service of people'ʹs welfare, and to support and serve the environment, not private profit. We want a system where labour is appreciated by its social utility, not its financial or commercial profit. Therefore, we demand: 1. Free and universal access to health, education from primary school through higher education and housing for all human beings. We reject outright the privatisation of public services management, and the use of these essential services for private profit. 2. Full respect for children'ʹs rights, including free childcare for everyone. 3. Retirement/pension so we may have dignity at all ages. Mandatory universal sick leave and holiday pay.[...]

Worksheet 2.1.9 – Text type scavenger hunt What type of text is 2.1.9? Stylistic and structural features of Text 2.1.9

Example of each feature taken from Text 2.1.9

In what ways is Text 2.1.9 unique and uncharacteristic of its text type?

Text 2.1.10 5 10 15 20 25 30

HOW TO HELP #Occupywallstreet appreciates your support GET INVOLVED Occupy Wall Street is powered by people. Do you see a way to make a positive difference? Are you fed up with the current system and want to make your voice heard? Have a good idea about how we can do something better? We want you to join us, we want you to be one of our many leaders. EVENT CALENDAR Join us for actions, skill shares, workshops, and working group meetings. WORKING GROUPS Working groups are autonomous collections of people (just like you) who work on a wide range of projects and topics. CONTRIBUTE Learn about how you can contribute your time or resources to the movement. DONATE GOODS We have a huge need for donation of material goods. Right now our primary needs are: • Men & Women’s underwear in multiple sizes • Men & Women’s long underwear and thermals in multiple sizes • Towels • Backpacks and Duffel Bags Send all non-‐‑perishable material donations to: 118A Fulton st #205 New York, NY, 10038 HOST AN OCCUPIER We are currently looking for NYC residents who are interested in opening their homes to Occupiers in need of a break, a warm place to sleep, and a chance to relax. Please click here to learn more. DONATE MEETING SPACE We are in need of indoor space for community meetings, group meetings, trainings, teach-‐‑ ins, and conferences. If you have such a space, want to help us find one, or want to make donations on our behalf in order to help get us access to spaces, please contact meetingspaces@nycga.net.

Worksheet 2.1.9 – Text type scavenger hunt What type of text is 2.1.10? Stylistic and structural features of Text 2.1.10

Example of each feature taken from Text 2.1.10

In what ways is Text 2.1.10 unique and uncharacteristic of its text type?

3 – Literature: text and context Objectives This section aims to: • help you meet the learning outcomes for Part 3 • give you a framework for understanding literature in context • prepare you for the Paper 2 exam.

Activity 3.1 – Author, reader and text As the famous saying goes: “Texts are neither written nor ready in a vacuum.” In other words, context influences both the way in which a text is created and consumed. Authors are influenced by what they’ve read and the time and place in which they have lived. Similarly, readers are members of communities and are influence by the people they know and the place and time in which they live. This lesson asks you to annotate a text from three different perspectives. Annotation is a skill that can be developed over time. Think of annotations as notes that you write in the margin to raise a question, state a thought or mark something significant. Depending on your group’s focus, you will annotate a text focusing on one of three questions: ‘Why does the writer write?’ ‘What choices has the author made?’ And ‘How do readers interpret this text?’ (see Figure 3.1 below).

Why does the writer write?

How do readers interpret this text?

What choices has the author made?

Guiding question • How does context shape the composition of a text? • Hoe does context shape the interpretation of a text? Getting started

• • •

Get into three groups. Each group represents one of the three circles in Figure 3.1. Each group should have a different coloured pen. Find three passages from a work that you are studying for Part 3. You can use Texts 3.1.1-‐‑ 3.1.3 on the following pages. When working in larger groups it is useful to print the passages on A3 paper.

Step by step 1. Each of the three groups is assigned one of the three passages. 2. Collectively as a group you will annotate the passage according to the role assigned to you: author, reader or text. (See Figure 3.1) 3. After 5 minutes, you will circulate your passage to the next group and receive one from the previous group. You will annotate this passage from the same perspective that you explored previously. 4. After your group has annotated all three passages, give a short presentation to the rest of the class. In your presentations, the ‘author’ group answers the question: “Why did the writer write?” The ‘text’ group answers the question: “What choices did the author make when writing?” And the reader group answers the question: “How might readers interpret the text?” 5. When you have completed this activity, answer the reflection questions as a class. Reflection questions 1. How did this activity help you become aware of the importance of context in producing and reading texts? 2. How and why might you annotate literary texts in preparation for your Paper 2 exam? Toward assessment This activity should give you a better understanding of your Part 3 work(s). You may find it useful to underline and memorize a few lines from you Part 3 works in preparation for the writing the exam essay. Other applications This activity relies on a method known as ‘expert groups’, where each group is held responsible for only one of several important concepts. Circulating passages through expert groups can prove quite useful for practicing close reading of literary and non-‐‑ literary texts.

Text 3.1.1 5 10 15 20 25 30

Chronicle of a Death Foretold Gabriel García Márquez 1981 Our house was a good distance from the main square, in a mango grove on the river. My sister Margot had gone to the docks by walking along the shore, and the people were too excited with the bishop’s visit to worry about any other news. They’d placed the sick people in archways to receive God’s medicine, and women came running out of their yards with turkeys and suckling pigs and all manner of things to eat, and from the opposite shore came canoes bedecked with flowers. But after the bishop passed without setting foot on land, the other repressed news assumed its scandalous dimensions. Then it was that my sister Margot learned about it in a thorough and brutal way: Angela Vicario, the beautiful girl who’d gotten married the day before, had been returned to the house of her parents, because her husband had discovered that she wasn’t a virgin. “I felt that I was the one who was going to die,” my sister said. “But no matter how much they tossed the story back and forth, no one could explain to me how poor Santiago Nasar ended up being involved in such a mix-‐‑up.” The only think they knew for sure was that Angela Vicario’s brothers were waiting for him to kill him. My sister returned home gnawing at herself inside to keep from crying. She found my mother in the dining room, wearing a Sunday dress with blue flowers that she had put on in case the bishop came by to pay us a call, and she was singing the fado about invisible love as she set the table. My sister noted that here was one more place than usual. “It’s for Santiago Nasar,” my mother said. “They told me you’d invited him for breakfast.” “Take it away,” my sister said. Then she told her. “But it was as if she already knew,” she said to me. “It was the same as always: you begin telling her something and before the story is half over she already knows how it came out.” That bad news represented a knotty problem for my mother. Santiago Nasar had been named for her and she was his godmother when he was christened, but she was also a blood relative of Pura Vicario, the mother of the returned bride. Nevertheless, no sooner had she heard the news than she put on her high-‐‑heeled shoes and the church shawl she only wore for visits of condolence. My father, who had heard everything from his bed, appeared in the dining room in his pajamas and asked in alarm where she was going. “To warn my dear friend Placida,” she answered. “It isn’t right that everybody know they’re going to kill her son and she the only one who doesn’t.”

Text 3.1.2 5 10 15 20 25 30

Chronicle of a Death Foretold Gabriel García Márquez 1981 No one would have thought, nor did anyone say, that Angela Vicario wasn’t a virgin. She hadn’t known any previous fiancé and she’d grown up along with her sisters under the rigor of a mother of iron. Even when it was less than two months before she would be married, Pura Vicario wouldn’t let her go out alone with Bayardo San Román to see the house where they were going to live, but she and the blind father accompanied her to watch over her honor. “The only thing I prayed to God for was to give me the courage to kill myself,” Angela Vicario told me. “But he didn’t give it to me.” She was so distressed that she had resolved to tell her mother the truth so as to free herself from that martyrdom, when her only two confidantes, who worked with her making cloth flowers, dissuaded her from her good intentions. “I obeyed them blindly,” she told me, “because they made me believe that they were experts in men’s tricks.” They assured her that almost all women lost their virginity in childhood accidents. They insisted that even the most difficult of husbands resigned themselves to anything as long as nobody knew about it. They convinced her, finally, that most men came to their wedding night so frightened that they were incapable of doing anything they believe is what they see on the sheet,” they told her. And they taught her old wives’ tricks to feign her lost possession, so that on her first morning as a newlywed she could display open under the sun in the courtyard of her house the linen sheet with the stain of honor. She got married with that illusion. Bayardo San Román, for his part, must have got married with the illusion of buying happiness with the huge weight of his power and fortune, for the more the plans for the festival grew, the more delirious ideas occurred to him to make it even larger. He tried to hold off the wedding for a day when the bishop’s visit was announced so that he could marry them, but Angela Vicario was against it. “Actually,” she told me, “the fact is I didn’t want to be blessed by a man who cut off only the combs for soup and threw the rest of the rooster into the garbage.” Yet, even without the bishop’s blessing, the festival took on a force of its own so difficult to control that it got out of the hands of Bayardo San Román and ended up being a public event. General Petronio San Román and his family arrived that time on the National Congress’s ceremonial boat, which remained moored to the dock until the end of the festivities, and with them came many illustrious people who, even so, passed unnoticed in the tumult of new faces. So many gifts were brought that it was necessary to restore the forgotten site of the first electrical power plant in order to display the most valuable among them, and the rest were immediately taken to the former home of the widower Xius, which had already been prepared to receive the newlyweds. The groom received a convertible with his name engraved in Gothic letters under the manufacturer’s seal. The bride was given a chest with table settings in pure gold for twenty-‐‑four guests. They also brought in a ballet company and two waltz orchestras that played out of tune with the local bands and all the groups of brass and accordion players who came, animated by the uproar of the revelry.

Text 3.1.3 5 10 15 20 25 30

Chronicle of a Death Foretold Gabriel García Márquez 1981 She wrote a weekly letter for over half a lifetime. “Sometimes I couldn’t think of what to say,” she told me, dying with laughter, “but it was enough for me to know that he was getting them.” At first they were a fiancée’s notes, then they were little messages from a secret lover, perfumed cards from a furtive sweetheart, business papers, love documents, and lastly they were the indignant letters of an abandoned wife who invented cruel illnesses to make him return. One night, in a good mood, she spilled the inkwell over the finished letter and instead of tearing it up she added a postscript: “As proof of my love I send you my tears.” On occasion, tired of weeping, she would make fun of her own madness. Six times the post-‐‑mistresses were changed and six times she wore their complicity. The only think that didn’t occur to her was to give up. Nevertheless, he seemed insensible to her delirium; it was like writing to nobody. Early one windy morning in the tenth year, she was awakened by the certainty that he was naked in her bed. Then she wrote him a feverish letter, twenty pages long, in which without shame she let out the bitter truths that she had carried rotting in her heart ever since that ill-‐‑fated night. She spoke to him of the eternal scars he had left on her body, the salt of his tongue, the fiery furrow of his African tool. On Friday she gave it to the postmistress who came Friday afternoons to embroider with her and pick up the letters, and she was convinced that that final alleviation would be the end of her agony. But there was no reply. From then on she was no longer conscious of what she wrote nor to whom she was really writing, but she kept on without quarter for seventeen years. Halfway through on August day, while she was embroidering with her friends, she heard someone coming to the door. She didn’t have to look to see who it was. “He was fat and was beginning to lose his hair, and he already needed glasses to see things close by,” she told me. “But it was him, God damn it, it was him!” she was frightened as she saw him, and she didn’t think he had as much love inside as she to bear up under it. His shirt was soaked in sweat, as she had seen him the first time at the fair, and he was wearing the same belt, and carrying the same unstitched leather saddlebags with silver decorations. Bayardo San Román too a step forward, unconcerned about the other astonished embroiderers, and laid his saddlebags on the sewing machine. “Well,” he said, “here I am.” He was carrying a suitcase with clothing in order to stay and another just like it with almost two thousand letters that she had written him. They were arranged by date in bundles tied with colored ribbons, and they were all unopened.

4 – Literature: Detailed study Objectives This section aims to: • help you meet the learning outcomes for Part 4 • engage you in close reading of several unseen texts • prepare you for the individual oral commentary.

Activity 4.1 – Discussion Carousel

Key concept

Activity 4.1 asks you to Part 4 of the language and literature course includes a detailed discuss the significance of study of literary works. Your understanding of these works is various literary terms in assessed through the individual oral commentary (IOC), an relation to a passage from a exam which requires you to speak for 10-‐‑15 minutes about a literary text. Here are several single passage from a work you have read. Before you can terms that you may find speak for 15 minutes in a formal setting, you may want to start useful for such an activity on by speaking for two or three minutes in an informal setting. poetry (Texts 4.1-‐‑4.10). If you This activity asks you to explore a literary passage in quick and are uncertain of the meaning snappy discussions. of your term, look it up. 1. alliteration Before you start this activity: 2. atmosphere • Two literary works should have been studied in class. 3. diction Everyone will need a passage from these two literary 4. figurative language works. You can also practice the discussion carousel and 5. imagery close reading of literary texts by using Texts 4.1.1-‐‑4.1.10. 6. irony • Half of the participants, known as Group A, will have 7. juxtaposition passages from one literary work, or Texts 4.1.1-‐‑4.1.5. 8. metre Group B, the other half of the participants, should have 9. narrative technique passages from the other literary work, or Texts 4.1.6-‐‑ 10. rhyme 4.1.10. 11. rhythm • You will need a set of cards, on which each card is 12. setting printed a different literary concept, such as ‘setting’, 13. symbol ‘narration’, ‘tone’ or ‘characterisation’ (see ‘Key 14. theme concepts’). You will require half as many cards as 15. tone students. Step by step 1. Group A sits in a circle of chairs, all facing outwards. Across from each chair in this inner circle is a chair in an outer circle for members of Group B. The students in this outer circle (Group B) face inwards, across from their classmates in Group A, forming discussion pairs. 2. On the floor between each Group A and Group B member is a different literary concept written on a card. They do not have to be placed in any particular order. 3. Each participant has his or her passage from the literary work in hand. 4. Each pair discusses the significance of the literary concept on the floor in relation to the passages that they have in their hands within three minutes (or 90 seconds per

person). You have to ‘put your finger’ on a line in the passage that is especially relevant to the concept on the floor. 5. After three minutes you rotate. All members move one chair to their right. Or in other words, the inner circle moves clockwise and the outer circle moves counter-‐‑clockwise. Note: It helps to have an odd number of participants in the inner circle facing an odd number of participants in the outer circle. This way every Group A member speaks to every Group B member about every concept on the floor. 6. Individually fill out Worksheet 4.1, which should serve as good preparation for an individual oral commentary.

Approaches to learning Because you only have three minutes per discussion, you must be very much ‘to the point’ and you have to ‘think on your feet’. This activity develops communication skills and thinking skills.

Approaches to teaching This activity is very much conceptually focused, as it asks you to explain the significance of each key concept to your passage. Furthermore it is very collaborative, as you listen other participants as well. What others say about their passage may prove quite valuable in an IOC!

Reflection questions 1. How did this activity give you better insight into both of your literary works for Part 4? What are the similarities and differences between these two authors? 2. Which concepts were most relevant to your passage? 3. How would you organise an individual oral commentary on your passage? What would your outline look like?

Figure 4.1 Discussion carousel A = Group A members B = Group B members C = Concept, i.e. ‘setting’

B1 C1

A1 C5

Towards assessment • This activity is particularly useful when preparing for the individual oral commentary, as you are encouraged to analyse a passage using various concepts. It is as if you look at the same text through different lenses, as you explore each concept. • At HL you may find that this activity serves as a springboard for the written task 2 or even Paper 2 (see ‘other applications’ below). Other applications • You may use this activity with written task 2 questions instead of concepts, where you explain the relevance of each question to a literary or non-‐‑literary text from Parts 1-‐‑4. • Similarly, you can use this activity to prepare for Paper 2. At each station, participants explain how the unseen exam question is relevant to their work, which you may not have in hand. • You may also wish to replace the concepts with a range of unseen texts, which you discuss with others. Such an activity is good preparation for Paper 1.

Language tools You may find the following terms and phrases useful during the discussion carousel. Select phrases from each row of the table to construct sentences by moving from left to right. Concept X is relevant to my text… There is evidence of this concept… The significance of X is apparent …

in line(s) X… when character X says… in the first section where…

The authors’ use of X… The presence of X in line Y…

makes the reader feel… has a(n) X effect on the reader. evokes a sense of...

Text 4.1.1 5 10 15 20

Valentine Carol Ann Duffy 1993 Not a red rose or a satin heart. I give you an onion. It is a moon wrapped in brown paper. It promises light like the careful undressing of love. Here. It will blind you with tears like a lover. It will make your reflection a wobbling photo of grief. I am trying to be truthful. Not a cute card or a kissogram. I give you an onion. Its fierce kiss will stay on your lips, possessive and faithful as we are, for as long as we are. Take it. Its platinum loops shrink to a wedding-‐‑ring, if you like. Lethal. Its scent will cling to your fingers, cling to your knife.

Text 4.1.2 5 10 15 20

Education for leisure Carol Ann Duffy 2008 Today I am going to kill something. Anything. I have had enough of being ignored and today I am going to play God. It is an ordinary day, a sort of grey with boredom stirring in the streets. I squash a fly against the window with my thumb. We did that at school. Shakespeare. It was in another language and now the fly is in another language. I breathe out talent on the glass to write my name. I am a genius. I could be anything at all, with half the chance. But today I am going to change the world. Something’s world. The cat avoids me. The cat knows I am a genius, and has hidden itself. I pour the goldfish down the bog. I pull the chain. I see that it is good. The budgie is panicking. Once a fortnight, I walk the two miles into town for signing on. They don’t appreciate my autograph. There is nothing left to kill. I dial the radio and tell the man he’s talking to a superstar. He cuts me off. I get our bread-‐‑knife and go out. The pavements glitter suddenly. I touch your arm.

Text 4.1.3 5 10 15

Havisham Carol Ann Duffy 1998 Beloved sweetheart bastard. Not a day since then I haven'ʹt wished him dead, Prayed for it so hard I'ʹve dark green pebbles for eyes, ropes on the back of my hands I could strangle with. Spinster. I stink and remember. Whole days in bed cawing Nooooo at the wall; the dress yellowing, trembling if I open the wardrobe; the slewed mirror, full-‐‑length, her, myself, who did this to me? Puce curses that are sounds not words. Some nights better, the lost body over me, my fluent tongue in its mouth in its ear then down till I suddenly bite awake. Love'ʹs hate behind a white veil; a red balloon bursting in my face. Bang. I stabbed at a wedding-‐‑cake. Give me a male corpse for a long slow honeymoon. Don'ʹt think it'ʹs only the heart that b-‐‑b-‐‑b-‐‑breaks.

Text 4.1.4 5 10 15 20 25

If I was dead Carol Ann Duffy 2005 If I was dead, and my bones adrift like dropped oars in the deep, turning earth; or drowned, and my skull a listening shell on the dark ocean bed; if I was dead, and my heart soft mulch for a red, red rose; or burned, and my body a fistful of grit, thrown in the face of the wind; if I was dead, and my eyes, blind at the roots of flowers, wept into nothing, I swear your love would raise me out of my grave, in my flesh and blood, like Lazarus; hungry for this, and this, and this, your living kiss.

Text 4.1.5 5 10 15 20 25

The Scottish Prince Carol Ann Duffy 2003 Every summer, I visit the Scottish Prince at his castle high on a hill outside Crieff. We dine on haggis and tatties and neeps – I drink water with mine and the Prince sips at a peaty peppery dram. Then it'ʹs time for the dance. O Scottish Prince, the heathery air sweetens the night. Bats hang upside down in the pines like lamps waiting for light. Ask me, ask me to dance to the skirl o'ʹ the pipes. All the girls are in dresses. The boys are in kilts, but no boy'ʹs so fine as the Prince in his tartan pleats. I wait for a glance from the Prince, for the chance to prance or flounce by his side, to bounce hand in hand down the Gay Gordon line. Och, the pleasure'ʹs a'ʹ mine! O Scottish Prince, the heathery air sweetens the night. Bats hang upside down in the pines like lamps waiting for light. Ask me, ask me to dance to the skirl o'ʹ the pipes. At the end of summer, I say goodbye to the Scottish Prince and catch a train to the South, over the border, the other side of the purple hills, far from the blue and white flag, waving farewell from the castle roof. The Prince will expect me back again next year – here'ʹs a sprig of heather pressed in my hand as proof. O Scottish Prince, the heathery air sweetens the night. Bats hang upside down in the pines like lamps waiting for light. Ask me, ask me to dance to the skirl o'ʹ the pipes. Ask me, ask me, ask me to dance to the skirl o'ʹ the pipes.

Text 4.1.6 5 10

“Hope” is the thing with feathers – (314) Emily Dickenson 1861 “Hope” is the thing with feathers -‐‑ That perches in the soul -‐‑ And sings the tune without the words -‐‑ And never stops -‐‑ at all -‐‑ And sweetest -‐‑ in the Gale -‐‑ is heard -‐‑ And sore must be the storm -‐‑ That could abash the little Bird That kept so many warm -‐‑ I’ve heard it in the chillest land -‐‑ And on the strangest Sea -‐‑ Yet -‐‑ never -‐‑ in Extremity, It asked a crumb -‐‑ of me.

Text 4.1.7 5 10 15 20

I felt a Funeral in my brain– (340) Emily Dickenson 1861 I felt a Funeral, in my Brain, And Mourners to and fro Kept treading -‐‑ treading -‐‑ till it seemed That Sense was breaking through -‐‑ And when they all were seated, A Service, like a Drum -‐‑ Kept beating -‐‑ beating -‐‑ till I thought My mind was going numb -‐‑ And then I heard them lift a Box And creak across my Soul With those same Boots of Lead, again, Then Space -‐‑ began to toll, As all the Heavens were a Bell, And Being, but an Ear, And I, and Silence, some strange Race, Wrecked, solitary, here -‐‑ And then a Plank in Reason, broke, And I dropped down, and down -‐‑ And hit a World, at every plunge, And Finished knowing -‐‑ then -‐‑

Text 4.1.8 5 10

After great pain, a formal feeling comes– (372) Emily Dickenson 1861 After great pain, a formal feeling comes – The Nerves sit ceremonious, like Tombs – The stiff Heart questions ‘was it He, that bore,’ And ‘Yesterday, or Centuries before’? The Feet, mechanical, go round – A Wooden way Of Ground, or Air, or Ought – Regardless grown, A Quartz contentment, like a stone – This is the Hour of Lead – Remembered, if outlived, As Freezing persons, recollect the Snow – First – Chill – then Stupor – then the letting go –

Text 4.1.9 5 10 15

I heard a Fly buzz – when I died (465) Emily Dickenson 1861 I heard a Fly buzz -‐‑ when I died -‐‑ The Stillness in the Room Was like the Stillness in the Air -‐‑ Between the Heaves of Storm -‐‑ The Eyes around -‐‑ had wrung them dry -‐‑ And Breaths were gathering firm For that last Onset -‐‑ when the King Be witnessed -‐‑ in the Room -‐‑ I willed my Keepsakes -‐‑ Signed away What portion of me be Assignable -‐‑ and then it was There interposed a Fly -‐‑ With Blue -‐‑ uncertain -‐‑ stumbling Buzz -‐‑ Between the light -‐‑ and me -‐‑ And then the Windows failed -‐‑ and then I could not see to see -‐‑

Text 4.1.10 5 10 15 20

Because I could not stop for Death – (712) Emily Dickenson 1861 Because I could not stop for Death – He kindly stopped for me – The Carriage held but just Ourselves – And Immortality. We slowly drove – He knew no haste And I had put away My labor and my leisure too, For His Civility – We passed the School, where Children strove At Recess – in the Ring – We passed the Fields of Gazing Grain – We passed the Setting Sun – Or rather – He passed us – The Dews drew quivering and chill – For only Gossamer, my Gown – My Tippet – only Tulle – We paused before a House that seemed A Swelling of the Ground – The Roof was scarcely visible – The Cornice – in the Ground – Since then – 'ʹtis Centuries – and yet Feels shorter than the Day I first surmised the Horses'ʹ Heads Were toward Eternity –

5 – Paper 1: The (comparative) commentary Objectives This section aims to: • help you understand the differences between good and poor commentaries. • make you familiar with the expectations of the Paper 1 commentary

•

make you familiar with the kinds of skills necessary for the Paper 1 commentary.

Activity 5.1 – Do’s and Don’ts

Approaches to learning

In order to become familiar with the assessment criteria, it is advisable to practice marking sample work. There are creative ways of working with the criteria that encourage constructive discussion. This activity enables you to interact and express your opinions in such a constructive way. Guiding questions: • What makes a good comparative commentary a good comparative commentary? • What makes a poor comparative commentary a poor comparative commentary? Getting started • Get into four groups as illustrated in the Figure 5.1. You may be given a number from 1-‐‑16 and colour to help facilitate this activity. • Group 1 receives a poor sample Paper 1 HL based on Section A. Group 2 receives a good sample Paper 1 HL based on Section A. Group 3 receives a poor sample Paper 1 HL from Section B, and group 4 receives a good sample Paper 1 HL from Section B. • Participants should know the examiner’s marks and comments for all of the samples before starting this activity. .

As you have to reach a consensus as a group and agree on 10 Do’s or 10 Don’ts, you will have to use communication skills. Similarly, as you reduce your lists from 10 points to 5 point, you will find it useful to negotiate and synthesize.

Approaches to teaching This method of introducing Paper 1 is quite useful, as you are already supplied with the examiner’s marks. In other words, it is informed by assessment. Furthermore, as not every group member has read every exam, a level of collaboration is required in order to devise good lists of Do’s and Don’ts.

Step-‐‑by-‐‑step 1. After each group has read their sample paper and the examiner’s marks, they are given a separate assignment. Groups 1 and 3 draft a list of 10 Don’ts for the Paper 1 exam. Groups 2 and 4 draft a list of 10 Do’s. Students can think of these as lists that they would give to future IB students to help them on their exam. Each group member should make a copy of his or her list for the next step. 2. After 5 minutes, members from Group 1 and Group 3 form two new groups, so that there is an equal mix of students in each group. They look at two their two lists of Don’ts and agree on 5 essential Don’ts together. Similarly, Groups 2 and 4 exchange group members to form two new groups. In these new groups they compare and contrast their two lists of Do’s and agree on a final one. Again, each group members should make a copy of their

essential list of 5 Do’s and Don’ts. 3. After 5 minutes, students form new groups yet again, so that all members from the original groups (1-‐‑4) are represented at teach table (see diagram). In these groups students agree on a final list of 5 Do’s and 5 Don’ts. Reflection questions 1. Without reference to your list of Do’s and Don’ts, what skills should you aim to develop if you are to score well on this exam? 2. How important were the assessment criteria to Paper 1 for this activity? 3. When you have time, read the other samples that you have not read already. Look back to your final list of Do’s and Don’ts. Are there any points that you would change? What would you change? Other applications • The Do’s and Don’ts activity can as easily be applied to any other form of assessment, if you are given the examiner’s comments to good and poor sample work.

Figure 5.1 Step 1

Poor sample Section B

Poor sample Section A

10 Don’ts

Good sample Section B

Good sample Section A

10 Do’s

Step 2

Poor samples Sections A & B

5 Don’ts

Good samples Sections A & B

5 Do’s

Step 3

5 Do’s & 5 Don’ts

Good & poor samples Sections A & B

3 5 Do’s & 5 Don’ts

Good & poor samples Sections A & B

Worksheet 5.1.1 – Do’s and Don’ts: Step 1 Individually record your group’s final list of 10 Do’s OR Don’ts (depending on which you were assigned). 1

Worksheet 5.1.2 – Do’s and Don’ts: Step 2 Individually record your group’s final list of 5 Do’s OR Don’ts (depending on which you were assigned). 1

Worksheet 5.1.3 – Do’s and Don’ts: Step 3 Individually record your group’s final list of 5 Do’s AND 5 Don’ts 5 Don’ts 1

5 Do’s 1