Group 1 English A: literature English A: language and literature Higher lev
Group 1 English A: literature English A: language and literature Higher level and standard level Specimen papers 1 and 2 For first examinations in 20 CONTENTS English A: literature higher level specimen papers and marking notes English A: literature standard level specimen papers and marking notes English A: language and literature higher level specimen papers and marking notes English A: language and literature standard level specimen papers and marking notes The IB respects the principles of intellectual property and makes strenuous efforts to identify and obtain permission before publication from rights holders of all copyright material it uses. It is grateful for permissions received for material used in this publication and will be pleased to correct any errors or omissions at the earliest opportunity. English A: literature Higher level and standard level Specimen papers 1 and 2 For first examinations in 20 CONTENTS English A: literature higher level paper 1 specimen paper (QJOLVK$ OLWHUDWXUHVWDQGDUGOHYHOSDSHUVSHFLPHQSDSHU (QJOLVK$ OLWHUDWXUHKLJKHUDQGVWDQGDUGOHYHOSDSHUVSHFLPHQPDUNLQJQRWHV (QJOLVK$ OLWHUDWXUHKLJKHUDQGVWDQGDUGOHYHOSDSHUVSHFLPHQSDSHU The IB respects the principles of intellectual property and makes strenuous efforts to identify and obtain permission before publication from rights holders of all copyright material it uses. It is grateful for permissions received for material used in this publication and will be pleased to correct any errors or omissions at the earliest opportunity. 2 hours 15 minutes / 2 heures 15 minutes / 2 horas 15 minutos English A: literature – Higher level – Paper 1 Anglais A : littérature – Niveau supérieur – Épreuve 1 Inglés A: Literatura – Nivel Superior – Prueba 1 Specimen paper Spécimen d’épreuve Examen de muestra 4 pages/páginas Instructions to candidates y Do not open this examination paper until instructed to do so. y Write a guided analysis of text 1. y Write a guided analysis of text 2. y Use the guiding question or propose an alternative technical or formal aspect of the text to focus your analysis. y The maximum mark for this examination paper is [40 marks]. Instructions destinées aux candidats y N’ouvrez pas cette épreuve avant d’y être autorisé(e). y Rédigez une analyse dirigée du texte 1. y Rédigez une analyse dirigée du texte 2. y Utilisez la question d’orientation ou proposez une autre manière d’aborder le texte en choisissant un aspect technique ou formel sur lequel concentrer votre analyse. y Le nombre maximum de points pour cette épreuve d’examen est de [40 points]. Instrucciones para los alumnos y No abra esta prueba hasta que se lo autoricen. y Escriba un análisis guiado del texto 1. y Escriba un análisis guiado del texto 2. y Utilice la pregunta de orientación o proponga otro aspecto técnico o formal del texto en el que centrar su análisis. y La puntuación máxima para esta prueba de examen es [40 puntos]. © International Baccalaureate Organization 2018 SPEC Write a guided analysis of the following text. 1. Act one 3 p.m. Saturday. 7KHRSHQSODQOLYLQJURRPRIDPRGHUQH[HFXWLYHVW\OHKRXVH$UFKZD\VOHDGLQJR௺WRWKH kitchen and back doors. Another to the front door and bedrooms etc. Primarily furnished with English Swedish style furniture. A lot of wrought iron for gates in lieu of doors and as used for room dividers. Also artistic frosted glass. Doubtful pictures. Possibly a bar. It all cost a great deal RIPRQH\3DUTXHWÀRRUZLWKUXJV At the start, EVELYN, a heavily made-up, reasonably trendily dressed, expressionless girl, is sitting by a pram which she is rocking absently with one hand whilst gazing blankly out of the window. Near her, on the table, underneath suitable coverings, tea is laid out in the form of sandwiches and cakes. Only the teapot and hot water jug are missing. EVELYN chews and sings to herself. After a moment, DIANA enters. She is older, mid to later thirties. She always gives the impression of being slightly fraught. She smiles occasionally, but it’s painful. Her sharp darting eyes don’t miss much after years of suspicions both genuine and unfounded. ඌඑඉඖඉ: Have you got him to sleep? ඍඞඍඔඡඖ: Yes. ඌඑඉඖඉ [looking into the pram]: Aaah! They look so lovely like that. Like little cherubims. ඍඞඍඔඡඖ [unenthusiastic]: Mmm. ඌඑඉඖඉ: Just like little cherubims. [Anxious.] Should he be covered up as much as that, dear? ඍඞඍඔඡඖ: Yes. ඌඑඉඖඉ: Won’t he get too hot? ඍඞඍඔඡඖ: He likes it hot. ඌඑඉඖඉ: Oh. I was just worried he wasn’t getting enough air. ඍඞඍඔඡඖ: He’s all right. He doesn’t need much air. ඌඑඉඖඉ: Oh well… [She looks about her.] Well, I think we’re all ready for them. John’s on his way, you say? ඍඞඍඔඡඖ: Yes. ඌඑඉඖඉ: How is he these days? I haven’t seen John for ages. ඍඞඍඔඡඖ: He’s all right. ඌඑඉඖඉ: I haven’t seen either of you. ඍඞඍඔඡඖ: We’re all right. ඌඑඉඖඉ: Not for ages. Well, I’m glad you could come this afternoon. Colin will really appreciate that, I’m sure. Seeing us all. [Pause.] Paul should be home again soon. I think he’s playing his squash again. ඍඞඍඔඡඖ: Oh. ඌඑඉඖඉ: Him and his squash. It used to be tennis – now he’s squash mad. Squash, squash, squash. Can’t see what he sees in it. All afternoon hitting a ball against a wall. It’s so noisy. Bang, bang, bang. He’s not even out of doors. No fresh air at all. It can’t be good for him. Does John play squash? ඍඞඍඔඡඖ: No. ඌඑඉඖඉ: Oh. 5 10 15 20 25 30 35 40 SPEC – 2 – ඍඞඍඔඡඖ: He doesn’t play anything. ඌඑඉඖඉ: Oh, well. He probably doesn’t need it. Exercise. Some men don’t. My father never took a VWURNHRIH[HUFLVH7LOOKHGLHG+HVHHPHG¿WHQRXJK+Hmanaged to do what he wanted to do. Mind you, he never did very much. He just used to sit and shout at we girls. Most of the time. He got calmer though when he got older. After my mother left him. [Looking into the pram.] Did you knit that little jacket for him? ඍඞඍඔඡඖ: No. 45 Alan Ayckbourn, Absent Friends (1975) – How is the relationship between the two characters established in this extract? Turn over / Tournez la page / Véase al dorso SPEC – 3 – Write a guided analysis of the following text. 2. In the following extract from a travelogue, the author has travelled out of the city of Cairo and into the desert. ,WZDVDFDQ\RQRIJUHDWSURPLVH7KHFOLႇVZHUHWKUHHKXQGUHGRUPRUHIHHWKLJKDQGURVH in a concave curve to an abrupt crumbly steepness at the top. They looked impossible to climb. ,ZDVFRZHGE\WKHFDQ\RQ¶VYDVWQHVVFRQWHQWDW¿UVWWROHDSIURPERXOGHUWRERXOGHUDORQJLWV rocky bottom. There were plants but no trees, gravel slides, rounded hillocks of shale and side wadis* winding into rocky clefts in the canyon walls. The air was brilliantly clear. Bright blue sky in front and, when I turned to look back, the city squatting under a foggy haze. You could actually see the start of the smog, worryingly near the place where my kids’ school was, but as I walked up the canyon I turned my back on it. In the ultra-clear air of the desert you can see as far as you want to. Small details are YLVLEOHIDUDZD\$IDOFRQÀRDWLQJLQWKHGLVWDQFHDERYHWKHFDQ\RQWRSZDVOLNHDQLQNVWURNHD precise piece of calligraphy. There were two ruined blockhouses in the wadi, remnants of its time as a military training area. These became my landmarks. I would reach them quickly and decide where to H[SORUH2QWKHJURXQG,IRXQGIRVVLOVEXWQRVWRQHWRROV,IROORZHGDSDWKXSDURFN\GH¿OH and rediscovered the pleasure of hauling myself up short boulder-faces. Each sub-wadi was a series of steps that water had once poured down. They looked unclimbable but up close there ZDVDOPRVWDOZD\VDZD\8QGHUWKHFOLႇVZHUHDQLPDOWUDFNVDQGEXUURZVEXWIRUGD\V,VDZQR animals, only birds including the black and white wheatear, the zerzur, after which Zerzura had EHHQQDPHG$WWKHWRSRIWKHVLGHZDGL,ZDVRQWKHSODLQÀDWDQGJUDYHOO\,QWKHIDUGLVWDQFH were new tower blocks being built. Ahead it was clear to the horizon and behind, in the hollow of the Nile valley, lay Cairo under its pall of greyness. I had been keen on rock-climbing when I was younger, but it had been years since I KDGGRQHDQ\,ZDVVXUSULVHGWR¿QG,¶GEHFRPHWUHSLGDWLRXVDERXWKHLJKWVQHUYRXVDERXW VFUDPEOLQJXSVKDOHFOLႇV6ORZO\,UHJDLQHGWKHROGVNLOOVQHHGHGQRWSDXVLQJWRRORQJRQD hand- or foothold, not thinking too much, just moving upwards. Instead of seeing unclimbable YHUWLJLQRXVFOLႇV,EHJDQWRVHHURXWHVZD\VXSDQGRXWRIWKHFDQ\RQ,GHOLEHUDWHO\VLJKWHG up a possible route and found my way quite easily to the very top edge. The drop made me keep clear of the edge, gave my knees a slight wobble. Looking across the canyon, which was maybe a half-kilometre wide, the plains on the other side stretched away to hills marked only E\DGLVWDQWUDGLRWRZHU&RPLQJGRZQWKHVDPHZD\,VDZP\¿UVWGHVHUWIR[QRWDELJHDUHG fennec, but a red fox. I sat still and watched it as it watched me. The time spent watching in the cool, clear high-up air was like an inner breath of some neglected part of me, which neutralized the heavy sense of self, made me transparent again. 5 10 15 20 25 30 Robert Twigger, Lost Oasis: In Search of Paradise (2007) * wadis: wadi is an Arabic term for a valley or dried-up riverbed – 7RZKDWHႇHFWGRHVWKHQDUUDWRUFRPELQHREMHFWLYHIDFWVDQGVXEMHFWLYHSHUFHSWLRQLQWKLV text? SPEC – 4 – 1 hour 15 minutes / 1 heure 15 minutes / 1 hora 15 minutos English A: literature – Standard level – Paper 1 Anglais A : littérature – Niveau moyen – Épreuve 1 Inglés A: Literatura – Nivel Medio – Prueba 1 Specimen paper Spécimen d’épreuve Examen de muestra 4 pages/páginas Instructions to candidates y Do not open this examination paper until instructed to do so. y Write a guided analysis of text 1 or text 2. y Use uploads/Management/ specimen-papers-2021-english 2 .pdf
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- Publié le Fev 06, 2021
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