Https Smiletutor - SG Wp-Content Uploads 2019 02 HL-English-Literature

N15/1/AXENG/HP1/ENG/TZ0/XX
–2– N15/1/AXENG/HP1/ENG/TZ0/XX
Write a literary commentary on one of the following:

English A: literature – Higher level – Paper 1
1.
Anglais A : littérature – Niveau supérieur – Épreuve 1
Inglés A: literatura – Nivel superior – Prueba 1
Tuesday 3 November 2015 (morning)

Mardi 3 novembre 2015 (matin)
Martes 3 de noviembre de 2015 (mañana)
2 hours / 2 heures / 2 horas
Instructions to candidates
 Do not open this examination paper until instructed to do so.
 Write a literary commentary on one passage only.
 The maximum mark for this examination paper is [20 marks].
Instructions destinées aux candidats

 N’ouvrez pas cette épreuve avant d’y être autorisé(e).
 Rédigez un commentaire littéraire sur un seul des passages.
 Le nombre maximum de points pour cette épreuve d’examen est de [20 points].
Instrucciones para los alumnos

 No abra esta prueba hasta que se lo autoricen. Removed for copyright reasons
 Escriba un comentario literario sobre un solo pasaje.
 La puntuación máxima para esta prueba de examen es [20 puntos].
8815 – 0057
3 pages/páginas © International Baccalaureate Organization 2015
N15/1/AXENG/HP1/ENG/TZ0/XX/M
2.
For the Sleepwalkers
Tonight I want to say something wonderful

for the sleepwalkers who have so much faith
in their legs, so much faith in the invisible Marking notes
5
arrow carved into the carpet, the worn path
that leads to the stairs instead of the window,
Remarques pour la notation
the gaping doorway instead of the seamless mirror.
Notas para la corrección
I love the way that sleepwalkers are willing
to step out of their bodies into the night,
to raise their arms and welcome the darkness,
10 palming the blank spaces, touching everything.

Always they return home safely, like blind men November / Novembre / Noviembre 2015
who know it is morning by feeling shadows.
And always they wake up as themselves again.

That’s why I want to say something astonishing
15 like: Our hearts are leaving our bodies.
Our hearts are thirsty black handkerchiefs

English / Anglais / Inglés
flying through the trees at night, soaking up
the darkest beams of moonlight, the music
A: literature / littérature / literatura
of owls, the motion of wind-torn branches.
20 And now our hearts are thick black fists
flying back to the glove of our chests.
We have to learn to trust our hearts like that. Higher level

We have to learn the desperate faith of sleep-
walkers who rise out of their calm beds Niveau supérieur
25 and walk through the skin of another life. Nivel superior
We have to drink the stupefying cup of darkness
and wake up to ourselves, nourished and surprised.
Edward Hirsch, For the Sleepwalkers (1981)
Paper / Épreuve / Prueba 1
3 pages/páginas
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These notes to examiners are intended only as guidelines to assist marking and as a supplement to the
published external assessment criteria for written paper 1. They are not offered as an exhaustive and
fixed set of responses or approaches to which all answers must rigidly adhere. Good ideas or angles not
offered here should be acknowledged and rewarded as appropriate. Similarly, answers which do not
include all the ideas or approaches suggested here may still be very good answers.
Of course, some of the points listed below will appear in weaker papers, but are unlikely to be
developed.
1. N.B. Examiners should be aware that although this excerpt is from a novel, candidates may refer
These marking notes are confidential and for the exclusive use of to it as travel writing and both approaches are valid.
examiners in this examination session.
An adequate to good literary commentary will:
They are the property of the International Baccalaureate and must not  identify the situation and discuss the narrative point of view
be reproduced or distributed to any other person without the  note how changing contexts affect the narrator’s senses and feelings or vice versa
 comment on the way the passage develops, including the emotional shifts of the speaker
authorization of the IB Assessment Centre.
 comment on the way language is used to convey both the outer and the inner features of
the journey.
A very good to excellent literary commentary may also:

Ces remarques pour la notation sont confidentielles. Leur usage est  speak in more detail about the writer’s presentation of train travel and relate to personal feelings
réservé exclusivement aux examinateurs participant à cette session. of the speaker
 look more closely and analytically at the speaker’s emotional shifts and make some inferences
about his state of mind and personality reflected by these shifts
Ces remarques sont la propriété de l’Organisation du Baccalauréat  examine more closely the range and pattern of the various sensory responses of the narrator
International. Toute reproduction ou distribution à de tierces  explore tension between melancholy and pleasure
personnes sans l’autorisation préalable du centre de l’évaluation de  consider the various critiques (eg, of self, mother, Europe, life) that emerge in some parts of
l’IB est interdite. the passage.
2. An adequate to good literary commentary will:

 show an understanding of literal sleepwalking and the metaphorical extension
Estas notas para la corrección son confidenciales y para el uso  offer some discussion on the structure of the poem
exclusivo de los examinadores en esta convocatoria de exámenes.  explore the speaker’s tone
 comment on the detail and unusual imagery in the poem, such as the darkness, heart,
Son propiedad del Bachillerato Internacional y no se pueden black, etc.
reproducir ni distribuir a ninguna otra persona sin la autorización
previa del centro de evaluación del IB. A very good to excellent literary commentary may also:
 offer interpretation of significance of risk, trust, faith or bravery
 comment on the shift of point of view to the plural
 explore in greater detail the mixture of ordinary objects and abstract ideas
 explore the insistence of the voice and the call to action.
Answer one essay question only. You must base your answer on at least two of the Part 3 works you
have studied and compare and contrast these works in response to the question. Answers which are
not based on a discussion of at least two Part 3 works will not score high marks.
Inglés A: literatura – Nivel superior – Prueba 2 Drama
Wednesday 4 November 2015 (afternoon) 1. Playwrights may indicate particular movement and/or the use of space for specific effects. How do
Mercredi 4 novembre 2015 (après-midi) at least two plays you have studied make use of one or both of these dramatic conventions?
Miércoles 4 de noviembre de 2015 (tarde)
2 hours / 2 heures / 2 horas 2. Discuss the ways in which at least two playwrights you have studied seek to represent the inner life
of their characters.
Do not open this examination paper until instructed to do so. 3. Playwrights often add interest to their plays by telling more than one story. Examine how this
Answer one essay question only. You must base your answer on at least two of the Part 3 strategy is employed in at least two plays you have studied.
works you have studied and compare and contrast these works in response to the question.
Answers which are not based on a discussion of at least two Part 3 works will not score
high marks.
You are not permitted to bring copies of the works you have studied into the examination room. Poetry
4. Poets sometimes use an address to someone or something to create or shape meaning in their
Instructions destinées aux candidats poems. In what ways is this technique used in the work of at least two poets you have studied?

Traitez un seul sujet de composition. En basant votre réponse sur au moins deux des œuvres 5. In poetry, close observation and description of a person, object or place can be so well articulated
de la troisième partie que vous avez étudiées, vous devez comparer et opposer ces œuvres that the reader receives a vivid sense of such subjects. Show how at least two poets that you have
dans le cadre du sujet. Les réponses qui ne sont pas basées sur au moins deux des œuvres studied deliver such material in a compelling way.
de la troisième partie n’obtiendront pas une note élevée.
Vous n’êtes pas autorisé(e) à apporter des exemplaires des œuvres que vous avez étudiées
dans la salle d’examen. 6. Poems are sometimes structured around subtle or abrupt shifts in subject matter or tone. With
 Le nombre maximum de points pour cette épreuve d’examen est de [25 points]. reference to at least two poets you have studied, demonstrate how they create effects through
such changes.
No abra esta prueba hasta que se lo autoricen.
Conteste una sola pregunta de redacción. Base su respuesta en al menos dos de las obras
estudiadas de la Parte 3, comparándolas y contrastándolas en relación con la pregunta. Prose: novel and short story
Las respuestas que no se basen en al menos dos obras de la Parte 3 no recibirán una
puntuación alta. 7. Some works delay the telling of events or experiences in ways that are vital to the creation of
No está permitido traer copias de las obras estudiadas a la sala de examen. narrative tension. Consider how writers use this strategy in at least two works you have studied.
8. In what ways and to what extent are the characters in at least two works you have studied defined
by either their physical or their social setting?
9. Show how at least two works you have studied use scenes that are highly complicated and/or
intensely dramatic to heighten the impact of the works.
8815 – 0058
Prose other than fiction

10. The material in works of prose other than fiction can elicit sympathy and/or disdain. Examine the
ways in which at least two works you have studied invite one or both of these reactions. Anglais A : littérature – Niveau supérieur – Épreuve 1
11. A sense of time in a work of prose other than fiction can be delivered in a linear way or one that Wednesday 2 November 2016 (morning)
shuffles the order in which things have occurred. In at least two works you have studied show how Mercredi 2 novembre 2016 (matin)
the writers create interesting effects by the way in which they order their materials. Miércoles 2 de noviembre de 2016 (mañana)

12. How and to what effect do writers of prose other than fiction include elements of change or
transformation in at least two works you have studied?
 Do not open this examination paper until instructed to do so.
 Write a literary commentary on one passage only.


 No abra esta prueba hasta que se lo autoricen.
 Escriba un comentario literario sobre un solo pasaje.
8816 – 0057
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1.
Removed for copyright reasons Removed for copyright reasons
Turn over / Tournez la page / Véase al dorso

2.
My Rival’s House
is peopled with many surfaces.
Ormolu* and gilt, slipper satin,
lush velvet couches, Thursday 3 November 2016 (morning)
cushions so stiff you can’t sink in. Jeudi 3 novembre 2016 (matin)
5 Tables polished clear enough to see distortions in. Jueves 3 de noviembre de 2016 (mañana)
We take our shoes off at her door, 2 hours / 2 heures / 2 horas

shuffle stocking-soled, tiptoe – the parquet floor
is beautiful and its surface must Instructions to candidates
be protected. Dust-
10 cover, drawn shade, Do not open this examination paper until instructed to do so.
won’t let the surface colour fade. Answer one essay question only. You must base your answer on at least two of the part 3
works you have studied and compare and contrast these works in response to the question.
Silver sugar-tongs and silver salver, Answers which are not based on a discussion of at least two part 3 works will not score
my rival serves us tea. high marks.
She glosses over him and me. You are not permitted to bring copies of the works you have studied into the examination room.
15 I am all edges, a surface, a shell  The maximum mark for this examination paper is [25 marks].
and yet my rival thinks she means me well.
But what squirms beneath her surface I can tell. Instructions destinées aux candidats
Soon, my rival
capped tooth, polished nail
Traitez un seul sujet de composition. En basant votre réponse sur au moins deux des œuvres
20 will fight, fight foul for her survival.
de la troisième partie que vous avez étudiées, vous devez comparer et opposer ces œuvres
Deferential, daughterly, I sip
dans le cadre du sujet. Les réponses qui ne sont pas basées sur au moins deux des œuvres
and thank her nicely for each bitter cup.
de la troisième partie n’obtiendront pas une note élevée.
Vous n’êtes pas autorisé(e) à apporter des exemplaires des œuvres que vous avez étudiées
And I have much to thank her for.
dans la salle d’examen.
This son she bore –
25 first blood to her –
never, never can escape scot free
the sour potluck of family.
And oh how close No abra esta prueba hasta que se lo autoricen.
this family that furnishes my rival’s place. Conteste una sola pregunta de redacción. Base su respuesta en al menos dos de las obras
estudiadas de la parte 3, comparándolas y contrastándolas en relación con la pregunta.
30 Lady of the house. Las respuestas que no se basen en al menos dos obras de la parte 3 no recibirán una
Queen bee. puntuación alta.
She is far more unconscious, No está permitido traer copias de las obras estudiadas a la sala de examen.
far more dangerous than me.  La puntuación máxima para esta prueba de examen es [25 puntos].
Listen, I was always my own worst enemy.
35 She has taken even this from me.
She dishes up her dreams for breakfast.

Dinner, and her salt tears pepper our soup.
She won’t
give up.
Liz Lochhead, A Choosing: The Selected Poems of Liz Lochhead

Reprinted with permission of Birlinn Limited.
8816 – 0058
* ormolu: a gold-coloured metal used in decoration and making ornaments 3 pages/páginas © International Baccalaureate Organization 2016
Answer one essay question only. You must base your answer on at least two of the part 3 works you Prose other than fiction
not based on a discussion of at least two part 3 works will not score high marks. 10. The power of many prose other than fiction works stems from the description of small but
significant details, moments or events. Compare the use and effects of such a technique in at
Drama least two works you have studied.
1. Characters are most clearly defined through a demonstration of power and/or an exposure of
weakness. Compare the extent to which this is true in at least two plays you have studied. 11. Writers of prose other than fiction make their works authentic through reference to source material
(such as newspapers, diaries and historical background). Compare the ways in which source
material is integrated and the effect it achieves in at least two works you have studied.
2. Plays often end with varying degrees of resolution. With reference to at least two plays you have
studied, compare the manner and the impact of the way in which each drama is concluded.
12. Deeper resonance may emerge from the use of symbols in works of prose other than fiction.
Compare the presentation and impact of symbolism in at least two works you have studied.
3. Compare the ways in which at least two plays you have studied make use of recurring elements,
such as actions, sounds, motifs and language.
Poetry
4. Poets often use compressed or concentrated language to express complex ideas and/or feelings.
Compare the use and effects of such language in the work of at least two poets you have studied.
5. Through its tone, a poem may either admire and celebrate its subject matter, or deplore and
condemn it. Compare the techniques used to create such tones and the effects achieved in the
work of at least two poets you have studied.
6. The impact of a poem may emerge from a tension between formal control and emotional
expressiveness. Compare the extent to which this is true in the work of at least two poets you
have studied.
Prose: novel and short story
7. Some central truths (of plot, character and ideas, for example) are made explicit, while some are
only implied. With reference to at least two works you have studied, compare the effects of explicit
and/or implied disclosure of central truths.
8. With reference to at least two works you have studied, compare the ways in which narrative point
of view has shaped the presentation of character.
9. Writers use dialogue to perform different functions (to alter pace, demonstrate character and vary
tone, for example). With reference to at least two works you have studied, compare the ways in
which dialogue is used and the effects achieved.

1.
The man who was made of moon shadows was surrounded by boxes. Boxes made of
Inglés A: literatura – Nivel superior – Prueba 1 sticks and bound with wire. They lay scattered on the forest floor. First I had eyes only for
the strange man: the way his massive feet crushed the foliage beneath them; his hands the
Thursday 2 November 2017 (afternoon) size of palm fronds. He was gathering up the boxes, stacking them one on top of the other.
Jeudi 2 novembre 2017 (après-midi) 5 Sometimes he paused, wiped his face against his sleeve, another time he used a cloth. Once
Jueves 2 de noviembre de 2017 (tarde) he stood and gazed up at the sky. While he worked, we watched him. The air was filled with
birdsong, the sound of a thousand birds. And I saw that the boxes were not boxes, but cages.
2 hours / 2 heures / 2 horas And birds were imprisoned inside those cages: sunbirds whose feathers shimmered like oil
across the surface of water, bright blue flycatchers, dark-throated warblers, palm swifts as small
10 as your thumb, doves vividly plumed as parrots, and in one cage an owl’s black-rimmed eyes
watching us from inside a white face.
 Do not open this examination paper until instructed to do so. I seized Alusani’s hand and we crept out from between the roots of the tree. We tried to
 Write a literary commentary on one passage only. be quiet, but the fear refused to be bound and scattered suddenly. And so we ran. I didn’t see
 The maximum mark for this examination paper is [20 marks]. him. I didn’t dare turn around. At first I didn’t even hear him, my heart thrummed in my ears.
15 I felt him. I felt the moon-shadow man look up, begin to come after us. I scraped my shin on
Instructions destinées aux candidats a fallen log; my footsteps crashed through the undergrowth; cobwebs snatched at my face as I
dragged Alusani after me. But in the end we were helpless as beetles at the mercy of a cat.
He didn’t touch us, Alusani and I.
He stepped in front of us.
20 We stopped. We did not move.
We waited.
I looked at him and beyond him, for a way past. He crouched down; he put his hand
 No abra esta prueba hasta que se lo autoricen. into the folds of his trousers. From his outstretched hand he offered us a gift. At first I was
 Escriba un comentario literario sobre un solo pasaje. transfixed by those luminous eyes, such a colour: the colour of water. When I did look down I
 La puntuación máxima para esta prueba de examen es [20 puntos]. 25 saw in his hand a peeled egg. The man reached into his pocket and brought out a packet, of
paper instead of leaf. He opened it and sprinkled a little of what was inside on to the top of the
egg. Salt. Just salt. The man held it out in front of him and uttered a sound like the noise a
donkey makes — though not so loud as that. Still, it caused me to jump backwards. He pulled
his lips back and showed us his huge teeth: “Hee-ah,” he said, “hee-ah!”
30 I tried to warn Alusani. But he was less fearful than I, although l had never once thought
so before. He reached out his fingers and he took the egg from the moon-shadow man.
It has been such a long time. In all that time I never spoke to anybody about what happened
that day. Except now. Except to you.
Sometimes, when I used to remember, when I thought back to the beginning of what
35 happened next, there was only one thing of which I was sure. That everything started with the
man whose skin was like the shadows of the moon. The man who was busy filling cages with
the souls of children.
Bloomsbury: © Aminatta Forna, 2007, Ancestor Stones, Bloomsbury Publishing Plc.

David Godwin Associates: Copyright © Aminatta Forna.
8817 – 0057
N17/1/AXENG/HP1/ENG/TZ0/XX/M
2.
Marking notes
Remarques pour la notation
Notas para la corrección
November / Novembre / Noviembre 2017

Removed for copyright reasons
English / Anglais / Inglés

A: literature / littérature / literatura
Higher level
Niveau supérieur
Nivel superior
Paper / Épreuve / Prueba 1
4 pages/páginas
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General marking instructions
These notes to examiners are intended only as guidelines to assist marking. They are not
offered as an exhaustive and fixed set of responses or approaches to which all answers must
rigidly adhere.
Good ideas or angles not offered here should be acknowledged and rewarded as appropriate.
Similarly, answers which do not include all the ideas or approaches suggested here should be
rewarded appropriately.
Of course, some of the points listed will appear in weaker papers, but are unlikely to be
These marking notes are the property of the International developed.
Baccalaureate and must not be reproduced or distributed to
any other person without the authorization of the IB Global
Centre, Cardiff. Instructions générales pour la notation
Ces remarques pour la notation sont la propriété du

Ces remarques sont de simples lignes directrices destinées à aider les examinateurs lors de la
Baccalauréat International. Toute reproduction ou distribution à notation. Elles ne peuvent en aucun cas être considérées comme un ensemble fixe et exhaustif
de tierces personnes sans l’autorisation préalable du centre de réponses ou d’approches de notation auxquelles les réponses doivent strictement
mondial de l’IB à Cardiff est interdite. correspondre.
Les idées ou angles valables qui n’ont pas été proposés ici doivent être reconnus et
Estas notas para la corrección son propiedad del Bachillerato récompensés de manière appropriée.
De même, les réponses qui ne comprennent pas toutes les idées ou approches mentionnées ici
Internacional y no deben reproducirse ni distribuirse a ninguna doivent être récompensées de manière appropriée.
otra persona sin la autorización del centro global del IB en
Cardiff. Naturellement, certains des points mentionnés apparaîtront dans les épreuves les moins bonnes
mais n’y seront probablement pas développés.
Instrucciones generales para la corrección
El objetivo de estas notas para los examinadores es servir de directrices para ayudar en la
corrección. Por lo tanto, no deben considerarse una colección fija y exhaustiva de respuestas y
enfoques por la que deban regirse estrictamente todas las respuestas.
Los buenos enfoques e ideas que no se mencionen en las notas para la corrección deben recibir
el reconocimiento y la valoración que les corresponda.
De igual manera, las respuestas que no incluyan todas las ideas o los enfoques que se sugieren
en las notas deben valorarse en su justa medida.
Por supuesto, algunos de los puntos que se incluyen en las notas aparecerán en exámenes
más flojos, pero probablemente no se habrán desarrollado.
–4– N17/1/AXENG/HP1/ENG/TZ0/XX/M

1. An adequate to good literary commentary will:
• comment on the situation as perceived by the narrator
• show some awareness of how the sense of threat is created Inglés A: literatura – Nivel superior – Prueba 2
• discuss some of the literary techniques, such as auditory and visual imagery, that
reinforce the “otherness” of the moon-shadow man Friday 3 November 2017 (morning)
• comment on some aspects of the structure, perhaps looking at the short, single lines, Vendredi 3 novembre 2017 (matin)
paragraphing Viernes 3 de noviembre de 2017 (mañana)
• show some awareness of the time shifts, with some consideration of their effects.
A very good to excellent literary commentary may also:
• offer a more nuanced interpretation of the ambiguity in the situation, for example, the
connections implied between the birds and the children
• show more sensitivity to the quality of the descriptive language, offering more detail on the  Do not open this examination paper until instructed to do so.
effects of word choice  Answer one essay question only. You must base your answer on at least two of the part 3
• provide a more developed interpretation of the overall ominous nature of the piece and works you have studied and compare and contrast these works in response to the question.
especially of the closing paragraphs Answers which are not based on a discussion of at least two part 3 works will not score high
• explore in greater depth the shifting perspective, perhaps recognising the reflective stance marks.
and its effect  You are not permitted to bring copies of the works you have studied into the examination room.
• show some overview of the structural patterns, perhaps examining the effects of  The maximum mark for this examination paper is [25 marks].
observation, action and reaction.
2. An adequate to good literary commentary will:  N’ouvrez pas cette épreuve avant d’y être autorisé(e).
• identify some aspects of the speaker’s situation with regard to his/her journey, perhaps in  Traitez un seul sujet de composition. En basant votre réponse sur au moins deux des œuvres
terms of identity, “home” and a sense of belonging de la troisième partie que vous avez étudiées, vous devez comparer et opposer ces œuvres
• show some awareness of the interplay between past and present, with some attention to dans le cadre du sujet. Les réponses qui ne sont pas basées sur au moins deux des œuvres
memory de la troisième partie n’obtiendront pas une note élevée.
• comment on the structure/organization of the poem  Vous n’êtes pas autorisé(e) à apporter des exemplaires des œuvres que vous avez étudiées
• comment on some of the techniques used to create a strong impression of the journey dans la salle d’examen.
such as narrative perspective or imagery (perhaps colour and changing visual  Le nombre maximum de points pour cette épreuve d’examen est de [25 points].
perspective).
A very good to excellent literary commentary may also:  No abra esta prueba hasta que se lo autoricen.
• offer perceptive comment on the speaker’s reflections on the journey (“Something sets us  Conteste una sola pregunta de redacción. Base su respuesta en al menos dos de las obras
looking for a place.”) and sense of enquiry (“And what has changed?”), perhaps offering estudiadas de la parte 3, comparándolas y contrastándolas en relación con la pregunta.
insight into ideas about distance, change and relationship to place and the journey as a Las respuestas que no se basen en al menos dos obras de la parte 3 no recibirán una
metaphorical one
puntuación alta.
• offer a more precise understanding of the effects created by the imagery and diction in the  No está permitido traer copias de las obras estudiadas a la sala de examen.
poem with a more nuanced appreciation of natural and man-made
• explore in more detail reflections relating to time (with regard to the speaker, his/her
predecessor, the region), vision and growth, offering some interpretation of the repeated
phrase’...you can no longer see…’
• explore how the structure, organization and other formal elements of the poem operate to
support an exploration and interplay of ideas.
8817 – 0058
Answer one essay question only. You must base your answer on at least two of the part 3 works you Prose: novel and short story
not based on a discussion of at least two part 3 works will not score high marks. 7. A writer may present us with characters who lack initial understanding of their own nature.
Consider the ways in which the work of at least two writers you have studied present the
Drama progression of one or more characters towards self-discovery.
1. Dramatic tension often arises from the clash of seemingly irreconcilable differences between
competing truths or beliefs. In what ways, and to what effect, has the work of at least two 8. Some works may challenge readers with content they find disturbing or with language that revolts.
playwrights you have studied created and used such tension? By what means and to what effect has this technique been employed in the work of at least two
writers you have studied?
2. Deceit, or the creation of false impressions, is often a driving force in drama. Discuss the ways
in which the work of at least two playwrights you have studied employ this device and the effects 9. With reference to the work of at least two writers you have studied, explore the ways in which
achieved. recurring motifs or symbols contribute to a richer understanding and appreciation of the works.
3. With reference to the work of at least two playwrights you have studied, consider to what extent the
use of barriers, whether physical, emotional or symbolic, has a significant effect on the progress Prose other than fiction
and impact of the drama.
10. Writers of prose other than fiction either clearly separate fact from opinion or blend the two. With
reference to the work of at least two writers you have studied, discuss the ways in which they have
used such techniques and to what effect.
Poetry
4. Poetry is more concerned with the creation of snapshots and images than it is with creating a 11. The catalyst for a work of prose other than fiction may be change, perhaps personal, social or
developed narration or plot. With reference to the work of at least two poets you have studied, political. With reference to the work of at least two writers you have studied, consider the ways in
discuss the extent to which you find this claim to be true. which they make use of such change, and the effects achieved.
5. With reference to the work of at least two poets you have studied, discuss the ways in which a 12. Compare and discuss the ways in which at least two writers of prose other than fiction you have
persona is created in order to explore identity and/or an individual’s place in his/her world. studied have created and used humour to engage the reader and stimulate thinking.
6. Some poems use repetition of language and/or content in order to reinforce and shape possible
meanings. In what ways has this technique been employed in the work of at least two poets you
have studied?

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N15/1/AXENG/HP1/ENG/TZ0/XX

Write a literary commentary on one of the following:

Tuesday 3 November 2015 (morning)

2 hours / 2 heures / 2 horas

Instructions destinées aux candidats

Instrucciones para los alumnos

For the Sleepwalkers

Tonight I want to say something wonderful

10 palming the blank spaces, touching everything.

And always they wake up as themselves again.

Our hearts are thirsty black handkerchiefs

We have to learn to trust our hearts like that. Higher level

Edward Hirsch, For the Sleepwalkers (1981)

Paper / Épreuve / Prueba 1

A very good to excellent literary commentary may also:

2. An adequate to good literary commentary will:

 N’ouvrez pas cette épreuve avant d’y être autorisé(e).

Prose other than fiction

2 hours / 2 heures / 2 horas

Instructions destinées aux candidats

Instrucciones para los alumnos

Write a literary commentary on one of the following:

Removed for copyright reasons Removed for copyright reasons

Turn over / Tournez la page / Véase al dorso

We take our shoes off at her door, 2 hours / 2 heures / 2 horas

She dishes up her dreams for breakfast.

Liz Lochhead, A Choosing: The Selected Poems of Liz Lochhead

Prose: novel and short story

Write a literary commentary on one of the following:

Bloomsbury: © Aminatta Forna, 2007, Ancestor Stones, Bloomsbury Publishing Plc.

November / Novembre / Noviembre 2017

English / Anglais / Inglés

Paper / Épreuve / Prueba 1

General marking instructions

Ces remarques pour la notation sont la propriété du

Instrucciones generales para la corrección

English A: literature – Higher level – Paper 2

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