Paper2 HL

Paper 2 HL: Essay (first examinations 2013)

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Criterion A: Knowledge and understanding ·     How much knowledge and understanding has the student shown of the part 3 works studied in relation to the question answered?	does not reach standard	There is some knowledge but virtually no understanding of the part 3 works in relation to the question answered.	There is mostly adequate knowledge and some superficial understanding of the part 3 works in relation to the question answered.	There is adequate knowledge and understanding of the part 3 works in relation to the question answered.	There is good knowledge and understanding of the part 3 works in relation to the question answered.	There is perceptive knowledge and understanding of the part 3 works in relation to the question answered.
Criterion B: Response to the question ·     How well has the student understood the specific demands of the question? ·     To what extent has the student responded to these demands? ·     How well have the works been compared and contrasted in relation to the demands of the question?	does not reach standard	The student shows little awareness of the main implications of the question, and ideas are mainly irrelevant and/or insignificant. There is little meaningful comparison of the works used in relation to the question.	The student responds to some of the main implications of the question with some relevant ideas. There is a superficial attempt to compare the works used in relation to the question.	The student responds to most of the main implications of the question with consistently relevant ideas. There is adequate comparison of the works used in relation to the question.	The student responds to the main implications and some subtleties of the question, with relevant and carefully explored ideas. The comparison makes some evaluation of the works used in relation to the question.	The student responds to all the implications, as well as the subtleties of the question, with convincing and thoughtful ideas. The comparison includes an effective evaluation of the works in relation to the question.
Criterion C: Appreciation of the literary conventions of the genre ·     To what extent does the student identify and appreciate the use of literary conventions in relation to the question and the works used?	does not reach standard	Some literary conventions are identified but there is limited development relevant to the question and/or the works used.	Examples of literary conventions are sometimes correctly identified and developed, with some relevance to the question and the works used.	Examples of literary conventions are satisfactorily identified and developed, with relevance to the question and the works used.	Examples of literary conventions are clearly identified and effectively developed, with relevance to the question and the works used.	Examples of literary conventions are perceptively identified and persuasively developed, with clear relevance to the question and the works used.
Criterion D: Organization and development ·     How well organized, coherent and developed is the presentation of ideas?	does not reach standard	Ideas have little organization; there may be a superficial structure, but coherence and/or development are lacking.	Ideas have some organization, with a recognizable structure, but coherence and development are often lacking.	Ideas are adequately organized, with a suitable structure and attention paid to coherence and development.	Ideas are effectively organized, with a very good structure, coherence and development.	Ideas are persuasively organized, with excellent structure, coherence and development.
Criterion E: Language ·     How clear, varied and accurate is the language? ·     How appropriate is the choice of register, style and terminology? (“Register” refers, in this context, to the student’s use of elements such as vocabulary, tone, sentence structure and terminology appropriate to the task.)	does not reach standard	Language is rarely clear and appropriate; there are many errors in grammar, vocabulary and sentence construction, and little sense of register and style.	Language is sometimes clear and carefully chosen; grammar, vocabulary and sentence construction are fairly accurate, although errors and inconsistencies are apparent; the register and style are to some extent appropriate to the task.	Language is clear and carefully chosen, with an adequate degree of accuracy in grammar, vocabulary and sentence construction despite some lapses; register and style are mostly appropriate to the task.	Language is clear and carefully chosen, with a good degree of accuracy in grammar, vocabulary and sentence construction; register and style are consistently appropriate to the task.	Language is very clear, effective, carefully chosen and precise, with a high degree of accuracy in grammar, vocabulary and sentence construction; register and style are effective and appropriate to the task.

Paper 2 HL Drama Questions

Drama

1. Either

(a) “Plays consist, mostly, of talking.”

In light of this statement, consider the extent to which dialogue and monologue are used to advance the principal themes of the plays you have studied.

Or

(b) Plays often depend on various forms of irony to add complexity and interest for the audience. How have plays in your study enriched the theatrical experience through the use of irony?

Either

(a) “The reason we will pay money to spend our leisure time watching two or three hours of unhappiness and frustration is that most of us never give up hope.”

Say to what degree this observation is a satisfactory account of the attractions of the

drama you have studied, and compare the means by which playwrights achieve the

willing engagement of their audiences.

or

(b) “Within the complexity of a play, there are points of emphasis which allow the audience to connect events or feelings, or make conclusions and evaluations.”

Compare the means by which different playwrights create such moments of significance and their success in doing so.

Drama

1. Either

(a) Using two or three plays you have studied, compare the presentation of two or three characters (e.g. introduction, dramatic interactions with other characters), saying in each case how the presentation furthered the dramatists purposes, and how it rewarded your study.

Or

(b) .Time and place are the basic elements of a play. In what ways does your study of two or three plays lead you to support (or modify) this generalization?

1. Either

(a) .As the action of the play unfolds, dramatic tension is often produced by the contrast of concealment and revelation. Compare at least two of the plays,which you have studied in the light of this statement.

or

(b) Compare and contrast the presentation of any three or four characters in plays you have studied. Say how, and how effectively, each character seems to you to further the dramatic force of the play in which he or she appears. 1. Either

(a) Compare and contrast the role of symbolism in two or three plays you have studied.

Or

(b) “Long after the words are forgotten, the spectacle of the drama is remembered.” Compare two or three plays you have studied in the light of this quotation.

1. Either

(a) “Visual action can be as important on the stage as speech.” How far do you agree with this claim? In your answer you should refer to two or three plays you have studied.

Or

(b) Compare the dramatic effectiveness of the relationship between setting and plot in two or three plays you have studied.

1. Either

(a) “It is through speech primarily that a dramatist reveals who his characters are.”

Using at least two works you have studied, show how far you can agree that this is a valid statement about the writing of plays.

Or

(b) The audience’s expectation and the fulfilment or reversal of expectation are both used by playwrights. How have at least two of the plays you have studied satisfied or disappointed expectation, and with what effect?

1. In at least two works you have studied, explore specific techniques by which dramatists shape and pattern the speech in their plays and with what significant effect.

2. In at least two works you have studied, discuss the use of minor characters in either supporting or undermining what appear to be the goals of the protagonist.

1. Either

(a) Most plays have stage directions; some have none or almost none. What do you see as the relevance of stage directions in at least two plays you have studied?

Or

(b) Plays frequently explore moral or ethical dimensions of choices people make. Discuss in at least two plays the dramatic handling of such issues.

poetic terms with thanks to Ms Minaz

Poetry Checklist

Structure:  (number of stanzas, line length, enjambment, run-on lines, tercets, sestets, octaves, couplets)_________________________________

Form: (sonnet/ode/curtal)  ______________________________________________

Diction: (choice of words [notice the connotation of words]) _______________________________________________

Tone: (usually, the diction leads to the tone) (reflective, exuberant, sad) __________

Mood: (this is created by the tone) (one of anxiety, sorrow, reflection)_______________

Imagery: (visual, auditory, gustatory [taste], olfactory [smell], kinesthetic [movement],  tactile [touch] 

Emotion: _____________________________________________________________

Themes: (war, loss, betrayal) ____________________________________________

Style: (scientific, ornate, plain, emotive) ____________________________________

Tension: __________________________________________________________

Rhythm: (determines the mood) ________________________________________

Rhyme: (eye-rhyme, half rhyme, internal rhyme) ___________________________________

Tempo: (pace) (quick, slow, galloping [through the anapaest]) ________________

Impact: (dramatic, understated, impersonal) ______________________________

Texture: (smooth/ coarse) (through the use of pleasant/unpleasant ideas or words) ___

Point of view: (first person/ third person)___________________________________

Persona: (speaker, the unnamed ‘I’) ________________________________________

Figures of speech: (simile, metaphor, personification, metonymy, synecdoche, hyperbole, repetition, alliteration, consonance, assonance, sibilance, onomatopoeia, apostrophe, transferred epithet, paradox, antithesis, oxymoron, euphemism, tautology)_____________________________________________

Symbols: ________________________________________________________

Motifs: __________________________________________________________

Juxtaposition: ____________________________________________________

Voice: (do we hear only one voice? )__________________________________________________________

Literary devices:  (cacophony, euphony, anaphora, epistrophe, parallelism, epizeuxis, asyndeton, polysyndeton, inversion, ellipsis […], elision [th’ expense of spirit], syncope [o’er the hills])

Contrasts and colour: _________________________________________________________

paper 2 sl questions

Paper 2 questions for class discussion in Grade 12 SL1 and SL3  Jan-Apr 2014 with thanks to Ms Minaz

1.      “In drama there are more interesting roles for men than for women.” Discuss to what extent you agree with this statement and what it is that makes a role interesting. Refer closely to at least two plays you have studied.

2.      “Hope springs eternal.” How is hope or the lack of hope important in at least two literary works you have studied?

3.      “Drama at its best investigates the problems that beset ordinary individuals.” In light of this statement consider the ways in which two or three dramatists you have studied explore the problems that affect individuals.

4.      Compare the presentation and functions of the openings in two or three plays you have

            studied.

5.      How do characters and the choices they make contribute to meaning in two or three plays you have studied?

6.      What can a writer accomplish through the use of repetition? Respond with reference to two or three works you have studied.

7.      “Drama explains individuals, not relationships.” Paying close attention to how individuals and relationships are presented in two or three plays you have studied, say how far you find this statement to be true.

8.      How and to what effect is conflict used in two or three works you have studied?

9.      In what ways and to what effect have your writers focused on either the darker or lighter side of life in two or three works you have studied?

10.  There are many ways of achieving a memorable ending to a work of literature. In two or three of the works you have studied, how have your chosen authors made endings memorable?

11.  People often act first and reflect afterwards. In what ways have the connections between action and reflection been more and less important to the plays you have studied?

12.  Compare the importance of dreams or aspirations or ambitions to the impact of works you have studied.

13.  “Drama has to do with both conflicts and denials.” How have dramatists in your study used either of these, or both together, to create plays that provoke or interest or disturb the audience?

14.  “Some works challenge us more than others.” Discuss elements contributing to challenges for the reader in works you have studied, considering why the writers may have included such difficulties.

15.  “Tension is a necessity in all works of art.” Saying what you mean by “tension” in literature, discuss how far you agree with this view.

16.  With reference to two or three plays you have studied, examine the dramatic significance of

            failures in communication.

17.  Consider the ways in which scene changes may highlight the development of the characters and

            their relationships in two or three plays you have studied.

18.  Many works of literature deal with a sense of longing. How, and to what effect, have two or

            three writers you have studied made use of a sense of longing in their works?

19.   Fear and hope are significant in any person’s life. How have two or three writers you have

            studied presented these emotions in a convincing way, and what role have they played in the

            works concerned?

20.  “Literary works persuade us that human beings are worth caring for and writing about, no

             matter what their circumstances or condition.” To what extent is this evident in two or three

             works you have studied?

21.  To what extent do at least two plays you have studied explore the relationship and tension between

             rational and irrational behaviour as a means to further the action of the drama?

22.  Compare the ways in which at least two works you have studied handle the issue of closure

             and/or resolution.

23.  With reference to at least two plays by different dramatists, consider in what ways and to what

             extent they present life as being difficult to understand.

24.   Dramatists introduce their main characters in different ways and with differing effects. Compare or

             contrast the ways in which characters have been introduced in at least two plays you have studied,

             and consider what dramatic use is made of these introductions

25.  In what ways, and to what effect, have physical and/or spiritual journeys been presented in works

             by at least two writers?

26.   Hunger, thirst, physical deprivation – all of these have featured in literature. Consider the role of one

            or more of these elements and how they have been presented in works by at least two writers.

27.   Consider the presentation and effects of ignorance or lack of awareness in works by at least two

             writers.

28.   Sounds and noises feature in many works of literature. How have at least two writers included

             sounds and/or noises in their work and in what way have they been made significant?

29.  How do guilt and/or blame contribute to conflict and the overall effect in at least two of the

             plays you have studied?

30.  Structure and sequence are important elements in works of literature. How and to what effect

             have writers of at least two of the works you have studied used these elements to shape

             their works?

31.  Some writers establish precisely the time and/or place in which their works unfold; others are

             less precise. Discuss the effects and effectiveness of the techniques used to establish time and

             place in at least two of the works you have studied.

32.  Powerful emotion is the raw material of literature. To what extent and to what end is emotion

             employed in at least two of the works you have studied?

33.  The immediate setting of plays often has a larger historical or sociological context of which the

            audience is made aware. In what ways have playwrights in at least two works you have studied

             included or emphasized any of these settings and to what effect?

      34.  “Plays have their fair share of inspiring trumpet calls, though what they inspire is often terror –

             the trumpet of doom.” To what extent and in what ways have at least two works you have studied

            inspired terror or feelings of impending doom?

      35.    Economic circumstances can be critical elements of the way a writer presents the world through

              literary forms. In what way have economic factors been included in the works of at least two writers

              you have studied?

      36.   “I always start with a visual image,” is the way one writer describes the beginning of his work.

               In at least two works you have studied, identify one of the earliest visual images you recall from the

               work and explain how the writer uses it to engage the reader in a part or the whole of the work.

        37. All characters in a play are mouthpieces for their author. From a consideration of some

              characters from the plays you have studied, say how far you agree.

        38.   A necessary part of drama is not only to present conflict between the characters in a play

                but also to create conflicts within each member of the audience. Compare and contrast

                two or three plays you have studied in the light of this comment.

         39. Comment on the techniques of characterisation employed by the playwrights you have studied.

         40. A change in status of the characters in a play (a success, for example, a loss or exposure) helps

               to convey the ideas and/or values of the dramatist. How and to what extent has change in status

               contributed in this way to at least two of the plays you have studied?

41. ‘In plays, no one arrives on or leaves from the stage without contributing in some way to the complexity

      of the play.’ Considering two or three plays you have studied, compare the impact on meaning of some arrivals

      and departures from the stage.

42. What dramatic techniques have playwrights used to convey ideas/beliefs in two or three plays you have 

      studied and how effective have they been?

43. In plays, a character who appears briefly, or does not appear at all, can be a significant presence, contributing to      

       action, developing other characters or conveying ideas. To what extent have you found this to be true of at least

       two works you have studied?

44. “We are often puzzled by the things people do, uncertain as to their motives.” In the light of this

      statement, consider ways in which character motivation is presented in works by at least two

      dramatists you have studied.

45. ‘What we aspire to and what we achieve are not always the same.’ In what ways and to what effect have at

       least two playwrights you have studied explored this human experience? 

46. ‘Although doubt is not a pleasant condition, certainty is an absurd one.’ In the light of this statement, explore the

        impressions of doubt and/or certainty conveyed in at least two works you have studied.

47. ‘Memory feeds imagination.’ To what effect has memory been used in two or three works you have studied?

48. In what ways and to what effect have writers made use of anecdotes, analogies and allusions in their works?

49. Compare and contrast the ways in which writers have explored the relationship between experience and

       understanding.

50. Compare how writers have explored the themes of judgement and punishment.

51. ‘Life is a game played against chaos and death.’ How far, and in what ways, does this statement apply

        to two different works by two different writers?

52. Urban settings are often portrayed as ‘spiritual wastelands.’ To what extent and by what means have

        playwrights presented urban settings in such a way?

53. Awakenings or changes in consciousness are often explored in literature. Discuss how and to what effects

       playwrights have explored such phenomena.

54. How have playwrights used pace to produce interesting effects?

55. How are verbal disputes used by playwrights and how do these verbal disputes influence your response to

       characters and the unfolding of the action?

56. Discuss the role and significance of deceit.

57. Explore the role of the unexpected.

58. Compare the dramatic effectiveness of the relationship between plot and setting.

59. In what ways has the structure of plays you have studied seemed to impose some recognizable order on human

       behavior and the human events of the play?

60. Drama can be said to contain something of the ritual – something to be repeated in front of an audience for a   

      significant occasion, event or purpose, or simply everyday routines and patterns of behavior. In what ways have

      plays made use of the notion of ritual in this way and to what effect?