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Ethical guidelines for extended essays research and fieldwork

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designed by Hughes

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designed by Hughes

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The intertextual approach to the study of texts is not a new one. It has been the focus of much critical attention and has enriched the study of language and literature ever since Julia Kristeva coined the term in 1966 and Gérard Genette classified the various ways the relationships between texts could be described in 1982.

This approach is not a new notion in our IB Diploma Programme (DP) studies in language and literature courses, either. Although the current syllabuses (first assessed in 2013, last assessment 2020) do not explicitly refer to the notion of intertextuality, all three subjects implicitly rely on it for much of the work that is done in the syllabus and for much of the design of some of the assessment components.

The 2013 syllabuses also require, in relation to shorter literary texts, that a different kind of question be considered about the connections between them. For short stories or poems to be considered a "work", a set number of them need to be studied by one same author. There are two reasons for this requirement: on one hand, it is necessary to make sure that the amount of reading and the level of challenge presented by shorter literary texts will be equal to reading an extended text, such as a novel. On the other hand, students need to be exposed to enough material from one author to be able to come to more reliable and valid conclusions about his or her concerns and characteristic stylistic decisions.

Grouping texts in this way invites students to explore what binds the work of an author together, how its different parts connect, and the extent to which the production of one author could be considered to function as one consistent whole. These are questions that do not look outward to the links with texts written by other authors but point inward to links within the production of one particular author. What lies behind questions of this type is the notion of intratextuality, which is related to the coherence that exists within one text, or, more broadly, within a number of texts by one same author. Both 2013 syllabuses follow this intratextual approach to the study of short literary texts, since the definition of what is a literary "work" is common to both subjects.

When it comes to shorter non-literary texts, though, the 2013 language A: language and literature course does not require students to inquire about aspects of authorship, voice, or style that transcend one specific text and spread over a number of texts produced by the same creator. In this course, non-literary texts are studied either in isolation or in relation to other texts of a similar theme or texts created in a similar context of production, but not necessarily produced by the same creator.

The 2013 language A: language and literature course seems to mark a difference between literary and non-literary texts in this connection. Literary texts need to be studied both from an intertextual and an intratextual perspective; for non-literary texts, an intertextual approach seems to suffice. There is an imbalance in this respect between the kind of critical attention each of the types of text gets in this framework.

The introduction of the notion of a non-literary "body of work" in the 2021 language A: language and literature syllabus addresses this imbalance by encouraging teachers and students to explore how intratextuality also applies to non-literary text types. Because of the requirements of some of the assessment components (the individual oral, in particular), questions about how, for example, one opinion column relates to other opinion columns written by one same columnist or how one comic strip connects with other comic strips by one same cartoonist, will become a central part of the study of non-literary texts.

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Intertextuality and intratextuality (i): connecting works and bodies of work

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The intertextual approach to the study of texts is not a new one. It has been the focus of much critical attention and has enriched the study of language and literature ever since Julia Kristeva coined the term in 1966 and Gérard Genette classified the various ways the relationships between texts could be described in 1982.

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The IB develops inquiring, knowledgeable and caring young people who help to create a better and more peaceful world through education that builds intercultural understanding and respect.

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design by Hughes

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originally found on Teacherspayteachers original author unknown

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https://www.bookdepository.com/Textual-analysis-for-English-Language-Literature-for-IB-Diploma-Carolyn-P-Henly/9781510467156?ref=grid-view&qid=1570263991586&sr=1-1

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Approaches to Teaching and Learning website 

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Approaches to Teaching and Learning website 

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The IB Diploma Programme: A broad and balanced education

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Prescribed reading list/Liste de lectures/Lista prescrita de lectura

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Sample developed in a previous workshop 

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Sample developed in a previous workshop 

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Academic honesty in the IB educational context

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Aims

This TSM has been written by IB teachers experienced in supporting students and fellow teachers through the EE component of the Diploma Programme.

Its advice is neither prescriptive nor exhaustive, but is designed to:

support both experienced and less experienced EE coordinators and supervisors (experienced coordinators and supervisors will find it helpful to view "What's new in EE from 2016")

complement IB professional development

make links with other helpful and relevant IB documents

encourage collaboration and discussion about the EE process between those involved (coordinators, supervisors, librarians and students)

provide the theoretical background and practical tools to enable teachers to support and guide their students' learning through the EE process.

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This TSM has been written by IB teachers experienced in supporting students and fellow teachers through the EE component of the Diploma Programme.

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English A May 2019 Extended Essay Reports

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Some are ticked by myself, some by the student.

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https://www.thenational.ae/arts-culture/art/seven-photographs-by-lebanese-artist-eli-rezkallah-that-reveal-how-sexist-advertising-can-be-1.706132#3

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http://www.elirezkallah.com/inaparalleluniverse

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These are all labeled "HL" but the questions were used for both levels. These are for the old curriculum but can be used to practice the skills for writing a Paper 2.

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Creating and using the learner portfolio in language A (1)

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In case you missed the update on the myIB - this has some more clarification about BOW and text types.

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Gérard Genette provides a crucial starting point when he states that "literature is the art of language. A work is literary only if it uses the linguistic medium exclusively or essentially" (2). This parameter will certainly be useful to students since it draws a very clear line in relation to multimodal texts. Multimodal texts, relying as they do on a multiplicity of mediums to create meaning, will not be considered literary in the new syllabuses. The theory of knowledge voice in us is quick to remind us that saying that all multimodal texts are non-literary texts does not mean to say that all non-literary texts are multimodal. But Genette's statement leaves films, music videos, TV series and many other multimodal texts out of the realm of literature. The 2021 language A courses take this one step further: texts like TV or film scripts, which are inextricably linked to the corresponding multimodal texts and which give rise to them, are also considered non-literary.

There are two caveats to the consideration of all multimodal texts as non-literary. There are two text types which despite their association with multimodality (bimodality would probably be more accurate in these two cases) will be considered literary:

Song lyrics will be considered a sub-category within the poetic literary form. Song lyrics must therefore be considered literary texts for the 2021 syllabuses, and can be used, if a collection of lyrics by one same author is judged to have merit and is studied as a work, as a literary work for paper 2, for the individual oral or the HL essay.

Graphic novels will also be considered literary, belonging to either prose: fiction or prose: non-fiction depending on the text being considered.

What about essays, letters, biographies and speeches? When should they be considered prose: non-fiction and when should they be considered non-literary? The IB, in the 2021 DP language A courses, has made an effort to pursue further the objective that 2013 syllabus had already set, that of putting the study of non-literary and literary texts on a par. We would prefer therefore not to overemphasise the claim that literary texts foreground form in a way that non-literary texts do not, on the understanding that both literary and non-literary texts of merit require the use of sophisticated interpretative strategies. After all, as Culler says, "both literary and non-literary works can be studied together and in similar ways" (18).

What theorists seem to agree on is that the decision in relation to a text's literariness is dependent on the judgement of a reader or a group of readers. The curriculum review team together with the chief examiners of over 50 languages have put together a list of authors which we ask language A teachers to consider literary. Essays, letters, speeches and biographies written by these authors should be therefore taken as literary. So should similar texts written by authors not included on the list but generally considered to be writers of literature.

For other cases where questions about literariness might arise, we trust the professional judgement of IB DP language A teachers. We do ask them though to carefully consider the requirements of the assessment components mentioned earlier and to try to guarantee, as far as possible, that decisions made by students about which texts to use will allow them to show the best of their abilities.

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Literary or non-literary: that is the question

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Gérard Genette provides a crucial starting point when he states that "literature is the art of language. A work is literary only if it uses the linguistic medium exclusively or essentially" (2). This parameter will certainly be useful to students since it draws a very clear line in relation to multimodal texts.

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The individual oral of the new language A syllabuses (first assessment 2021) achieves a finely balanced integration between the inter- and intratextual approaches to the study of the relationships between texts.

In the case of the language A: literature course, the individual oral asks students to bring together two works, one written originally in the language A studied and one in translation. For the language A: language and literature course, a connection should be established between one literary work and one non-literary body of work. In both cases, the connection should be the result of a common global issue whose presence students have detected in both.

The individual oral task, in this sense, asks students to make personal and individual connections among the works and/or bodies of work they have studied in relation to global issues of their choice. This component thus highlights the sense of agency of students as learners as well as their autonomy as readers. As they read and study texts throughout the course, each student will be establishing in their learner portfolios different personal connections amongst them based on their interests and on their individual interpretations of these texts.

As the time to finalise their preparation of the oral approaches, students will decide on a final pair of works or a work and a body of work that they will explore in the oral through the lens of the global issue they have chosen. The most interesting element about the act of pairing two works or a work and a body of work in this way is that both the exploration of the global issue and the connection between the texts is proposed by the student: neither the choice of the common global issue nor the connection between the texts one student makes needs to be an obvious one to other students.

The oral illustrates the importance of connecting texts in the new syllabuses, without imposing the need to refer explicitly to the intertextual links between them: it does not involve a comparison and contrast exercise. Students only need to bring the two texts together and explore how the global issue is presented by each of them.

The individual oral also requires that students select one extract from each work or from both the work and the body of work that clearly exemplifies how the global issue is present in them and how meaning is constructed in relation to the global issue. Students are required to use these extracts to demonstrate their ability to analyse the contribution of specific elements to meaning.

The extracts also allow students to demonstrate their ability to connect a part of a work or a part of a body of work to the whole. Students will need to show that they have given some thought to the way the global issue is present in the rest of the work or the body of work. When the extract is a complete text, as might be the case with a poem, an ad or a photograph, students will have to refer to the broader work or body of work by the creator from which those texts were taken. By establishing this connection, students will be displaying their awareness of the creator's production as a background against which to contextualise the study of any individual extract or text.

This awareness of the importance of setting the text in the broader context of a work or body of work is one of the aspects that examiners will be assessing in this component. Examiners will be looking for evidence of the students' ability to establish these intratextual connections between the part and the whole. In order for a student to be fully able to demonstrate this ability, the whole needs to be fundamentally broader than the part: if the work or body of work did not offer enough breadth of material for intratextual connections to be established, then there might be a lack of balance between the discussion of the extract and the work or body of work it was extracted from. Thus, there might be not enough evidence of the student being truly aware of the broader presence of the global issue in a creator's work. It is important therefore for students to have studied works and bodies of work that are substantial enough for this interplay between the part and the whole to be properly established.

The individual oral is in this sense the clearest manifestation of the centrality that establishing connections of various types, both inter- and intratextual, has in the 2021 syllabuses.

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Intertextuality and intratextuality (ii): the individual oral

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The individual oral of the new language A syllabuses (first assessment 2021) achieves a finely balanced integration between the inter- and intratextual approaches to the study of the relationships between texts. In the case of the language A: literature course, the individual oral asks students to bring together two works, one written originally in the language A studied and one in translation.

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“Often the appeal for the reader of a literary work is the atmosphere a writer creates (for example, peaceful, menacing or ironic). Discuss some of the ways atmospheres are conveyed and to what effect in two of the works you have studied.”

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Quiz: Which IB Learner Profile Best Suits You?

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When you are looking into getting a job, there is much more than your academic profile that can help you to get into the position you desire. The IB learner profile enables you to identify such attributes and give you some words you can use to describe yourself with.