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You will be assigned a text type from the IB non literary list of options (or more than one).

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You need to fill the column you were assigned with helpful resources!

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You need to fill the column you were assigned with helpful resources!

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This can be something you have created, something you have found online, a helpful image, etc. Look around at the other columns as well, because your types might overlap.

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Literary Terms and Devices - master list from LitCharts

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Literary Terms and Devices - master list from LitCharts

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Useful especially in advertising and other mostly visual texts.

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Try using some of these verbs in your analysis

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Try using some of these verbs in your analysis

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CISL English Language Schools, California

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In English, we often have to analyze data, research, or facts. Do you know how to do this effectively, while using the appropriate verbs of analysis? This list of 50 verbs of analysis in English will help you.
Note: this list is for advanced English learners (CEFR level B2 or above). All definitions are from the Cambridge Dictionary online.
Definition: to have an influence on someone or something, or to cause a change in someone or something.

Characterizes

Definition: Something that characterizes another thing is typical of it.

Differentiates

Diminishes

Discredits

Distinguishes

Elaborates

Establishes

Facilitates

Foreshadows

Formulates

Highlights

Identifies

Illustrates

Incorporates

Insinuates

Integrates

Legitimizes
Converse International School of Languages offers an English for Academic Purposes course for students interested in improving their academic English skills. Students may take this course, which is offered in the afternoon for 12 weeks, at both CISL San Diego and CISL San Francisco. EAP course graduates can go on to CISL's Academic Year Abroad program, where students attend one semester at a California Community College. Through CISL's University Pathway program, EAP graduates may also attend college or university at one of CISL's Pathway Partners. See the list of 25+ partners on the CISL website. Contact CISL for more information.

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50 Verbs of Analysis for English Academic Essays

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In English, we often have to analyze data, research, or facts. Do you know how to do this effectively, while using the appropriate verbs of analysis? This list of 50 verbs of analysis in English will help you. Note: this list is for advanced English learners (CEFR level B2 or above).

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Here is a link to multiple text types for the Paper 1 :)

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Here is a link to multiple text types for the Paper 1 :)

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MRS. H'S IB ENGLISH LANGUAGE AND LITERATURE

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Whether you are a standard or higher level student, Paper 1 tests your ability to analyze unseen texts. If you are a standard level student, you will have to analyze one text out of a choice of two. If you are a higher level student you will be given the same two texts but you will have no choice: you must write an analysis of both texts. The texts will be unconnected - the topics and text types will be different - and you are not required to compare or contrast at all. You will essentially complete the same exercise twice. This is to reflect the greater number of lessons you will have had to explore a wider range of texts types, and the greater ability you should have when approaching texts by yourself. HL students will be given more time: 2 hours and 15 minutes compared to 1 hour and 15 minutes at standard level. All students will be given an optional guiding question that will focus your attention on important elements of the text, providing you with a 'way in' and helping you structure a worthwhile analysis.

There's no doubt that paper 1 is a challenging exam. It represents 35% of your grade at SL and 25% at HL. It will be impossible to predict the topics and exact texts that may appear in this exam paper. The range of possible text types is wide, as illustrated by the examples given in the IB syllabus guide. However, that doesn't mean you can't prepare for likely text types. In the past, comics and cartoons, advertisements, speeches, opinion pieces, infographics, magazine articles, news reports and travel writing have frequently appeared on this paper. Less common examples have been song lyrics, movie posters, letters and even texts from the past, such as an extract from Samuel Pepys' diary - he was an eyewitness to the Great Fire of London in 1666! Moreover, the IB subject guide is explicit in that you are not meant to exhaustively memorize features of different text types just in case one appears in your exam. Instead, you can learn approaches that are transferable to any text you are given and learn to recognize patterns of language that can help you analyze a text, ascertain its purpose and intended audience, and evaluate its success.

​Scroll down to find explainers and key conventions, along with sample papers and responses. All these answers would score highly if produced in this exam; perhaps even 20 out of 20. However, it is important to note that these responses demonstrate only one possible approach each time. Alternative responses can also be valid. Discuss the responses with your classmates and teacher as you go through the course, and revise before your assessments and exams. Once you have read and written a few sample responses, you'll be able to find strategies that work for you and will allow you to succeed in Paper 1, whatever text you may encounter.

The world of advertising is enormous, a classroom study of this text type might easily make up a good chunk of your course - and you'll still have only scratched the surface of what this wide and varied genre has to offer. Unsurprisingly, advertisement texts have been extremely popular in Paper 1. They tend to be persuasive and you can easily learn a few key features to look out for. Studying the language of advertising claims and investigating issues like representation are interesting in their own right, and improving your media literacy when it comes to analyzing images and knowing when you're being manipulated or conned is an important aim of the IB Lang and Lit course. Advertising can be extremely creative too, and striking the balance between recognizing effective writing and being skeptical about the things you read can make the difference between a good answer and a great one in Paper 1. Take a look through some of these examples to find common patterns of analysis that you can apply to your analysis of adverts you encounter:
SAMPLE RESPONSES: TRY FOR YOURSELF:
KEY FEATURES OF ADVERTISEMENTS

Problem and benefit: also called "benefit and need," the success of any advert depends upon appealing to the desires of its readers.

Image: a major component of modern advertising, images often tell visual narratives, or employ tactics such as 'shock value' or 'sex sells.'

Advertising claims: favourites include the use of weasel words, scientific claims, vague language, or bandwagon claims. There are many more for you to look out for, and you might also keep an eye out for jargon which sounds impressive, but doesn't communicate meaning.

Persuasion: adverts are always persuasive. Even ads that are not trying to sell you a product or service might be asking you to think something, change your behaviour or help someone. Look out for any and all kinds of persuasive devices in advertising.

A sub-category of advertising, charity appeals attempt to recruit you on behalf of a good cause and often ask you to donate either time or money. They are extremely persuasive, and often rely on similar methods to conventional advertising and persuasive speaking, tending to have more copy than conventional adverts. Take a look at the sample analyses to different charity appeals here and notice the elements they have in common:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF CHARITY APPEALS

Persuasive: the purpose of charity adverts is to make the reader take action, probably in the form of money or time. Adjacent to this is the need to raise awareness of social problems. Therefore, look out for all kinds of persuasive rhetorical features in charity appeals.

Metonymy: social problems like hunger and poverty are too large for one person to help solve; so charity ads often introduce you to a single individual who represents all those who your donation goes towards helping.

Frequently associated with wartime propaganda, recruitment campaigns can be used in a variety of contexts to encourage people to support a cause. A hybrid category of advertising and persuasion, recruitment campaigns would traditionally have been waged with pamphlets, leaflets, brochures and posters. Increasingly, this text type is being driven online, although certain traditional features survive; in particular, you can look out for webpages being formatted in three parts, as if folded into a brochure. Take a look at a couple of these responses to recruitment texts, then have a go at writing your own:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF RECRUITMENT CAMPAIGNS

Visuals: can be wholly visual, but likely to have some accompanying text (multi-modal).

Card-stacking: a common feature of recruitment drives is they often fail to show the downsides of joining up! Ignoring parts of the argument that don't fit your agenda is called card-stacking.

Simplification:along with a host of other fallacies, recruitment campaigns reduce complex issues to simple solutions. They may also invoke stereotypes.

Symbolism: elements of the text will connote concepts that are integral to the writer's message. Look out for metonymy, where an individual is made to stand for the whole.

Learning the features of persuasion - and how persuasion and propaganda overlap - form a part of your lang and lit course. So if you happen to be given a persuasive speech in your final Paper 1 exam, you can count yourself lucky. Persuasive speeches are organised around clear formal frameworks, such as appeals to logic and emotional appeals, and also provide a chance for individual speakers to express themselves stylistically. Check the formal features of persuasive speeches opposite and, if you want to learn more, visit the course page for this unit of study. Then browse these sample responses to see how to put your learning into practice:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF SPEECHES

Persuasive: the speaker attempts to make his or her listener think in a certain way, believe something or take action.

Modality: modal verbs are small but important words (such as 'must', 'need', 'should', 'might,' and so on) that reveal the speaker's degree of certainty and strength of feeling. You can study modality here.

Rhetorical devices: all kinds of rhythmical, structural, auditory and linguistic tricks can be employed by a skilled speaker. They are too many to list here, but rhetorical strategies can be studied and learned.

​Often printed in newspapers or magazines, and sharing many of the features of persuasive speeches, the opinion piece is usually a thoughtfully considered argument about a controversial topic in which the writer takes a side or proposes a solution. Unlike other forms of text for mass consumption, the opinion piece does not pretend to be straight or unbiased. Although it may contain elements of concession or acknowledge the other side of the issue, the purpose of an opinion piece is to express an opinion in a convincing, persuasive or powerful way. An Op-Ed is a special type of opinion piece, normally shorter, which derived its name from its position opposite the editorial page. The op-ed carries the official position of the news institution on a topical issue of the day.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF OPINION COLUMNS

Perspective: as an expression of a personal viewpoint, the first person is most commonly adopted for opinion pieces. Look out for 'we' instead of 'I' - a clever way of implying the viewpoint is commonly held.

Solid Arguments: an opinion piece might open your eyes to the reality of an issue, providing facts, statistics and information to help convince you of the writer's viewpoint. Expect to see opinions backed up by studies, research or evidence of some kind. Keep an eye out for assertion, though, where a writer presents an opinion as if it were a fact.

Structure: the writer of an opinion piece is not trying to keep you in suspense and the opinion is often obvious from the title or first few lines of the article. The rest of the article should support or develop the writer's point in a number of ways. The ending should be strong and certain, perhaps reiterating the writer's position.

Register and tone: you should be especially alert to the writer's choices in this regard. Opinion pieces are often formal, but the writer may adopt an irreverent tone, be passionate, conversational, friendly, challenging, even sarcastic depending on the tactics used to convince you of a particular opinion.

You might study a graphic novel such as Persepolis or Maus as part of your literature course; you may also be presented with a comic strip or cartoon in Paper 1. Students enjoy comics and cartoons because they are engaging and colourful - but make no mistake. This text type can be as subtle and sophisticated as any novel (just check out the list of features opposite). If you want to become an expert in the comic book form, you might like to read Understanding Comics: the Invisible Art by Scott McCloud. Don't forget to check out one or two of the examples below, which demonstrate how this text type might be analysed in an exam:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF COMIC STRIPS

Exposition: text that tells the story is presented as captions.

Speech and thought bubbles: so you can read the internal and external dialogue of the characters.

Artistic style: comics are drawn purposefully and with intention. Are the pictures crisp, heavy, weighty, light, cartoony, realistic, bright, dark? Can you tell whether the artist used pencil, pen and ink, or brush? Words that describe mood and tone can be useful when analyzing graphic weight (shading and contrast) and saturation (brightness).

Punchline: especially apparent in four-panel comic strips, the joke is revealed in the last panel.

A wide ranging and popular text type, magazine articles differ from news articles in that they are not reporting recent events, but rather discussing events, issues, trends and topics that have a general, contemporary appeal. Increasingly, magazine articles are published online, as producers can reduce costs such as printing and distribution, and collect revenue through both subscriptions and advertising. There are many sub-categories of magazine article, such as the celebrity article, scientific article, interview and so on. Topics of a magazine article are wide, in truth it's possible to write about anything and publish it as an article; more common topics include fashion, entertainment, food, sport, and lifestyle.
SAMPLE RESPONSES: TRY FOR YOURSELF:
KEY FEATURES OF SATIRICAL CARTOONS

Irony: meaning when one's actions contradict one's words. Look out for people in cartoons saying one thing and doing another.

Symbolism: objects, icons and even colors have specific associations. Sometimes items are labelled in the text to help the reader make associations.

Allusion: the cartoon may refer to historical or political events outside the text. The success of an allusion depends on the reader's ability to recognize it.

A wide ranging and popular text type, magazine articles differ from news articles in that they are not reporting recent events, but rather discussing events, issues, trends and topics that have a general, contemporary appeal. Increasingly, magazine articles are published online, as producers can reduce costs such as printing and distribution, and collect revenue through both subscriptions and advertising. There are many sub-categories of magazine article, such as the celebrity article, scientific article, interview and so on. Topics of a magazine article are wide, in truth it's possible to write about anything and publish it as an article; more common topics include fashion, entertainment, food, sport, and lifestyle.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF MAGAZINES

Layout: look out for box-outs, bullet points, ears and other kinds of layout features.

Often published in weekend magazines, and now increasingly online, interviews are the write-up of a conversation between a journalist (the interviewer) and an interviewee, normally a celebrity, expert in a field, or person in the public eye. Interviews are written to entertain or divert, but also fulfil the purpose of satisfying a reader's curiosity for information: whether about how a famous writer works, how an individual became successful, or simply the lifestyle of the rich and famous. When reading an interview, the focus is normally on the interviewee's thoughts and opinions. But look out for authorial intrusion, something you may have come across in your literary studies, where either directly or indirectly the writer of the article makes their opinions known as well.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF INTERVIEWS

Question-Answer: a recognisable feature of interviews in this format, which presents the questions asked and responses using quotations (direct speech).

Quotation: as an alternative to the question-answer format, you might see interviews written up as a magazine article. In this case you will see a mixture of direct quotation and indirect free speech.

Topics: the interview may be focused on one issue or may range across various topics. Look out for the interviewer asking leading questions to take the conversation in a particular direction.

Them-and-us: celebrity interviews tend to put interviewees on a pedestal. Look for ways in which the text creates a divide between celebrities and 'us', the reader, or represents the interviewee as special in some way.

It's difficult to imagine modern life without digital communication. Following the development of the internet, readers have been empowered to both consume and produce written and visual content at the same time. A popular form of online text type is the blogpost, normally shortened to 'blog.' In many ways, blogs have a lot in common with magazine articles and opinion pieces; but instead of media institutions deciding what we should read about, independent reader-writers decide the topics for themselves. For this reason, blogs can be quirky, niche, and carry counter-cultural messages. Have a look at a couple of these responses to the 'blog' text type:
TRY FOR YOURSELF:
KEY FEATURES OF BLOGS

Viewpoint: blogs normally represent the interests and opinions of an individual, so are normally first person.

Visuals: blogs may illustrate the text with cartoons, images or photographs (perhaps illustrated or taken by the writers themselves).

Again, this is more a category of writing than a text type. Informational text range from cookbooks to technical manuals, encyclopedias to public service announcements. Informational texts are meant to appeal to your head rather than your heart. There may be some overlap between information texts and scientific articles. Moreover, infographics are a highly visual form of information text which you can study in detail (below). Take a look though one or two of these sample responses to see how you might analyse informational texts of different kinds.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF INFORMATION TEXTS

Typography: look for fonts, capitalizations, bold or italicized words, underlined words, or other features that help emphasize key points.

Short for information graphic, these little visual texts are designed to summarize and present complex information, knowledge and data. They might be posted on a wall, be printed in a magazine or textbook, be a feature in a magazine or, increasingly, spread online. Some brilliant designers work on creating infographics, and the best examples of this text type are almost works of art in themselves. Once you've studied the key features of infographics, try your hand at analyzing one or two of the samples below.
TRY FOR YOURSELF:
KEY FEATURES OF INFOGRAPHICS

Audience: normally infographics are designed to reach as wide an audience as possible. As always look out for technical language that might indicate a niche audience.

Copy: infographics are multimodal, meaning there will be some brief text included. Look out for headlines, labels and snippets (brief chunks of text).

A sub-category of magazine articles and sharing features with information texts (above), general interest scientific articles can be drawn from publications such as National Geographic, New Scientist, Cosmos, Nature and more. There's an interesting investigation to be had in the study of language and literature into the tension between science and the arts and, by reading though the sample papers below, you'll notice how these two disciplines are not necessarily as different as you might think:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF SCIENTIFIC ARTICLES

Comparisons: some scientific concepts are quite abstract or complex, so writers of scientific articles might use similes and comparisons to make them easier for a wider readership to visualize.

Visuals: photographs, diagrams, charts and graphs are all likely to accompany and illustrate scientific concepts. Look out for more examples of simplification.

Structure: look out for both linear and non-linear structures and layouts, depending on the content. A text might provide a timeline or historical overview. Boxouts, summaries, explainers, glossaries can all help communicate complicated ideas.

Newspaper front pages and reports belong to broadly three categories: tabloid, broadsheet and online, each of which have their own particular conventions. You can study the news media in more depth by visiting the courses on journalism, bias, euphemism and the impact of technology on the news.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF NEWS WRITING

Headline: the choice of words in a headline is essential to the tone and angle of the story. There are many techniques involved in creating headlines and you should definitely learn: slammer; pun; alliteration; elliptical headlines (which only include the keywords).

Visuals: all newspapers make use of photographs to accompany stories. Tabloid papers are dominated by images while broadsheet papers tend to use smaller photographs. Look out for pictures of people's faces, which reveal emotion and create bias.

Figurative Language: anyone who still thinks the news is purely factual needs to go back to the start of the course! News reports are a rich source of metaphor, simile, hyperbole, and exaggeration, often distorting reality in some way.

Although descriptive writing is a major part of literary fiction, non-fiction writers may also write with the purpose of having you visualize a scene, event or person. Many forms of writing can be descriptive: autobiographies, travel articles, letters, diaries and blogs might all feature descriptive passages to one degree or another. Read through a sample response, then try your hand at analyzing a descriptive passage:
SAMPLE RESPONSES: TRY FOR YOURSELF:
KEY FEATURES OF DESCRIPTIVE PASSAGES

Imagery: as writing which is drawn from direct experience, description always involves imagery. Humans perceive the world vividly using our visual sense - but don't forget about other ways of perception: sensory images can also be auditory, tactile, kinesthetic, and even olfactory (the sense of smell).

Modifiers: the function of adjectives and adverbs are to describe.

Arguably the most personal text type as the intended reader is usually... the writer him or herself. Almost since the advent of the written word, diaries have been kept by individuals to record daily events, reflect on personal experiences and try to make sense of the complex issues of society. A freeform text type, they tend to be more stylistic than formal, with each writer employing their own particular uses of language which reflects the way they see the world. That's not to say you can't prepare yourself for any eventuality - take a look at one or two of the responses below:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF DIARIES

Viewpoint: as one of the most personal text types, diaries are written in the first person and always express thoughts and feelings.

Perspective: diaries are written to be private as the reader and writer are the same person. Confessional is a particular form of diary writing that reveals a secret.

Colloquialism: the writer might write as if he or she is talking and may use figures of speech in an original or entertaining way.

It's not often you'll read a text that has a particular individual reader in mind, but letters are exactly that. Letters need reading carefully to discover the relationship between writer and reader and to uncover the purpose behind the writing. Here are ways to respond if you should encounter this text type:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF LETTERS

Purpose: people send letters for all kinds of reasons; to complain, to seek advice, to connect with a loved one or even to pass gossip. The purpose of this text type is completely flexible.

This kind of writing is less a text-type and more a category of writing. Travel writing can be as recognisable as a Lonely Planet or Rough Guide recommendation for a trip to a foreign country or city. Or it might take the form of an article, describing the experiences of the writer in a strange place, accompanied by photography, maps, or diagrams. It's possible for Travel Writing to be 'literary' in tone and mood, full of imagery, vivid descriptions, and figurative language, recreating the characters and situations the writer met along the way like a novelist. Common themes in travel writing include the search for the self or one's roots; curiosity about other people; the desire to be informed; the search for a religious, spiritual or abstract experience. If you want to find out much more about this genre, you can visit the course page for this unit of study. Or, simply browse this selection of Paper 1 materials from the category of Travel Writing:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF TRAVEL WRITING

Structure: look out for chronological timelines, past - present structures or a linear journey of discovery. Guidebooks will have clear headings and subheadings and will probably include box-outs and the like.

Information: travel writing often seeks to be informative and can present you with facts and figures, names and dates, historical or architectural or geographical information and more.

Since the 5th century BC, people have been giving each other advice in writing. Chinese general Sun Tzu wrote his advice on bamboo strips - now you can buy his collected works, The Art of War, in a bookstore. Newspapers and magazines feature advisory sections (in Britain, the writers of these columns are known as Agony Aunts or Agony Uncles). Elsewhere, institutions such as the medical practice, health services and even governments like to give advice. This means that advisory texts can take many forms: columns, articles, letters, posters or infographics are all text types that can give advice in one form or another. See for yourself by reading the sample responses to the papers listed here:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF ADVISORY TEXTS

Tone: authoritative, reasonable, commanding or trustworthy. Look out for opinions presented as if they are facts.

Tense: the imperative tense (also called the command tense) can be recognized by the position of the verb at or near the start of the sentence.

Modality: modal verbs such as 'must', 'will', 'should' and 'ought' transmit strength of feelings.

Credibility: expert sources, research and scientific evidence might be used to establish credibility.

More a category of writing rather than a text type, texts produced for young people have distinctive features of their own that you may want to keep an eye on.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF TEXTS FOR CHILDREN

Allegory: like symbolism, in children's stories characters and objects often stand for things greater than themselves. The Wizard of Oz is a good example of allegory.

Diction: it would be unusual for children's texts to contain too much difficult vocabulary, although stories and rhymes often use synonyms.

Visuals: look out for colorful visuals, vividly drawn people and places.

Fable: a particular type of children's writing that anthropomorphizes animals, who stand in for human characters.

Didactic: some texts for children are designed to teach a lesson or moral. You can look out for didactic messages in children's texts.

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Whether you are a standard or higher level student, Paper 1 tests your ability to analyze unseen texts. If you are a standard level student, you will have to analyze one text out of a choice of two....

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Link for how to analyse a Feature article

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Link for how to analyse a Feature article

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Paper 1 in English appears challenging and nerve-wracking for students. It is without a doubt one of the most difficult papers for IBDP students. You have no idea what the questions are being asked. That is, after all, the challenge of this paper. The IB evaluates your ability to analyse a guided textual analysis and to write a commentary based on your findings.

It's a thorough breakdown of the visual text. The students must make inferences, analyse the picture, and interpret it. They should present their findings in the form of an essay.

What are the types of questions in Paper 1?

For IB English Literature SL and HL, Text A is always a poem and Text B is always a prose excerpt from a novel or short story.

For IB English Language and Literature SL, Text A and Text B can come from a broad variety of sources, including magazines, editorials, speeches, interview scripts, instruction manuals, cartoon strips, and more.

How to analyse a feature article?

The following objectives must be commented on while analysing a feature article. And they follow this order.

1. Context(s)
Identify text is intended for online or print interest for people in that subject matter.
Feature article is a result of lengthy research and editing. So all the information provided will be well investigated.

2. Purpose(s)
The writer's intent can be to inform the people about a person, place or phenomena.
3. Stylistic Device(s)

The heading and subheading should be catchy, this can attract the attention and curiosity of the reader.

In most of the cases there will be an image in the feature article. Comment on the image and the caption below the image usually it will be related to the topic or context.

Notice the writer's use of language and how he's trying to convey his point through methods such as: sympathy, tone, emotive language etc.

An introduction should hook or lead the reader. Lede can be used here, it is the opening sentence or paragraph, summarizing the most important aspects of the story.

A body tells the story through combining facts, background research, personal discoveries, interviews etc. It is the main part of the article.

A conclusion should leave an impression on the reader, by showing some enlargement of understanding that the writer has discovered through the investigation.

You should comment on the figurative language, elements of narrative, imagery, direct and indirect speech if any.

Practice makes perfect, as the saying goes, and the more you practise writing and perfecting your essay, the better it will become. After you've completed the first analysis, go through it again and again until it's perfect. Then articulate the same in a coherent and effective way. Paper 1 requires more effort, it's natural that you practice with more past papers.

Having trouble understanding these concepts? Do you want assistance from a subject matter expert? Here, at Vidyalai we help your child achieve the grade they aspire for. Our SMEs are trained and experienced tutors who will provide you with each and every help when required.
We are just a click away. Request your first lesson now.. We guarantee 100% satisfaction on your first session, if you are not satisfied,the session will be absolutely free.

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How to Analyse a Feature Article? (IBDP Paper 1)

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Confused about how to attempt Paper 1 of IBDP? Read this article.

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Link covering the structure of an article and information for opinion column

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Link covering the structure of an article and information for opinion column

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Salutation - shows the relationship between speaker and audience.

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The 8 advertising techniques:

Humour --> Use of humour makes readers more interested in the product.

Fear --> Creates a sense of fear in readers if they do not purchase the product being advertised.

Bandwagon effect --> FOMO (Fear of Missing Out). Makes it seem like everyone else is using this product, therefore you have to as well, or you are being left behind.

Shock advertising --> introduces something shocking to capture the reader's attention (which does not necessarily have to do with the product)

Conflict

Testimonials --> uses celebrities to promote products. Makes the products seem more appealing for those who are fans of these celebrities.

Problem / benefit --> presents a problem (which might not have ever affected you) and then introduces its solution with a benefit (the product)

Anti-advertising --> promotes the opposite idea of the product, perhaps showing a sense of compassion and care for the user of the product --> example: "SMOKING KILLS" on cigarette packets.

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Useful PowerPoint. Focus on Satirical Cartoons

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Useful PowerPoint. Focus on Satirical Cartoons

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The "Big 5" for text analyis and text structure

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The "Big 5" for text analyis and text structure

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This website also goes over key devices used in the opinion column and has practice tests using the “Big 5”.

The link also covers other areas: Blogs(including examples), memoirs, Speech and tabloids.

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Content Features:

Title

Subtitle

Image

Subheadings

Textboxes

Colour

Fairy brief in length

Language:

Semi-formal

Direct address

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An expression of a personal viewpoint

Not the same as persuasive speeches, the writer is not necessarily trying to change your opinion

Writer will relate a small story from his or her personal experience

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MRS. H'S IB ENGLISH LANGUAGE AND LITERATURE

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Whether you are a standard or higher level student, Paper 1 tests your ability to analyze unseen texts. If you are a standard level student, you will have to analyze one text out of a choice of two. If you are a higher level student you will be given the same two texts but you will have no choice: you must write an analysis of both texts. The texts will be unconnected - the topics and text types will be different - and you are not required to compare or contrast at all. You will essentially complete the same exercise twice. This is to reflect the greater number of lessons you will have had to explore a wider range of texts types, and the greater ability you should have when approaching texts by yourself. HL students will be given more time: 2 hours and 15 minutes compared to 1 hour and 15 minutes at standard level. All students will be given an optional guiding question that will focus your attention on important elements of the text, providing you with a 'way in' and helping you structure a worthwhile analysis.

There's no doubt that paper 1 is a challenging exam. It represents 35% of your grade at SL and 25% at HL. It will be impossible to predict the topics and exact texts that may appear in this exam paper. The range of possible text types is wide, as illustrated by the examples given in the IB syllabus guide. However, that doesn't mean you can't prepare for likely text types. In the past, comics and cartoons, advertisements, speeches, opinion pieces, infographics, magazine articles, news reports and travel writing have frequently appeared on this paper. Less common examples have been song lyrics, movie posters, letters and even texts from the past, such as an extract from Samuel Pepys' diary - he was an eyewitness to the Great Fire of London in 1666! Moreover, the IB subject guide is explicit in that you are not meant to exhaustively memorize features of different text types just in case one appears in your exam. Instead, you can learn approaches that are transferable to any text you are given and learn to recognize patterns of language that can help you analyze a text, ascertain its purpose and intended audience, and evaluate its success.

​Scroll down to find explainers and key conventions, along with sample papers and responses. All these answers would score highly if produced in this exam; perhaps even 20 out of 20. However, it is important to note that these responses demonstrate only one possible approach each time. Alternative responses can also be valid. Discuss the responses with your classmates and teacher as you go through the course, and revise before your assessments and exams. Once you have read and written a few sample responses, you'll be able to find strategies that work for you and will allow you to succeed in Paper 1, whatever text you may encounter.

The world of advertising is enormous, a classroom study of this text type might easily make up a good chunk of your course - and you'll still have only scratched the surface of what this wide and varied genre has to offer. Unsurprisingly, advertisement texts have been extremely popular in Paper 1. They tend to be persuasive and you can easily learn a few key features to look out for. Studying the language of advertising claims and investigating issues like representation are interesting in their own right, and improving your media literacy when it comes to analyzing images and knowing when you're being manipulated or conned is an important aim of the IB Lang and Lit course. Advertising can be extremely creative too, and striking the balance between recognizing effective writing and being skeptical about the things you read can make the difference between a good answer and a great one in Paper 1. Take a look through some of these examples to find common patterns of analysis that you can apply to your analysis of adverts you encounter:
SAMPLE RESPONSES: TRY FOR YOURSELF:
KEY FEATURES OF ADVERTISEMENTS

Problem and benefit: also called "benefit and need," the success of any advert depends upon appealing to the desires of its readers.

Image: a major component of modern advertising, images often tell visual narratives, or employ tactics such as 'shock value' or 'sex sells.'

Advertising claims: favourites include the use of weasel words, scientific claims, vague language, or bandwagon claims. There are many more for you to look out for, and you might also keep an eye out for jargon which sounds impressive, but doesn't communicate meaning.

Persuasion: adverts are always persuasive. Even ads that are not trying to sell you a product or service might be asking you to think something, change your behaviour or help someone. Look out for any and all kinds of persuasive devices in advertising.

A sub-category of advertising, charity appeals attempt to recruit you on behalf of a good cause and often ask you to donate either time or money. They are extremely persuasive, and often rely on similar methods to conventional advertising and persuasive speaking, tending to have more copy than conventional adverts. Take a look at the sample analyses to different charity appeals here and notice the elements they have in common:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF CHARITY APPEALS

Persuasive: the purpose of charity adverts is to make the reader take action, probably in the form of money or time. Adjacent to this is the need to raise awareness of social problems. Therefore, look out for all kinds of persuasive rhetorical features in charity appeals.

Metonymy: social problems like hunger and poverty are too large for one person to help solve; so charity ads often introduce you to a single individual who represents all those who your donation goes towards helping.

Frequently associated with wartime propaganda, recruitment campaigns can be used in a variety of contexts to encourage people to support a cause. A hybrid category of advertising and persuasion, recruitment campaigns would traditionally have been waged with pamphlets, leaflets, brochures and posters. Increasingly, this text type is being driven online, although certain traditional features survive; in particular, you can look out for webpages being formatted in three parts, as if folded into a brochure. Take a look at a couple of these responses to recruitment texts, then have a go at writing your own:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF RECRUITMENT CAMPAIGNS

Visuals: can be wholly visual, but likely to have some accompanying text (multi-modal).

Card-stacking: a common feature of recruitment drives is they often fail to show the downsides of joining up! Ignoring parts of the argument that don't fit your agenda is called card-stacking.

Simplification:along with a host of other fallacies, recruitment campaigns reduce complex issues to simple solutions. They may also invoke stereotypes.

Symbolism: elements of the text will connote concepts that are integral to the writer's message. Look out for metonymy, where an individual is made to stand for the whole.

Learning the features of persuasion - and how persuasion and propaganda overlap - form a part of your lang and lit course. So if you happen to be given a persuasive speech in your final Paper 1 exam, you can count yourself lucky. Persuasive speeches are organised around clear formal frameworks, such as appeals to logic and emotional appeals, and also provide a chance for individual speakers to express themselves stylistically. Check the formal features of persuasive speeches opposite and, if you want to learn more, visit the course page for this unit of study. Then browse these sample responses to see how to put your learning into practice:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF SPEECHES

Persuasive: the speaker attempts to make his or her listener think in a certain way, believe something or take action.

Modality: modal verbs are small but important words (such as 'must', 'need', 'should', 'might,' and so on) that reveal the speaker's degree of certainty and strength of feeling. You can study modality here.

Rhetorical devices: all kinds of rhythmical, structural, auditory and linguistic tricks can be employed by a skilled speaker. They are too many to list here, but rhetorical strategies can be studied and learned.

​Often printed in newspapers or magazines, and sharing many of the features of persuasive speeches, the opinion piece is usually a thoughtfully considered argument about a controversial topic in which the writer takes a side or proposes a solution. Unlike other forms of text for mass consumption, the opinion piece does not pretend to be straight or unbiased. Although it may contain elements of concession or acknowledge the other side of the issue, the purpose of an opinion piece is to express an opinion in a convincing, persuasive or powerful way. An Op-Ed is a special type of opinion piece, normally shorter, which derived its name from its position opposite the editorial page. The op-ed carries the official position of the news institution on a topical issue of the day.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF OPINION COLUMNS

Perspective: as an expression of a personal viewpoint, the first person is most commonly adopted for opinion pieces. Look out for 'we' instead of 'I' - a clever way of implying the viewpoint is commonly held.

Solid Arguments: an opinion piece might open your eyes to the reality of an issue, providing facts, statistics and information to help convince you of the writer's viewpoint. Expect to see opinions backed up by studies, research or evidence of some kind. Keep an eye out for assertion, though, where a writer presents an opinion as if it were a fact.

Structure: the writer of an opinion piece is not trying to keep you in suspense and the opinion is often obvious from the title or first few lines of the article. The rest of the article should support or develop the writer's point in a number of ways. The ending should be strong and certain, perhaps reiterating the writer's position.

Register and tone: you should be especially alert to the writer's choices in this regard. Opinion pieces are often formal, but the writer may adopt an irreverent tone, be passionate, conversational, friendly, challenging, even sarcastic depending on the tactics used to convince you of a particular opinion.

You might study a graphic novel such as Persepolis or Maus as part of your literature course; you may also be presented with a comic strip or cartoon in Paper 1. Students enjoy comics and cartoons because they are engaging and colourful - but make no mistake. This text type can be as subtle and sophisticated as any novel (just check out the list of features opposite). If you want to become an expert in the comic book form, you might like to read Understanding Comics: the Invisible Art by Scott McCloud. Don't forget to check out one or two of the examples below, which demonstrate how this text type might be analysed in an exam:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF COMIC STRIPS

Exposition: text that tells the story is presented as captions.

Speech and thought bubbles: so you can read the internal and external dialogue of the characters.

Artistic style: comics are drawn purposefully and with intention. Are the pictures crisp, heavy, weighty, light, cartoony, realistic, bright, dark? Can you tell whether the artist used pencil, pen and ink, or brush? Words that describe mood and tone can be useful when analyzing graphic weight (shading and contrast) and saturation (brightness).

Punchline: especially apparent in four-panel comic strips, the joke is revealed in the last panel.

A wide ranging and popular text type, magazine articles differ from news articles in that they are not reporting recent events, but rather discussing events, issues, trends and topics that have a general, contemporary appeal. Increasingly, magazine articles are published online, as producers can reduce costs such as printing and distribution, and collect revenue through both subscriptions and advertising. There are many sub-categories of magazine article, such as the celebrity article, scientific article, interview and so on. Topics of a magazine article are wide, in truth it's possible to write about anything and publish it as an article; more common topics include fashion, entertainment, food, sport, and lifestyle.
SAMPLE RESPONSES: TRY FOR YOURSELF:
KEY FEATURES OF SATIRICAL CARTOONS

Irony: meaning when one's actions contradict one's words. Look out for people in cartoons saying one thing and doing another.

Symbolism: objects, icons and even colors have specific associations. Sometimes items are labelled in the text to help the reader make associations.

Allusion: the cartoon may refer to historical or political events outside the text. The success of an allusion depends on the reader's ability to recognize it.

A wide ranging and popular text type, magazine articles differ from news articles in that they are not reporting recent events, but rather discussing events, issues, trends and topics that have a general, contemporary appeal. Increasingly, magazine articles are published online, as producers can reduce costs such as printing and distribution, and collect revenue through both subscriptions and advertising. There are many sub-categories of magazine article, such as the celebrity article, scientific article, interview and so on. Topics of a magazine article are wide, in truth it's possible to write about anything and publish it as an article; more common topics include fashion, entertainment, food, sport, and lifestyle.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF MAGAZINES

Layout: look out for box-outs, bullet points, ears and other kinds of layout features.

Often published in weekend magazines, and now increasingly online, interviews are the write-up of a conversation between a journalist (the interviewer) and an interviewee, normally a celebrity, expert in a field, or person in the public eye. Interviews are written to entertain or divert, but also fulfil the purpose of satisfying a reader's curiosity for information: whether about how a famous writer works, how an individual became successful, or simply the lifestyle of the rich and famous. When reading an interview, the focus is normally on the interviewee's thoughts and opinions. But look out for authorial intrusion, something you may have come across in your literary studies, where either directly or indirectly the writer of the article makes their opinions known as well.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF INTERVIEWS

Question-Answer: a recognisable feature of interviews in this format, which presents the questions asked and responses using quotations (direct speech).

Quotation: as an alternative to the question-answer format, you might see interviews written up as a magazine article. In this case you will see a mixture of direct quotation and indirect free speech.

Topics: the interview may be focused on one issue or may range across various topics. Look out for the interviewer asking leading questions to take the conversation in a particular direction.

Them-and-us: celebrity interviews tend to put interviewees on a pedestal. Look for ways in which the text creates a divide between celebrities and 'us', the reader, or represents the interviewee as special in some way.

It's difficult to imagine modern life without digital communication. Following the development of the internet, readers have been empowered to both consume and produce written and visual content at the same time. A popular form of online text type is the blogpost, normally shortened to 'blog.' In many ways, blogs have a lot in common with magazine articles and opinion pieces; but instead of media institutions deciding what we should read about, independent reader-writers decide the topics for themselves. For this reason, blogs can be quirky, niche, and carry counter-cultural messages. Have a look at a couple of these responses to the 'blog' text type:
TRY FOR YOURSELF:
KEY FEATURES OF BLOGS

Viewpoint: blogs normally represent the interests and opinions of an individual, so are normally first person.

Visuals: blogs may illustrate the text with cartoons, images or photographs (perhaps illustrated or taken by the writers themselves).

Again, this is more a category of writing than a text type. Informational text range from cookbooks to technical manuals, encyclopedias to public service announcements. Informational texts are meant to appeal to your head rather than your heart. There may be some overlap between information texts and scientific articles. Moreover, infographics are a highly visual form of information text which you can study in detail (below). Take a look though one or two of these sample responses to see how you might analyse informational texts of different kinds.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF INFORMATION TEXTS

Typography: look for fonts, capitalizations, bold or italicized words, underlined words, or other features that help emphasize key points.

Short for information graphic, these little visual texts are designed to summarize and present complex information, knowledge and data. They might be posted on a wall, be printed in a magazine or textbook, be a feature in a magazine or, increasingly, spread online. Some brilliant designers work on creating infographics, and the best examples of this text type are almost works of art in themselves. Once you've studied the key features of infographics, try your hand at analyzing one or two of the samples below.
TRY FOR YOURSELF:
KEY FEATURES OF INFOGRAPHICS

Audience: normally infographics are designed to reach as wide an audience as possible. As always look out for technical language that might indicate a niche audience.

Copy: infographics are multimodal, meaning there will be some brief text included. Look out for headlines, labels and snippets (brief chunks of text).

A sub-category of magazine articles and sharing features with information texts (above), general interest scientific articles can be drawn from publications such as National Geographic, New Scientist, Cosmos, Nature and more. There's an interesting investigation to be had in the study of language and literature into the tension between science and the arts and, by reading though the sample papers below, you'll notice how these two disciplines are not necessarily as different as you might think:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF SCIENTIFIC ARTICLES

Comparisons: some scientific concepts are quite abstract or complex, so writers of scientific articles might use similes and comparisons to make them easier for a wider readership to visualize.

Visuals: photographs, diagrams, charts and graphs are all likely to accompany and illustrate scientific concepts. Look out for more examples of simplification.

Structure: look out for both linear and non-linear structures and layouts, depending on the content. A text might provide a timeline or historical overview. Boxouts, summaries, explainers, glossaries can all help communicate complicated ideas.

Newspaper front pages and reports belong to broadly three categories: tabloid, broadsheet and online, each of which have their own particular conventions. You can study the news media in more depth by visiting the courses on journalism, bias, euphemism and the impact of technology on the news.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF NEWS WRITING

Headline: the choice of words in a headline is essential to the tone and angle of the story. There are many techniques involved in creating headlines and you should definitely learn: slammer; pun; alliteration; elliptical headlines (which only include the keywords).

Visuals: all newspapers make use of photographs to accompany stories. Tabloid papers are dominated by images while broadsheet papers tend to use smaller photographs. Look out for pictures of people's faces, which reveal emotion and create bias.

Figurative Language: anyone who still thinks the news is purely factual needs to go back to the start of the course! News reports are a rich source of metaphor, simile, hyperbole, and exaggeration, often distorting reality in some way.

Although descriptive writing is a major part of literary fiction, non-fiction writers may also write with the purpose of having you visualize a scene, event or person. Many forms of writing can be descriptive: autobiographies, travel articles, letters, diaries and blogs might all feature descriptive passages to one degree or another. Read through a sample response, then try your hand at analyzing a descriptive passage:
SAMPLE RESPONSES: TRY FOR YOURSELF:
KEY FEATURES OF DESCRIPTIVE PASSAGES

Imagery: as writing which is drawn from direct experience, description always involves imagery. Humans perceive the world vividly using our visual sense - but don't forget about other ways of perception: sensory images can also be auditory, tactile, kinesthetic, and even olfactory (the sense of smell).

Modifiers: the function of adjectives and adverbs are to describe.

Arguably the most personal text type as the intended reader is usually... the writer him or herself. Almost since the advent of the written word, diaries have been kept by individuals to record daily events, reflect on personal experiences and try to make sense of the complex issues of society. A freeform text type, they tend to be more stylistic than formal, with each writer employing their own particular uses of language which reflects the way they see the world. That's not to say you can't prepare yourself for any eventuality - take a look at one or two of the responses below:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF DIARIES

Viewpoint: as one of the most personal text types, diaries are written in the first person and always express thoughts and feelings.

Perspective: diaries are written to be private as the reader and writer are the same person. Confessional is a particular form of diary writing that reveals a secret.

Colloquialism: the writer might write as if he or she is talking and may use figures of speech in an original or entertaining way.

It's not often you'll read a text that has a particular individual reader in mind, but letters are exactly that. Letters need reading carefully to discover the relationship between writer and reader and to uncover the purpose behind the writing. Here are ways to respond if you should encounter this text type:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF LETTERS

Purpose: people send letters for all kinds of reasons; to complain, to seek advice, to connect with a loved one or even to pass gossip. The purpose of this text type is completely flexible.

This kind of writing is less a text-type and more a category of writing. Travel writing can be as recognisable as a Lonely Planet or Rough Guide recommendation for a trip to a foreign country or city. Or it might take the form of an article, describing the experiences of the writer in a strange place, accompanied by photography, maps, or diagrams. It's possible for Travel Writing to be 'literary' in tone and mood, full of imagery, vivid descriptions, and figurative language, recreating the characters and situations the writer met along the way like a novelist. Common themes in travel writing include the search for the self or one's roots; curiosity about other people; the desire to be informed; the search for a religious, spiritual or abstract experience. If you want to find out much more about this genre, you can visit the course page for this unit of study. Or, simply browse this selection of Paper 1 materials from the category of Travel Writing:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF TRAVEL WRITING

Structure: look out for chronological timelines, past - present structures or a linear journey of discovery. Guidebooks will have clear headings and subheadings and will probably include box-outs and the like.

Information: travel writing often seeks to be informative and can present you with facts and figures, names and dates, historical or architectural or geographical information and more.

Since the 5th century BC, people have been giving each other advice in writing. Chinese general Sun Tzu wrote his advice on bamboo strips - now you can buy his collected works, The Art of War, in a bookstore. Newspapers and magazines feature advisory sections (in Britain, the writers of these columns are known as Agony Aunts or Agony Uncles). Elsewhere, institutions such as the medical practice, health services and even governments like to give advice. This means that advisory texts can take many forms: columns, articles, letters, posters or infographics are all text types that can give advice in one form or another. See for yourself by reading the sample responses to the papers listed here:
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF ADVISORY TEXTS

Tone: authoritative, reasonable, commanding or trustworthy. Look out for opinions presented as if they are facts.

Tense: the imperative tense (also called the command tense) can be recognized by the position of the verb at or near the start of the sentence.

Modality: modal verbs such as 'must', 'will', 'should' and 'ought' transmit strength of feelings.

Credibility: expert sources, research and scientific evidence might be used to establish credibility.

More a category of writing rather than a text type, texts produced for young people have distinctive features of their own that you may want to keep an eye on.
SAMPLE RESPONSES:TRY FOR YOURSELF:
KEY FEATURES OF TEXTS FOR CHILDREN

Allegory: like symbolism, in children's stories characters and objects often stand for things greater than themselves. The Wizard of Oz is a good example of allegory.

Diction: it would be unusual for children's texts to contain too much difficult vocabulary, although stories and rhymes often use synonyms.

Visuals: look out for colorful visuals, vividly drawn people and places.

Fable: a particular type of children's writing that anthropomorphizes animals, who stand in for human characters.

Didactic: some texts for children are designed to teach a lesson or moral. You can look out for didactic messages in children's texts.

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Whether you are a standard or higher level student, Paper 1 tests your ability to analyze unseen texts. If you are a standard level student, you will have to analyze one text out of a choice of two....

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The type of magazine

The focus of the magazine should be obvious from its title

Audience

Who is the article targeted to?

Is the article written for a general interest, group, gender or age?

Article date

Its important to consider events that may be occurring at the time of the article date

Authorship

Usually written by staff writers who work for the magazines

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persuasive language!

if the text does not have a personal motive (eg: making money) but rather something more global (eg: save the bees)

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persuasive piece of writing

wants to convince the audience to adopt a particular viewpoint, support a cause, take a certain action

could be both a visual and text-y text

eg: the bee cause

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ethos, logos, pathos

anecdotes, powerful imagery >> to appeal to emotions

rhetorical question (leads the audience to agree with your perspective)

bandwagon

call to action

hyperbole

acknowledges counterarguments (ethos, makes it seem like they've considered the other side but they are still right)

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their specific purpose

the targeted audience

(since it can be both visual and texty) why did they choose this particular structure?

highlight how they support their persuasive language (eg: evidence, emotions, values, stereotypes)

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Chart of Journal Article/Magazine Article

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Chart of Journal Article/Magazine Article

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Scholarly Journal Articles v. Magazine Articles
How to Differentiate Between Them?

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-Ethos: the speaker establishes his or her credibility and may allude to a moral, social or spiritual leader with whom the audience cannot disagree.

-Logos: clear, reasonable arguments, facts and statistics and quoting experts in the field are all ways of establishing a logical appeal.

-Pathos: emotive language and imagery are ways of helping the audience empathise with the feelings of other – often vulnerable – people.

-Persuasive: the speaker attempts to make his or her listener think in a certain way, believe something or take action.

-Direct address: the speaker tries to draw closer to the listeners by addressing them as ‘you’ – look out for the use of ‘we’ or‘us’ to include the speaker and listener on the same side – and be wary of attempts to compliment the listener.

-Modality: modal verbs are small but important words (such as ‘must’, ‘need’, ‘should’, ‘might,’ and so on) that reveal the speaker’s degree of certainty and strength of feeling.

-Rhetorical devices: all kinds of rhythmical, structural, auditory and linguistic tricks can be employed by a skilled speaker. They are too many to list here, but rhetorical strategies can be studied and learned.

-Logical Fallacies: also called ‘argumentation fallacies.’ Common fallacies in speeches are glittering generalisations, platonic statements, simplification and slippery slope.

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Another sample: https://dougslangandlit.blog/2024/01/23/a-call-for-unity/

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Unseen Text: Chicken Tikka Masala

Text Type: Political Speech

Guiding Question: How does the speaker use language to convince his listeners of his message?

Beginning your unseen analysis with observations about context, purpose and audience can set you up to make some thoughtful points and evaluations later in your response. Sometimes, this information needs to be inferred, but in many papers you can find it easily: look at the heading, the byline, and quickly scan the margins of the text for extra information provided to you by those who know it might be important. Good public speakers always know who their audience is and shape their use of language to appeal to their listeners. This response shows you how to begin with this in mind; then you can make much out of certain turns of phrase or choices of words and evaluate the likely success of the speaker's arguments. For all its strengths, remember the response below is just one possible way of approaching this task; alternative analysis points and evaluations can be equally valid.

Sample Response:

This extract is part of a longer speech delivered by Robin Cook to the Social Market Foundation, a department that advises the government on social and economic policy. In 2001, when Robin Cook made this speech, he was the foreign secretary and his listeners would have had a keen interest in his opinion on issues such as immigration, because his views would drive their agenda for the duration of his time in government. The speech clearly lays out Robin Cook's opinions on multiculturalism in Britain: he sees cultural diversity as a strength of the United Kingdom. He rejects the 'old fashioned' way of defining national identify (through 'race and ethnicity') and argues that national identity is a matter of 'shared ideals and values' instead.

In terms of establishing his ethos and credibility, Robin Cook uses language appropriate to this particular group of listeners. He uses economic arguments such as 'Britain continues to be the preferred location for multinational companies seeking to set up in Europe' and describes London as a 'perfect hub.' Terms such as 'perfect hub', 'multinational companies' and 'economic vitality' are designed to highlight the benefits of a diverse culture for his listeners, and likely echo their own sense of priorities. Cook's mode of speech also helps to establish his credibility and trustworthiness. His paragraphs are extremely well balanced; in fact, all his main body paragraphs have precisely three sentences. Known as a tricolon, this repeated pattern of three gives the main body of his speech a careful, measured quality, one that can be associated with the speaker as much as the speech itself. Occasionally he uses shorter, more emphatic sentences to drive home a key point or main argument, such as the phrase: 'Today's London is a perfect hub of the globe.'

His speech relies more on logos than pathos, appealing to members of a 'think-tank', who are likely to be intelligent and alert for any cheap emotional appeals. Near the beginning of his speech he states facts and statistics proving London's diversity: 'it is home to over 30 ethnic communities of at least 10000 residents each.' Some statistics are surprising, such as the fact that over 300 languages can be heard spoken in London. However, the declarative way in which he speaks ('It is home...' 'over 300 languages will be spoken...') makes it hard for his listeners to disagree. The first quote very carefully uses the term 'resident' instead of 'immigrant', a word that supports Cook's central argument: people of different races and ethnicities always have been a part of British culture. This positive use of diction (a kind of reverse name-calling) is a trend throughout the whole piece, and other examples include: 'new communities' and 'population movements' (instead of 'immigration'); 'pluralism', 'immense asset', 'citizenship.'

The structure of the text is also logical, moving from the past to the present and into the future. Cook begins by debunking myths of English 'historical' purity, refusing to dwell in a nostalgic and inaccurate view of British history that he calls a 'fantasy'. Nowhere is this more evident than in his opening anecdote about Richard the Lionheart, revealing that this quintessential English king 'spoke French' and 'depended on the Jewish community.' He moves onto the present day ('Today's London... In this city tonight...') and ends with his aspiration for the future: 'Cultural diversity, allied to a shared concept of equal citizenship, can be a source of enormous strength.' He is implying that, because cultural diversity is and was a feature of British identity, so it should continue to be in the future. Although this is somewhat of a logical fallacy (akin to the slippery slope fallacy) it is nevertheless persuasive. Cook's use of modals ( 'can', 'cannot', 'must be' and 'should') at the end of the speech affirms his positive and aspirational tone, as if we can all put our disagreements behind us and join him in his shared vision for the future.

The speech is also designed to build up to an important example of metonymy: in the second-last paragraph he explains that ' Chicken tikka is an Indian dish' but that it was altered to accommodate British preferences for 'meat served in gravy.' According to Cook, this food 'is a perfect illustration of the way Britain absorbs and adapts external influences,' and he invokes it to symbolise Britain's history of cultural diversity. Eating food is a cultural practice and the types of foods people eat are a powerful expression of cultural identity. Cook is aware of the irony that the very same people who have a narrow, 'Anglo-Saxon' view of English culture have elevated an Indian curry to the 'true British national dish'! His audience, however, will probably share his amusement at this notion. Once again, in this section of his speech he uses declarative sentences ('chicken tikka is...') that brook no argument.

In conclusion, although he is already a figure of considerable authority (Foreign Secretary) Cook does not take his credibility for granted. Instead, he carefully considers his audience and uses language that aligns him and them on the same side. His use of the words 'we' and 'our' throughout ('this pluralism is not a burden we must accept reluctantly'; 'we should draw inspiration from their experience') includes his audience in his beliefs, which are progressive and forward thinking. He rejects a mythical - and inaccurate - past and breaks down the fantasy of British 'purity' in a thoughtful way. Finally, he seems entirely authentic in his delivery, and it is easy to get onboard with someone so passionate in his own beliefs.

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Beginning your unseen analysis with observations about context, purpose and audience can set you up to make some thoughtful points and evaluations later in your response. Sometimes, this information needs to be inferred, but in many papers you can find it easily: look at the heading, the byline, and quickly scan the margins of the...

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Another sample: https://poetryprofcom.files.wordpress.com/2021/01/eulogy-for-mahatma-gandhi.docx

Another sample: https://poetryprofcom.files.wordpress.com/2021/04/eulogy-for-sir-edmond-hillary.pdf

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Countdown to Paper One - Letter - Conventions and Close Reading

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1 - Speech Conventions Persuasive Techniques

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Viewpoint:

Usually travel writing is written from personal experiences, experiences of exploring a new place from a first person perspective

Perspective

The perspective is usually from a foreigner, as usually travel blogs are written from the point of view of foreigners coming into a country. It may also be an insider perspective, so it is important to identify the origin of the author and the perspective they are writing from, as that may impact the message and purpose of the text

Visuals

Visuals can be included in order to allow the audience to more easily visualize the location begin described. The visuals usually accompany the descriptive language and imagery included in travel writing.

Information

Travel Blogs are usually informative. Understand what this information is for can help understand they main purpose and message of the text

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Countdown to Paper One - Letter - Sample Student Response

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Terminology:

panel, splash, bleed, caption, speech/thought bubble, emanata, color, graphic weight, foreground, midground, background, gutter, exaggeration.

Other common elements to comment on: tone, humor, rhetorical devices, symbols, allusion, irony, audience, purpose.

Definitions:

1. Panel: A distinct, often bordered area within a comic strip or page, containing a single scene or sequence of related images.

2. Splash: A single-panel illustration that occupies an entire page or a significant portion of it, often used for dramatic effect or to introduce a story.

3. Bleed: When an image extends beyond the edge of the page, intended to create a seamless visual effect when printed.

4. Caption: Text usually located below or adjacent to a panel, providing additional information, dialogue, or narration.

5. Speech/Thought Bubble: Visual indicators of dialogue or internal thoughts of characters, usually in the form of bubbles or clouds.

6. Emanata: Symbols or visual elements used to convey emotions, actions, or other non-verbal cues, such as sweat drops or motion lines.

7. Color: The use of hues, shades, and tones to enhance the visual impact and storytelling in a comic.

8. Graphic Weight: The visual prominence or importance of an element within a comic, often achieved through size, color, or placement.

9. Foreground: The part of an image that appears closest to the viewer, often containing the main subjects or focal points.

10. Midground: The area between the foreground and background, where secondary elements or actions may occur.

11. Background: The part of an image that appears farthest from the viewer, often providing context or setting.

12. Gutter: The space between panels in a comic, where transitions between scenes or actions occur.

13. Exaggeration: The deliberate distortion or amplification of features or actions for dramatic or comedic effect.

Other common elements:

1. Tone: The attitude or mood conveyed by the text and imagery of a comic, which can range from serious to humorous.

2. Humor: The use of wit, irony, or absurdity to provoke laughter or amusement in the audience.

3. Rhetorical Devices: Techniques used to persuade or evoke an emotional response from the audience, such as hyperbole or analogy.

4. Symbols: Objects, images, or concepts that represent ideas, themes, or characters within a comic.

5. Allusion: A reference to another work of literature, art, or culture within a comic, often used to add depth or meaning.

6. Irony: A literary device where the intended meaning of words or actions is opposite to their literal interpretation.

7. Audience: The intended readers or viewers of a comic, whose preferences and expectations may influence its content and style.

8. Purpose: The intended goal or message of a comic, which may include entertainment, education, or social commentary.

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71 - Paper One  - Speech - Malcolm X Sample Response and Outline

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https://engl110ccny1.commons.gc.cuny.edu/rhetorical-strategies-appeals-and-analysis/

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NOTE: The information contained here is presented for optimal presentation on a webpage. However, it is recommended that readers also view the PDF of this page as well. While the information is the same, the middle section below (LOGOS, ETHOS, PATHOS) is presented in chart form in the PDF, thus making a direct comparison of the different rhetorical appeals easier to view.

Writers often employ strategies (both consciously and subconsciously) in order to help make their arguments more persuasive to their readers. When analyzing arguments, it's crucial to not only name what strategy is being employed, but to also adequately illustrate how the strategy is used, and comment on why the author likely chose to use the strategy (usually commenting on the desired effect on the intended audience).

Some strategies authors employ when presenting claims:

1. Presenting claims as informed conclusions rather than personal opinion (presenting claims authoritatively, often making claims through other authorities or research).

2. Using qualifiers (aka hedging: language or phrases that limit a claim) so that the claim doesn't appear general or absolute. If an author claims, "The Chargers will win the Super Bowl," he or she could appear too sure about the claim and unrealistic about other possibilities. Adding a qualifier helps claims appear more reasonable: "The Charges will likely win the Super Bowl." Qualifying words: limiting time (often, usually, frequently, sometimes, etc.), limiting conditions (may, might, could, should, probably, possibly, virtually, etc.), limiting quality/quantity (more, less, harder, easier, seems, appears, etc.).

Some strategies authors employ when presenting evidence:

1. Providing a greater amount of evidence in support of the claim versus contrary evidence.

2. Providing commentary on preferred reader-interpretation of presented data.

3. Providing context to field research (who conducted the research, where, when, and how).

4. Providing imagery (vivid descriptions) that illustrates a particular point or example.

Some strategies authors employ when organizing the text:

1. Using subtitles, transitions, metacommentary, and/or summary to help guide readers.

2. Using repetition to enhance or highlight a concept or claim.

3. Developing content in a linear, fragmented, chronological, and/or theme-based fashion.

4. Putting contrary claims after claims that readers will find easier to accept.

5. Strategically placing the main claim in the beginning, middle, or end of an argument.

6. Putting contrary evidence after evidence that readers will find easier to accept.

7. Beginning or ending the argument in a non-traditional way (e.g. with an anecdote).

Other Strategies often employed by authors:

1. Acknowledging the strengths of the opposition's argument.

2. Anticipating and addressing possible exceptions or objections to a claim.

3. Conceding to (acknowledging) some of the claims made by the opposition and then rebutting (counter arguing) those claims.

4. Using a tone or writing style to appeal to audiences by seeming trustworthy and unbiased.

Rhetorical Appeals: Logos, Ethos, and Pathos

Whenever you read an argument you must ask yourself, "How is the author working to be persuasive? And to whom?" There are several ways to appeal to an audience. Among them are appealing to logos, ethos, and pathos. These appeals are prevalent in almost all arguments.

To Appeal to LOGOS - (logic, reasoning)

LOGOS: the argument itself; the reasoning the author uses; logical evidence

Types of LOGOS Appeals

Theories / scientific facts

Indicated meanings or reasons (because...)

Literal or historical analogies

Definitions

Factual data & statistics

Quotations

Citations from experts & authorities

Informed opinions

Examples (real life examples)

Personal anecdotes

Effect on Audience: Evokes a cognitive, rational response. Readers get a sense of, "Oh, that makes sense" or "Hmm, that really doesn't prove anything."

How to Talk About It: The author appeals to logos by defining relevant terms and then supports his claim with numerous citations from authorities.

To Develop or Appeal to ETHOS - (character, ethics)

ETHOS: how an author builds credibility & trustworthiness

Ways to Develop ETHOS

Author's profession / background

Author's publication

Appears sincere, fair minded, knowledgeable

Concedes to the opposition

Morally / ethically likeable

Appropriate language for audience and subject

Appropriate vocabulary

Correct grammar

Professional format

Effect on Audience: Helps reader to see the author as reliable, trustworthy, competent, and credible. The reader might respect the author or his/her views.

How to Talk About It: Through his use of scientific terminology, the author builds his ethos by appearing knowledgeable.

To Appeal to PATHOS - (emotion)

PATHOS: words or passages an author uses to activate emotions

Types of PATHOS Appeals

Emotionally loaded language

Vivid descriptions

Emotional examples

Anecdotes, testimonies, or Narratives about emotional experiences or events

Figurative language

Emotional tone (humor, sarcasm, disappointment, excitement, etc.)

Effect on Audience: Evokes an emotional response. Persuasion by emotion.
(usually evoking fear, sympathy, empathy, anger,)

How to Talk About It: When referencing 9/11, the author is appealing to pathos. Here, he is eliciting both sadness and anger from his readers.

Sample Rhetorical Analysis

Rhetorical analysis looks not at what a text says, but what it does. It's an examination of the "moves" authors (sub)consciously make to make their argument persuasive. This work may include analyzing the complex relationships between author, audience, text, purpose, context, and exigence, as well as an analysis of an author's argument, use of evidence, rhetorical strategies, and textual arrangement.

The student example paragraph below (broken into 3 sections with commentary) analyzes one of Jeremy Rifkin's rhetorical strategies in "A Change of Heart About Animals." Notice that the focus is on how the strategy helps build the author's argument ( how the strategy works for the argument and why the audience is affected). Note that the rhetorical strategy is central and the discussion of pathos emerges only at the end.

"One strategy Rifkin employs to build the argument that animals should be treated more like humans is his subtle use of animal names when introducing data.

COMMENT 1: Notice how in the above text, the student begins by identifying the claim that is being supported by the strategy in question.

COMMENT 2: Then, in the next section (below), the student explains the strategy Rifkin is utilizing (discussing how the author uses it) and supplies and explains numerous examples to help illustrate. Look how much time is spent providing an analysis of these examples!

When he offers new research about the problem-solving abilities of New Caledonian crows, for example, Rifkin cleverly describes how "Abel, the more dominant male...stole Betty's hook" in order to obtain a better feeding tool (Rifkin). Rifkin, of course, could have chosen to ignore the bird's test-subject names - which in all likelihood, were arbitrarily assigned by lab technicians and remain of little importance to the conclusions of the experiment - but by including them he bestows a human quality to the animals beyond what the data suggests. He repeats this technique twice more to the same effect, once when introducing "Koko, the 300 pound gorilla," who displays close-to-human intelligence and an impressive sign language vocabulary, and again when describing an "Orangutan named Chantek," whose use of a mirror displays human-like self awareness (Rifkin).

COMMENT 3: Finally, as shown below, the student spends a significant amount of time providing commentary highlighting important and meaningful analysis of the strategy in question. S/he comments on why Rifkin likely chose the strategy and how/why the audience would likely be affected (emotionally).

Surely the data alone make the argument that animals are, by turns, capable of human qualities of problem-solving, communication, learning, and self-awareness. By offering the names of the test animals, though, he imbues them with greater individuality, personality and dignity. Giving the animals human names invites readers to think of them in terms usually reserved only for human beings. This strategy is likely intended to play on the emotions of readers by establishing a relationship of similarity between the animals mentioned and ourselves. The more human animals seem, the more it follows that they should be treated with the empathy and dignity we assume all humans deserve. This appeal to pathos thus helps advance Rifkin's claim that we should "expand and deepen our empathy to include the broader community of creatures with whom we share the earth."

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Rhetorical Strategies, Appeals, and Analysis

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NOTE: The information contained here is presented for optimal presentation on a webpage. However, it is recommended that readers also view the PDF of this page as well. While the information is the same, the middle section below (LOGOS, ETHOS, PATHOS) is presented in chart form in the PDF, thus making a direct comparison of the different rhetorical appeals easier to view.

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Blogs have a lot in common with opinion pieces or articles, but there are no restrictions what the author should write about. "Blogs can be quirky, niche, or counter-culture messages."

Who is the audience?

Peers

Friends

People (the public)

Tone: Informal

Purpose of the Blog:

They inform the readers about personal interests, opinions, or experiences.

Diction: Depending on the topic the author may use technical terms.

Visuals: Images, cartoons, photographs can be used to to illustrate the blogs main idea.

Structure: It depends on the text itself, since blogs allow for the author to discuss anything.

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https://www.youtube.com/watch?v=Hh0P-Z9KmHU

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Countdown to Paper One - Speech - Conventions and Close Reading

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Aside: A brief speech in which a character turns from the person being addressed to speak directly to the audience; a dramatic device for letting the audience know what a character is really thinking or feeling as opposed to what the character pretends to think or feel

Characterization: The means by which writers present and reveal character. Although techniques of characterization

are complex, writers typically reveal characters through their speech, dress, manner, and actions.

Comic relief: The use of a comic scene to interrupt a succession of intensely tragic dramatic moments. The comedy of scenes offering comic relief typically parallels the tragic action that the scenes interrupt. Comic relief is lacking in Greek tragedy, but occurs regularly in Shakespeare's tragedies.

Diction: The selection of words in a literary work. A work's diction forms one of its centrally important literary elements, as writers use words to convey action, reveal character, imply attitudes, identify

themes, and suggest values. We can speak of the diction particular to a character, as in Iago's and Desdemona's very different ways of speaking in Othello.

Dramatic irony: Where the audience or reader is aware of something important, of which the characters in the story are not aware. Macbeth responds with disbelief when the weird sisters call him Thane of Cawdor; ironically, unbeknownst to him, he had been granted that title by king

Duncan in the previous scene.

Foil: A character who is meant to represent characteristics, values, ideas, etc. which are directly and diametrically opposed to those of another character, usually the protagonist.

Soliloquy: a device often used in drama whereby a character relates his or her thoughts and feelings to him/herself and to the audience

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