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Text type: cartoon

In this cartoon, Laxman shares the state of India, before and after elections. Although it was published in the 70s, the theme is still relevant. The apathy of the Common Man, who is promised heaven during the elections is totally ignored once the elections are over.

Representation: the common man

Textual analysis focus: symbolism (denotation and connotation); satire; deconstructing visuals

-Pre-teach the stylistic devices before introducing the text

-Audience/purpose/context

Context: the ordinary man before and after the elections

ATLs

Thinking, research, social and communication skills

Activity (group/pair work)

Students find a cartoon on a social or political issue from any other country (perhaps their country of origin) and analyse how political/social message is conveyed through the effective use of satire and symbolism.

Conceptual questions: How important is satire in the modern world? How can we use cartoons to highlight social issues and use them for social reforms?

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Dr. Anna Androulaki-Woodcock has been teaching English since 1988. She started her career in the IB teaching Diploma Programme English and ToK in 2002 and since then she has also taken on the roles of examiner and workshop leader for the IB. Since 2002, her work has had an exclusive IB focus and her perspective has been shaped by teaching in very different and diverse contexts in Greece, Germany, the UK and China.

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Dr. Anna Androulaki-Woodcock has been a professional educator since 1988. BA in English Language and Literature 1988 University of Athens. MA in Linguistics 1991 New York University. PhD in Theoretical Linguistics 2009 University of Reading. Oxford University Press English A: Literature Course Companion for the new

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We are at a hinge moment in the history of our schools. A 120-year-old industrial structure is radically ill-equipped for the challenges posed by the COVID pandemic, much less what has been called the triple pandemic of COVID, racism and economic inequality, and fundamental threats to our democracy. We have been trying to carry on as usual, but it isn't working. Mental health crises among students are way up, as are disciplinary referrals, and teachers are now fleeing the profession in large numbers. And these are just surface-level symptoms of much deeper underlying problems. Our present situation calls for flexibility, relationship-building, and deep engagement with the broader world, but our school systems are bureaucratic, transactional, and insular. The problem is not the people - teachers are working heroically, and students are persevering under highly adverse circumstances. The problem is that they are working within a structure that is working against them.

There is a better way. After nearly two decades of attempts to standardize schools, education leaders across the United States are coming to recognize the limits of Newtonian command-and-control models of school reform and becoming increasingly aware of the need to embrace a more complex, humane, and diverse future. Movements for equity and social justice have shaken foundational assumptions about the nature of our schools and pushed us to rethink many of our familiar policies and practices. The sciences of learning have become much more interdisciplinary, offering richer portraits of who our students are, how they construct knowledge, and how cultural and social experiences shape their understandings. And, finally, we now have many models that show us what new and better forms of education can look like in practice, as youth development organizations, schools, and districts adopt more forward-looking visions of teaching and learning. No doubt, progress will be patchy, more evolution than revolution. But we can already glimpse what the future of schooling might look like.

Why a new grammar?

In 1994, David Tyack, William Tobin, and Larry Cuban (Tyack & Cuban, 1995) coined the term "the grammar of schooling" to describe the almost invisible architecture that organizes much of what goes on in education. Among these elements are the separation of classes by academic discipline, age-graded classrooms (and the "batch processing" of student cohorts), teaching as transmission, leveling and tracking, and schooling as a mechanism for sorting students by perceived ability. This grammar reinforces the dominant culture, excludes the perspectives of non-dominant groups, and serves as a means of reproducing social inequalities from one generation to the next.

No doubt, progress will be patchy, more evolution than revolution. But we can already glimpse what the future of schooling might look like.

This grammar was designed more for efficiency and control than for learning or liberation. It is congruent with the Taylorist management philosophy emphasizing standardization that also was born at the beginning of the 20th century. The system was grounded in a gendered division of labor - equipped with the latest ideas in organizational management, a small number of male superintendents could oversee a much larger group of (mostly) female teachers, who would handle the lowly work of pedagogy. It also reinforced dominant racial hierarchies, as it asked everyone who was not white and privileged to accommodate themselves to middle-class white norms. Angela Valenzuela (2010), who studied Mexican American students in Texas, described this process as "subtractive schooling," in that it required students to shed their heritage to participate in school.

If the future of preK-12 education is going to be significantly better than the past, then we need to replace this entrenched grammar of schooling with an approach that values teaching and learning more than control, liberation more than colonization, sustainable approaches more than quick fixes, and human relationships more than bureaucratic rules.

What might be the foundational pillars of a new approach? I suggest three: 1) learners whose agency is respected, whose diversity is embraced, whose selves are deeply known, whose joy is cultivated, and whose holistic growth is the paramount concern; 2) learning that is purposeful, authentic, and connected to the broader human domains of which those learners are part; 3) learning communities that enable deep relationships, cultivate democratic values and dispositions, and model the kind of society and environment we want to create.

For learners: A new social contract

The existing social contract we have with students reflects the early 20th century context in which it was born. Students are conscripted into school from ages 5 to 16. They learn what we say, when we say it. Teachers dispense pre-formulated knowledge and ask questions to which they already know the answers. Students are rewarded for following directions, giving right answers, and not talking back. Students who don't fit the norm - because they are too slow, too fast, don't speak the dominant language, or resist teacher authority - are defined as problems to be fixed. And while more advantaged students may experience a kinder and gentler version of this model, the core emphasis on adult authority, pre-determined content, and batch-processing remains in place for them, too.

We need a different social contract grounded in the idea that children are curious, capable, interested people, whose personhood needs to be respected and whose interests can be stimulated. Such a contract must start with giving students a clear purpose for their learning, moving from what they are learning to why. Purposes come in many shapes, and developing one is a critical starting point for any journey of consequential learning.

Second, this new social contract must give students a considerable amount of choice and agency over their learning. Choice and agency not only support the personal autonomy of the learner but also make it much more likely that learners will find a meaningful purpose in their learning.

Third, we must embrace the diversity of learners. People come in all shapes and sizes, with different interests, goals, strengths, weaknesses, cultural backgrounds, and much more. As Todd Rose (2016) says, there is no such thing as an average human being. We are all "lumpy" in different ways - schools need to respond to these differences rather than seek to suppress them.

And fourth, we must make students feel known, respected, and loved within their communities.

This very different social contract is both desirable and possible. We already have many examples of what it could look like. Montessori schools give even the youngest children considerable choice and agency over their learning; they also use cross-age grouping to create opportunities for peer learning. Reggio Emilia schools combine a stable philosophy with an emergent curriculum, giving teachers flexibility to adapt to the interests of different groups of learners. Clubs, electives, and extracurriculars embody this alternate grammar, enabling students to explore their interests, demonstrate leadership, participate in authentic work, and learn from peers. International Baccalaureate programs move away from multiple-choice tests, giving students some say over what they study and evaluating their work against rubrics that assess disciplinary thinking skills rather than content knowledge. Some private high schools have moved away from Advanced Placement courses and seven-period days in favor of longer blocks, deeper immersive experiences, and more authentic demonstrations of learning. Alternative high schools frequently embrace the social and emotional aspects of schooling, using advisories and other structures to build the relationships needed to keep struggling students engaged. Many youth development programs are places where students are known and deeply cared for, see clear purpose in their activities, and are treated like producers rather than recipients of knowledge. All of these models seek to embrace the new core essentials of purpose, agency, diversity, and community.

Right now, most of these approaches exist in what Sarah Fine and I (2019) have called the "periphery" of schooling, rather than the core. They happen for young children, or after school, or for seniors, or at alternative or private schools. What would it take to move this periphery into the core?

For learning: A new grammar of schooling

To realize this new social contract, we would need schools to adopt a different "grammar." This grammar needs to be much more flexible, porous, and connected than the current grammar.

These changes would make schooling more aligned with learning. In The Book of Learning and Forgetting, Frank Smith (1998) counterposes two theories of learning: the official one, as enacted in school (go over material, study, test, forget, rinse, repeat) and the unofficial one, as enacted in much of life (stimulate interest, try, fail, try again, get feedback, slowly get better). The latter, apprenticeship-based view of learning is how people learn most consequential things in life: It is how we learn to talk, how we learn most jobs, and how we get better in almost all spheres of human activity.

This apprenticeship theory offers a learner-centered view of motivation: The learner wants to learn how to talk, to cook, to defend a client, or to perform a surgery, and that desire motivates what follows. In addition, there is a clear relationship between parts and wholes - the specific skills being learned and the larger enterprise of which they are part. You practice your pirouettes because you want to be able to dance, you practice your layups because you want to score, you revise your sentences because you want your essay to sing. School, by contrast, has lots of parts with disconnected wholes; the decontextualized nature of learning is a critical reason why so many students are disengaged. One of the biggest goals of remaking the grammar of schooling would be to break down those walls and create more fluid connections between individual subjects and the larger domains of which they are part (For an illustration, see Table 1.)

Relatedly, this new grammar would feature fewer firm boundaries and many more connections. The current grammar is extremely compartmentalized, with students divided into age-graded cohorts, time divided into short blocks, learning divided into subjects, students divided by perceived ability, and schools cordoned off from their communities. A new grammar would bridge these divides, creating connections across subjects, among students, and between schools and the broader world. For example, the Philadelphia Science and Leadership Academy partners with the Franklin Institute, a world-renowned science museum, to have students take "mini-courses" taught by Franklin Institute scholars on a range of scientific topics, as well as use the museum's enormous resources to do hands-on work in different domains. This makes learning exciting and authentic.

Such a grammar would also be much more flexible. Rather than assuming that everything can be learned in 50-minute periods over a semester, we would fit the time and space to the nature of the learning. Many blocks would be longer to create space for in-depth work. Some courses might be shorter but more immersive - a week for a design sprint, or two weeks for a mock trial featuring real-world attorneys. School would serve as home base, but students could spend time in a variety of other settings. For example, the Illinois Math and Science Academy sends students to college laboratories on Wednesday afternoons, giving them opportunities to work alongside, and gradually become, practicing scientists. Cities such as Pittsburgh have built ecosystems that connect learners with nonprofits, arts organizations, businesses, youth development organizations, and more. In this vision, the use of adults would also become more flexible: While there would continue to be certified teachers, we would take much fuller advantage of the array of adults in our communities who have skills, knowledge, and perspectives to offer to young people. In Cowichan, British Columbia, for example, Indigenous elders are paid as paraprofessionals to help students learn Indigenous knowledge and traditions.

A system with more choice, agency, and flexibility needs an assessment system to match. We may be on our way. After the state-test mania that gripped us during the No Child Left Behind years, there is an increasing awareness that we need a wider variety of ways to assess learning. For instance, a number of colleges, including big state systems like the University of California and high-status privates like Harvard, have moved to make the SAT optional. Assessments should be grounded in the process and performance of work in particular domains and should be used primarily as a tool for inquiry rather than a single summative judgment. Exhibitions allow students to show fellow students, parents, and community stakeholders the value of the work they have been doing in school, and portfolios allow students to curate their work, revise their best pieces, and align the way they are being evaluated with the highest standards in their fields. The Mastery Transcript Consortium allows students to move away from conventional grades and represent their competency levels in various domains in the college admissions process. There is no shortage of possibilities for different forms of assessment; what is needed is the will to subtract existing low-level multiple-choice assessments to make room for these thicker ways of evaluating learning.

This new grammar would also allow for a different and richer perspective on equity. Yes, we should try to equalize academic skills across groups, but we should do so in a way that stimulates students' interests in learning, gives them increasing levels of choice and agency, and reflects the diversity of cultures and perspectives in the nation and the world. We've tried doubling down on the factory model of schooling - double blocks of reading and math, test-and-punish strategies, summer school, remediation - and the record is not pretty. The solution is not more of the same. Further, it is the students who are most disconnected from school, who are least engaged and most disillusioned, who need a different approach - one where they are known, where their background and culture is respected, and, perhaps most important, where they get to do meaningful work on topics that they care about.

For learning communities: A new social commitment

Schools are not just places where students learn knowledge and skills; they are also places where they develop values, dispositions, and ways of relating to one another. Every decision we make in schools implicitly or explicitly communicates a set of values. Right now, while we talk as if schools are places where students learn to think critically, collaborate, communicate, and so forth, in practice what they are learning is that schools are places that value individual advancement through grades and tests. We need to develop different kinds of communities, organized around different values, if schools are going to become the kinds of places we need them to become.

Every decision we make in schools implicitly or explicitly communicates a set of values.

And what do we need them to become? The world is not in a good place right now. Our day-to-day existence and our long-term survival are threatened by climate change; infectious disease; economic and racial inequality; and, most of all, our inability to work together as local, national, and global communities to constructively address our problems. As the scholar George Counts (1932) argued during the societal upheaval of the Great Depression, some moments call upon us to challenge our fundamental assumptions about the purposes of education - rather, than expecting our schools to prepare students to fit the social order, we should ask our schools to remake that order. We find ourselves in a similar moment today.

To remake the social order will take a commitment to stewardship - that is, a commitment to take care of something important with which we have been entrusted. In so many ways, we are failing at stewardship today. We are not taking care of our environment, our democracy, or our fellow humans during a pandemic. But we must not only restore what has been lost, but also move forward in ways that build a more equitable, humane, and sustainable world than the one we have inherited.

Schools can help foster this ethic in ways large and small. For example, a school that features authentic, collaborative work more than competition for grades is better suited to supporting these values. When students work with peers, as co-apprentices in a field of interest, they learn implicit lessons about the benefits of mutual help and care, rather than the cutthroat pursuit of individual advancement. Such a commitment is visible in a school like Latitude High in Oakland, California, which treats the Bay Area as its extended classroom, sending students out to investigate social issues like housing affordability and homelessness, and to record a podcast, Oaklore, that describes what they learn. Projects like this bridge the boundaries between schools and their surrounding communities, and they position students as a team of learners and, potentially, change-makers. When schools take seriously the concerns of students, involve them in decision making, and help them understand differing perspectives, they are modeling the democratic virtues that our world so sorely needs.

Schools are not just where we communicate academic content; they are where we raise our young people. Our current grammar of schooling inhibits much of what we want for those young people. Why not create a new structure that is consistent with our highest aspirations?

Note: This series is supported, in part, by the Spencer Foundation.
References
Counts, G. (1932). Dare the schools build a new social order? John Day Company.

Mehta, J. & Fine, S. (2019). In search of deeper learning: The quest to remake the American high school. Harvard University Press.

Rose, T. (2016). The end of average. Harper Collins.

Smith, F. (1998). The book of learning and forgetting. Teachers College Press.

Tyack, D.B. & Cuban, L. (1984, 1995). Tinkering toward utopia: A century of public school reform. Harvard University Press.

Valenzuela, A. (2010). Subtractive schooling: U.S.-Mexican youth and the politics of caring. Suny Press.

This article appears in the February 2022 issue of Kappan, Vol. 103, No. 5, pp. 54-57.

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Possible futures: Toward a new grammar of schooling - kappanonline.org

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We are at a hinge moment in the history of our schools. A 120-year-old industrial structure is radically ill-equipped for the challenges posed by the COVID pandemic, much less what has been called the triple pandemic of COVID, racism and economic inequality, and fundamental threats to our democracy.

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IB LL Text Matching List (Authors + Bodies of Work)

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We've compiled a list of publications devoted in large part to eco-literature - essays, articles, short stories, poetry. Last updated on April 2, 2022.
To be notified when new publications are added to the list, subscribe to our monthly newsletter:

1. About Place Journal (www.aboutplacejournal.org)

2. African Conservation Telegraph (https://conbio.org/groups/sections/africa/act)

3. Alluvian (www.alluvian.space)

4. Alterity (www.alteritystudies.org/alterity-journal)

5. Among Animals (An anthology series from Ashland Creek Press)

6. Anabiosis Press (www.anabiosispress.org)

7. Antennae (www.antennae.org.uk)

8. Anthropocene Magazine (www.anthropocenemagazine.org)

9. Art after Nature (a forthcoming book series)

10. Artis Natura (www.artisnatura.com)

11. Ashland Creek Press (www.ashlandcreekpress.com)

12. Canary (www.hippocketpress.com/canary)

13. Caught by the River (www.caughtbytheriver.net)

14. Center for Humans and Nature (www.humansandnature.org)

15. Channel (www.channelmag.org)

16. Claw & Blossom (clawandblossom.com)

17. Cold Mountain Review (www.coldmountainreview.org)

18. Dark Mountain (https://dark-mountain.net)

19. Deep Wild Journal (www.deepwildjournal.com)

20. Dragonfly.eco (www.dragonfly.eco)

21. Ecocene: Cappadocia Journal of Environmental Humanities (www.ecocene.kapadokya.edu.tr)

22. EcoHustler (www.ecohustler.co.uk)

23. Ecological Citizen (www.ecologicalcitizen.net)

24. EcoTheo (www.ecotheo.org)

25. Ecotone (www.ecotonemagazine.org)

26. Ecozon@: European Journal of Literature, Culture and Environment (www.ecozona.eu)

27. Edge Effects (https://edgeeffects.net)

28. Elsewhere (www.elsewhere-journal.com)

29. Elementum (www.elementumjournal.com)

30. Emergence Magazine (www.emergencemagazine.org)

31. Environmental Humanities (https://read.dukeupress.edu/environmental-humanities)

32. Epizootics (www.epizooticszine.wordpress.com)

33. Ferns: The Graduate Journal on Environmental Stewardship (www.fernsjournal.com)

34. Flycatcher (www.flycatcherjournal.org)

35. Flyway (www.flywayjournal.org)

36. Gaia Lit (https://gaialit.weebly.com)

37. Green Letters: Studies in Ecocriticism (www.tandfonline.com/loi/rgrl20)

38. ISLE: Interdisciplinary Studies in Literature and Environment (www.asle.org/research-write/isle-journal)

39. Journal of Critical Animal Studies (http://journalforcriticalanimalstudies.org)

40. Journal of Sustainability Education (www.journalofsustainabilityeducation.com)

41. High Country News (www.hcn.org)

42. Humana Obscura (www.humanaobscura.com)

43. Newly Added: Kelp Journal (www.kelpjournal.com)

44. Kosmos Journal (www.kosmosjournal.org)

45. Literary Veganism: An Online Journal (www.litvegan.net)

46. Matador Review (www.matadorreview.com)

47. Mānoa: A Pacific Journal of International Writing (https://manoa.hawaii.edu/manoajournal)

48. Media + Environment (https://mediaenviron.org)

49. Newfound (www.newfoundjournal.org)

50. Northern Woodlands Magazine (www.northernwoodlands.org)

51. ON Nature (www.onnaturemagazine.com)

52. Orion Magazine (www.orionmagazine.org)

53. Otherness: Essays and Stories (www.otherness.dk/journal)

54. Newly Added: Paperbark Literary Magazine (www.paperbarkmag.org)

55. Peaceful Dumpling (www.peacefuldumpling.com)

56. Plants & Poetry Journal (www.plantsandpoetry.org/journal)

57. Poecology (www.poecology.org)

58. Punt Volat (www.puntvolatlit.com)

59. Places Journal (www.placesjournal.org)

60. Plumwood Mountain: An Australian Journal of Ecopoetry and Ecopoetics (www.plumwoodmountain.com)

61. Reckoning (www.reckoning.press)

62. Resilience: A Journal of the Environmental Humanities (www.resiliencejournal.org)

63. Resurgence & Ecologist (www.resurgence.org)

64. Saltfront: Studies in Human Habit(at) (www.saltfront.org)

65. Sierra Magazine (www.sierramagazine.org)

66. Sinking City (www.sinkingcitylitmag.com)

67. (For undergraduate students: Sloth: A Journal of Emerging Voices in Human-Animal Studieswww.animalsandsociety.org/pages/sloth)

68. Snowy Egret (www.snowyegret.net)

69. Stonecoast Review (www.stonecoastreview.org)

70. Stonecrop Review (www.stonecropreview.com)

71. Terrain (www.terrain.org)

72. The Bear Deluxe (www.orlo.org)

73. The Clearing (www.littletoller.co.uk/the-clearing)

74. Columbia Insight (www.columbiainsight.org)

75. The Common (www.thecommononline.org)

76. The Curlew (www.the-curlew.com)

77. The Fourth River (fourthriver.chatham.edu)

78. The Goose (http://scholars.wlu.ca/thegoose)

79. The Hopper (www.hoppermag.org)

80. The Island Review (www.theislandreview.com)

81. The Learned Pig (www.thelearnedpig.org)

82. Newly Added: The Plant-Human Quarterly (https://otherwisecollective.com)

83. The Siskiyou Prize for New Environmental Literature (www.siskiyouprize.com)

84. The Tiger Moth Review (www.thetigermothreview.com)

85. The Trumpeter: (http://trumpeter.athabascau.ca/index.php/trumpet)

86. The Willowherb Review (www.willowherbreview.com)

87. Tiny Seed Literary Journal (www.tinyseedjournal.com)

88. Trace: A Journal of Writing, Media and Ecology (www.tracejournal.net)

89. Whole Terrain (www.wholeterrain.com)

90. Wild Hope Magazine (www.wildhope.org)

91. Wild Roof Journal (wildroofjournal.com)

92. Words for the Wild (www.wordsforthewild.co.uk)

93. ZEST Letteratura sostenibile (in Italian) (www.zestletteraturasostenibile.com)

94. Zoomorphic (www.zoomorphic.net)

If we've missed something, please let us know.
PS: These journals have ceased publication (to the best of our knowledge) but are still online:

1. Animal: A Beast of a Literary Magazine (www.animalliterarymagazine.com)

2. Humanamalia (www.depauw.edu/site/humanimalia)

3. Kudzu House Quarterly (www.kudzuhouse.org)

4. Windfall: A Journal of Poetry and Place (www.windfalljournal.com)

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Literary Outlets for Environmental Writing

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We've compiled a list of publications devoted in large part to eco-literature - essays, articles, short stories, poetry. Last updated on April 2, 2022.

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Text: Macbeth

Interdisciplinary Research Project: Culture, Language and Identity

Areas of Exploration: Time and Space

How does texts reflect, represent or form of cultural practices

Concepts: Culture, Identity

Activity: Learners watch 3 different versions of Macbeth films. Learners are to recognize similarities and differences in terms of setting, and how cultural practice (especially in witchcraft)  is reflected through text and action in each setting and synthesise these observations on a tableted worksheet

Approach to Learning: Research

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Learn the assessment objectives and criteria, check the set texts, share resources and ideas with other teachers.

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My chief needs would be to know more about what the course/IB entails, exemplar responses/model answers/ resources etc.

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I am concerned about pretty much everything in regards to this course, I mean IB English Lang and Lit. There some sections in the language module quite difficult to me, such text types which include visuals. I didn't have that in A Level English Language, so I struggle interpreting the visual texts myself, leave alone guiding the students. I can't find very many resources to help either. Again, I compare it to the Cambridge A Levels - lots of past papers and examiners' comments available, thus serving teachers as very good guidance, too. Furthermore, I am not sure how to go about the BOW.

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As this is a very rigorous and unordinary school program I hope to familiarize myself with important components of the exam, hear some examples and learn about making a syllabus.

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At least all the information about IB exam formats (how we handle student personal data concerning I.O. exam? voice recording is not in the GDPR data privacy?!, specific dates, deadlines, especially details of the prescribed reading list and non-literary works for English DP A. Is music part of which body of works?

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I hope to get a good overview of the course and feel a degree of confidence in developing my planning - in particular (at present) for a Standard Year 12 group. So many resources have been flung in my direction over the last couple of weeks, it would be lovely to be able to spot the wood for the trees.

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My main focus is to understand the scheme of work, in terms of item/text under each theme. As well as the orals, which I will be running in a couple of weeks.

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I look forward to learning more about different approaches of teaching-learning. Need to understand how these IBDP teaching-learning approaches are different from other curricula. The IB Guide is pretty comprehensive but need to get a deeper understanding of just that and more. Looking forward.

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My main concerns are how to understand the full process of preparing DP students throughout year 1 and to ensure I have them ready for their externals.

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I hope to have a clear understanding of the English A language and literature curriculum. I want to be able to organize my syllabus. I do not like to feel confused and lost but this is how I am feeling at the moment. I have been reading and watching videos on my own but frankly, it has not been enough. I want to know how to go through BOWs and how long should I take with each one. I want to assess my students using assignments and quizzes which would benefit them with their IB papers.

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I would like to learn about how the course is structured and assessed. I also want to learn some strategies for making it enjoyable and engaging for students so they are not overwhelmed.

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I hope to accomplish a better understanding of the IB syllabus.

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I'm hoping to understand the whole 2-year process of the English A Lit course for the students, all the requirements, how compulsory reading should be done, or how essays should be corrected if there are any IB specifications.

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Would love to come away from the course being able to see the wood for the trees. So much information. I feel like I need a clear overview before trying to get my head around the minutiae. Adrian

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Would love to come away from the course being able to see the wood for the trees. So much information. I feel like I need a clear overview before trying to get my head around the minutiae. Adrian

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Obviously to help each other and collaborate. If you all agree, we can form a group. It will help us in Lang Lit, CAS, DofE, student exchange and other joint ventures :-) Post your numbers here and i will add you to the group.

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| Do global issues, concepts, Areas of exploration and literary theories need to be explicitly addressed paper1, 2, IO, HL?

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Students respond to different stimuli with relevant cultural tie-ins:
-In groups, they pick one of a range of stimuli including pictures of WW1, bootleggers, flappers, Jazz Age, etc.
-They do research on their different topics
-In a final groups session, they feed back to each other and respond the conceptual question: How does Gatsby offer insight into 1920s US culture?

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Conceptual question - Does the sonnet structure limit the exploration of the theme of love?
1.  Students to be posed the question and begin discussing what is love/types of love (social skills/thinking skills)
2.  Area of exploration (readers/writers/texts)
3.  Students in groups deconstruct/given part of a particular sonnet to analyse the form and language used in order to begin responding to the question
4.  Students prepare a one slide presentation as envoying task
5. Further activities can can centre around identity/personality

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Activity working on thinking, communication and research skills.
How does the text explore local and global issues?
Students are divided into groups, and given a passage from the text. Their passages are the same. They will be given different guided questions so that they focus on a different local or global issue each, e.g. masculinity, identity, treatment of the vulnerable, religion, colonialism. Students feed back to the others and take notes on other groups' findings.

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Session 3 - Course construction worksheet (Jens).docx

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Session 3 - Course construction worksheet

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Copy of Session 3 - Course construction worksheet

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I will need to make changes. I don't have two works in translation. I only have one.

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so far I only have this, will need to switch for some translated texts

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Copy of Session 3 - Course construction worksheet Arif draft

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PZ’s Thinking Routines Toolbox | Project Zero

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The Toolbox organizes the Thinking Routines into categories that describe the types of thinking the routines help to facilitate. Some routines appear in more than one category, and some routines have different versions that offer modifications for specific age groups or more specific conceptual challenges.

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An overview of participants choices

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Recommendations by teachers of other languages

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Recommendations by teachers of other languages

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Text suggestions by teachers of other languages

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Session 3 - Course construction worksheet

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Unit about RK Laxman cartoons – non-literary

HIPOCRACY AND CENSORSHIP

1.       Looking at cartoons and commenting them, our emotions and connections to reality we live in. Initial responce.

2.       Analisys, denotation, connotation, analysing technical apsects of cartoons. Annotations, labeling.

3.       How it works according to the audience’s perception.

4.       Intertextuality – research, analyse and present (looking for the cartoon of different authors, similar to those, that will be addressed to the specific audience of our choice; chosen cartoons are passed to the next group which do the analysis of it in time circumstances eg 10 mins).

5.       Propaganda, fake news, misinformation in modern context. Discussion.

6.       Students generate propaganda campaign based on fake news (the ethics of media production, tehnics of persuasion and using language that can be misinterpreted).

7.       Analysis of a cartoon – essay.

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Pre-reading: background/context/non-lit text forms (newspaper articles, adverts, etc.):
*why and how do we study language and literature?
*how are we affected by texts in various ways?
*how does language use vary amongst text types and literary forms?

Reading: novella split up into 3 sections w/
guided questioning and summarising and linking back to key themes/areas + ss come up with their own subquestions based on the guided conceptual questions to be discussed in class

Post-reading: pick out key extracts from across the novella and find connections + guided analysis (including GIs, etc.)

ATLs: collaborative learning

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Medusa by Carol Ann Duffy

Reader, writer and text (WRT) lesson

Activity – Give students Medusa without the title and the poet. Students are expected to read and interact with the poem/characters/poet and comment on whether the themes are still relevant.

Questions –

1.       What do you think you know and what questions do you have?

2.       How are you affected by the text?

3.       In what ways is meaning constructed, negotiated, expressed and interpreted?

4.       How does the structure or style of a text affect meaning?

5.       What do you think you know more about the text which you did not know earlier and what questions do you still have?

This will help us to understand perspectives of students with different backgrounds, experiences and cultures. They might explore the concepts like identity, culture, communication, representation, transformation, creativity etc.

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GC Questions:
- the last two questions - cultural practices and social distinctions/identities

Activity:
- Ss are to redesign the ad to change the roles
- Ss are to also resketch the ad (the man in the tux, etc.) = creative activity

- then ask Ss to rewrite the poem to give the opposite meaning
- Ss will be provided with a list of key vocabulary words from the poem and will use them to decide of their positive/negative connotation

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Conceptual Questions: 5 and 6
Areas of Exploration: Identity and Culture (Representation)
Activities:
1.

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Conceptual Questions:

1. How important is cultural or historical context to the production and reception of a text?
Identify the societal norms of female beauty and gender roles in these two contrasting texts.

Compare these challenges and critique these concepts.

2. How do texts reflect, represent, or form a part of cultural practices.

Discuss how a text can influence the perception of a woman’s role in different times and cultures.

Concepts: Perspective & Culture

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1.     How do we think this add was perceived in the days when it first published and how it will be perceived now?

2.     Do you think it was sexist? Why? Do you think it’s it is still sexist? Why?

3.     Does this offer insight into American culture? Is it a global phenomenon?

4.     Do you think it was a better marketing campaign considering it might have appealed to all men and women?

5.     What does this add tell us about consumerism and capitalism in America? How was it different from your country?

6.     Have the gender roles changed today in America and worldwide?

7.     For learner portfolio - Engage creatively with the text, invert the gender roles and create a new Budweiser add.

8.     For learner portfolio - Find out other advertisements of other products from 50s and compare and contrast.

9.     For learner portfolio - WIP - Something to highlight the need v/s greed; especially in the third world countries.

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Group 2 (Adrian, Nathan, Christelle, Kalina) 

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Group 2 (Adrian, Nathan, Christelle, Kalina) 

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1. What is the significance of the repetition of the word "nothing" throughout the poem?

2. How is the lack of punctuation effective in conveying the speaker's feeling of nothingness?

3. How would you feel about having to experience "The Last Lesson"?

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-Why is it significant that it is titled the last lesson?
-What is the significance of the ´nothingness´in the poem?
-How far is the concept ´fear´ significant in the poem?

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*Identify the tone/ mood of the poem.
**Provide evidence that supports the mood.
***How is the theme of the "unknown" presented in the poem?

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1- What is the importance of using "new kid in school" in relation to the last lesson which is "nothing"?

2- What is the metaphorical and literal meaning of "the last lesson"?

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Hi everyone, I found this website useful for considering various texts and responses for Paper 1 https://hernandeziblangandlit.weebly.com/paper-1-resources.html

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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 Relationship Between Cruelty & Masculinity - Unfinished Transcript

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The Relationship Between Cruelty & Masculinity - Unfinished Transcript

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Example Oral - Bob Dylan ‘Masters of War’ and Don McCullin War Photography

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‘How do artists make use of their skills to bring about peace? Are their efforts effective?’

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‘How do artists make use of their skills to bring about peace? Are their efforts effective?’

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Unrealistic beauty standards set by society and how they create toxic
environments for women

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This was a really challenging task. Still learning... :)

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IB resources about teaching through and about crisis

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IB resources about teaching through and about crisis

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Making sense of our complex world requires learners to make connections between what they are learning in their various subjects and what they are seeing, hearing and experiencing in the world. Ideas can be adapted for learners aged 14 to 19.

Making sense of our complex world requires learners to make connections between what they are learning in their various subjects and what they are seeing, hearing and experiencing in the world.

As educators know, contextualized teaching is an important strategy to facilitate learning experiences, relating subject knowledge to meaningful examples from everyday reality. The more learners can relate their learning to real-life contexts, the more likely they are to engage with it.

In promoting and establishing active connections between the classroom and the "real world", learners are better able to make sense of the complex world we live in.

In times of crisis, students may need even more support to grapple with, not just the complexities of a situation but also the emotion, anxiety and fear that may come with it.

During any crisis, it is important to be attentive to:

the safe spaces we create

the language we use

the conversations we have

the information we share

and the sensitivities that exist within our learning communities.

The following activities can be used by educators to scaffold learners to make meaningful connections:
The power of words in times of crisis

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Contextualized teaching to support students in crisis

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Making sense of our complex world requires learners to make connections between what they are learning in their various subjects and what they are seeing, hearing and experiencing in the world. Ideas can be adapted for learners aged 14 to 19.

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Here's mine.

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I recorded mine and attached the song lyrics I chose and the non-literary work which is editorial cartoon.

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Individual oral Bob Dylan and Nick Anderson

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Here's my attempt at an oral - not sure if I did it correctly but better to try and get it wrong!

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Now I know how to construct a course linked to the three Areas of Exploration.
Now I can move forward in my preparations for the Individual Orals with some degree of confidence.
Now I am ready to make a decision about which works to hold back to Year 2 for Paper 2.

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1. Now I know what this course is really about and all the details connected to it.

2. Now I can more confidently stand in front of the students and answer all the difficult questions they may have.

3. Now I am ready to help them pass their exams easily as soon as I organize my teachings in a way that they are helpful and applicable.

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- Now I know what examiners identify as areas for improvement across exam components

- Now I can start designing workshops for my students that would prepare them for the exam components more effectively

- Now I am ready to start guiding my students towards quality IOs and HLEs

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Now I know the constructions of Paper 1 and 2
Now I can select texts whilst understanding the PRL requirements/time periods/locations
Now I am ready to confirm Paper 2 literary text choices and help students to construct their learning portfolios

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Now I feel confident in clarifying a two year plan which meets the requirements (yet also allows for my freedom of choice!)
Now I can start designing ideas and suggestions for non-fiction texts, which previously I was unsure about.
Now I also understand about works and 'body of work' for orals.
Now I also feel more confident with the mark schemes.

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Now I know the difference between Areas of Exploration, Approaches to Teaching and Learning and Conceptual Questions.

Now I can guide my learners clearly when it comes to explaining the requirements of the IO.

Now I am ready to start backward planning.

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Now I know how to apply the assessment criteria with confidence

Now I can build my course and select texts

Now I am ready to begin the course with a clear understanding of AoEs and concepts

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Now I know how to focus better on content and form, concepts, AOEs,  and formulate better questions and lines of inquiry. I also know how to have my students focus more on the factual, emotive, cognitive and metacognitive when analysing texts.
Now I can use Anna's magic formulas in my lessons :) I can also use the 3-star questions for transitioning easily to analysis questions.
Now I am ready to plan better for the IOs which I feared the most before the workshop.

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Now I know how to construct the course material, a couple of new teaching-learning approaches, assessments and what's expected of my students.
Now I can start teaching with more confidence and guide my students in the right direction; I was a bit nervous as this is my first time teaching IB.
Now I am ready to embark on the new adventurous journey called IB, navigate in the right direction and hopefully reach the destination along with my students. Thank you, Anna. You are amazing!! Very amicable and approachable.

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CHRISTELLE:
Now I know that what matters is “not the what, but the how.”

Now I am ready to teach my students how to approach the text, and be less concerned with the material.

Now I am ready to help them embrace confusion as it can lead to better understanding.

Finally, now I know the ins and the outs of the IO.

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1- Now I know what this course and curriculum is all about. I understand what this course has to offer to students.

2- Now I can create my syllabus and structure the plan for this upcoming batch of students.

3- Now I am ready to guide my students through this course to prepare them for their external and internal assessments.

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I clearly know how to approach Paper 1 prep.

I can  design my syllabus.

I am ready to start working on the IO now.

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Now I know how to plan my work with students in DP.
Now I can explain what are the requirements for Paper 1, IO, HL essay and Paper 2.
Now I am ready to guide students to pass their exams.

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Now I know IB is a process , a journey in which students can explore their potential.
Now I can help students use the areas of exploration and the 7 concepts more effectively.
I am ready to navigate the processes involved in the IO, paper 1 and 2.

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Macbeth (Arif, Mary, Christelle, Nathan)

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Macbeth (Arif, Mary, Christelle, Nathan)

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Now I know how to prepare course material, construct and adapt my syllabus together with approaches to teaching and begin discussing any kind of text.

Now I can tell my students what I expect from them and what is expected from them on the exams as this is my first year of teaching IB as well as answer any other questions my students may have.

Now I am ready to start teaching and guiding my students in a confident way.

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Check these guys' YouTube Channel - really helpful 

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Check these guys' YouTube Channel - really helpful 

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IB English: Paper One and IO - How to Read a Political Cartoon