Non-Literary Unit of Study

Parent page: IB Learner Profile

English A: Language and literature (Cat.1): Module Two Wiki

Notes: It is important to use questions: WHO / WHEN / WHAT / WHY / HOW / WHICH / DO / DID / etc.

ConceptIdentity
Who is Boris Johnson? What was his political background? How did he rise to power? What roles did he have? How do you measure his success? Based on your analysis of several magazine and newspaper covers, is it possible for you to comment on his character? To what extent do these covers reflect his identity? Has he stylised his approach to that of Sir Winston Churchill?
Communication
Political parties and their members need communication methods. A voice within a newspaper column can have a great effect on the potential electorate. Every word is carefully written, edited, drafted and calculated.
How do people remember words from speeches?
How do people see written text and compare this to spoken dialogue through various sources?
Culture
Negative campaigns and advertisements are characteristic of certain cultures. Some cultures take these techniques much further than others.
§ How do texts in this unit compare to the election & political culture in your country?
§ Are they more negative or less negative than what you are used to seeing?
§ How are trends in negative advertising changed over the years in your country? Why is this?
Global issuePolitical landscape – battles of power
Area of ExplorationReaders, writers, texts
What are the different ways in which people are affected by texts and their attached imagery?
Time and space
What is the influence of cultural contexts on how texts are written and received?
Intertextuality: connecting texts
Which diverse texts have features in common?
Assessment ObjectivesHow are notions of political power constructed by the media? (Local, regional or international influence?)
How do newspapers play a role in shaping public opinion? (Or, to try to remain unbiased?)
How do politicians use language to persuade voters? (Or to dissuade?)
What kinds of debate techniques and argumentation fallacies are common in televised and political debates? (Is it civil? Or, closer to that of a talk show? Or, akin to that of Jerry Springer?)
In what ways do politicians use language to tear down their rivals? Is it respectful to the viewing audience’s collective maturity and intelligence?
Respond to non-literary texts to demonstrate an understanding and develop a personal interpretation (Paper 1)

1. Gather ten political figures on different magazine or newspaper covers. Review the presentation, first impressions and back-up their opinion using the material evidence.
2. Observe a debate video. Discuss their answer. Refer to their arguments. Discuss fairness and tactical language usage.
Non-Literary textsMagazine covers
Front pages 
Debates (ITV News: Corbyn v Johnson) (BBC Newsnight: Johnson v Corbyn debate analysis) (Johnson declines debate) (Debate regarding Bexit deal)
Ads (Love Actually parody) (12 Questions) (Greenpeace: Wasteminster) (Boris vs. Obesity)
Overview & ProcedureText typesHow to develop activities / expansion ideas / Links to TOKthings to consider
An introduction.

See column 4.

Link to oral exam: YES/NO.
Video 

Social media source

News feed

Article

magazine piece

Speech

Transcript
Discuss the connection between:

Discuss the relationship between:

Compare the differences between:

What/how do we differ between right & wrong?

How do we know information is clear and accurate before voting at an election?

Do politicians lie?

How can you be certain your vote counts?

What are objective facts?

Is there an appeal to emotions in order to shape public opinion?

Do we have an ethical obligation to understand political issues/events/global issues?

Should language be simplified for the benefit of voters or the general public?

Should language and campaign materials be fact-checked and cross-referenced before being made public?

Is misinformation legal?

How far does freedom of speech go before it becomes libel?
audience

diction

mode

genre

register

rhetoric

purpose

linguistic relativity

stereotypes

receptive

interactive
images below belong to the publication title (as per their cover) – these are selected from Der Spiegel / GQ British edition / The Mail On Sunday magazine Live / The London Magazine / Elle / Panorama – Canberra Times / Time / The Sunday Times magazine / The Big Issue / New Statesman / The Guardian Weekly / The Spectator / Daily Mail / Private Eye / The Economist / The Philadelphia Trumpet
Wrap-up/reflectionWhat aspects of this activity resonated strongest with you?
How could I have improved this Non-Literary Unit of Study inquiry?
Has anything changed the way you look at the world?
How important is it to know what is fair or unfair?
Is there an aspect you would like to explore further? Why?

Review examples (1) (2) (3) (4)

Created by: Ahmed, Acton, and Olivia. Published at: INSERT LINK Submitted to: IB PD website on 21st JUNE 2021

English A: Language and literature (Cat.1): Module Two Reflection

  • “How did your thoughts about what you might teach change based on the TOK debate?”

The debate opened up new avenues of exploration, exposure to other influences shared by other teachers around the globe and created a wider lens to look at teaching options. The wider the scope of texts, the broader the issues that can be covered in comparative assignments.

  • “What is your role in creating an internationally minded literature syllabus?”

Turning negatives into positives, examples of adversity can be shown to create inspirational and deep characters. I believe I can highlight equality and inequality as a stepping stone from their comfort zones to the wider world around them, using relatable issues and examples. Trying to make students feel part of something or connect is a challenge and one that needs to be handled compassionately with complete empathy, and not through a patronising lens. We’re not trying to feel sorry for others. We can relate and encourage critical thinking and higher order thinking that seeks change for the better. We don’t want every issue or problem to overshadow the mood and emotion of study.

  • “Do you believe it is more important to teach canonical works or a diverse set of texts? Why?”  

Diverse foods create good tongues. Diverse music taste influences good listening skills and music knowledge. Diversity in reading creates a reader that can handle texts from numerous countries, cultures and backgrounds.

  • “And finally, what are you most excited about teaching and why?”

I am most excited to get students lifting new unfamiliar texts, through their own choice and confidence. In turn, I want to see each student set unique challenges and bring their own interests, choices to the classroom.

Syllabus construction

Parent page: IB Learner Profile

English A: Language and literature (Cat.1): Module Four Syllabus Construction – (draft II)

English A: Language and literature (Cat.1): Module Two Syllabus Construction – A checklist for language and literacy (draft I)

See Guide, pages 20-21. Use: Prescribed Reading List.

HIGHER LEVEL (6 works)
STANDARD LEVEL (4 works)
conceptsplace* (3 / 2)period*
(3 / 2)
literary form*
(3 / 2)
Areas of Exploration
PRL (English) 1: William ShakespearerepresentationEngland/ Europe16th/17th centuryliterary text: poetryreaders, writers & texts
PRL (English) 2:
Nurrudin Farah
perspectiveSomalia20th/21st centuryliterary text: prose fiction / dramatime & space
PRL (translated) 1: Persepolis & Persepolis II (Marjane Satrapi)Cultures & identity: How does a text bridge a cultural boundary and create an insight? How do we approach texts from different times and cultures to that of our students?Iran
/France
/Austria
21st centuryliterary text: graphic novelsconnecting texts
PRL (translated) 2: Hanqing Guan / The Ballad of Mulan, anonymous / Njal’s saga, Óþekktur höfundurcommunication: How can texts offer multiple perspectives of a single issue, topic or theme?China/
Iceland
13th century; 4th century onwards; 12th-14th centuryliterary text: drama / poetry / prose fictionreaders, writers & texts
Free choice 1: The Levellerscreativity: how does the listener understand the meaning of a song and its lyrics; How are we affected by texts in varied ways?UK/ Europe20th/21st centuryliterary text: music lyricstime & space
Free choice 2: Tash Awwhy & how do we study language and literature?Malaysia21st centuryliterary text: prose fiction/novel
variousallglobal21st centurynon-literary text: websitesreaders, writers & texts; times & space; connecting texts
variousallglobalvariousnon-literary text: opinion columnsreaders, writers & texts; times & space; connecting texts
variousallglobal20th/21st centurynon-literary text: magazine and newspaper coversreaders, writers & texts; times & space; connecting texts
variousallglobalpre-21st century; 20th centurynon-literary text: public information texts readers, writers & texts; times & space; connecting texts
variousallglobalpre-21st century; 20th centurynon-literary text: propaganda pamphlets readers, writers & texts; times & space; connecting texts
variousallglobalpre-21st century; 20th centurynon-literary text: advertisementsreaders, writers & texts; times & space; connecting texts
variousallglobal21st centurynon-literary text: blogsreaders, writers & texts; times & space; connecting texts
variousallglobal20th/21st centurynon-literary text: self-help guidesreaders, writers & texts; times & space; connecting texts
variousallglobalvariousnon-literary text: photographyreaders, writers & texts; times & space; connecting texts
various (some translated)allglobalvariousnon-literary text: speechesreaders, writers & texts; times & space; connecting texts
various (some translated)allglobalvariousnon-literary text: quotationsreaders, writers & texts; times & space; connecting texts

The Levellers were chosen for their breadth and depth of lyrics. I absolutely agree that I would be focusing on an exploration of the lyrics (as a form of poetry) more than any other aspect. The subculture of music videos, album art, posters, and instruments representing voices would supplement a non-literary body of work.

“Your daddy, well he died in the Falklands; Fighting for another man’s cause; And your brother he was killed in the last war; Now your mother’s, well she’s lying home alone” – Another Man’s Cause, The Levellers

There are songs within their 12 (or so) album catalogue that cover topics like human rights (food roof family), refugees (The Shame), peace (Exodus), anti-war (The Recruiting Sergeant), the 1917 Étaples Mutiny (Mutiny), homelessness (Cardboard Box City), identity (England My Home), nuclear trouble (Belaruse), being human (Julie), inequality (Dirty Davey), class and humanity (This Garden), a dived world (Generation Fear) and huge range of emotions, personalities and periods of time. There are many songs that mark a journey and an exploration of the individual. Some are simple. Some are deep.

“My father when I was younger; Took me up on to the hill; That looked down on the city smog; Above the factory spill” – One Way, The Levellers

The indie folk rock genre that The Levellers have inhabited for over three decades. They formed their own festival in opposition to the increasing numbers of festivals of a highly commercial nature. At first I was thinking about bands that are highly accessible like Coldplay and U2, but then I thought why not go off the beaten track?!

“The year is 1991, it seems that freedom’s dead and gone; The power of the rich is held by few; Keep the young ones paralysed, educated by your lies” – Sell Out, The Levellers

The Levellers were formed in the 1990s and were not afraid to speak and sing the truth. They’ve been on a musical revolution for over three decades. They edged on the fringes of pop in their early days but have found their home more across genres than any other British band. They have likely influenced more musicians disillusioned by the commercial and closed state of the music industry. Their lyrics have been heard by musicians, writers and poets. The alternative scene to as establishment has a voice that can echo far. This is a band named after a political movement during the 17th century, formed in the years of the late William Shakespeare’s growing influence (on the English language).

“They’re sending in the elite, complete with guns; To advertise the way to go; Faxing through the fax to make it clear; That they’re the ones who know” – Liberty Song, The Levellers\

Retirement.

How do! / 你好 (nĭ hăo) / Namaste / Welcome!

Dear Birmingham City,

When you withdraw a number from squad use, it is probably a good idea to have a good reason. Usually that player should retire after great service, or perhaps it honours a great player for their achievements on and off the football pitch.

NBA, NFL and other franchises may like to retire numbers for other reasons. Their game, their gaff, their rules. Football in Britain may cling to tradition and hug sponsors in ways that contradict one another, but mostly, on the whole, the home nations of Wales, England, Scotland, Northern Ireland and the other bits do a pretty good job of honouring their own.

“Well, I only ever cried over two people, Billy Bremner and Bob… [long pause] He was a lovely man.” – Sir John Charlton OBE DL (8th May 1935 – 10th July 2020), footballer (England/Leeds Utd.) & manager (Ireland)

Norwegian club Fredrikstad retired Dagfinn Enerly’s number 8. He had been paralysed in a game against I.K. Start. West Ham Utd. dropped the number 6 shirt several years after club legend Bobby Moore OBE passed away from cancer. This created great dialogue and gave attention to bowel and cancer charities. It opened up conversation for quiet men. It did positive and wonderful things. Chesterfield F.C. retired the number 14 to mark Jack Lester’s retirement from the game in 2013. Six years of football weren’t ideal for his spell as manager at ‘The Spireites’. His 24.3% may have made the club reconsider retiring his club squad number…

Dropping a shirt number is a big thing. That number will never ever be used again. Never. Even adding someone else’s name is insulting. We’re talking memorials and recognition of players’ loyal service mostly. Squad numbers, that replaced a more traditional model (of 1 through to 11 plus subs of higher numbers) came into fruition in the 1990s and soon after North American (it came from Mexico in the ‘80s) sports influenced squad numbers. With it the notion of retiring numbers came about. New York Cosmos in the ill-fortuned NASL retired number 10. A certain Pelé had worn that shirt for around 56 games through three years upt0 1977. At first glance, he barely featured for them, but had years of wonderful football for Santos (18 years) and Brazil. What he did off the field for N.Y. Cosmos was remarkable, with exhibition games in Lebanon and the Dominican Republic. He used his pull to make a statement. Edson Arantes do Nascimento played at full houses in the Estádio do Maracanã and lifted the FIFA World Cup three times, amongst stacks of domestic awards. Off the field he remains a fantastic humanitarian. That’s why baby club (founded 1970) deserved to retire that number.

On one hand, if you drop any number 1-31, it is risky. They may represent somebody’s date of birth. Likewise if you drop numbers 1-12, as they are symbolic to months. The time-honoured 1-11 should be avoided for the sake of always having these numbers and conventional related positions available for aspiring youth players. What would the supporters or families of Jason Mayélé, Vittorio Mero, Marc-Vivien Foé, Miklós Fehér, Ray Jones, Dylan Tombides, François Sterchele, David di Tommaso, Antonio Puerta, Besian Idrizaj, Piermario Morosini and Davide Astori feel about Birmingham City’s seemingly soft approach to retiring the number 22? Who exactly is Jude Bellingham?

Jude Victor William Bellingham is now subject to mockery. That’s who. He’s a 17-year-old lad thrust into the public eye and has in the last week signed for Borussia Dortmund in the Bundesliga. Jude Victor William Bellingham has buckets of potential and had been at Birmingham City from the age of 8. Like many youth players before him, and a plethora of clubs, he dreamt of playing for his almost-hometown club (the glass-making town of Stourbridge is 16km/10 miles from Birmingham).  Born after Maine Road closed, and the City of Manchester (now Etihad) Stadium prepared to open, Bellingham has bagged 4 goals from 44 games, and a few assists during his only season of professional football. His England Under-16 and U-17 record isn’t bad too. FourFourTwo magazine amongst others describe him as “50 most exciting teenagers in English football”.

Bellingham leaves, to his rear, a Birmingham City team that narrowly avoided relegation. Like sex-symbol Fiona Butler (she was a tennis player caught scratching her bare behind) he has gone far since Stourbridge. Her posters are eveywhere. Well, not her posters, but here bottom in poster form. Good luck to Jude Bellingham at ‘The Black & Yellows’, who won’t be far behind. Pun intended.

Does Jude Bellingham deserve to join other shirt numbers that have been retired? Maybe, maybe not. Future Birmingham City players will no longer be able to wear the number 22. Still, you could be at other clubs with less choice. Good luck at C.F. Pachuca (a club founded by Cornish miners in 1901) in Mexico as they have retired shirt numbers 110, 17, 20 and 1.

#99 Bradley Wright-Phillips (New York Red Bulls): played 2013-2019.

#61 Gökdeniz Karadeniz (Rubin Kazan): played 2008-2018.

#55 Five-year old Joshua McCormack passed away from cancer, and his club Rochdale Rovers took note.

#50 Filbert Fox @ Leicester City F.C.

#61 Gökdeniz Karadeniz (Rubin Kazan): played 2008-2018.

#24 Hadi Norouzi (Persepolis): played 2008-2015 (died in his sleep)

#17 Former Chairman Massimo Cellino retired the number 17 at Leeds Utd due to superstitions. New chairman Andrea Radrizzani reinstated the number. Leeds have since been promoted. Wolverhampton Wanderers loan-star Hélder Costa wore 17.

#12 many clubs use this number as dedication to fans. Such as Borussia Mönchengladbach, Lech Poznan, Kerala Blasters, Beijing Guoan, Plymouth Argyle, Guadalajara and AC Omonia. The twelfth man indeed (or woman, or boy, or girl, or other)

#10 Diego Maradona (Napoli): played 1984-1991.

#8 Avi Nimni (Maccabi Tel Aviv): played in three stints, totalling around 15 years.

#7 Stanislav Vlček (Slavia Prague): played over 7 years at the club. Shirt number on pause. 7 conditions must be met to wear the shirt. Score three goals against Sparta Prague to start the list of 7…

#4 Franco Baresi (AC Milan): played 1977-1997

#3 Paolo Maldini (AC Milan): played 1984-2009 [although his offspring may wear it if they turn professional]

#3 Naoki Matsuda (Yokohama F. Marinos): played 1995-2010

For more retired numbers, have a gander here.

In memory of #23

The late great Marc-Vivien Foé (Manchester City, played 2002-2003)