Scheme of Work

Cambridge IGCSE™ 
Literature (Spanish) 0488
For examination from 2021

Version 1
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Contents

Contents ...................................................................................................................................................................................................................................................... 3
Introduction .................................................................................................................................................................................................................................................. 4
Poetry........................................................................................................................................................................................................................................................... 7
Prose.......................................................................................................................................................................................................................................................... 12
Drama ........................................................................................................................................................................................................................................................ 21
Unseen....................................................................................................................................................................................................................................................... 26
Coursework ................................................................................................................................................................................................................................................ 31
Scheme of Work

Introduction
This scheme of work has been designed to support you in your teaching and lesson planning. Making full use of this scheme of work will help you to improve both
your teaching and your learners’ potential. It is important to have a scheme of work in place in order for you to guarantee that the syllabus is covered fully. You
can choose what approach to take and you know the nature of your institution and the levels of ability of your learners. What follows is just one possible approach
you could take and you should always check the syllabus for the content of your course.
Suggestions for independent study (I) and formative assessment (F) are also included. Opportunities for differentiation are indicated as Extension activities; there is
the potential for differentiation by resource, grouping, expected level of outcome, and degree of support by teacher, throughout the scheme of work. Timings for
activities and feedback are left to the judgment of the teacher, according to the level of the learners and size of the class. Length of time allocated to a task is another
possible area for differentiation.
Guided learning hours
Guided learning hours give an indication of the amount of contact time you need to have with your learners to deliver a course. Our syllabuses are designed around
130 hours for Cambridge IGCSE courses. The number of hours may vary depending on local practice and your learners’ previous experience of the subject. The
table below give some guidance about how many hours we recommend you spend on each topic area.

Option 1 Suggested teaching time (hours / % of the course)

Poetry It is recommended that this should take about 25% of the course.

Prose It is recommended that this should take about 25% of the course.

Drama It is recommended that this should take about 25% of the course.

Unseen It is recommended that this should take about 25% of the course.

Option 2 Suggested teaching time (hours / % of the course)

Poetry It is recommended that this should take about 25% of the course.

Prose It is recommended that this should take about 25% of the course.

Drama It is recommended that this should take about 25% of the course.

Coursework It is recommended that this should take about 25% of the course.

4
 Scheme of Work
Resources
Suggested resources are listed on the School Support Hub at www.cambridgeinternational.org/support. These have not been through the Cambridge quality process
but have been found suitable for use with various parts of the syllabus by teachers. This resource list includes website links providing direct access to internet
resources. Cambridge is not responsible for the accuracy or content of information contained in these website. In addition to reading the syllabus, teachers should
refer to the updated specimen assessment materials.
Tools to support remote teaching and learning – Click here to find out about and explore the various online tools available for teachers and learners.

School Support Hub

The School Support Hub www.cambridgeinternational.org/support is a secure online resource bank and community forum for Cambridge teachers, where you can
download specimen and past question papers, mark schemes and other teaching and learning resources. We also offer online and face-to-face training; details of
forthcoming training opportunities are posted online. This scheme of work is available as PDF and an editable version in Microsoft Word format; both are available on
the School Support Hub at www.cambridgeinternational.org/support. If you are unable to use Microsoft Word you can download Open Office free of charge from
www.openoffice.org

Websites
This scheme of work includes website links providing direct access to internet resources. Cambridge Assessment International Education is not responsible for the
accuracy or content of information contained in these sites. The inclusion of a link to an external website should not be understood to be an endorsement of that
website or the site's owners (or their products/services).
The website pages referenced in this scheme of work were selected when the scheme of work was produced. Other aspects of the sites were not checked and only the
particular resources are recommended.

5
Scheme of Work
How to get the most out of this scheme of work – integrating syllabus content, skills and teaching strategies
We have written this scheme of work for the Cambridge IGCSE Literature (Spanish) syllabus and it provides some ideas and suggestions of how to cover the content
of the syllabus. We have designed the following features to help guide you through your course.

Learning objectives help your learners by making it Suggested teaching activities give you lots of
clear the knowledge they are trying to build. Pass ideas about how you can present learners with
these on to your learners by expressing them as ‘We new information without teacher talk or videos.
are learning to / about…’. Try more active methods which get your
learners motivated and practising new skills.
Syllabus ref. Learning objectives Suggested teaching activities

AO3 The writer’s Consider the way the Use the extract from the starred question in the previous activity or a different starred question.
use of form narrative is told and
Learners answer the question ‘Who is telling the story?’ Invite them to consider:
effects created
• who the narrator is
• whether they admire or dislike the narrator
• whether the narrative is told from first or third person viewpoint
Extension activities provide your • what information the narrator provides (or withholds) within the extract Independent
more able learners with further • the reliability of the narrator and her/his views. study (I) gives
challenge beyond the basic content of your learners
the course. Innovation and This activity might be initially approached by independent learning and then move thetoopportunity
whole group
independent learning are the basis of activity to consolidate learning about ‘form’, an aspect of literature that learners sometimes find
to develop their
these activities. difficult. (F)(I) own ideas and
understanding
Extension activity: Use the same points of consideration as above but choose withoutextractsdirect
from
two different texts and learners contrast and compare the way narrative is told and created.
input from you.
Learners could also select their own extracts to further explore the writer’s use of form. Learners
could also design their own starred question on their chosen extract and create theoir own mark
scheme that outlines what they would expect in the response.
So
Formative assessment (F) is on-going assessment
Past papers, specimen papers and mark schemes which informs you about the progress of your learners.
Past and specimen papers
are available for you to download at: Don’t forget to leave time to review what your learners
www.cambridgeinternational.org/support have learnt, you could try question and answer, tests,
Past/specimen papers and mark schemes are available to download at www.cambridgeinternational.org/support (F) or ‘concept maps’. These kinds of
quizzes, ‘mind maps’,
Using these resources with your learners allows you to activities can be found in the scheme of work.
check their progress and give them confidence and
understanding.

6
 Scheme of Work

Poetry
Where does Poetry feature in the Cambridge IGCSE Literature (Spanish) 0488 syllabus?
Paper 1 Set Texts – Open Books, candidates must answer three questions, each on a different text and selected from at least two of the three sections: Prose,
Drama and Poetry.
Paper 1 Set text: candidates have the choice of studying a selection of poems by Quevedo and/ or Belli.
Paper 2 Coursework: learners can choose to base their assignment on poetry.
Paper 3 Unseen: the text can be a poem

Syllabus ref. Learning objectives Suggested teaching activities

AO4 Informed Develop confidence in Select a poem from the list in the syllabus. Read the poem aloud or play an audio version.
personal communicating first
response impressions Use websites such as these listed below.
www.palabravirtual.com
Reading of Belli’s ‘Y Dios me hizo mujer’
www.palabravirtual.com/index.php?ir=ver_voz.php&wid=3681&t=Y+Dios+me+hizo+mujer&p=Gioconda+Belli&o=Conch
ita+Fern%E1ndez

Reading of Quevedo’s ‘Don dinero’ poem

www.palabravirtual.com/index.php?ir=ver_voz.php&wid=2515&t=Letrilla+sat%EDrica&p=Francisco+de+Quevedo&o=R
afael+de+Panegos

Learners read the poem again firstly for mood, secondly for meaning and thirdly, for analysis.

After the first reading encourage learners to answer the following questions:
• How does the poem make you feel?
• What does the poet want to tell us?
• What images are the most striking?
• Which senses does the poet particularly appeal to in the poem?
• What are your impressions of the speaker of the poem?

Use this template as a starting point for discussion:

www.slideshare.net/cedecite/plantilla-interpretar-emociones-en-poemas

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Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Create a graphic organizer to support learning and understanding. Click the link below for templates:
https://justaddstudents.com/strategies-for-teaching-poetry/

Extension activity: Use the link below for extension activities (F/I):
www.slideshare.net/cedecite/plantilla-para-leer-e-interpretar-un-poema-lectura-individual

AO3 The Explore how the poet Learner read sections of the poem and annotate it using the SMILE Mnemonic:
poet’s use of uses language and Structure
language and form to create and Mood
form shape meanings and Imagery
effects Language
Emotional response

Access this template to support learners: (I)

www.slideshare.net/cedecite/plantilla-para-leer-e-interpretar-un-poema-lectura-compartida

Learners work in pairs for this follow up activity. Each partner discusses their annotations and together they consolidate
their understanding of the poem. Each partner should ask probing questions to ensure that points are clearly substantiated
by reference to the detail of the poem.

Each pair feeds back to the class. Encourage learners to ask probing follow-up questions on the observations they make.
The questions in pair and whole group discussions should aim to help learners build on their initial responses.

Make the point that all readers of poetry sometimes find poems obscure or ambiguous; there is no correct answer, and
there can be alternative interpretations so long as they are supported by valid evidence from the text.

After the whole group discussion, learners explain two main ideas from the poem, providing concise direct quotation to
support them. (F)(I)

AO3 The Explore how the poet Arrange learners in pairs and ask them to read sections of the poem to each other, emphasising the poet’s use of:
poet’s use of uses language and • rhythm
language and form to create and • rhyme
form shape meanings and • enjambment.
effects
AO2 Deeper Learners then discuss how these features of the poem helped to create certain effects for a reader. They need to
meanings Move beyond surface discuss specific examples and not rely on overly generalised comment such as ‘The enjambment / rhyme makes the
meanings to explore poem flow.’

8
 Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

the poem’s deeper On a copy of the poem, learners make their own annotations of some examples of the following devices:
implications • sound: alliteration, assonance, onomatopoeia (and the ones listed above)
• imagery: simile, metaphor, personification
• rhetorical: question, hyperbole, repetition, humour, irony.

Each note should comment on the precise effect created by the use of the particular device. This is important, as
learners need to be taught to move beyond the logging and description of devices if they are to progress to analysis.
They should not confuse the listing of terms with analysis.

Learners complete a template such as the one listed below. (F)(I)

www.slideshare.net/cedecite/plantilla-para-describir-el-texto-potico

AO1 Detailed Develop confidence in Revisit the SMILE mnemonic and include more literary devices such as these and encourage learners to reflect upon
knowledge communicating a their personal response and interpretation of the effect of these devices:
supported personal
Literary devices
AO3 The response
poet´s use of
structure Explore how the poet S – Structure stanza layout, line length, rhyme, rhythm, volta, caesura.
uses structure to
create and shape M – Mood reader's emotional response evoked by poet's tone
meanings and effects
I – Imagery metaphor, simile, personification, zoomorphism,

alliteration, sibilance, assonance, repetition, punctuation,

L – Language
verbs, adjectives, speech, colloquial / slang

E - Emotional Response learner’s response

Point out examples of these devices from the poem studied. Learners create a glossary of literary devices with
examples from the poem. They should create a chart with columns for ‘points/ quotes/ bullet point analysis’.

Learners can annotate their copies of the poems as they contribute to the class discussion.

Create ‘Exploded Quotation Diagrams’ for display. A quotation is placed in the centre of the page, key words are
highlighted and a spider diagram is created of their connotations, the atmosphere created, the poem’s themes and the
effect on the reader.

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Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Complete a template such as the one listed below (F)(I): www.slideshare.net/cedecite/plantilla-para-caracterizar-el-

texto-potico

Create charts of the poem’s main themes, linking poems with the same theme. This is useful for the examination
questions that offer a choice of poems.

AO4 Informed Develop confidence in Devise a Cambridge IGCSE-style question on the set poem, basing it on past Poetry questions. Point out the key
personal communicating a phrases used in questions to elicit a personal response to the poet’s use of language:
response supported personal
response ‘Aprecie cómo’
AO1 ‘¿Cómo se las arregla el/ la poeta…’
Reference to ‘¿Cómo se vale el/la poeta del lenguaje…?’
the text ‘¿Hasta qué punto y cómo, ha conseguido el/ la poeta…?’

Emphasise that a personal response, supported by references that range throughout the poem, is required to access
the higher bands.

Explain to learners that the following words in questions are designed to elicit personal responses to the writing:
• memorable
• vivid
• moving
• striking
• sad.

For poetry activities early in the course, use bullets to supplement the main question to help learners plan and organise
their response. The level of ‘scaffolding’ can be reduced and the level of challenge can be increased gradually as the
course progresses.

Use the PQA technique to prepare and plan the question:

Point – make an observation about the poem that is relevant to the question
Quotation – select a relevant quotation from the poem
Analysis – Highlight key words and explore their connotations. Learners reflect upon the poem’s effects and
atmosphere, the effect on the reader and the link to the theme that the question is focused upon

For example, in the question on the poem: ‘COMO GATA BOCA ARRIBA’ ¿Cómo aprovecha esta metáfora gatuna
para expresar sus sentimientos de forma original? (Jun 2020)

10
 Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Learners start by looking at the title, which in itself is a metaphor and then highlight the words related to cats in the
poem. Learners consider how the poet refers to cats throughout the poem and then links this behaviour to the poet’s
devotion to her lover using the PQA technique.

Discuss learner’s ideas with them, encouraging them to use your explanations to help them understand the poem’s
deeper meanings and develop their own interpretation rather than memorising what is said about the poem in class.

Learner visit website: https://poemario.com/como-gata-boca-arriba/ to understand the deeper meaning of the poem
studied, once they have developed their own personal response.

Useful websites: http://andreagavio.com/poesia-poderoso-caballero-es-don-dinero-de-quevedo/

https://poemario.com/poderoso-caballero-es-don-dinero/

In small groups, learner discuss the question. Learners spend five minutes planning their own response to the question.
Emphasise the importance of selecting relevant material that addresses the specific demands of the question and
advise against exhaustive questions that merely explain the poem without a clear focus on the question.

Learners spend 40 minutes writing their response remembering to support the points they make by using concise direct
quotations from the poem. (I)

Extension activity: Learners peer-evaluate their responses. Using pencil, they should:
• tick valid and thoughtful points that address the question
• put a question mark in the margin alongside sentences that lack focus on the question
• underline instances of unclear expression
• use a caret symbol ∧ in the margin to indicate where development or support is required.

These marking annotations will help learners to re-draft their response to ensure it is an informed personal response,
one that addresses the question and that has apt textual reference for support.

Past and specimen papers

Past/specimen papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)

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 Scheme of Work

Prose
Where does Prose feature in the Cambridge IGCSE Literature (Spanish) 0488 syllabus?
Paper 1 Set Texts – Open Books: candidates must answer three questions, each on a different text and selected from at least two of the three sections: Prose,
Drama and Poetry.
Paper 1 Set text: candidates have the choice of studying a selection of novels.
Paper 3 Unseen: the text can be prose.
Many activities in this unit can be amended for use with Drama set texts.

AOs Learning objectives Suggested teaching activities

Detailed Create interest and Before reading, learners could research the author, look for images of the place where the novel is set and share their
knowledge encourage ideas regarding the title of the novel. Show learners video clips of interviews with the author such as this:
AO1 independent and
informed reading of www.youtube.com/watch?v=-Oh_sR3bKG4&feature=related Gabriel García Márquez comments the structure of Crónica
the text de una muerte anunciada.
https://vimeo.com/37340219 Almudena Grandes discusses the inspiration behind El Lector de Julio Verne
www.youtube.com/watch?v=eF-s-FPNScU Almudena Grandes speaks about the historical context of the novel

Read the first pages of the text in class pointing out themes, characters and early plot developments that learners need
to remember when reading independently.

Set manageable amounts of the text for learners to read outside of lessons. For example, a set number of pages or half
a chapter and gradually increase to whole chapters or a set number of chapters. You could set a teaser question for them
to find the answers during their reading of a chapter. Mention possible ‘spoilers’ to incite interest. When reading in class,
try to stop at a ‘cliffhanger’ to imitate the style of a soap opera and inspire learners to find out what happens next.

Follow up on their reading with quick quiz questions such as the ‘Pasapalabra’ style alphabet answers:

For example, ‘Empieza con la A – el apellido de la dueña del bar en Crónica de una muerte anunciada: (Clotilde) Armenta,
or ‘Contiene la Y – nombre del misterioso extranjero que llega al pueblo: Bayardo (San Román).

Questions can become increasingly more complex as learners read more of the text. Divide chapters into sections for
learners to create their own questions in small groups for a competition.

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 Scheme of Work

AOs Learning objectives Suggested teaching activities

AO1 Detailed Increase learners’ As reading progresses, learners could set up a reading log, which could include:
knowledge understanding and • brief synopses of chapters (in no more than a couple of sentences in their own words)
appreciation of the set • a timeline of events (very useful when a narrative is arranged non-chronologically)
prose text • a list or diagram of characters and their relationships with each other
• first impressions of main characters
• initial thoughts about the main themes or ideas in the text.

The level of detail and complexity can be varied according to the level of ability of the learners. Reading logs should be
capable of being updated and can be useful for starter or plenary activities designed to consolidate learners’
understanding of texts. (F/I)

In addition, learners could use the format of current game shows to devise short answer questions that test each other’s
knowledge of the novel or short stories.

Some online quizzes provide a ready-made resource for ascertaining the extent of learners’ knowledge: e.g.
https://quizizz.com/admin/quiz/58c6ae385695cedb66e954fa/como-agua-para-chocolate (F)

Some interactive exercises can make useful follow up activities such as the one below to revise the themes of Como
agua para chocolate
http://resource.download.wjec.co.uk.s3.amazonaws.com/vtc/2016-17/16-17_2-40/unit-4-themes/spanish/como-agua-
para-chocolate/criticas.html

Questions on each chapter of El prisionero del cielo can be found here:

https://docplayer.es/41730398-Guia-de-lectura-el-prisionero-del-cielo-guia-de-lectura-1.html

Help learners distinguish between good and bad websites. Good websites provides basic synopses and character
sketches that help to reinforce knowledge at a basic level. Essay questions that are sometimes provided on these sites,
however, are not the type that feature in Cambridge IGCSE-style questions.

Bad websites are distinguished by the dominance of advertising or the provision of ‘ready-made’ essays that require
purchase. Learners should be reminded of the penalties of ‘suspected malpractice’.

13
 Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

AO2 Deeper Explore key elements Create mind maps of the following aspects of the set text:
meanings to develop a • Plot
sophisticated • Theme
understanding of the • Setting
text • Characterisation
• Conflict
• Mood
• Style

Learners could be placed in groups and take one of the aspects listed and then give feedback to the rest of the group.
This activity can be used to analyse an extract, chapter and, once reading is complete, the entire novel.

Create a shared document online for learners to add their ideas. Encourage learners to look for specific references to
support their observations on these aspects of the novel.

Use websites such as the ones listed below to encourage learners to research for themselves:

www.monografias.com/trabajos62/analisis-como-agua-para-chocolate/analisis-como-agua-para-chocolate2.shtml

http://www.juntadeandalucia.es/averroes/centrostic/14700390/helvia/sitio/upload/guia_trabajada_Como_agua_para_ch
ocolate.pdf

https://sites.google.com/site/cronicagabriel/personajes/analisis-de-los-personajes-principales
https://sites.google.com/site/cronicagabriel/resumen-del-libro

AO2 Deeper Move beyond surface Allocate learners to small groups. Give each group a particular character and specify a particular moment* in the text
meanings meanings to explore and select a learner to take that particular role in a ‘hot-seating’ activity. Give learners five minutes to prepare for their
deeper implications role as either questioner or person in the hot seat.
about character
[*An example might be Mamá Elena when she tells Tita that Pedro is going to marry her sister in Como agua para
chocolate.]

Use the empathic questions from past papers to create an authentic examination style context such as this one from El
lector de Julio Verne:

14
 Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

‘Y ella me miró, asintió con la cabeza y me miró, y en sus ojos leí que lo sabía todo’ (La segunda sección de la parte II
1948 página 207 Colección Andanzas). Usted es Mercedes, la madre de Nino, en este momento. ¿Qué está usted
pensando? Conteste con la voz de Mercedes. (Nov 2020)

After the initial activity, select one or more of the groups to repeat their performance in front of the whole group. (F)
Give a copy of the mark scheme for the question selected to the group so they can see if all the main points were
covered during the activity. Learners can be organised into pairs to decide on a mark for the task.

The following activity is possible only where there exist one or more film adaptations of the text.

Select one or more of the clips used in the hot-seating activity. Learners consider the interpretation offered in the film
clip(s). How does the presentation of the particular character help them to understand the following?
• the deeper implications of character
• links between presentation of character and theme.

Websites such as these contain clips or the film version:

https://sites.google.com/site/cronicagabriel/pelicula

Choose a different empathic question from a past paper and find the same moment in the film version. After showing
the clip, learners draft a written answer to the question based on what they have seen. (F)(I).

AO2 Explore how context Learners select their own major character from the text. Then to create a QUOTATION + COMMENT table which:
Understand emerges from the text • lists key quotations for the character
meanings and • comments on what the quotations reveal about relevant contexts.
contexts
For example, quotations relating to Nino in El lector de Julio Verne reveal Grandes’s ideas about the impact of living
through one of Spain’s most violent periods of history. Quotations relating to Sánchez reveal both the life of a Guardia
Civil and the role of the resistance to the dictatorship (F)(I).

Useful websites for the initial preparation include:

https://chusrios22.blogspot.com/p/blog-page_26.html provides a summary of the main characters in El lector de Julio

Verne
http://www.edu.xunta.gal/centros/iesallariz/system/files/EL%20LECTOR%20DE%20JULIO%20VERNE.pdf Outlines the
main themes and characters of the same novel.

15
Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Use past examination questions to help learners to locate a context from which to work and to communicate their ideas
in the context of a written response at the end of the activity. Synoptic questions that focus on a character, as well as
empathic questions, are useful for this activity. For example:

El lector de Julio Verne

¿Cómo reacciona usted ante la revelación de Sanchís antes de suicidarse? No olvide referirse detalladamente al texto.
(Jun 2019)
or
Vuelva a leer una parte de la tercera sección de la parte I 1947 desde ‘Yo, que siempre había vivido entre ellos’
(página 104 Colección Andanzas ) hasta ‘Todos menos Sanchís’ (página 106). ¿Cómo se las arregla Grandes aquí
para retratar una imagen impactante de la vida de la posguerra? No olvide referirse detalladamente al pasaje.
(Jun 2020) (F)(I)

Inform learners that points about context should be relevant to the question and integrated into their writing concisely.
Useful context emerges from a close reading of the text. It should not take the form of long paragraphs of extraneous
social, historical or biographical context.

AO3 The Explore how writers Select two extracts from the text that establish or create a sense of place. The extracts can be about the same place or
writer’s use of appeal to the senses different places (e.g. The prison and the bookshop in Ruiz Zafón’s El prisionero del cielo ).
language to create settings
Learners read the extracts carefully and then for each draw a mind map that shows what they might sense if they were
in that locations. The branches of the mind map should describe what they would see, hear, smell, touch and taste.

Next, learners add concise quotations and comment on the effects of key words in them which create a sense of the
setting. (F/I)

Extension activity: Learners present their responses to the whole group, using presentational devices.

Learners produce a response to a relevant past paper question such as this starred question from Jun 2020:

* Vuelva a leer una parte del capítulo 3 de la Segunda parte DE ENTRE los MUERTOS desde ‘La rutina ayudaba’
(página 105 Booket) hasta ‘lo más parecido a un ángel’ (página 107). ¿Cómo se las arregla Ruiz Zafón aquí para
convencernos que la cárcel era un ‘infierno’? No olvide referirse detalladamente al fragmento en su respuesta. (F)(I)

Provide learners with the relevant section from the mark scheme for them to assess their own response. Set an
individual objective for the learner to reach a higher level or encourage learners to self or peer assess and state what
they do well and what needs improving.

16
 Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

AO3 The Explore passages and Select a key passage from the text and attach a suitable question (using the starred questions in past Cambridge
writer’s use of relate them to the IGCSE papers as a guide).
language and whole text
structure For example, this question from Jun 2019 on Como agua por chocolate:

* Vuelva a leer una parte del Capítulo IX SEPTIEMBRE CHOCOLATE Y ROSCA DE REYES desde ‘Cuando la masa
dobla su tamaño por tercera vez’ (página 152 Debolsillo) hasta ‘muy espeso o aun quemado’ (página 154). Aprecie
cómo Esquivel aprovecha el lenguaje aquí para crear una serie de acontecimientos emocionantes. No olvide referirse
detalladamente al extracto.

Learners do the following activities on their own:

• Explain where the extract appears in the text and what happens immediately before and after the extract. Ask
them to consider significant links between the content of the extract and the rest of the text.
• Provide a brief overview of the content and organisation of the extract.
• Explore the way the writer uses language to achieve certain effects. Learners highlight key words on a copy of
the extract and annotating them, saying what they find particularly striking, vivid, memorable, disturbing, etc. (I)

Learners share ideas in small groups. They should interrogate and challenge each other’s points.

Appoint a learner to provide feedback from each group. (F)

This website offers a template for exploring an extract of Como agua para chocolate:
http://resource.download.wjec.co.uk.s3.amazonaws.com/vtc/2015-16/15-
16_03/website/unit_4_structure/spanish/Lesson_4/index.html

Extension activity: Hold a class debate in which speakers take opposing lines of argument (e.g. selfish – selfless,
victim – villain). The rest of the class ask probing questions of the two main debaters. The validity of views will be
determined by the use of supporting evidence found in the text.

Some questions lend themselves perfectly to this type of activity such as this one from Jun 2020 on Crónica de una
muerte anunciada: Enigmática e inocente. Astuta y engañosa. En su opinión de lector, ¿cuál es la descripción más
apta para Ángela Vicario, y por qué? No olvide referirse detalladamente al texto en su respuesta.

Alternatively, find questions that require the consideration of two different characters such as the question below on
Como agua para chocolate that provides a good opportunity for a debate about which character is more deserving of
Tita’s love.

17
Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

‘Los ojos de John los seguían mientras bailaban y denotaban ternura con un destello de resignación. Pedro rozaba
tiernamente su mejilla con la de Tita, y ella sentía que la mano de Pedro en su cintura la quemaba como nunca.’
(Capítulo XII DICIEMBRE CHILES EN NOGADA página 201 Debolsillo). En la obra, dos hombres de caracteres muy
dispares se enamoran de Tita. En su opinión, ¿cuál de los dos es más merecedor del amor de ella y por qué? No
olvide citar ejemplos del texto. (Jun 2019)

This website offers an interactive task related to the question:

http://resource.download.wjec.co.uk.s3.amazonaws.com/vtc/2015-16/15-
16_03/website/unit_4_structure/spanish/Lesson_5/index.html

AO3 The Consider the way the Use the extract from the starred question in the previous activity or a different starred question. Learners answer the
writer’s use of narrative is told and question ‘Who is telling the story?’ Invite them to consider:
form effects created • who the narrator is
• whether they admire or dislike the narrator
• whether the narrative is told from first or third person viewpoint
• what information the narrator provides (or withholds) within the extract
• the reliability of the narrator and her/his views.

This activity might be initially approached by independent learning and then move to whole group activity to consolidate
learning about ‘form’, an aspect of literature that learners sometimes find difficult. (F)(I)

Then learners identify the following aspects of prose fiction form:

• narration (moving the plot on)
• description (of characters, setting)
• dialogue (and how represented).

Extension activity: Use the same points of consideration as above but choose extracts from two different texts and
ask learners to contrast and compare the way narrative is told and created. Learners could also select their own
extracts to further explore the writer’s use of form. Learners could also design their own starred question on their
chosen extract and create their own mark scheme that outlines what they would expect in the response.

Some websites such as the one listed below for Como agua para chocolate , offer online activities related to extracts of
the text:
http://resource.download.wjec.co.uk.s3.amazonaws.com/vtc/2015-16/15-
16_03/website/unit_4_structure/spanish/Lesson_3/index.html

AO4 Sensitive Explore the portrayal Use online starter activities such as the one listed below for Como agua para chocolate to prepare learners to discuss
and informed of character in the characters in the text:
course of a prose text

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 Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

personal http://resource.download.wjec.co.uk.s3.amazonaws.com/vtc/2015-16/15-
response 16_03/website/unit_4_structure/spanish/Lesson_6/index.html

Provide sets of quotations relating to a key character in the text. The quotations (perhaps eight in total) should be on
separate pieces of paper (such as Post-Its).

These webpages offer quotations on the main characters from Crónica de una muerte anunciada:
Crónica de una muerte anunciada (willamette.edu)
Análisis de la obra Crónica de una muerte anunciada, de Gabriel García Márquez - Monografias.com (section 2.9.1

Learners work in pairs to put the quotations in the order they appear in the text – which will provide formative
assessment of learners’ knowledge. (F)

Then in small groups, learners discuss what the quotations reveal about the character at various points in the novel
(including their first and final appearances).

Next, learners evaluate the extent to which they find the character admirable, sympathetic, disturbing, entertaining, etc.
Focus the discussion on a Cambridge IGCSE-style question. They should provide relevant substantiation from the text
to support their answers. Some empathic questions from past examinations could be used as a starting point. For
example:

Mamá Elena, leyéndole la mirada, enfureció y le propinó a Tita una bofetada fenomenal que la hizo rodar por el suelo’
(Capítulo II FEBRERO PASTEL CHABELA página 29 Debolsillo). Usted es Mamá Elena en este momento. ¿En qué
está usted pensando? Conteste con la voz de Mamá Elena. (Jun 2019)

Learners plan (five minutes) and write their responses (40 minutes) to the question. (I)

Extension activity: Learners work in pairs on peer-evaluating each other’s essays. Ask them to note examples of the
following:
• irrelevant points (which perhaps narrate or describe)
• repeated points (where no more credit can be given)
• unsupported assertions (which do not constitute analysis)
• long quotations (which indicate a lack of clear focus).

More positively, they should:

• tick points that are valid and thoughtful
• tick quotations that are concise and relevant
• tick critical comments on key words or aspects of structure

19
Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Set a past examination question as a follow up activity or as an assessment. For example:

¿Hasta qué punto, y cómo, ha conseguido el autor crear un aura de misterio alrededor del enigmático David Martín?
No olvide citar referencias del texto en su respuesta. (Nov 2020)

Past and specimen papers

Past/specimen papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)

20
 Scheme of Work

Drama
Where does Drama feature in the Cambridge IGCSE Literature (Spanish) 0488 syllabus?
Paper 1 Set Texts – Open Books, candidates must answer three questions, each on a different text and selected from at least two of the three sections: Prose,
Drama and Poetry.
Paper 1 Set text: candidates have the choice of studying a selection of two drama texts.
Many activities in this unit can be amended for use with Prose set texts.

AOs Learning objectives Suggested teaching activities

AO1 Detailed Consider the Before reading, use a starter activity such as a ‘drama’ spider diagram to highlight the different features to consider
knowledge distinctive features of a when studying a drama text. You could encourage learners to create their own online versions using sites such as this:
drama script https://creately.com/lp/spider-diagram-maker-online/

Encourage discussion and solicit the following:

Structure, props, characters, setting, stage directions, sound, lighting, audience, themes, plot, subplot, symbolism and
dialogue, atmosphere or tone.

Explore these aspects in more detail comparing and contrasting features from prose texts. For example, when
discussing dialogue, encourage learners to look at language features such as register of language (colloquial, formal)
foreshadowing, delivery, monologues and soliloquies. Consider if the dialogue is written in entirely verse or only certain
characters or moments of the play are in verse. Some dialogues in Los amantes de Teruel are written in verse and
these can be used for this exercise.

Learners look at the cast list and see if they can draw any conclusions as to the plot or themes. The same could be
done with the title.

Look at a starred question from a past paper that focuses on some of the features unique to drama. For example, from
La Nona, Cossa:

* Vuelva a leer una parte del ACTO SEGUNDO desde ‘CARMELO. – Sh…la Nona apagó la luz’ (página 126 Ediciones
de la Flor) hasta la acotación ‘(Mientras se prepara dos huevos fritos se produce el apagón)’ (página 128). ¿Cómo
aprovecha Cossa el diálogo y las acciones de los personajes aquí para que el público experimente una amplia gama
de emociones? No olvide referirse detalladamente al extracto. (Nov 2020)

21
Scheme of Work

AOs Learning objectives Suggested teaching activities

Comment on the key words used in the question and how the audience reaction is always to be taken into
consideration in the drama responses.

AO1 Detailed Consider the Intersperse the class reading of the play with audio and video clips, and also workshop activities on key moments from
knowledge distinctive features of a the play. This will help to immerse learners in the world of the play so they can experience, and enjoy, something of the
drama script theatricality of the experience.

Websites such as these can be useful for activities relating to La Nona:

www.youtube.com/watch?v=JeVxREV3YOs Video of a stage production

http://espejossuperpuestos1.blogspot.com/2015/11/analisis-de-la-obra-la-nona-de-roberto.html Visual analysis of

photos of stage productions and the film.

Early on, draw attention to the distinctive features of a play, designed for performance on the stage in front of an
audience. Using copies of extracts from their set prose and drama texts, learners annotate distinctive features of each
literary form. Help them to see the different ways characters’ words are presented in prose and drama texts.

Ask them to identify the different types of stage direction in their set drama text:
• those which introduce character
• those indicating tone of voice or silence
• those stating key actions
• those providing direction about lighting, sound and stage design. (I)

Extension activity
Use the starred questions from past papers to focus on a key moment of the play and show the video clip of the same
moment from the film version or performance of the play. For example:

* Vuelva a leer una parte del ACTO PRIMERO desde ‘CARMELO.– Oíme, Chicho…Yo sé que vos sos muy sensible a
estas cosas’ (página 79 Ediciones de la Flor) hasta ‘CARMELO.– Sí, vamos’ (página 82). ¿Cómo se las arregla Cossa
para que el comportamiento de Chicho durante esta conversación resulte tanto gracioso como frustrante? No olvide
referirse detalladamente al pasaje. (Nov 2020).

Encourage learners to ‘act out’ the moment while the rest of the class make notes as to how the dialogue creates
humour as well as frustration. Learners consider how the playwright is manipulating the audience through the dialogue.

AO2 Deeper Consider the Read again the final few minutes of the play. This does not have to correspond with a discrete scene from the play,
meanings relationship between however for both Los amantes de Teruel and La Nona the final scenes provide many points for discussion.

22
 Scheme of Work

AOs Learning objectives Suggested teaching activities

AO4 Informed the ending and the rest Learners consider how effective they find this ‘ending’ to the play. They might consider such questions as:
personal of the play • Did they find the ending surprising or shocking?
response • Were they able to predict the ending, and at was stage did the likely ending become clear?
• Did they find the ending a satisfying one? Did villainous characters get the ending they deserved?
• What dramatic contribution did the ending make to the play as a whole?

Discussion should focus not only on analysing the detail of the extract but also on making connections with earlier parts
of the play. (F/I)

A follow up activity for Los amantes de Teruel could be to research the legend of the lovers. Websites such as these
provide a good visual source: www.amantesdeteruel.es/quever_mausoleo.php

AO3 The Explore the dramatic Select a pivotal moment from the play. Learners explore the following in small groups.
writer’s use of impact of a key
language, moment from the play • the precise effects of the writer’s use of particular words or lines spoken by characters
structure and • the way the extract is organised: how it begins, develops and ends, together with any notable shifts in topic,
form tone and mood
• the dramatic impact of the extract on an audience.

Learners initially work on their own, annotating a copy of the extract as they consider the bullets above. In Los amantes
de Teruel, learners’ attention should be drawn to dialogue between characters, soliloquies, lines in verse and those in
prose.

For the third bullet, they should consider the overall mood(s) in the extract. Is it a moment of quiet pathos or one of
dramatic intensity? How does the writer convey the mood at this moment in the play? (F)(I)

Extension activity
Learners share their ideas in small groups, noting them down on flip-chart paper. Then a volunteer learner from each
group reports back to the class, referring to the flip-chart as appropriate.

Questions such as this one that feature in starred questions, also provide a good resource for this activity:
Vuelva a leer el final del ACTO PRIMERO desde la acotación ‘(Tímidamente, le pasa el brazo a la Nona por el
hombro)’ (página 106 Ediciones de la Flor) hasta ‘NONA. – ¡Feliche año nuovo!’ (página 109). ¿Cómo se las arregla
Cossa aquí para que las palabras y las acciones de los personajes entretengan al público? No olvide referirse
detalladamente al fragmento. (Jun 2020)

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Scheme of Work

AOs Learning objectives Suggested teaching activities

AO3 The Explore the precise Learners compile a QUOTATION + COMMENT table to record their ideas about specific characters and themes.
writer’s use of ways in which
language language the writer This requires learners to take responsibility for the selection of relevant quotations and the analysis of the key words in
uses language to them. Such tables can be added to or amended throughout the course and provide an effective way of developing a
portray characters and detailed response to the presentation of characters and themes. (F/I)
communicate themes
To support the analysis of characters, learners can draw three stick figures. Each stick figure represents the same
character at the start, middle and end of the play. The head represents the character’s thoughts, the hands their
interaction with others and the feet are what they stand for. Learners use the stick figures to show how the character
develops throughout the play, the character’s role and how the playwright uses characters to convey themes. They
make notes around the figures and write down quotations that reflect and support their ideas.

Here also, empathic questions from past Cambridge IGCSE examinations can be a good starting point, especially if
they refer to the character at a moment towards the end of a play. For example:

Usted es Marsilla al final del ACTO CUATRO SEGUNDA PARTE ESCENA IV (página 137 Clásicos Castalia). ¿Qué está
usted pensando? Conteste con la voz de Marsilla. (Oct 2020)

Use the mark scheme to show learners what aspects of the character are important at this moment and how the
character has developed.

Some websites include a list and brief description of the characters featured in a play, as well as an analysis of the
themes. For example:
www.todoexpertos.com/categorias/arte-y-ocio/libros-y-literatura/respuestas/2664552/analisis-breve-de-la-nona-de-
roberto-cossa

This series of short videos provides a good starting point for the discussion of characters and themes:

www.youtube.com/watch?v=8_cwFG5s800 Actors from a performance of La Nona discuss their characters

www.youtube.com/watch?v=1i6f6gEkI0c&list=PLkX7fCJINcSDZgKB2YF3Fn0mvQF4U38gg&index=57 Cossa talks
about the character of Nona as a metaphor for destruction
www.youtube.com/watch?v=8klqYKJHNSU Cossa talks about the role of the characters he created in La Nona.

AO1 Learn key quotations Direct quotations are necessary for general essay questions where no extract is provided; they enable learners to
Reference to substantiate their points and provide the necessary material for exploring the effects of particular words and phrases.
the text
Ask each learner to give a brief quotation about some aspect of the text as they enter or leave the classroom. (I)

Some useful quotation-learning activities that might be used starters:

24
 Scheme of Work

AOs Learning objectives Suggested teaching activities

Arrange learners standing in pairs in a straight row. Each pair nominate a Speaker A and a Speaker B. Get Speaker A
to list all the quotations they can remember from the play; they sit down if they repeat, deviate or hesitate. The last
Speaker A is the winner.

Repeat the activity with Speaker B. (F)

Give learners a series of quotations. In pairs they place it in context, give the scene in which it features and name the
character who said it. Leaners can create their own set of quotations to test each other.

Write a selection of quotations with missing key words for a gap fill activity. Follow up with an exercise as to what the
quotation reveals in terms of theme, character or any other feature of a drama text.

Encourage learners to create a bank of ‘multi use’ quotations. Encourage them to find quotations that reflect themes,
characters, a pivotal moment or that elicit a particular audience reaction.

There are also quizzes online that include questions on quotations such as:
www.educaplay.com/learning-resources/6737734-la_nona.html

AO4 Sensitive Distinguish between For a revision activity, set learners an IGCSE-style question on the writer’s presentation of a main theme in the play.
and informed assertions and
personal supported argument Learners plan (five minutes) and then write their response (40 minutes). (I)
response
Extension activity
Working in pairs, learners evaluate each other’s work. They should underline in pencil:
• points that are not fully developed
• points that are not supported by textual reference
• quotations where key words are not explored.

This activity should help learners to distinguish between, on the one hand, carefully-supported argument and, on the
other hand, mere assertions and under-developed points. (F)

Past and specimen papers

0488 past papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)

25
Scheme of Work

Unseen
Where does the Unseen feature in the Cambridge IGCSE Literature (Spanish) 0488 syllabus?
Paper 3 Unseen
Many of the activities in the Poetry and Prose units can be amended for use with Unseen questions. Furthermore, these activities can be used for teaching the skills
required to answer the starred question (based on an extracts from the text, or a specific poem). Candidates must complete at least one starred question.
These activities focus on the four assessment objectives.
The learning objectives in this unit relate to the specific requirements of the Unseen component.

AOs Learning objectives Suggested teaching activities

AO1 Detailed Understand the Learners in small groups, explore the features of the specimen Unseen paper. They should find the answers to the
knowledge requirements of following questions:
Unseen questions • How long is the paper?
• How many questions are there?
• Are they compulsory or do they answer one question or the other?
• How much planning time is there?
• Which part of each question is the preamble, and what is it for?
• How is the main question easily identified?
• How many bullets are there for each question?
• Are the bullets compulsory or provided for support?

Learners, in the same groups, design their own Unseen paper. They should select one of their set poems and an
extract from their set prose text. These should have been studied already. (F)

Websites such as these can give learners an idea as to how to create their own paper:
www.victoriamonera.com/como-hacer-un-comentario-de-texto-paso-a-paso/
https://educacion.uncomo.com/articulo/como-analizar-un-texto-literario-32138.html

AO2 Deeper Explore the difference Groups exchange their made-up Unseen papers from the previous activity. They discuss the Poetry question together.
meanings between surface and Then, learners work individually, annotating the copy of the poem (five minutes) and writing a plan five minutes). They
deeper meanings should begin their response addressing the main question with a brief overview of the poem’s main ideas. (I)

Together with the previous activity, this activity shows the transferable nature of the skills required for the analysis of
Unseen and Set poems.

26
 Scheme of Work

AOs Learning objectives Suggested teaching activities

Extension activity: Learners work on the Prose question under test conditions.

After they have finished, learners work in pairs. They mark each other’s response, highlighting the following deficiencies
where they exist:
• points that are not developed
• points that are not supported
• quotations that are excessively long and lack focus
• inert quotations that do not lead to analytical comment. (I)

AO3 The Explore the use of Individually, learners read the prose extract and accompanying question in the specimen Unseen paper. As they read,
writer’s use of language in creating they identify words and phrases they find particularly striking and add a brief note about the precise effects these
language effects create. (F)(I)

Next, in pairs, they look for examples of the following devices:

• sound: alliteration, assonance, onomatopoeia
• imagery: simile, metaphor, personification
• rhetorical: question, hyperbole, repetition, humour, irony.

They should use different colours to highlight the three main categories.

The next stage is essential. They then share examples from each category, and each learner writes comments
explaining the precise effects of each example on the reader. Emphasise the point that simply spotting or labelling
devices is description and not analysis.

Invite responses from as many learners as possible in the time available. Keep asking probing questions until the
precise effect has been explained. (F)

AO3 The Explore the way Learners write a summary of the content and organisation of the prose extract. They should consider:
writer’s use of structure is used to • the way the extract starts
structure shape meanings • the way it develops
• significant shifts in topic, tone and mood
• shifts from description to dialogue
• the amount and distribution of direct speech
• the way the extract ends
• any build-up of suspense.

27
Scheme of Work

AOs Learning objectives Suggested teaching activities

Explain that sometimes points about structure and form may overlap, and this is nothing to be worried about. In their
essays, they will be covering the AO3 elements of structure, form and language holistically and not discretely. (I)

AO3 The Explore the effects of Learners in pairs, compare the different forms of a poem and prose extract chosen from their set poetry and prose
writer’s use of form in unseen texts texts. What obvious differences do they find?
form
For example:
• in poetry: stanza, rhythm, rhyme, enjambment
• in prose: narration, description, dialogue.

How do these elements help to shape meanings and create effects?

AO4 Sensitive Evaluate the Collect and anonymise examples of unproductive, generic comments about writers’ techniques (i.e. general examples
and informed effectiveness of a that could be true of any poem or prose extract): e.g.
personal response to an unseen • the writer uses a lot of punctuation.
response text • the use of dashes makes the reader pause.
• the regular ABAB rhyme scheme makes the writing flow.
• the tense description makes the reader feel afraid as if they are there with the character.

Learners explain what is deficient about these examples.

Extension activity: Get learners, individually, to mark the same Unseen response (perhaps from the 0486 Example
Candidate Responses booklet). They should:
• tick valid and thoughtful points that address the question
• put a question mark in the margin alongside sentences that lack focus on the question
• underline instances of unclear expression
• use a caret symbol in the margin to indicate where development or support is required. (F/I)

Learners work in small groups to give the response a mark out of 25, using the band descriptions in the specimen mark
scheme.

Lead a whole group discussion which uses ‘best-fit’ to award the final mark.

AO2 Deeper Evaluate the The following are suggested activities for the Jun 2020 paper for 0488/31 that is based on an extract from the novel
meanings effectiveness of a Doña Bárbara by Gallegos.
response to an unseen
text Warm up activity: Using the words and definitions from the glossary at the end of each page of the extract, create a
match up exercise or similar task.

28
 Scheme of Work

AOs Learning objectives Suggested teaching activities

AO4 Sensitive Understand the

and informed requirements of Give learners the extract without the question. Ask them to look at the following:
personal Unseen questions
response • Title of the novel
• Author and nationality
• Year of publication

Read the italicised preamble and learners highlight any key words that help them to understand the context of the
extract. For example, ‘el llano venezolano’ informs us of the setting, ‘el conflicto entre la civilización y la barbarie’
explains the main theme, the two main characters in the extract ‘el peon tradicional’ and ‘el terrateniente racional
venido de la capital’ and the context of the passage is given in the last two lines.

Learners do a superficial reading of the extract and highlight words related to the setting, theme and characters
mentioned in the preamble.

Show a short clip from the film version of the novel so learners get a feeling for the atmosphere, setting and action. The
following link offers a full version of the film: www.youtube.com/watch?v=cLwAnKv2pP8
(1 hour 17min from the beginning, there is a scene similar to that of the extract).

During the second reading, encourage learners to make notes on structure, tone, atmosphere, point of view and
character voice. Leaners also identify and highlight any visual and literary techniques.

Leaners create a mind map of what happens in the extract, how events are described and how they feel about them.

Give out the question without the bullet points. Highlight the key words ‘impactar’ and ‘acontece’. Learners go back to
their notes and underline the material they think is relevant to this question. Point out that although the question
mentions events, these have to be considered for their impact on the reader. Simple narration is not needed.

Look at the bullet points below the main question. Encourage learners to revise their notes and underline relevant
material that links to the separate bullet points.

Divide the group into three and each group prepares a bullet point. Allow time for each group to note down their ideas
and evidence to support them.

Extension activity: Early finishers can consider the last part of the question ‘Usted puede añadir cualquier otro
comentario que le parezca pertinente’.

Discuss the ideas from each group and encourage feedback and suggestions for the other two groups.

29
Scheme of Work

AOs Learning objectives Suggested teaching activities

Ask each group to choose their best comment and ask them to write it out as part of an examination response.
Emphasise the importance of using examples that prove their idea as well as linking their observation to the question.
Groups can pass around their comments for others to ‘mark’ or ‘improve’.

Follow up by setting the whole question as a task (F) and/ or looking at the mark scheme.

Encourage learners to create their own exam technique using some of these activities when they are working on their
own.

Past and specimen papers

0488 past papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)

30
Coursework
Many of the activities in the Poetry, Prose and Drama units of this scheme of work can be used in preparing learners for coursework assignments.

AOs Learning objectives Suggested teaching activities

Details of the Set suitable Check with learners that their coursework task fulfils the requirements for this paper (pages 11 and 15 of the syllabus).
assessment coursework tasks Ensure that their assignment enables them to meet the criteria in the description for the highest mark band (pages 19-
20 of the syllabus)
AO1
AO2 Each assignment must be on a different text and cover at least two of the three genres. One of the assignments can be
AO3 on a text prepared for Paper 1 Set texts – Open Books examination.
AO4
Critical essays should be worded so that they direct the learner to consider the ways in which writers achieve their
effects.

One of the coursework assignments can be an empathic response to a play or novel. The coursework title must make
clear:
• the chosen character
• the specific moment in the text.

Encourage learners to look at examples of empathic questions that appear in past papers for ideas as to suitable tasks.

Learners check that they are clear about the requirements in the syllabus. Encourage learners to explore their own
individual interests in genres. Subsequent activities must be focused on suitable tasks and show evidence that learners
have read the whole text (I)

Explore links between Learners annotate an extract from their coursework play or novel (or an extract from one of their two short stories if they
key extracts and the are doing a short story assignment). They should annotate the following:
overall text • the effects of key words and phrases in the extract
• the way the extract is structured
• the effects of distinctive features of form
• parts of the extract that link with other parts of the text. (I)

Emphasise to learners the importance of making comments about the text as a whole.

Focus on independent Link with the previous activity.

learning and
preparation Draw attention to the importance of informed personal responses to texts. Learners could be given the opportunity to:

31
Scheme of Work

AOs Learning objectives Suggested teaching activities

• research by using print and online resources

• explore main concerns in small groups
• use hot-seating to explore characters’ feelings and motivations
• see (where available) film adaptations
• record and collate their impressions using mind maps and tables.

All these activities will help learners to develop an informed personal response in which they express their own views
and reach their own conclusions, supported by their own carefully-chosen textual reference. Point out that it would not
be in the spirit of coursework (with its emphasis on independent learning) to see the same points and same quotations
in the same order in each essay from the group.

Do not give learners frameworks with excessive scaffolding, as these are not designed to elicit personal response.

Re-draft first Provide brief summative comments on progress during this phase but cannot ‘mark, correct or edit draft assignment
assignment material’ (Syllabus: Marking and moderating coursework). General advice can be given to the group at this stage about
the need to:

• focus on the task and edit irrelevant material

• support points with reference to the text
• explore the precise effects of aspects of language, structure, form
• stay within the recommended word limits
• write logically and accurately. (I)

Present the final Learners check they have:

assignment • included coursework tasks in full (and not abbreviated versions of them)
• left margins wide enough for teacher comments
• proofread their writing for clarity and accuracy
• provide full reference to work of others (as outlined in the section on ‘Avoidance of plagiarism’ in the Syllabus)
• numbered the pages of their assignments
• secured their assignments in the order they appear on the Individual Record Card.

Past and specimen papers

0488 past papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)

32
Cambridge Assessment International Education
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