📚 CIE A-Level English Literature 2026: Exam Changes and Key Trends | CIE A-Level 英语文学：2026年考试变化与核心趋势
Starting with the 2026 examination series, Cambridge International has introduced the most significant structural reforms to A-Level English Literature (9695) in over a decade. These changes are not cosmetic tweaks but a fundamental rethinking of what it means to study literature at an advanced level. The syllabus has been streamlined from four papers to three, the weightings have been recalculated, and the assessment objectives have been subtly but powerfully realigned to emphasise critical independence, extended comparative analysis, and genuine literary engagement over formulaic responses. For students and teachers who have grown comfortable with the rhythm of the legacy specification, the 2026 syllabus represents both a challenge and an opportunity. This article provides a detailed, practical overview of every major change, explains the pedagogical thinking behind the reforms, and offers concrete strategies for navigating the new landscape with confidence.
从2026年考试系列开始，剑桥国际对A-Level英语文学（9695）进行了十多年来最重大的结构性改革。这些变化并非表面调整，而是对高级阶段文学学习内涵的根本性重新思考。教学大纲从四份试卷精简为三份，权重重新计算，评估目标也经历了微妙但有力的重新调整，更加强调批判独立性、拓展性比较分析以及真正的文学参与，而非公式化的答题套路。对于已经习惯了旧版大纲节奏的学生和教师来说，2026年大纲既是挑战也是机遇。本文将对每一项重大变化提供详细、实用的概述，解释改革背后的教学理念，并提供具体策略，帮助你自信地驾驭这一新格局。
1. The New Three-Paper Structure | 全新三卷结构
The most immediately visible change in the 2026 syllabus is the consolidation of the examination into three papers instead of the previous four. Under the legacy specification, students sat Papers 1 and 2 for the AS Level, then Papers 3 and 4 to complete the full A-Level. The new syllabus collapses this into a linear three-paper model taken entirely at the end of the two-year course. Paper 1 ('Drama and Poetry') now carries a weight of 40% of the total A-Level mark, occupying a full three-hour examination slot. Paper 2 ('Prose and Unseen') is weighted at 30% and runs for two hours. Paper 3 ('Shakespeare and Comparative Analysis') accounts for the remaining 30% and also demands two hours of sustained writing. This rebalancing means that no single paper is a minor component; every examination session demands thorough preparation and carries significant stakes, eliminating the psychological safety net of a lower-weighted paper that some students might have previously relied upon to buffer weaker performances.
2026年大纲最直观的变化是将考试整合为三份试卷，取代了以往的四份。在旧版大纲中，学生需参加Paper 1和Paper 2以获得AS Level成绩，再通过Paper 3和Paper 4完成完整的A-Level。新大纲将其压缩为一个线性三卷模型，全部在两年课程结束时进行。Paper 1（'戏剧与诗歌'）现占A-Level总分的40%，为时三小时。Paper 2（'散文与陌生文本'）占30%，时长为两小时。Paper 3（'莎士比亚与比较分析'）占剩余30%，同样要求两小时的持续写作。这种重新平衡意味着没有哪份试卷是次要的构成部分；每一场考试都要求充分准备并承载着重要分值，消除了部分学生过去可能依赖较低权重试卷来缓冲弱项表现的心理安全网。
2. Shakespeare Moves to a Dedicated Paper | 莎士比亚独立成卷
One of the boldest curricular decisions in the 2026 reforms is the removal of Shakespeare from the general drama paper and his elevation to a dedicated, standalone examination alongside a comparative study requirement. Under the legacy specification, a Shakespeare play was one of two drama texts studied for Paper 3 or Paper 4, examined through a mixture of passage-based questions and wider essay prompts. In the new syllabus, Paper 3 is explicitly titled 'Shakespeare and Comparative Analysis'. Students must study one complete Shakespeare play in depth — from a prescribed list that includes perennial favourites such as Hamlet, King Lear, The Tempest, and Othello — and also engage with a comparative partner text drawn from a separate set of works that may include modern drama, poetry, or prose. The examination requires a close critical reading of a specific passage from the Shakespeare play, followed by a comparative essay that connects the Shakespeare text thematically and stylistically to the second work. This structural change signals CIE's belief that Shakespeare's canonical status warrants concentrated, specialist study, not a hurried treatment squeezed alongside another dramatist.
2026年改革最大胆的课程决策之一，是将莎士比亚从普通戏剧试卷中移除，提升至一个独立的专项考试，并与比较研究要求相结合。在旧版大纲中，莎士比亚戏剧是Paper 3或Paper 4所学的两部戏剧文本之一，通过段落分析题和更广泛的论文题进行考核。在新大纲中，Paper 3被明确命名为'莎士比亚与比较分析'。学生必须深入学习一部完整的莎士比亚戏剧——选自一份规定清单，包括《哈姆雷特》《李尔王》《暴风雨》和《奥赛罗》等经典作品——同时还要研读一部比较伙伴文本，该文本选自另一组作品，可能包含现代戏剧、诗歌或散文。考试要求对莎士比亚戏剧中的一个特定段落进行细致的批判性阅读，随后撰写一篇比较论文，将莎士比亚文本在主题和风格上与第二部作品联系起来。这一结构性变化表明，CIE认为莎士比亚的经典地位值得集中、专业的学习，而非仓促地与其他剧作家并列处理。
3. Comparative Analysis Becomes a Core Skill | 比较分析成为核心技能
Comparative analysis, which was previously one mode of assessment among several, has been elevated to a fundamental organising principle of the 2026 syllabus. In the legacy specification, comparison was primarily confined to Paper 4, where students wrote about two texts in relation to a theme or literary technique. Now, comparative thinking is embedded in every paper. Paper 1 requires students to compare two drama texts and two poetry texts within the examination. Paper 2 includes a comparative unseen component where students must read and respond to two previously unfamiliar texts, drawing connections and contrasts under timed conditions. Paper 3 formalises the Shakespeare comparison as a mandatory element. This pervasive emphasis on comparative analysis reflects a philosophical shift: CIE wants students to think relationally, to understand that literary meaning is often produced in the space between texts — through dialogue, tension, echo, and divergence — rather than residing solely within a single autonomous work. Teachers must now build comparative frameworks into their curriculum from the very first term of Year 12.
比较分析此前仅仅是众多评估方式中的一种，如今已被提升为2026年大纲的基本组织原则。在旧版大纲中，比较主要局限于Paper 4，学生需围绕一个主题或文学技巧就两部文本进行写作。现在，比较性思维已嵌入每一份试卷。Paper 1要求学生在考试中对两部戏剧文本和两部诗歌文本进行比较。Paper 2包含一个比较性陌生文本部分，学生必须在限时条件下阅读并回应两篇此前未接触过的文本，建立联系与对比。Paper 3将莎士比亚比较作为必考要素。这种对比较分析的普遍强调反映了一种哲学转向：CIE希望学生进行关系性思考，理解文学意义往往产生于文本之间的空间——通过对话、张力、呼应和分歧——而非仅仅存在于单部自足的文本之内。教师现在必须从12年级的第一个学期起，就将比较框架纳入其课程体系。
4. The Unseen Component Expands Dramatically | 陌生文本部分大幅扩展
The unseen element has undergone a significant expansion, both in weighting and in complexity. In the legacy syllabus, unseen poetry appeared in Paper 1 as a relatively contained exercise, and unseen prose occasionally featured in coursework options. The 2026 syllabus transforms the unseen into a full comparative challenge within Paper 2. Students now face two unseen texts in the examination room — these may be two poems, two prose passages, one poem and one prose extract, or a prose passage paired with a non-fiction text — and must produce a sustained comparative analysis. This is a far cry from the single-text response of the old Paper 1. The change is designed to test genuine critical fluency: can a student, armed with a broad reading experience and a secure command of literary terminology, approach any text with confidence and insight, without the safety net of months of teacher-guided preparation? The emphasis shifts from memorising prepared interpretations to demonstrating adaptable, real-time analytical skill. For many students, this will be the most daunting aspect of the new syllabus, and it demands a classroom culture that prioritises frequent, low-stakes practice with unfamiliar material from the very start of the course.
陌生文本部分在权重和复杂性上都经历了显著扩展。在旧版大纲中，陌生诗歌出现在Paper 1中，作为一个相对可控的练习，而陌生散文偶尔出现在课程作业选项中。2026年大纲将陌生文本部分转变为Paper 2中一个完整的比较性挑战。学生如今在考场中将面对两篇陌生文本——可能是两首诗、两段散文、一首诗与一段散文摘录，或一段散文与非虚构类文本配对——并且必须完成一篇持续的比较分析。这与旧版Paper 1中的单文本回答相去甚远。这一变化旨在测试真正的批判流畅性：一个学生，凭借广泛的阅读经验和对文学术语的牢固掌握，能否在没有数月教师指导准备的安全网下，自信而富有洞察力地应对任何文本？重点从记忆准备好的解读转向展示可适应、实时的分析能力。对许多学生来说，这将是新大纲中最令人生畏的方面，它要求课堂文化从课程伊始就重视对陌生材料进行频繁、低压力的练习。
5. Weightings and Assessment Objectives Redistributed | 权重与评估目标的重新分配
Behind the structural changes lies a careful recalibration of the Assessment Objectives (AOs) and their distribution across papers. The legacy syllabus allocated AO1 (articulate informed, personal and creative responses), AO2 (analyse ways in which meanings are shaped), AO3 (demonstrate understanding of context), and AO4 (explore connections across texts) in varying proportions. The 2026 syllabus retains these four AOs but rebalances them significantly. AO2 — the analysis of form, structure, and language — now carries greater weight across all papers, reflecting a renewed emphasis on close reading as the foundational literary skill. AO3, the contextual objective, has been more tightly integrated into AO2 and AO4 rather than standing as a separable, bolt-on paragraph that weaker students often appended to essays. Most notably, AO4 (comparison and connection) is no longer confined to one paper but is now assessed in every single examination, cementing its status as a pervasive intellectual habit rather than a discrete task. The mark schemes have also been rewritten to reward genuine critical independence and penalise the recitation of memorised teacher notes or published study guides.
在结构性变化的背后，是评估目标及其在各试卷中分布的精心重新校准。旧版大纲以不同比例分配了AO1（表达有见地的、个人的和创造性的回应）、AO2（分析意义被塑造的方式）、AO3（展示对语境的理解）和AO4（探索文本之间的联系）。2026年大纲保留了这四个评估目标，但对其进行了显著的重新平衡。AO2——对形式、结构和语言的分析——现在在所有试卷中占据更大权重，反映出对细读作为基础文学技能的重新强调。AO3，即语境目标，已更紧密地融入AO2和AO4，而非作为一个可分离的、附加的段落——这种段落往往是较弱学生附加在论文后面的。最值得注意的是，AO4（比较与联系）不再局限于一份试卷，而是在每一场考试中都得到评估，巩固了其作为一种普遍思维习惯而非一项孤立任务的地位。评分标准也已重写，以奖励真正的批判独立性，并惩罚对记忆化的教师笔记或出版的学习指南的背诵。
6. The Disappearance of Coursework Options | 课程作业选项的消失
A development that has generated considerable discussion among teachers is the complete removal of coursework from the 2026 syllabus. The legacy specification offered candidates the opportunity to submit a portfolio of essays for Paper 4, a choice that many students and teachers valued for its capacity to reward sustained, reflective drafting and independent research. The new syllabus eliminates this option entirely. All assessment is now examination-based, with three timed papers completed at the end of Year 13. CIE's rationale centres on concerns about academic integrity — the proliferation of AI tools and essay-writing services has made it increasingly difficult to verify the authenticity of unsupervised work — and a desire to ensure that all candidates are assessed under comparable conditions. While some educators lament the loss of the drafting process as a pedagogical tool, others acknowledge that a fully examined syllabus may level the playing field, particularly for students in contexts where access to library resources and one-to-one teacher feedback is uneven. The challenge now is to build the skills that coursework once developed — sustained argumentation, redrafting, and independent textual exploration — into the taught curriculum under timed practice conditions.
在教师中引发相当多讨论的一项变化是，2026年大纲完全取消了课程作业。旧版大纲为考生提供了提交论文作品集作为Paper 4的选择，许多学生和教师珍视这一选项，因为它能够奖励持续的、反思性的草稿修改和独立研究。新大纲完全取消了这一选项。所有评估现在均以考试为基础，在13年级结束时完成三份限时试卷。CIE的理由集中在学术诚信问题上——人工智能工具和论文代写服务的泛滥使得验证无监督下作业的真实性变得愈发困难——以及希望确保所有考生在可比较的条件下接受评估。虽然一些教育工作者惋惜草稿修改过程作为一种教学工具的丧失，但其他人承认，一个完全以考试为基础的大纲可能公平竞争环境，尤其是对于那些图书馆资源和一对一教师反馈机会不均等的语境下的学生。现在的挑战是将课程作业曾经培养的技能——持续的论证、草稿修改和独立的文本探索——在限时练习条件下融入教学课程。
7. Prescribed Texts and Set Text Lists Revised | 规定文本及设定文本清单的修订
The 2026 syllabus launches with a substantially refreshed set text list. While canonical figures like Shakespeare, Austen, Dickens, and Plath remain firmly in place, CIE has introduced a more globally diverse and contemporary range of writers than in any previous iteration of the specification. The poetry selections now include voices from the Caribbean, South Asia, and Africa alongside the established British and American traditions. The prose list features twenty-first-century novels dealing with climate anxiety, migration, digital identity, and postcolonial memory — themes that resonate powerfully with today's eighteen-year-old learners. Drama selections extend beyond the familiar repertoire of Miller, Williams, and Ibsen to include playwrights from Nigeria, India, and the Pacific. This diversification is not tokenistic; it reflects a genuine attempt to construct a syllabus that prepares students for university-level literary study in a field that has long since moved beyond a narrow Anglo-American canon. Teachers will need to make careful text choices, balancing the demands of the new assessment structure against their students' interests and the availability of secondary critical resources.
2026年大纲推出了一份经过大幅更新的设定文本清单。虽然莎士比亚、奥斯汀、狄更斯和普拉斯等经典人物依然稳固在位，但CIE引入了比以往任何一版大纲都更加具备全球多样性和当代性的作家群体。诗歌选篇现在包括来自加勒比地区、南亚和非洲的声音，与已确立的英国和美国传统并列。散文清单收录了21世纪的小说，涉及气候焦虑、移民、数字身份和后殖民记忆等主题——这些主题与当今18岁学习者产生强烈共鸣。戏剧选篇超越了米勒、威廉姆斯和易卜生等熟悉的剧目，囊括了来自尼日利亚、印度和太平洋地区的剧作家。这种多样化并非象征性的；它反映了一种真实的尝试，旨在构建一个大纲，为学生进入早已超越狭隘英美经典的大学文学研究领域做好准备。教师需要谨慎做出文本选择，在新评估结构的要求与学生的兴趣以及次级批评资源的可获得性之间取得平衡。
8. Changes to Question Formats and Command Words | 题目格式与指令词的变化
Teachers familiar with the legacy specification may initially be disoriented by the new question formats and command words appearing on sample assessment materials. The old-style prompts that began with 'Discuss' or 'How far do you agree' have not disappeared, but they are now supplemented by questions that explicitly demand comparative analysis from the outset, such as 'Compare the ways in which the two writers present...' and 'In what ways are the treatments of... similar and different?' Passage-based questions in the Shakespeare paper now routinely require students to 'analyse the dramatic effects' of a specific extract and then 'show how this passage illuminates the play as a whole', demanding a sophisticated movement between microscopic and macroscopic reading. The unseen paper introduces a requirement to 'write a comparative critical appreciation', a formulation that signals an expectation of evaluative judgment — not merely identification of features — from the very first sentence. Command words such as 'evaluate', 'assess', and 'to what extent' appear with greater frequency, nudging students away from descriptive listing of literary devices towards genuinely critical argumentation.
熟悉旧版大纲的教师最初可能会对样卷中出现的新题目格式和指令词感到困惑。以'Discuss'或'How far do you agree'开头的旧式提示并未消失，但它们现在补充了从一开始就明确要求比较分析的题目，例如'Compare the ways in which the two writers present...'和'In what ways are the treatments of... similar and different?' 莎士比亚试卷中的段落分析题现在常规性地要求学生'分析特定摘录的戏剧效果'，然后'展示该段落如何照亮整部戏剧'，要求在微观阅读与宏观阅读之间进行精妙的转换。陌生文本卷引入了'撰写一篇比较性批评鉴赏'的要求，这一表述标志着从第一句话起就期望进行评价性判断——而不仅仅是识别特征。'evaluate'、'assess'和'to what extent'等指令词出现得更加频繁，促使学生从对文学手法的描述性罗列转向真正的批判性论证。
9. Implications for Year 12 Curriculum Planning | 对12年级课程规划的影响
The 2026 changes have profound implications for how schools design their two-year A-Level Literature courses. Under the legacy specification, it was common practice to teach the AS content in Year 12, sit the AS examinations as a staged assessment, and then proceed to the A2 content in Year 13. This staging option has now been removed; the entire syllabus is examined terminally. Consequently, schools must now plan a coherent two-year programme in which skills are developed cumulatively, texts are spaced intelligently to avoid cognitive overload, and comparative connections are built into the fabric of every unit. Many experienced departments are moving towards a model in which Year 12 Term 1 focuses intensively on unseen analysis skills and introduces the Shakespeare play alongside its comparative partner text. Term 2 deepens poetry and prose study, always taught in pairs to normalise comparative thinking. Term 3 consolidates and introduces the remaining drama and prose texts. Year 13 then becomes a year of synthesis, revision, and timed practice, with comparative frameworks becoming second nature. The key principle is that comparison must not be taught as a revision-top-up skill in the final months but as the default mode of literary engagement from the very first lesson.
2026年的变化对学校如何设计其两年制A-Level文学课程具有深远影响。在旧版大纲下，常见的做法是在12年级教授AS内容，参加AS考试作为阶段性评估，然后在13年级进入A2内容。这一阶段性选项现已被取消；整个大纲采取终结性考试。因此，学校现在必须规划一个连贯的两年制课程，其中技能得到累积性发展，文本被明智地间隔开来以避免认知过载，并且比较性联系被融入每个单元的结构之中。许多经验丰富的学科组正转向这样一种模式：12年级第一学期集中训练陌生文本分析技能，并引入莎士比亚戏剧及其比较伙伴文本。第二学期深化诗歌和散文学习，始终成对教授以规范化比较思维。第三学期进行巩固并引入剩余的戏剧和散文文本。13年级则成为综合、复习和限时练习的一年，比较框架由此成为第二天性。关键原则是，比较不能作为最后几个月的一项复习补充技能来教授，而必须从第一堂课起就成为文学参与的默认模式。
10. Preparing for the Comparative Unseen: Classroom Strategies | 比较性陌生文本备考：课堂策略
The comparative unseen component of Paper 2 is, for many students, the single most anxiety-inducing element of the new specification, and addressing this anxiety requires deliberate, structured classroom practice from the earliest stages of the course. One effective approach is the 'weekly paired unseen' routine: every week, students receive two short, previously unseen texts — perhaps a sonnet and a modern lyric, or a Victorian prose extract and a contemporary flash fiction — and have twenty minutes to annotate and plan a comparative response, even if they do not write the full essay. Over time, this builds speed, pattern-recognition, and confidence. Another powerful strategy is the maintenance of a 'comparative connections journal', in which students record thematic and stylistic links between the set texts they are studying and any other literature they encounter, including texts from other subjects, personal reading, and popular culture. This normalises the habit of seeing literature as a network rather than a series of isolated monuments. Teachers should also explicitly teach a flexible comparative essay structure — not a rigid template, but a repertoire of organisational moves: text-by-text comparison, theme-by-theme integration, and moment-by-moment alternation — so that students can choose the most effective structure for the specific texts and question in front of them.
对许多学生来说，Paper 2的比较性陌生文本部分是新大纲中最令人焦虑的要素，解决这种焦虑需要从课程最初阶段就进行有意识、结构化的课堂练习。一种有效的方法是'每周配对陌生文本'常规：每周，学生收到两篇简短的、此前未接触过的文本——可能是一首十四行诗和一首现代抒情诗，或一段维多利亚时代散文摘录和一篇当代微型小说——并有二十分钟时间进行注释并规划比较性回答，即使他们并不完成完整的论文。随着时间的推移，这可以培养速度、模式识别能力和信心。另一个强有力的策略是维护一本'比较联系日志'，学生在其中记录他们正在学习的设定文本与所遇到的任何其他文学作品（包括其他科目的文本、个人阅读和流行文化）之间的主题和风格联系。这可以规范化将文学视为一个网络而非一系列孤立纪念碑的习惯。教师还应明确教授灵活的比较论文结构——不是僵化的模板，而是一套组织动作的技能库：逐文本比较、逐主题整合以及逐时刻交替——以便学生能够为眼前的具体文本和问题选择最有效的结构。
11. Mark Scheme Evolution and What Examiners Will Reward | 评分标准的演变与考官将奖励什么
The 2026 mark schemes have been rewritten from the ground up, and students who prepare using legacy mark-scheme logic may find themselves underperforming relative to their actual ability. The most significant shift is a move away from rewarding the accumulation of features towards rewarding the quality of argument and the sophistication of the reading. Where the old mark schemes often allocated marks for 'identification of literary devices' in lower bands, the new descriptors foreground 'analysis of effects' and 'evaluation of methods' from the very first level. A candidate who lists five metaphors without explaining their cumulative impact will receive limited credit; a candidate who analyses one metaphor with precision and connects it to the text's wider thematic architecture will be rewarded. Examiners are also explicitly instructed to penalise 'bolt-on context' — the isolated historical paragraph that bears no organic relationship to the analysis — and to reward integrated contextual understanding that illuminates the literary text rather than merely surrounding it. Perhaps most importantly, the highest bands now reserve their marks for responses that demonstrate 'independence of thought' and 'a critical voice', meaning that students who reproduce received interpretations, however polished, will not access the top grades. This is a syllabus designed to reward genuine readers, not parrots.
2026年的评分标准已从根本上进行了重写，使用旧版评分标准逻辑进行备考的学生可能会发现，相对于他们的实际能力，成绩并不理想。最显著的变化是从奖励特征的积累转向奖励论证的质量和阅读的精细程度。旧版评分标准通常在较低档次为'识别文学手法'分配分数，而新版的描述语从第一级就突出了'效果分析'和'方法评价'。一个列出五个隐喻但未解释其累积影响的考生将获得有限的分数；一个精准分析一个隐喻并将其与文本更广泛的主题架构联系起来的考生将获得奖励。考官还得到明确指示，要惩罚'附加式语境'——即与分析没有有机联系的孤立历史段落——并奖励能够照亮文学文本而不仅仅是围绕它的综合性语境理解。也许最重要的是，最高档次的分数现在留给那些展示'思想独立性'和'批判性声音'的回答，这意味着再现他人解读的学生，无论多么精雕细琢，都无法获得最高等级。这是一个旨在奖励真正阅读者而非鹦鹉学舌者的考试大纲。
12. Looking Ahead: Predictions and Long-Term Trends | 展望未来：预测与长期趋势
The 2026 CIE A-Level English Literature syllabus is not merely an update; it is a statement of intent about what literary study should look like in the third decade of the twenty-first century. Several long-term trends are likely to flow from these changes. First, we can expect a growing emphasis on oracy and exploratory talk in Literature classrooms, because comparative analysis — especially under timed conditions — requires students to think flexibly and articulate complex relationships rapidly, skills that are best developed through structured discussion rather than silent solo study. Second, the focus on unseen texts will likely drive a renaissance of wider reading programmes, as schools recognise that students who read broadly and habitually have a decisive advantage over those who read only the minimum set texts. Third, the integration of diverse global voices may gradually shift the centre of gravity in post-16 literary study away from a purely British framework and towards a more cosmopolitan, comparative sensibility that better reflects the actual landscape of contemporary literature. For students entering Year 12 in 2025 and sitting their examinations in 2027, these changes define the intellectual terrain on which they will be assessed. Those who embrace the comparative, critical, and independent spirit of the new syllabus will not only perform well in examinations but will also arrive at university genuinely equipped for the demands of undergraduate literary study.
2026年CIE A-Level英语文学大纲不仅仅是一次更新；它是一份关于21世纪第三个十年文学研究应呈现何种面貌的意向声明。几个长期趋势很可能随着这些变化而产生。首先，我们可以预见文学课堂中将越来越重视口头表达和探索性谈话，因为比较分析——尤其是在限时条件下——要求学生灵活思考并迅速阐明复杂关系，这些技能最好通过结构化讨论而非安静的独立学习来培养。其次，对陌生文本的聚焦可能会推动广泛阅读计划的复兴，因为学校认识到，阅读面广且习惯性阅读的学生，相较那些仅阅读最低要求设定文本的学生，拥有决定性优势。第三，多样化全球声音的融入可能逐渐将16岁后文学学习的重心从纯粹的英国框架转向更国际化的、比较性的视野，这更能反映当代文学的实际图景。对于2025年进入12年级并于2027年参加考试的学生而言，这些变化定义了他们将在其上接受评估的智识领域。那些拥抱新大纲的比较性、批判性和独立精神的学生，不仅将在考试中表现出色，也将在进入大学时真正具备应对本科文学研究要求的能力。
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