IB中文A IO 全球性问题 40行节选 四准则
中文 A 的个人口试（Individual Oral，简称 IO）是整门课里唯一可以提前定好文本、提前定好问题的评估成分。它只有 15 分钟，10 分钟学生讲，5 分钟教师问，满分 40 分。下面按 IBO 现行指南的顺序，把选题、节选、结构、评分准则与练习安排拆开讲。
The individual oral is the one component of Chinese A that candidates can prepare in full before the day: the texts, the extracts and the issue are all chosen in advance. This guide follows the sequence of the IBO Language A guide, moving from the choice of texts and extracts to the global issue, the shape of the ten minutes, and the four assessment criteria.
十五分钟与两个百分比：IO 在中文 A 里的位置
在 IBO 的《语言A：语言与文学指南》（2026 年首次评估）里，个人口试长 15 分钟，满分 40 分。前 10 分钟是学生自己的有准备口头表达，后 5 分钟由教师提问。普通课程里它占最终成绩 30%，高级课程占 20%。很多学生以为占比不高就可以晚点准备，其实它的可控程度和 Paper 1 完全相反。Paper 1 拿到的是没读过的文本，Paper 2 靠考场临场，IO 的文本与问题都由你事先定好。提前定好意味着风险也提前暴露：问题选偏了，练十遍也救不回来。所以准备 IO 的第一件事不是写稿，而是把四条评分准则读熟。
The oral runs for fifteen minutes and carries forty marks, which is thirty per cent of the final grade at SL and twenty per cent at HL according to the IBO Language A guide for first assessment 2026. Everything in it is chosen in advance, which is the opposite of Paper 1, where the texts are unseen; that advantage disappears the moment the global issue is vague or the extracts cannot carry an argument. In practice, the candidates who lose marks are rarely the ones who spoke too little, they are the ones who never checked what Criterion C asks for across the full fifteen minutes.
两部作品怎么配：文学与语言与文学的分岔
中文 A 文学要两部文学作品，一部是用所学语言写的原著，一部是译作。语言与文学要一部文学作品加一部非文学作品集，作品集指同一作者或同一文本类型的成组文本。两种课程的提示语不同：文学问的是两部作品，语言与文学问的是一部作品与一部作品集。很多学生以为随便挑两本读过的书就行，其实选配本身已经决定了可分析的空间。文学配译作时，译者的选择也是作者选择的一部分，称谓、句长、成语处理都能变成证据。语言与文学配广告、社论、纪录片时，要看的是同一创作者的一组文本，而不是一条孤立帖子。常见的错误是把作品集读成一本书，第二侧只剩一条广告，四层证据直接塌成三层。
Chinese A Literature pairs two literary works, one written originally in the language of study and one read in translation, while Language and Literature pairs a single literary work with a body of work made of non-literary texts by the same creator or of the same text type. The pairing is an analytical decision in itself: a translated novel brings the translator's choices into the evidence, and a body of work only earns its place if several texts can be read against each other. Candidates who treat the second side as one isolated advertisement usually run out of material about three minutes into the presentation.
节选四十行与三条硬规矩
每篇节选不超过 40 行，这是上限，不是目标。节选必须连续，不能靠省略号拼两段。节选要标上行号，让听的人跟得到具体位置。带进考场的节选要干净，不写批注，不做标记。出处要写清楚：作品名、作者名，译作还要写译者。诗歌可以整首当节选，广告可以整条，多模态文本必须带对应画面与脚本片段。这一步最容易出事的不是长度，而是节选里没有足够的手法可分析。
Each extract is capped at forty lines, must be continuous without ellipsis, and should carry line numbers so the listener can follow a specific moment; clean copies only, with no annotations, and the provenance stated in full, including the translator for a work in translation. Twenty to twenty-five lines is usually easier to handle than forty, because the extract has to leave room for talk about the work as a whole. A common mistake is picking a dramatic scene that offers plot but almost no authorial choice to analyse.
全球性问题的三条判据
指南给全球性问题三条判据：具有广泛的重要性、具有跨国性、影响能在日常本地语境中被感受到。三条要同时成立，缺一条就退回成一个社会话题。比如某个社区对采掘业的依赖太具体，换成「能源开采如何重塑社区生计」才跨国。问题也不能大到只剩标签，性别不平等、战争、科技都太宽。检验办法很土：能不能在两组文本里各找到三处具体证据，找不到就换题。很多学生以为问题越大越好写，实际上越大的问题越容易讲成常识。全球性问题是一面镜头，不是文章主题。
A global issue has to be significant on a wide scale, transnational in nature, and felt in everyday local contexts, and all three conditions need to hold at once. A phrasing tied to one town is a case study rather than a global issue, while a single word such as inequality or war is a label that gives the examiner nothing to test. The practical check is whether three specific pieces of evidence can be found on each side of the oral; if not, the issue is either too narrow to travel or too broad to analyse.
五个探索领域怎么收窄成一个问题
指南列了五个探索领域，它们只是起点，不是题目本身。文化、认同和社区可以收窄成「移民家庭里语言如何变成权力」。信念、价值观和教育可以收窄成「功利教育怎样把学生变成分数」。政治、权力和公平正义可以收窄成「公共叙事如何让照护劳动消失」。艺术、创造力和想象力可以收窄成「梦境书写如何暴露被压抑的判断」。科学、技术和环境可以收窄成「技术便利如何重新分配隐私」。收窄的动作用一句话检验：这个问句能不能撑满 10 分钟还不跑题。撑不满的问题，换一个动词通常会好很多。
The five fields of inquiry in the guide, from culture and identity to science and technology, are starting points rather than titles, so the real work is narrowing one of them into a question with a mechanism inside it. A narrowed issue names how something happens, such as how public narratives make care work invisible, instead of naming a category such as gender. If the question cannot be stated in one sentence and then broken into three claims, it is still a field of inquiry rather than a global issue.
一堂口试只谈一个问题
评分说明写明，同时讨论一个以上全球性问题的口试在准则 A 上得零分。这条规则很硬，可很多学生开场就把三个相关主题一起端出来。常见的写法是先讲身份认同，再讲阶层，最后讲教育，听上去丰富，其实每一条都没落地。只谈一个问题的好处是证据可以复用，同一处细节在第二侧能换角度再压一次。两个问题实在缠在一起时，选那个能覆盖两组文本更多的。被放弃的那个可以留到 5 分钟问答，教师问到再展开。阅卷时最容易看出的就是问题在中途换了名字。
Discussing more than one global issue scores zero on Criterion A, yet candidates still open with three related themes and hope the examiner will pick one. A single issue lets evidence accumulate, because the same detail can be read twice from different angles as the oral moves between the two texts. Anything left over belongs in the five-minute discussion, where a follow-up question can open it without doing damage to Criterion A.
十分钟的时间骨架
开场一到一分半，把问题、两组文本与自己的论点说清楚。接着处理第一侧：先看节选里的具体选择，再拉回整部作品。两侧各给三到三分半，中间不要用两分钟做剧情复述。结尾留一分钟，把两侧的差异收回到问题上。不必逐项比较异同，指南没有要求给每处手法配一个对照。不少学校会建议开场先报结论，因为听的人只有一次机会。练习时拿计时器，超出来的时间通常都花在复述情节上。
A workable shape is ninety seconds of framing, three to three and a half minutes on each text, and a minute of synthesis at the end. The guide does not ask for point-by-point comparison, so forcing a same-and-different sentence after every technique produces shallow analysis rather than balance. Timing practice matters more than drafting practice, because the minutes lost are almost always lost to retelling the plot.
四层证据：节选与整部作品都要动
语言与文学的 IO 有四层证据：文学节选、整部文学作品、非文学节选、非文学作品集。四层都要有实质分析，不能两层厚两层薄。节选回答的是「哪一处选择呈现了这个问题」。整部作品回答的是「这个选择在其他地方被延续还是被推翻」。作品集回答的是「同一创作者的其他文本是重复还是修正了这个做法」。常见的错误是只解读两段短材料，听下来像两篇孤立的评注。准则 C 正是冲着这四层的平衡去的。
Four layers of evidence have to be present: the literary extract, the literary work as a whole, the non-literary extract and the wider body of work. The extract shows where the issue is produced, the whole work shows whether that choice is sustained or reversed elsewhere, and the body of work shows whether the creator repeats or revises the move. Orals that only interpret the two short passages read as two separate commentaries, which is exactly what Criterion C is designed to catch.
准则 A 与准则 B：知识与分析的分界
准则 A 是知识、理解与诠释，10 分，看你知道多少，能不能从细节推出结论。准则 B 是分析与评价，10 分，看你能不能说明作者的选择如何制造意义。A 的高档要求引用精准，并且能说出字面之外的意思。B 的高档要求评价，不是把比喻、象征、排比这些术语报一遍。只报术语的口试通常停在 B 的低档，A 也跟着受损。把「作者用了比喻」换成「这个比喻把抽象的恐惧压成一个可触摸的东西」，两侧分数会一起动。阅卷时最容易分辨的就是这句替换做没做。
Criterion A asks how well the candidate knows the texts and can draw conclusions from detail, while Criterion B asks how well authorial choices are analysed and evaluated. Naming a device earns very little on its own; the mark comes from explaining what that choice makes possible for the reader and from judging whether it works. An oral that lists metaphors without evaluating their effect tends to sit in the lower bands of both criteria, because knowledge without interpretation reads as summary.
准则 C 与准则 D：组织与语言
准则 C 是重点和组织，10 分，按完整 15 分钟评，问答也算在里面。C 看三件事：是否一直围绕问题、四层证据是否平衡、观点之间有没有推进。准则 D 是语言，10 分，看准确、术语规范与口头表达的流畅。中文 A 的语言分不看辞藻，看你能不能在该精确的地方精确。说「他很难过」和说「他用第三人称限制视角把难过挡在句子外面」不是一个档。这一步最容易失分的是稿子背得太熟，被追问时接不上。
Criterion C is assessed across the whole fifteen minutes, so the discussion counts: it rewards staying on the issue, balancing the four layers, and letting one claim lead into the next. Criterion D is about language that is accurate and precise, with terminology used properly rather than as decoration. Candidates who memorise a script often do well for eight minutes and then collapse when a question pulls them off it.
五分钟问答怎么接住追问
教师提问不是刁难，多数问题来自你没说清的地方。接问题的第一步是听完，不要在半句时抢答。回答时回到具体证据：哪一页、哪一处、哪个词。如果问题指向整部作品，就把节选里的判断往外推一步。不确定的可以说自己不确定，再给一个可检验的推测。指南不允许教师替你指定主题，追问细节则在允许范围内。提前找同学做三次追问训练，比背十条预设答案有用。
The five minutes of questioning often settle Criterion A, because examiners ask about what was thin rather than what was strong. Answer with a specific place in the text, then extend the claim to the work as a whole if the question invites it. Saying that something is uncertain and then offering a testable reading is far better than inventing a quotation.
提纲、录音与校内评审流程
口试当天可以带一份提纲，上限是 10 个要点。提纲写关键词，不写整句，否则会变成念稿。节选要带干净的原件，行号可以自己加。口试必须录音，评审样本以音频形式提交给 IBO。录音质量差会影响评审，学校一般会提前试设备。学习者档案不直接评分，但选题与证据都从那里长出来。稿子不要外传，重复率过高会按学术不端处理。
On the day, the outline is capped at ten bullet points and should hold keywords rather than sentences, since a script turns the oral into reading aloud. The session is recorded and a sample of the audio goes to the IBO for moderation, so schools normally test the equipment beforehand. The learner portfolio is not marked directly, but it is where the issue and the evidence should have been found in the first place.
最后两周怎么练：三次计时与两次追问
第一周做三次全流程计时，每次换一组节选，看问题还站不站得住。第二周做两次追问演练，让别人只听不看稿。每次练完只改一处：要么改问题的表述，要么改四层证据的配比。不要每轮重写全稿，改到第三版通常只剩措辞。很多学生以为练得多就好，其实不录音回听的练习只是重复。回听时数一下复述情节占了多少秒，超过 90 秒就要动结构。考试当天只带提纲与干净节选，手机和笔记留在门外。
Two weeks out, three timed run-throughs on different extracts will show whether the issue survives contact with the texts. In the second week, two sessions of unscripted questioning do more than another rewrite, because the discussion is scored too. Record every run and count the seconds spent retelling plot; anything above ninety seconds is a structural problem rather than a vocabulary problem.
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