Cambridge IGCSE™

LITERATURE (SPANISH) 0488/31

Paper 3 Alternative to Coursework May/June 2023
MARK SCHEME
Maximum Mark: 20

Published

This mark scheme is published as an aid to teachers and candidates, to indicate the requirements of the
examination. It shows the basis on which Examiners were instructed to award marks. It does not indicate the
details of the discussions that took place at an Examiners’ meeting before marking began, which would have
considered the acceptability of alternative answers.

Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for
Teachers.

Cambridge International will not enter into discussions about these mark schemes.

Cambridge International is publishing the mark schemes for the May/June 2023 series for most
Cambridge IGCSE, Cambridge International A and AS Level and Cambridge Pre-U components, and some
Cambridge O Level components.

This document consists of 8 printed pages.

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Generic Marking Principles

These general marking principles must be applied by all examiners when marking candidate answers.
They should be applied alongside the specific content of the mark scheme or generic level descriptors
for a question. Each question paper and mark scheme will also comply with these marking principles.

GENERIC MARKING PRINCIPLE 1:

Marks must be awarded in line with:

 the specific content of the mark scheme or the generic level descriptors for the question
 the specific skills defined in the mark scheme or in the generic level descriptors for the question
 the standard of response required by a candidate as exemplified by the standardisation scripts.

GENERIC MARKING PRINCIPLE 2:

Marks awarded are always whole marks (not half marks, or other fractions).

GENERIC MARKING PRINCIPLE 3:

Marks must be awarded positively:

 marks are awarded for correct/valid answers, as defined in the mark scheme. However, credit
is given for valid answers which go beyond the scope of the syllabus and mark scheme,
referring to your Team Leader as appropriate
 marks are awarded when candidates clearly demonstrate what they know and can do
 marks are not deducted for errors
 marks are not deducted for omissions
 answers should only be judged on the quality of spelling, punctuation and grammar when these
features are specifically assessed by the question as indicated by the mark scheme. The
meaning, however, should be unambiguous.

GENERIC MARKING PRINCIPLE 4:

Rules must be applied consistently, e.g. in situations where candidates have not followed
instructions or in the application of generic level descriptors.

GENERIC MARKING PRINCIPLE 5:

Marks should be awarded using the full range of marks defined in the mark scheme for the question
(however; the use of the full mark range may be limited according to the quality of the candidate
responses seen).

GENERIC MARKING PRINCIPLE 6:

Marks awarded are based solely on the requirements as defined in the mark scheme. Marks should
not be awarded with grade thresholds or grade descriptors in mind.

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GENERAL MARKING PRINCIPLES

The General Descriptors guide examiners to an understanding of the qualities normally expected of,
or typical of, work in a band. They are a means of general guidance and must not be interpreted as
hurdle statements. For the purposes of standardisation of marking, they are to be used in conjunction
with standardisation scripts and discussed during the examiners’ coordination meeting, as well as the
question-specific notes.

Because of the nature of the subject, these notes are for general guidance; they are not designed as
prescriptions of required content and must not be treated as such. The syllabus aims at encouraging
candidates to make some personal response to their reading. This means that, while we may have
legitimate expectations as to the ground most answers may occupy, we must be prepared to meet
candidates on their chosen ground.

Hence, we must at all times tease out what the candidate is trying to say to us. We must recognise
that it is possible for a candidate whose technical command of Spanish is limited, but whose language
still manages to communicate understanding, to receive high marks. Nor should we reward fluency
and display of literary terms if we feel that there is little evidence of such understanding. Remember
that we are looking for response to literature, not demonstration of language skills.

It is vital that we constantly remind ourselves that this is unseen work and we should not be
overcritical of an occasional false note or misunderstanding. We are marking the quality of the
process of engaging with literature, and not merely assessing the accuracy or otherwise of the
conclusions reached.

Regular reference to the standardisation scripts discussed during coordination will be crucial to
maintaining the standard throughout the marking process.

The detailed questions are intended to help the candidate respond. Candidates are required to
answer them but need not do so in a rigid sequence; some of the answers may be implicit in the
essay, although it is expected that candidates will be able to spell out their views and interpretations
with sufficient clarity. There is no prescribed application of marks to each question and the response
should be marked holistically. Candidates who do not answer the prescribed questions will penalise
themselves automatically, as the questions are central to the passage.

USE OF BAND DESCRIPTORS

The Descriptors are an attempt to guide examiners to an understanding of the qualities normally
expected of, or ‘typical’ of work in the band.

First place the script within a Band, and then, having balanced its different qualities and their
relationship to the Assessment Objectives and the three strands within each Band, decide whether
you place it at the top, in the middle or at the bottom of that Band.

Place a tick or ‘seen’ on every page to show you have not missed a page.

In writing comments on the script, use the annotations available from RM Assessor.

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GENERAL CRITERIA FOR MARKING

Answers will be marked according to the following general criteria:

20 Answers in this band have all the qualities of Band 7 work, with further insight,
Band 8 19 sensitivity, individuality or flair. They show complete and sustained engagement
18 with both text and task.

A detailed, relevant and possibly perceptive personal response that engages

both with text and task
17  shows a clear and at times critical understanding of the text and its deeper
Band 7 16 meanings
15  responds in detail to the way the writer achieves her/his effects (sustaining
a fully appropriate voice in an empathic task)
 integrates carefully selected and relevant reference to the text

A developed and relevant personal response that engages both with text and
task
14
 shows understanding of the text and some of its deeper implications
Band 6 13
 responds adequately to the way the writer achieves her/his effects (using
12
suitable features of expression in an empathic task)
 shows some thoroughness in selecting relevant references to the text

Begins to develop a relevant personal response that engages both with text
and task
11
 shows some understanding of meaning
Band 5 10
 makes a little reference to the language of the text (beginning to assume a
9
voice in an empathic task)
 uses some supporting textual detail

Attempts to communicate a basic personal response

8  makes some relevant comments
Band 4 7  shows a basic understanding of surface meaning of the text (of character
6 in an empathic task)
 makes a little supporting reference to the text

Some evidence of a simple personal response

5  makes a few straightforward comments
Band 3 4  shows a few signs of understanding the surface meaning of the text (of
3 character in an empathic task)
 makes a little reference to the text

2 Limited attempt to respond

Band 2
1  shows some limited understanding of simple/literal meaning

Band 1 0 No answer / insufficient answer to meet the criteria for Band 2

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Annotations to use in RM Assessor

Annotations

Tick Correct answer / point / statement

Cross Wrong answer / point/ statement

BOD Benefit of the Doubt

Highlight Red (to indicate quotes on the left-hand margin) Blue (to
highlight, inside the text, significant points in the response)

On Page Comment Use this if you want to type in an annotation in a certain place on
the script.

Caret (^) Omission (to indicate when an expected point or comment/

explanation is missing)

NAR Narrative (to indicate paraphrasing or sections that are

unnecessary or, a simple transfer of text without due comment
or explanation)

REP Repetition

? Unclear

DEV Development

NUT No use of text / no quotes

NOM Quote or statement not explained / Opinion not given

IR Irrelevant

Vertical wavy line Extendable vertical wavy line (for margin use). Can be used in
different colours to indicate different things.

W1 Why? / Unexplained or confusing explanation

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Question Answer Marks

1 Indicative Content 20

¿Hasta qué punto y cómo ha logrado el autor impactarlo/la a usted con

lo que acontece en este relato? En particular, debe considerar, en
detalle, los siguientes aspectos:

La experiencia del protagonista al hacerse dueño de un perro

 he is not sure why he bought a dog

 his original reasons (not to be alone, to vary his routine and to be
obliged to go out more)
 what makes him think it was a mistake to get a dog (damages to the
sofa, furniture, floor, etc.)
 his lack of knowledge about how to train the dog
 his regret at not having opted for stamp collecting instead (advantages:
no furniture damage; no food expenses and the potential of increased
value)

Las dificultades en su relación con la mujer y su conclusión final

 his initial doubts about getting the dog fade away after meeting the
woman
 she has an air of mystery that intrigues and attracts him which grows
with time
 the woman behaves as if she were constantly under surveillance
 the woman seems aware/resigned to the fact that the relationship
cannot develop
 the woman appears to be consulting her dog at all times
 any sign of closeness between the couple attracts disapproval from the
dog (warning sign)
 the more the relationship progresses, the more they feel watched
 her dog stops running around and is constantly at her side to avoid
closeness between the couple
 she seems incapable of acting on her own accord and feels obliged to
satisfy her dog’s expectations
 he proposes they meet by themselves but she refuses (her dog could
cause havoc in her flat and inconvenience the neighbours)
 her dog interferes in her relationship with him
 his reluctance to speak in front of her dog – the way he gradually feels
intimidated by its presence
 by now it is evident the woman’s dog controls her
 to confirm this, her dog turns up on its own the next day
 how this makes him shudder
 her dog appears to be in control of its own routine (turns up alone and
leaves alone)
 her dog appears to have punished the woman leaving her at home

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Question Answer Marks

1  the relationship between the man and his dog is, increasingly, equally
sinister. His dog appears to be in control, and be more demanding and
fierce (demands food with a growl)
 the man comes to the realisation that both dogs are in control of their
own routine; both owners are under the control of their dogs
 he is afraid his dog can read his mind and will punish him
 the man concludes there has been a reverse of roles: they are not the
ones taking their dogs out. On the contrary, they are taken out by their
dogs: los perros sacaban a pasear a sus dueños

Cómo el uso del lenguaje contribuye a crear efectos, tales como

humor e intranquilidad, en la historia

Reference to the surprise, irony, humour, and/or uneasiness depending on

how the candidate perceives the story may include:

 The fine humour and irony contained in the story as a whole when
referring to a very common experience, and making it extraordinary and
shocking by changing the view of who the owner is: is the man the
owner of the dog or the dog the owner of the man?

 How the author uses language to transform what is usually a very

‘common’ routine – taking your dog out – into something that has the
potential to cause a sense of unease in the reader.

 When the narrator meets the woman, the way in which he talks about
her suggests that something may be happening to her: she seems tired
and has an air of mystery. This makes her attractive to the narrator who
wants to know more about her and unravel the mystery. This alerts the
reader who becomes intrigued.

 The way the woman’s dog looks at her impacts the reader because this
contrasts with the protagonists’ normal conversations and actions
(walking their dogs; talking about everyday things, etc.) and gives a
subtle touch of the bizarre to the narrative. Although this does not,
strictly speaking, verge on the ‘fantastic’ (that her dog is ‘communicating
with her’), it is close to that possibility.

 The fact that the relationship with the woman cannot develop normally
because her dog watches her and appears to interfere physically with
the couple adds more of the ‘surreal’ to the narrative, which has moved
from talking about everyday facts of life, such as having a dog, to telling
us extraordinary details such as how the dog seems to have his owner
under control.

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Question Answer Marks

1  In the first half of the story the readers may think that it is just a jealous
dog demanding his owner’s attention and rejecting a stranger such as
the narrator, which could be seen as the typical behaviour of a dog. But
the arrival of the dog alone, in the second part of the story, subverts the
reality to which we are used to and makes clear to us that we are not
reading an ordinary story. Instead, we are shown a more frightening
reality, one in which those in control are the dogs.

 The ending of the story swings between the semi-terrifying – the

narrator reveals to us the ‘reality’ that he is being controlled by his dog –
and the humorous. To a certain extent, without the protagonists’
interpretation, the dogs’ behaviour could be seen as normal – walking
around, wrecking the house, snarling when hungry, howling – but the
narrator’s interpretation may make the reader smile as it depicts a
sarcastic but nonetheless believable version of what it is to have a pet.

Usted puede añadir cualquier otro comentario que le parezca

pertinente:

 Candidates may reflect on the implications of this story: is this pure

fiction/exaggeration or do pets in real life acquire such importance for
their owners that they end up being in control? Candidates may
consider the extremes people go to to keep their pets happy.

 The skill with which the writer takes a commonplace idea – that pets
exercise control over their owners – and exaggerates it with a sinister
effect.

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