Wednesday

Today we need to go over what you read last night.  Discuss types of meter, poetry explications, and finally look at Prufrock.   Tomorrow we move on to FORM/STRUCTURE of poetry.

First let's return to "God's Grandeur"

NOTES:

When looking for the theme - and you should always look for a theme in a piece of literature - think about the connection between nature and God.

Other things to note - vocabulary: reck = recognize; trod = to set down the foot or feet in walking.

-- Form: this is an Italian Sonnet (and therefore is broken into an 8 / 6 stanza structure with a turn in idea happening at line 9). The rhyme scheme is ABBAABBA CDCDCD. The first eight lines set up an idea and the last six comment on that idea. Further you could look at the eight lines as a set of two quatrains (the rhyme scheme is called envelop as the outer rhyming words enclosed the inner rhyming words as seen here: God (1), foil (2), oil (3), rod (4).

In the first quatrain (or 4 lines) you should think about the following: charge (think electricity or lightning) - charge is connected to flame and to foil (foil is golden foil - like golden tinfoil). "ooze of oil" is olive oil. Olive oil was used to anoint kings. Rod is a metonymy for ruler (or laws).

In the first four lines note the on place of enjambment. This is important. Also note the alliteration (and how the alliteration connects two or more words together in both sound and idea): Line one: grandeur God; Line 2: flame foil shining shook; Line 3: gathers greatness; Line 4: reck rod now not. How does the connection of these words reinforce meaning?

In the 2nd quatrain (lines 5-8) there's a sift in tone. Note the repetition of "have trod, have trod, have trod" - what effect does this have? Does it make you weary? Note, in line 2 the alliteration trade toil seared smeared and the rhyme with bleared. Trade is commerce; toil is work or labor. The tone here is negative. Line 3: Alliteration smudge, shares, smell, soil. Line 4: foot feel now nor. Note, shod means shoed (wearing shoes). Note the one enjambment and how it twists the meaning (or creates duality of meaning in the lines). "soil" meaning "dirty or to make dirty" and soil meaning earth.



Today - lets review:

Also syllabic poetry, and meter: iambic, anapest, dactyl, trochee and spondee

Frost said that that in the English language there are virtually but two meters: "strict iambic and loose iambic". Iambic is the most common form of meter followed by anapest. Trochaic and dactylic are rare. Spondee is used mostly in cursing. But all poems work on rhythm and the breaking of rhythm for effect and meaning. So even iambic meters are broken.

So what do iambic mean:

unstressed, stressed syllables - such as into the sun.

Anapest: unstressed, unstressed, stressed - such as intervene, or all must die.

Dactyl: stressed, unstressed, unstressed - such as enterprise or color of

Trochee: stressed, unstressed - went to church to

Spondee: YOU ASS! stress stress


Last: This week, we will begin looking at famous poems. THE WASTELANDS


The last six lines move away from mankind and back to nature. Again note enjambment and the connotation of words like "spent" "bent" "springs" "wings".

Tuesday

Today we are going to go over what you read last night (chapters 1 and 2) and discuss the following poems:

"Terrance this is Stupid Stuff"
"The Man He Killed"
"Is My Team Ploughing"

We will also finish chapter 11 and begin chapter 12.
I also have a handout for you of information that you need to know by next week.

HOMEWORK: Read Chapter 3.  

First we need to look at POETRY EXPLICATIONS:

Advice for reading a poem according to PIerrine in Sound and Sense

1) Read the poem more than once. A good poem will no more yield its full meaning on a single reading than will a Beethoven symphony on a single hearing.
2) Keep a dictionary by you and use it. It is futile to try to understand poetry without troubling to learn the meaning of the words in which it is composed. A few other reference books should also be invaluable. Particularly desirable are a good book on mythology and a Bible.
3) Read as to hear the sounds of the words in your mind. Poetry is written to be heard: its meanings are conveyed through sound as well as through print. Every word is therefore important.
4) Always pay careful attention to what the poem is saying. One should make the utmost effort to follow the thought consciously and to grasp the full implications and suggestions. Because a poem says so much, several readings may be necessary, but on the first reading you should determine the subjects of the verbs and antecedents of the pronouns.
5) Practice reading the poem aloud. A) Read it affectionately, but not affectedly. B) Read it slowly enough that each word is clear and distinct and that the meaning has time to sink in. C) Read the poem so that the rhythmical pattern is felt but not exaggerated. Remember that poetry is written in sentences, just like prose is, and that punctuation is a signal as to how it should be read.

When writing a poetry explication make sure you start with a HOOK and a THESIS STATEMENT. Put here are a set of rules:

Poetry Explications

A poetry explication is a relatively short analysis, which describes the possible meanings and relationships of the words, images, and other small units that make up a poem. Writing an explication is an effective way for a reader to connect a poem's plot and conflicts with its structural features. This handout reviews some of the important techniques of approaching and writing a poetry explication, and includes parts of two sample explications.

Preparing to write the explication

1. Read the poem silently, then read it aloud (if not in a testing situation). Repeat as necessary.

2. Consider the poem as a dramatic situation in which a speaker addresses an audience or another character. In this way, begin your analysis by identifying and describing the speaking voice or voices, the conflicts or ideas, and the language used in the poem.

The large issues

Determine the basic design of the poem by considering the who, what, when, where, and why of the dramatic situation.

*

What is being dramatized? What conflicts or themes does the poem present, address, or question?
*

Who is the speaker? Define and describe the speaker and his/her voice. What does the speaker say? Who is the audience? Are other characters involved?
*

What happens in the poem? Consider the plot or basic design of the action. How are the dramatized conflicts or themes introduced, sustained, resolved, etc.?
*

When does the action occur? What is the date and/or time of day?
*

Where is the speaker? Describe the physical location of the dramatic moment.
*

Why does the speaker feel compelled to speak at this moment? What is his/her motivation?

The details

To analyze the design of the poem, we must focus on the poem's parts, namely how the poem dramatizes conflicts or ideas in language. By concentrating on the parts, we develop our understanding of the poem's structure, and we gather support and evidence for our interpretations. Some of the details we should consider include the following:

*

Form: Does the poem represent a particular form (sonnet, sestina, etc.)? Does the poem present any unique variations from the traditional structure of that form?
*

Rhetoric: How does the speaker make particular statements? Does the rhetoric seem odd in any way? Why? Consider the predicates and what they reveal about the speaker.
*

Syntax: Consider the subjects, verbs, and objects of each statement and what these elements reveal about the speaker. Do any statements have convoluted or vague syntax?
*

Vocabulary: Why does the poet choose one word over another in each line? Do any of the words have multiple or archaic meanings that add other meanings to the line? Use the Oxford English Dictionary as a resource.

The patterns

As you analyze the design line by line, look for certain patterns to develop which provide insight into the dramatic situation, the speaker's state of mind, or the poet's use of details. Some of the most common patterns include the following:

*

Rhetorical Patterns: Look for statements that follow the same format.
*

Rhyme: Consider the significance of the end words joined by sound; in a poem with no rhymes, consider the importance of the end words.
*

Patterns of Sound: Alliteration and assonance create sound effects and often cluster significant words.
*

Visual Patterns: How does the poem look on the page?

My candle burns at both ends
It will not last the night;
But ah, my foes, and oh, my friends -
It gives a lovely light.

- Millay



Chapter 11: Alliteration, Assonance, Consonance: various poems

Poems to look at and answer questions: "Traveling Through the Dark". 

 

TONIGHT - READ Chapters 1 and 2 (poetry section).

 

i carry your heart(i carry it in my heart)




may i feel said he
(i'll squeal said she
just once said he)
it's fun said she

(may i touch said he
how much said she
a lot said he)
why not said she

(let's go said he
not too far said she
what's too far said he
where you are said she)

may i stay said he
which way said she
like this said he
if you kiss said she

may i move said he
is it love said she)
if you're willing said he
(but you're killing said she

but it's life said he
but your wife said she
now said he)
ow said she

(tiptop said he
don't stop said she
oh no said he)
go slow said she

(cccome?said he
ummm said she)
you're divine!said he
(you are Mine said she)  

Advice for reading a poem according to PIerrine in Sound and Sense

1) Read the poem more than once. A good poem will no more yield its full meaning on a single reading than will a Beethoven symphony on a single hearing.
2) Keep a dictionary by you and use it. It is futile to try to understand poetry without troubling to learn the meaning of the words in which it is composed. A few other reference books should also be invaluable. Particularly desirable are a good book on mythology and a Bible.
3) Read as to hear the sounds of the words in your mind. Poetry is written to be heard: its meanings are conveyed through sound as well as through print. Every word is therefore important.
4) Always pay careful attention to what the poem is saying. One should make the utmost effort to follow the thought consciously and to grasp the full implications and suggestions. Because a poem says so much, several readings may be necessary, but on the first reading you should determine the subjects of the verbs and antecedents of the pronouns.
5) Practice reading the poem aloud. A) Read it affectionately, but not affectedly. B) Read it slowly enough that each word is clear and distinct and that the meaning has time to sink in. C) Read the poem so that the rhythmical pattern is felt but not exaggerated. Remember that poetry is written in sentences, just like prose is, and that punctuation is a signal as to how it should be read.

When writing a poetry explication make sure you start with a HOOK and a THESIS STATEMENT. Put here are a set of rules:

Poetry Explications

A poetry explication is a relatively short analysis, which describes the possible meanings and relationships of the words, images, and other small units that make up a poem. Writing an explication is an effective way for a reader to connect a poem's plot and conflicts with its structural features. This handout reviews some of the important techniques of approaching and writing a poetry explication, and includes parts of two sample explications.

Preparing to write the explication

1. Read the poem silently, then read it aloud (if not in a testing situation). Repeat as necessary.

2. Consider the poem as a dramatic situation in which a speaker addresses an audience or another character. In this way, begin your analysis by identifying and describing the speaking voice or voices, the conflicts or ideas, and the language used in the poem.

The large issues

Determine the basic design of the poem by considering the who, what, when, where, and why of the dramatic situation.

*

What is being dramatized? What conflicts or themes does the poem present, address, or question?
*

Who is the speaker? Define and describe the speaker and his/her voice. What does the speaker say? Who is the audience? Are other characters involved?
*

What happens in the poem? Consider the plot or basic design of the action. How are the dramatized conflicts or themes introduced, sustained, resolved, etc.?
*

When does the action occur? What is the date and/or time of day?
*

Where is the speaker? Describe the physical location of the dramatic moment.
*

Why does the speaker feel compelled to speak at this moment? What is his/her motivation?

The details

To analyze the design of the poem, we must focus on the poem's parts, namely how the poem dramatizes conflicts or ideas in language. By concentrating on the parts, we develop our understanding of the poem's structure, and we gather support and evidence for our interpretations. Some of the details we should consider include the following:

*

Form: Does the poem represent a particular form (sonnet, sestina, etc.)? Does the poem present any unique variations from the traditional structure of that form?
*

Rhetoric: How does the speaker make particular statements? Does the rhetoric seem odd in any way? Why? Consider the predicates and what they reveal about the speaker.
*

Syntax: Consider the subjects, verbs, and objects of each statement and what these elements reveal about the speaker. Do any statements have convoluted or vague syntax?
*

Vocabulary: Why does the poet choose one word over another in each line? Do any of the words have multiple or archaic meanings that add other meanings to the line? Use the Oxford English Dictionary as a resource.

The patterns

As you analyze the design line by line, look for certain patterns to develop which provide insight into the dramatic situation, the speaker's state of mind, or the poet's use of details. Some of the most common patterns include the following:

*

Rhetorical Patterns: Look for statements that follow the same format.
*

Rhyme: Consider the significance of the end words joined by sound; in a poem with no rhymes, consider the importance of the end words.
*

Patterns of Sound: Alliteration and assonance create sound effects and often cluster significant words.
*

Visual Patterns: How does the poem look on the page?

Lit Devices

Literary Devices                                                                          

AP English

Every discipline employs a special vocabulary; literary criticism is no exception. Literary criticism is based in part on the assumption that writing is a purposeful activity and that excellent literature – work of literary merit --  is not merely a happy accident. During the year I will be encouraging you to familiarize yourself with some of the terminology that is used in literary criticism. To that end, you will be creating a glossary of literary devices that you encounter in your reading. Below I have included a list of a few of the many devices you will encounter while reading; you are in no way constrained to this list, it’s just there for your information – to give you a small sampling of the wonderful world of literary devices. There are hundreds of devices that writers employ; you will no doubt find a few that I have not heard of before.

allegory

alliteration

allusion

ambiguity

antagonist

analogy

apostrophe

archetype

aside

assonance

aubade

ballad

blank verse

cacophony

caesura

catharsis

character / flat, round

complication

conceit

connotation

colloquial diction

comedy

connotation

controlling metaphors

cosmic irony

denotation

dramatic irony

dramatic monologue

echo

elegy

epigram

existential character

extended metaphor

farce

flashback

formal diction

free verse

heroic couplet

hyperbole

imagery

informal diction

initiation story

metaphor

motif

myth

narrative structure

onomatopoeia

overstatement

oxymoron

parable

paradox

parody

pastoral

personification

point of view

protagonist

psychological realism

realism

rhythm

rite of passage

sarcasm

satire

simile

soliloquy

sonnet

style

symbol

syntax

theme

tone

tragedy

verbal irony

Over the course of the semester you’ll be asked to complete a number of literary device entries. Generally speaking, you’ll be able to select the device that you wish to use; on rare occasions I’ll tell you which device you need to discuss. You will eventually accumulate a total of ­­­_(10 points each)___ points worth of terms if you want full credit. Your examples may come from books we read in class, novels you read for your outside reading, or novels of literary merit that you have read on your own. Texts from your other English classes are not acceptable. You may never submit more than two (2) entries per week! You are responsible for keeping all of your lit devices once they have been graded so that you can turn them in all at once near the end of the semester. The exact date that you turn in your glossary of devices will be determined at a later date. Please note that all entries must be typed in order to be graded.

Format

 

Term:               Definition of the literary device selected

Example:          Quotation, followed by source, including title, page/line number

Function:          Author’s purpose in employing this language resource at this point in the work.  How does this particular device enhance what the writer is conveying?  You may comment on theme, character, setting, or whatever else is important in explaining how this device functions in this particular instance.

Example

 

Symbol:            In the simplest sense, a symbol is anything that stands for or represents something else beyond it—often an idea conventionally associated with it.  The term symbolism refers to the use of symbols, or to a set of related symbols.

Example:          “Like him she was lefthanded or she played chess with her left hand . . . He leaned forward and moved his bishop and mated her in four moves” (All the Pretty Horses 133).

Function:          This chess game between John Grady and Alejandra’s godmother symbolizes the competition that they are in for Alejandra herself.  This game of chess, which takes place between these two characters as John is trying to ascertain what his chances are of his relationship with Alejandra receiving approval from the family, represents the greater chess game between these two competing characters.  Although John Grady wins the first couple of games and seems to be well on his way to achieving his goal, in the end it is the godmother who triumphs.  This directly mirrors John Grady’s and the godmother’s lives: although John Grady wins Alejandra’s affections initially, in the end he loses her.  When he takes “her queen” he is literally winning the chess match by taking the queen, but he is also on a symbolic level attempting to take the godmother’s true “queen,” Alejandra, who the godmother is determined to keep from suffering the same misfortunes she endured.  The lack of dialogue between the characters during the match further reinforces the quiet competition they are engaging in; one that is not violent but is indeed fierce.  The intellectual nature of he chess match also enhances the choice that Alejandra ultimately makes near the end of the novel: leaving John and opting instead for the security (and wealth) of her family. This choice reflects the cool and calculating logic of a chess match rather than the passion of the heart.

                        [Please note that the author first provides context for the discussion (context), discusses the term itself (concept)then carefully discusses how the literary device specifically functions both in the passage and within the context of the novel as a whole (connection). The author is also careful to use the term in the active voice within the function discussion.]

Friday

A prime example of dramatic poetry. We've covered irony intensely during the past 2-3 years and so I believe you can talk about overstatement, understatement, paradox, verbal irony, situational irony, and dramatic irony without too much lecture. How is "My Last Duchess" irony? How should we view the Duke? What about the Duchess? What about the situation, the event of the story? This poem is a dramatic monologue. Look up "dramatic monologue" on-line and see what you can find out about the form. Browning, for the most part, invented it and made it famous. Most of his great works are considered dramatic monologues. Compare "My Last Duchess" with "Prufrock".

Today:

Present allegorical poems to class, and make sure you post this on your blog.

Discuss "My Last Duchess"

Go HERE for Poetry Quiz

HOMEWORK: Read Tone (chapter 10) and write a journal entry on tone and how you interpret tone in the following poems: "The Telephone", "Love in Brooklyn" and "The Flea".  Also rewrite poetry essays and literary devices. 

Literary Device: Hyperbole

an evident exaggeration for the sake of emphasis.

Example:

"For it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God!"

Function:

In Luke 18:25, Jesus is teaching his disciples about wealth. As a merchant passes by on a camel, he uses the hyperbole to stress the importance of his message.

Thursday

THE ROAD NOT TAKEN

Conformity or not? We will discuss your views.

One of the most widely studied poems in literature and one of the most debated. Why?

Click on the title above


Homework: Find a poem that uses allegory and bring it to class to read and present.

Read: Chapter 7 - "Paradox, Irony, Satire" and read "My Last Duchess"

You need to be able to explain and discuss the following two poems (in relation to imagery and meaning):

In a Station of the Metro

The apparition of these faces in a crowd;
Petals on a wet, black bough.

-Ezra Pound

So Much Depends Upon

So much depends
upon

A red wheel
barrow

Glazed with rain
water

Besides the white
chickens

-William Carlos Williams 

Allegory/Symbol

From THE BEDFORD GLOSSARY OF CRITICAL AND LITERARY TERMS

allegory: The presentation of an abstract idea through more concrete means. The typical allegory is a narrative -- whether in prose, verse, or drama -- that has at least two levels of meaning. The first is the surface-level story line, which can be summed up by stating who did what to whom and when. Although allegories have coherent plots, their authors expect readers to recognize the existence of a second and deeper level of meaning, which may be moral, political, philosophical, or religious. To that end, allegories are often thinly veiled; sometimes characters even bear the names of qualities or ideas the author wishes to represent. (Personification is a device common to many allegories). Allegories need not be entire narratives, however, and narratives may contain allegorical elements or figures. Many critics consider the allegory to be an extended metaphor and, conversely, consider metaphors -- which involve saying one thing but meaning another -- to be "verbal allegories."

symbol: Something that, although it is of interest in its own right, stands for or suggests something larger and more complex -- often an idea or a range of interrelated ideas, attitudes, and practices.

Within a given culture, some things are understood to be symbols: the flag of the United States is an obvious example, as are the five intertwined Olympic rings. More subtle cultural symbols might be the river as a symbol of time and the journey as a symbol of life and its manifold experiences. Instead of the appropriating symbols generally used and understood within their culture, writers often create their own symbols by setting up a complex but identifiable web of associations in their works. As a result, one object, image, person, place, or action suggests others, and may ultimately suggest a range of ideas.

A symbol may thus be defined as a metaphor in which the vehicle -- the image, activity, or concept used to represent something else -- represents many related things (or tenors) or is broadly suggestive. The urn in John Keats's "Ode on a Grecian Urn" (1820) suggests interrelated concepts, including art, truth, beauty, and timelessness.

Symbols are distinguished from allegories. Like symbols, allegories present an abstract idea through more concrete means, but a symbol is an element of a work used to suggest something else (often of a higher or more abstract order), whereas an allegory is typically a narrative with two levels of meaning that is used to make a general statement or point about the real world.

The Sheep Child

The following is according to James Dickey, the author. The full text can be found here at the University of Illinois website.


"The Sheep Child" comes out of the most horrible thing anybody ever told me in my childhood. A boy named Dick Harris once gave me to understand that a man and a sheep can conceive progeny. I asked him if that was really true and he said, "Oh sure, everybody knows that! Way down on the south side of Atlanta there’s this museum, and way back in the corner where nobody would ever look, there’s this little thing like a woolly baby in a bottle of alcohol, because those things can’t live. I could probably find out where it is, and take you down there and show it to you." He never did, thank God! To this day I’m afraid to run into him again, because he might still take me down there and show it to me! But one day I thought this was a possibility for a poem, and so I wrote it. I took the situation seriously and tried to discover some of the implications of what such beings might be like.

I believe that farm boys develop a kind of private mythology that has the effect of preventing too much of this sort of thing from going on. It doesn’t prevent all of it, you understand, but it keeps it within reasonable bounds—whatever they might be. The first part of the poem is a recounting of the farm boys’ legend of the sheep child in the museum. But the second part of the poem is supposed to be spoken by the sheep child himself from his bottle of formaldehyde in the museum. I don’t know what other defects or virtues this poem might have, but I think it can hardly be faulted from the standpoint of originality of viewpoint, at least in the latter section!

I intended no blasphemy or obscenity by this poem at all. I tried to the best of my ability to write a poem about the universal need for contact between living creatures that runs through all of sentient nature and recognizes no boundaries of species or anything else. Really the heroine of the poem is the female sheep who accepts the monstrous conjunction and bears the monstrous child, because in some animal way she recognizes the need that it is born from. I tried to give the sheep child himself a double vision of the destiny of man and animal.

Poetry Overview

All pages refer to Perrine’s Literature: Structure, Sound, and Sense

Week 1: Literary Terms Specific to Poetry
Imagery: Chapter 4, “After Apple-Picking” – Questions & Journal
Symbol/Allegory: Chapters 5 and 6, “The Road Not Taken” – Questions, Journal
Paradox, Irony: Chapter 7 “My Last Duchess” – Journal
Tone: Chapter 10, “The Man He Killed” – Questions and Journal
Alliteration, Assonance, Consonance: Chapters 11,12,13, various poems

Week 2: Forms of Poetry

Sonnet, Stanza, Ballad, Haiku, Villanelle, Pantoum, Blues, Blank Verse, Quatrain, Couplet, Ode, Blank Verse, Dramatic Monologue, Prose Poem, Epic Poem

In Journals – students will need to explain how each form works and how form = idea



Week 3: Great Poets (focus on Modernism)
Theme: The Individual’s Place in Society

Frost – “Death of the Hired-Man”, “Home Burial”
Eliot – “Love Song of J. Alfred Prufrock”, “Wastelands”
Brooke- “The Dead”
Wilfred Owen – “Dulce et Decorum Est”
Hughes – “Theme for English B”
Bishop – “The Fish”
Jarrell – “Death of Ball-Turret Gunner”
Forche – “The Colonel”
Clifton – “Good Times”
Plath – “Mad Girl’s Love Song”

And perhaps Berryman and Dylan Thomas.

Week 4: In-Class essay, student’s poetry, poetry projects

Students will practice their hand at writing their own poems and exploring literary devices and poetic form. These will be read out loud.

Students will also choose one poem from “Poems for Further Reading” and teach what the poem means and how it creates meaning by discussing form, literary devices and perhaps social context

1st In-class essay.

POETRY TEST: THINGS TO KNOW

Elements: Know both definitions and examples
Imagery, denotation, connotation, irony – verbal, situational, dramatic, sarcasm, metaphor, personification, metonymy, apostrophe, synecdoche, symbol, allegory, paradox, overstatement, understatement, allusion, tone, alliteration, assonance, consonance, internal rime, slant rime, end rime, approximate rime, refrain, meter, iamb, trochee, anapest, dactyl, spondee, monosyllabic foot, line, stanza, cacophony, caesura, enjambment, onomatopoeia

Forms:
Structure, line breaks, how the poem looks, rhyme and rhythm and how it is created
Blues, Sestina, Villanelle, Pantoum, Sonnet (English, Italian, Spenserian, and hybrid), haiku, quatrain, tercets, couplets, litany, ballad.

Poems:
“Love Song of J. Alfred Prufrock” “Home Burial” “Heights of Machu Picchu” “The Flea” “My Last Duchess” “The Wastelands” “To His Coy Mistress”, “The Waste Lands” “Nani” “The Colonel” “One Art” “Fern Hill” “The Waking” “My Mistress’ Eyes” “The Second Coming”


POETRY EXPLICATION PART I
A poetry explication is a relatively short analysis which describes the possible meanings and relationships of the words, images, and other small units that make up a poem. Writing an explication is an effective way for a reader to connect a poem's plot and conflicts with its structural features. This handout reviews some of the important techniques of approaching and writing a poetry explication, and includes parts of two sample explications.

Preparing to write the explication

1. Read the poem silently, then read it aloud (if not in a testing situation). Repeat as necessary.

2. Consider the poem as a dramatic situation in which a speaker addresses an audience or another character. In this way, begin your analysis by identifying and describing the speaking voice or voices, the conflicts or ideas, and the language used in the poem.

The large issues

Determine the basic design of the poem by considering the who, what, when, where, and why of the dramatic situation.

*

What is being dramatized? What conflicts or themes does the poem present, address, or question?
*

Who is the speaker? Define and describe the speaker and his/her voice. What does the speaker say? Who is the audience? Are other characters involved?
*

What happens in the poem? Consider the plot or basic design of the action. How are the dramatized conflicts or themes introduced, sustained, resolved, etc.?
*

When does the action occur? What is the date and/or time of day?
*

Where is the speaker? Describe the physical location of the dramatic moment.
*

Why does the speaker feel compelled to speak at this moment? What is his/her motivation?

Literary Devices                                                                          

 

Every discipline employs a special vocabulary; literary criticism is no exception. Literary criticism is based in part on the assumption that writing is a purposeful activity and that excellent literature – work of literary merit --  is not merely a happy accident. During the year I will be encouraging you to familiarize yourself with some of the terminology that is used in literary criticism. To that end, you will be creating a glossary of literary devices that you encounter in your reading. Below I have included a list of a few of the many devices you will encounter while reading; you are in no way constrained to this list, it’s just there for your information – to give you a small sampling of the wonderful world of literary devices. There are hundreds of devices that writers employ; you will no doubt find a few that I have not heard of before.

allegory

alliteration

allusion

ambiguity

antagonist

analogy

apostrophe

archetype

aside

assonance

aubade

ballad

blank verse

cacophony

caesura

catharsis

character / flat, round

complication

conceit

connotation

colloquial diction

comedy

connotation

controlling metaphors

cosmic irony

denotation

dramatic irony

dramatic monologue

echo

elegy

epigram

existential character

extended metaphor

farce

flashback

formal diction

free verse

heroic couplet

hyperbole

imagery

informal diction

initiation story

metaphor

motif

myth

narrative structure

onomatopoeia

overstatement

oxymoron

parable

paradox

parody

pastoral

personification

point of view

protagonist

psychological realism

realism

rhythm

rite of passage

sarcasm

satire

simile

soliloquy

sonnet

style

symbol

syntax

theme

tone

tragedy

verbal irony

OPEN QUESTION

AP OPEN RESPONSE QUESTION

AP Syllabus and Overview

AP Literature and Composition
Course Syllabus: 2016-2017
skagwayAP2013.blogspot.com
Instructor: Kent Fielding


COURSE DESCRIPTION:

The overall goal of the AP Literature and Composition class is to engage students in careful reading and critical analysis of imaginative literature and to prepare the students to take the AP Test in May.  As this is a college level course, students are expected to work more independently than in a typical high school course and to participate in classroom discussion.  Be warned that the class is very small and therefore it will be noticed by both the teacher and the other students if you haven’t done your reading and writing homework (and if this is the case I may ask you to stop by after school for a talk).  You, the student, are responsible for your own learning.  In college, no-one will ask—they will expect.

FOCUS (restated): A.P. is designed to be a challenging, engaging exploration of literature as ART.  Through critical reading, discussion, and written analysis of novels, plays, and poetry from various periods and perspectives, students will develop the reading, thinking and composition skills necessary for success in a college literature class.  Students carry considerable intellectual responsibility for course preparation.  This is a joint venture between teacher and students not a “teacher-driven” monologue.  Therefore there will be times when students will direct the class and lead, and times when students will actually teach the class activities.

Student progress will be evaluated in many ways including essays (both in class and out of class), short answer tests, homework assignments, timed-impromptu writing, dialectical journals, and quizzes.

SOME GOALS:

• To analyze literature by explaining how writers use the techniques of their art (craft) such as structure, style, theme, figurative language to communicate ideas
• To look at the social and historical values displayed in the literature we read
• To develop effective written and oral arguments by looking at logical organization, use of details, generalizations, sentence structure and vocabulary
• To develop effective research skills
• To think about how people live ethical and moral lives and how this is reflected in literature
• To explore and apply different theories of literary criticism.  Some theories we will investigate include: Historical, Moral-Philosophical, Mimetic, Formalist, Psychological, Symbolical or Mythological, Feminist, Reader-Response, Structuralism and Deconstruction.


TEXTS:
We will be reading work from the following texts, in part and whole:

 Arp, Thomas R. and Greg Johnson, Editors.  Perrine’s Literature, Structure, Sound,

and Sense, 8th Edition.  Boston: Heinle & Heinle, 2002.

 Hamlet Shakespeare
 Anna Karenina, Tolstoy
 The Trial, Kafka
 The Aeneid, Virgil
 Beloved, Morrison
 Bleak House, Dickens
 Their Eyes Where Watching God, Hurston
 The Sun Also Rises, Hemingway
 Walden, Thoreau
 Moby-Dick, Melville
 Oedipus Rex, Sophocles
 Selections from Paradise Lost
 Selected poetry from various periods
 Selected short stories by writers such as Joyce, Orwell, Hawthorne, Baldwin, Fitzgerald, Twain, Faulkner, including: “The Dead”,  “Sonny’s Blues”, “Babylon Revisited”, “The Hanging”, etc.

Outside reading requirement: 500 pages per semester from a list of approved AP titles.

Writing: Six In-Class essays (40 minutes) per semester to give practice to the constraint of the AP test. Other writing assignments will focus on critical analysis and writing in different literary theories, including an analytical-expository essay explaining how textual details (theme, tone, symbolism, structure) create meaning and an argumentative essay relating textual evidence to social or cultural values.  Students are expected to participate in peer response (both in small groups and as a class), rewriting and 1-on-1 teacher-student conferences.  Teacher conferences will be prearranged and students are expected to have one per unit.  Conferences will focus on structure, organization, use of details to back up arguments, and sentence structure.

Blog: You will keep a daily blog of your reading.  This blog will act as dialectical journal (see handout on dialectical journals) and your writing should include notes, quotations and comments on the text – things that you see such as stylistic devices, motifs, symbols, character quirks and insights– as well as questions the text brings up.  This blog will be visible to other students, as a reference, but no two blogs should be alike.  Beware – this blog is part of daily grade.


Discussion: According to the College Board (the people who oversee AP courses), “Reading should be accompanied by thoughtful discussion…in the company of one’s fellow students.”  Discussions are activities intended to aid the understanding of a work.  Students must interact intellectually with their peers.  Translation: You must come to class prepared to talk about what you read.  This means take notes at home.

You will have one outside reading project per semester.  It will be based on a book of your choice (one that you have not read before and comes from a list of approved AP titles).

Vocabulary and Literary Terms: there will be new vocabulary every two weeks and a list of literary terms (the specialized language use to analyze literature) that students need to know and recognized.  Students are expected to choose one literary term per week, look up and post a definition with an example from their current reading.

Resources: Students will be creating and compiling a list of on-line resources on texts and criticism that will help other students and future AP classes.  This will be a part of a final grade.

SEMESTER I

Poetry, Exploration of Themes, and Literary Theories

Unit 1: Introduction to Poetry (4 weeks)

All pages refer to Perrine’s Literature: Structure, Sound, and Sense

Week 1: Literary Terms Specific to Poetry
Imagery: Pages 771-774, “After Apple-Picking” – Questions & Journal
Symbol/Allegory: 807-817, “The Road Not Taken” – Questions, Journal
Paradox, Irony, Satire: 829-839, “My Last Duchess” – Journal
Tone: 880-885, “The Man He Killed” – Questions and Journal
Alliteration, Assonance, Consonance: 899-907, various poems

Week 2: Forms of Poetry

Sonnet, Stanza, Ballad, Haiku, Villanelle, Pantoum, Blues, Blank Verse, Quatrain, Couplet, Ode, Blank Verse, Dramatic Monologue, Prose Poem, Epic Poem

In Journals – students will need to explain how each form works and how form = idea



Week 3:  Great Poets (focus on Modernism)
Theme: The Individual’s Place in Society

Frost – “Death of the Hired-Man”, “Home Burial”
Eliot – “Love Song of J. Alfred Prufrock”, “Wastelands”
Brooke- “The Dead”
Wilfred Owen – “Dulce et Decorum Est”
Hughes – “Theme for English B”
Bishop – “The Fish”
Jarrell – “Death of Ball-Turret Gunner”
Forche – “The Colonel”
Clifton – “Good Times”
Plath – “Mad Girl’s Love Song”

And perhaps Berryman and Dylan Thomas.

Week 4: In-Class essay, student’s poetry, poetry projects

Students will practice their hand at writing their own poems and exploring literary devices and poetic form.  These will be read out loud.

Students will also choose one poem from “Poems for Further Reading” and teach what the poem means and how it creates meaning by discussing form, literary devices and perhaps social context

1st In-class essay.
Personal or Exploratory Essay 2-3 pages.


Unit 2: “The Search for Identity” –Prose: Creative Non-fiction, Short Story, Novel.  – Six Weeks

Walden – Thoreau
Their Eyes Were Watching God – Hurston
The Sun Also Rises – Hemingway
“Big Two-Hearted River” – Hemingway, “Babylon Revisited” – Fitzgerald, “The Yellow Wallpaper” – Perkins, “The Only Traffic Signal on the Reservation Doesn’t Flash Red Anymore” – Alexie

During this unit we will review (from last year) the structure of the short story and novel particularly looking at plot, character, theme, tone, symbolism, motif, imagery, allusion, types of irony.  These books and stories are classics of American Literature and we will reflect upon the experience of the narrator or protagonist (vs. what the author wants the reader to take away) and discuss how the experience exemplifies an idea of American Culture.  We will also compare and contrast the experiences presented in these stories.

Assignments:

Blogs/Journals – daily entries
In-Class Essays – 1 per book or novel
Expository Essay – 3-5 pages.  An essay explaining how one literary element creates meaning in any of the novels/stories.



Unit 3: Literary Theory and Moby-Dick or Anna Karenina (7 weeks plus Christmas Break)

As we read Moby-Dick (what has been called the greatest American Novel ever written and an epic prose poem) we will look at different theories of literary criticism and how they might apply, or be applied, to Moby-Dick.  Different theories have been listed above under “Some Goals”.

Assignments:

Blogs/Journals – Daily exploring lit devices, characters and different crit theories.

In-Class Essays – 2.
Every two weeks students will choose a theory and write a 2-3-page essay trying to utilize the guiding principal of the theory to explore the meaning of novel.  The student will meet 1-1 with the instructor and the best of the three essays will be revised and expanded (5-10 pages) for a final grade.


SEMESTER II

Drama, Classical Literature, the social and historical world of Dickens, the AP Test

Unit 4: Drama, Classical Literature and the Tragic Hero (7 weeks)

Two of the following:

Hamlet – Shakespeare
Oedipus Rex – Sophocles
The Trial – Kafka
The Aeneid (Vergil) and Paradise Lost (Milton).

During this unit we will explore the meaning of the tragic hero in both drama, prose and poetry.  We will look at the origins of tragedy and why tragedy was such an important art form.

Assignments:

Blog/Journal: Daily entries
In-class essays: 3
Project – Drama Interpretation and presentation to class

Unit 5: Dickens (7 weeks) or Morrison

Bleak House or Beloved

During this unit we will explore the social and historical world of Charles Dickens, noted as one of England’s greatest authors.  We will look at how characters, settings, symbols, motifs, and other literary devices create or give meaning to the social and historical world of the 1800s England.  What was Dickens trying to say about this world?

Assignments:

Blog/Journal – Daily
In-Class Essays – 3
Argumentative Essay – students will write an essay exploring the textual details of Bleak House and make an argument about what Dickens was trying to say about the social life and culture of the time.  This essay (5-10 pages) will be revise and posted on student’s blogs.


Unit 6: AP Test

We will spend 2-3 weeks reviewing strategies for the test – both the essay and multiple-choice selections.

AP TEST: Thursday, May 7th.

Summer reading for Juniors: The Handmaid’s Tale


Final Notes:

Plagiarism: Please do not copy or directly quote without giving proper citation (or acknowledgement) someone else writing.  This is intellectual theft and writers and critics take this seriously.  This also means do not copy from each other.  This classroom cannot be a “group mind” but must be a group of individual minds working to support each other’s ideas.  A plagiarized assignment will receive a zero with no chance for make-up. Repeated offenses will result in conferences with parents and administration and a probable “F” in the course.  It is okay to check sites like sparknotes.com but don’t let these sites do your thinking.  For one thing, the sites are too general, for success in AP you need to analysis beyond sparknotes and further I sometimes check these sites before I read your assignments.  I expect assignments to be free of these sites just as I don’t expect to see anyone referencing wikipedia in an argumentative essay.


GRADES:

Tests, essays, projects: 50% of total grade
Quizzes 25% of total grade
Homework, class work 15% of total grade
Blogs/journals  10% of total grade

Scale:

100- 93 = A
92.49- 90 = A-
89.49- 87 = B+
86.49-83.00 = B
82.49- 80.00 = B-
79.49-77.00 = C+
76.49- 73 = C
72.49-70.00 = C-
69.49-67.00 = D+
66.49- 63.00 = D
62.49- 60 = D-
Below 60 = F

LATE WORK: This is a college course therefore no late work will be accepted without talking with the instructor beforehand.


RULES

--Be in your seat when the bell rings
--Remain on task for the entire period (we need to cover a lot of ground in one short year)
--Read what you are suppose to read on time
--Meet the spirit of the assignment and course not just the letter grade
--Ask lots of questions about our readings and writings
--Turn in all work on time
--Remember everything you write in class is public and may be shared with the class at anytime (this means be prepared to read your own work out loud—no excuses)
--Think creatively, critically, and analytically
--Come to class passionate about literature
--Remember basic school rules: respect others at all times, no ipods in this class, get out computers only when needed (being on email or chats during class is not only not allowed but is disrespectful and will earn you detention with Mr. Fielding and an extra timed-essay to write during this detention.
--SMILE—this is a fun class



Literary Devices  
AP English

Every discipline employs a special vocabulary; literary criticism is no exception. Literary criticism is based in part on the assumption that writing is a purposeful activity and that excellent literature – work of literary merit --  is not merely a happy accident. During the year I will be encouraging you to familiarize yourself with some of the terminology that is used in literary criticism. To that end, you will be creating a glossary of literary devices that you encounter in your reading. Below I have included a list of a few of the many devices you will encounter while reading; you are in no way constrained to this list, it’s just there for your information – to give you a small sampling of the wonderful world of literary devices. There are hundreds of devices that writers employ; you will no doubt find a few that I have not heard of before.


allegory
alliteration
allusion
ambiguity
antagonist
analogy
apostrophe
archetype
aside
assonance
aubade
ballad
blank verse
cacophony
caesura
catharsis
character / flat, round
complication
conceit
connotation
colloquial diction
comedy
connotation
controlling metaphors
cosmic irony
denotation
dramatic irony
dramatic monologue
echo
elegy
epigram
existential character
extended metaphor
farce
flashback
formal diction
free verse
heroic couplet
hyperbole
imagery
informal diction
initiation story
metaphor
motif
myth
narrative structure
onomatopoeia
overstatement
oxymoron
parable
paradox
parody
pastoral
personification
point of view
protagonist
psychological realism
realism
rhythm
rite of passage
sarcasm
satire
simile
soliloquy
sonnet
style
symbol
syntax
theme
tone
tragedy
verbal irony


Over the course of the semester you’ll be asked to complete a number of literary device entries (1 per week). Generally speaking, you’ll be able to select the device that you wish to use; on rare occasions I’ll tell you which device you need to discuss. Your examples may come from books we read in class, novels you read for your outside reading, or novels of literary merit that you have read on your own. Texts from your other English classes are not acceptable.



POETRY TEST:
Elements: Know both definitions and examples
Imagery, denotation, connotation, irony – verbal, situational, dramatic, sarcasm, metaphor, personification, metonymy, apostrophe, synecdoche, symbol, allegory, paradox, overstatement, understatement, allusion, tone, alliteration, assonance, consonance, internal rime, slant rime, end rime, approximate rime, refrain, meter, iamb, trochee, anapest, dactyl, spondee, monosyllabic foot, line, stanza, cacophony, caesura, enjambment, onomatopoeia

Forms:
Structure, line breaks, how the poem looks, rhyme and rhythm and how it is created
Blues, Sestina, Villanelle, Pantoum, Sonnet (English, Italian, Spenserian, and hybrid), haiku, quatrain, tercets, couplets, litany, ballad.

Poems:
“Love Song of J. Alfred Prufrock” “Home Burial” “Heights of Machu Picchu” “The Flea” “My Last Duchess” “The Wastelands” “To His Coy Mistress”, “The Waste Lands” “Nani” “The Colonel” “One Art” “Fern Hill” “The Waking” “My Mistress’ Eyes” “The Second Coming”



The Dialectical Journal/Blog

Effective students have a habit of taking notes as they read. This note-taking can several forms: annotation, post it notes, character lists, idea clusters, and many others. One of the most effective strategies is called a dialectical journal. The word “dialectical” has numerous meanings, but the one most pertinent is the “art of critical examination into the truth of an opinion.” As you read, you are forming an opinion about what you are reading (or at least you are SUPPOSED to be forming an opinion). That opinion, however, needs to be based on the text – not just a feeling. This is not Touchy-Feeling English, it is AP English. Therefore, all of your opinions need to begin with a text. To that end, you will need to create a dialectical journal as you read your outside reading novel. You will then use this journal to help you write your outside reading paper, and I will use it to gauge just how interactive you are with your novel. This journal will be included as a significant part of your paper – in fact, you will be unable to get anything higher than a low “B” without completing the journal, so take it seriously.

The procedure is as follows:

1. As you read, pay close attention to the text.

2. Whenever you encounter something of interest (this could be anything from an interesting turn of phrase to a character note), write down the word/phrase making sure that you NOTE THE PAGE NUMBER. If the phrase is especially long just write the first few words, use an ellipsis, then write the last few words.

3. Then WRITE YOUR OBSEVRATIONS ABOUT THE TEXT you noted or quoted.  Please separate this two things by a little space. You need to interact in detail with the text. Make sure that your observations are THOROUGH, INSIGHTFUL, and FOCUSED CLEARLY ON THE TEXT.


That is all there is to it. This way, once you have read your text you will already have a great set of notes on which to draw when you write your paper. You also should have gained a great deal of insight about your particular text.

Note: After you do your nightly blog entry you’ll need to list or pose a set of questions – five –ten that you’d like to discuss in class.

On some nights I will have you focused on a particularly idea, scene, or literary element.


Literary Analysis: The Novel

This particular writing project requires you to read and write an in depth style analysis of a challenging work of literary merit. Due to the independent nature of the project, you will need to be vigilant in completing all of the tasks required because I will not be reminding you every week to work on this. There are two parts to this assignment. First, there is a dialectical journal you must keep while reading your novel (the guidelines for that journal will be provided separately) . Second, you must complete all of the sections detailed in this document.

For this project, you need to write about each of the areas below. For the sake of clarity and organization, please make sure that each of your sections has the proper heading, and that the sections are dealt with in the order in which they are listed on this assignment sheet. Due to the nature of this research paper you do not need to provide transitions between the different sections, you merely need to provide the heading.  This assignment must be typed, with a standard 12 point Times New Roman font, and 1.5 spaced. The cover sheet should contain your name, class period, and date submitted. All of the standards for proper convections are expected. A paper that has a distracting number of errors will only be eligible to receive a “C” or lower.

Each section has a series of questions that are meant to stimulate your thinking and writing. They are not intended to be answered in order, but instead are intended merely to act as a guide for your analysis.

One last important note: FOR EACH SECTION, make sure that you connect your commentary both to DIRECT TEXT EXAMPLES (always cited with the correct page number!) as well as to the NOVEL AS A WHOLE. Only papers that accomplish this will receive an “A” grade.

1. THE AUTHOR AND HER/HIS TIMES: Biographical and historical information pertinent to the novel.  What important family, community, national, and world events helped inform this material? Do not provide an exhaustive biography; merely provide those details that can be directly linked to the novel in a manner that is convincing. This is one of the few sections that will require some outside research, so please remember to cite your source(s).

2. FORM/STRUCTURE, PLOT: How is the novel organized and what techniques are used?  Discuss techniques such as sequencing, multiple, complex, or simple plot, foreshadowing, chapter choices.  Then, provide a BRIEF outline of the events of the plot (no more than 200 words). For some modern novels, the plot may be difficult to describe succinctly – but try to do it anyway. When you discuss structure, remember that you need to discuss the effect of the intentional internal arrangement of parts.

3. POINT OF VIEW/ PERSPECTIVE: From what vantage point does the reader receive the information?  Is the perspective reliable, or is it highly subjective?  How are important ideas received?  Is there an agenda that the narrator seems to have, either consciously or subconsciously? Does the perspective shift, and if so, to what end? Are characters explicit in their dialog, or does on omniscient narrator fill the reader in concerning the larger issues?  Why is the perspective used particularly effective for this novel?

4. CHARACTER: Are each of the characters highly developed, or is most of the writing devoted to one character? Do you learn about them through what is not included in the text?  How is character revealed for the most part? Is through what they say? What they do? What they wear? What they think? The people with whom they associate? What the narrator says about them? How complex are the people that you meet?  Describe the central characters including what you find out about their names, ages, physical descriptions, personalities, functions in the novel – in other words, the responses to the questions asked in the preceding sentence. Also include one short quotation that reveals their character, and explain why the quote reveals character.


5. SETTING:  Where and when does the novel occur?  How many locations are described? Are there connections between the setting(s) and character(s)? How is the atmosphere described?  Are there any important settings that contrast or parallel each other?  Why is this setting so effective in supporting the ideas in the novel as a whole? Conversely, if the setting is ambiguous, what details seem most important and what is the effect of the ambiguity? Why is this story best told in this setting? When discussing setting, remember that it does not only mean the geographical location (topography, scenery) but also the cultural backdrop, social context, and the artificial environment (rooms, buildings, cities, towns) as well.

6. THEME: Identify one major theme (a central or controlling idea) and explicate the theme using specific moments from the text, either paraphrased or directly quoted.  What is the abstract concept being addressed and what is the evaluation of that concept through the text? Are there any “universal” truths are revealed, supported, or challenged by this theme?  Be aware that a theme cannot be expressed in a single word, and with complex works of literary merit the elucidation of a theme requires a full paragraph or more. Also note that the theme is rarely stated explicitly, but rather is implicit. Remember that a theme has TWO (2) PARTS: An abstract concept AND the author’s commentary on  or evaluation of that concept through the text.

7. Symbolism, imagery, metaphors, motifs: Pick out and examine (thoroughly explain) a complex symbol, image, metaphor or motif involved in the story.  How does it add meaning to the text?  How does it relate to the theme?  In a page set up with a thesis a short analytical paper where you connect symbol, imagery, metaphor or motif to theme.

8. Approach the text from a different critical view: feminist, historical, new-historical, psychoanalytical, reader’s response.  First look up one of these approaches on-line and briefly discuss what you find.  Second briefly discuss what you see in the book according to the critical approach you chose.  I suggest trying feminist or new-historical first.

9. Personal response.  What did you like about the novel?  What didn’t you like?  Would you recommend the book to a friend?  Why or why not?  Would you recommend the book to be studies in an English class?


SAMPLE TEST:

AP Open Question – SUN ALSO RISES Test
Today we are going to look at the open question for AP literature.

You will get one of these questions as a test for THE SUN ALSO RISES.

In some works of literature, a character who appears briefly, or does not appear at all, is a significant presence. Choose a novel or play of literary merit and write an essay in which you show how such a character functions in the work. You may wish to discuss how the character affects action, theme, or the development of other characters. Avoid plot summary.

Select a moment or scene in a novel, epic poem, or play that you find especially memorable. Write an essay in which you identify the line or the passage, explain its relationship to the work in which it is found, and analyze the reasons for its effectiveness.

Choose a complex and important character in a novel or a play of recognized literary merit who might on the basis of the character's actions alone be considered evil or immoral. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we otherwise might. Avoid plot summary.

An effective literary work does not merely stop or cease; it concludes. In the view of some critics, a work that does not provide the pleasure of significant closure has terminated with an artistic fault. A satisfactory ending is not, however, always conclusive in every sense; significant closure may require the reader to abide with or adjust to ambiguity and uncertainty. In an essay, discuss the ending of a novel or play of acknowledged literary merit. Explain precisely how and why the ending appropriately or inappropriately concludes the work. Do not merely summarize the plot.

Morally ambiguous characters -- characters whose behavior discourages readers from identifying them as purely evil or purely good -- are at the heart of many works of literature. Choose a novel or play in which a morally ambiguous character plays a pivotal role. Then write an essay in which you explain how the character can be viewed as morally ambiguous and why his or her moral ambiguity is significant to the work as a whole. Avoid mere plot summary.

Novels and plays often include scenes of weddings, funerals, parties, and other social occasions. Such scenes may reveal the values of the characters and the society in which they live. Select a novel or play that includes such a scene and, in a focused essay, discuss the contribution the scene makes to the meaning of the work as a whole. You may choose a work from the list below or another novel or play of literary merit.

Homework:

Read chapters 12 -13

Pick out two things in each chapter that you find significant to the overall meaning of the novel. List and comment on them.

You should think about the open response questions before you begin reading.


Outside Reading Assignment:
Due: Tuesday – December 17th
Objective: To present a 5-10 speech in which you illuminate some aspect of an outside novel.  You may choose to illuminate the audience on the relationship of characters to the times and or society or discuss the function of a character or characters to overall meaning.  You can look at novel structure and how the structure reinforces the main idea.  You can discuss literary devices (symbols, irony, allusions, etc), diction, syntax, or vocabulary and how their reinforce meaning.
Avoid mere plot summary.
Your speech will be giving without notes and should include the following:
Organization (25 points)
1) Hook
2) Thesis statement
3) Order of development
4) Body
5) Conclusion
Analysis (25 points)
You explore your thesis by giving examples from the novel and commenting on what those examples mean and how they backup and reinforce your thesis.
You should have at least 2 points (though try for 3) and you should have 2-3 examples for each point.
Your conclusion should be more than just a recap of your 1st paragraph.  It should leave the audience thinking and suggest other areas to explore.



In-class essays will be graded using the following AP essay scale:

Holistic AP Essay Rubric

Although slight modifications of these guidelines may be required in order to address the specifics of a particular prompt, the narrative descriptions below still can be used as general guidelines for scoring single-draft essays using the 9-point AP scale. As always, remember to reward the writers for what they do well. Also, remember that AP stands for Answer the Prompt!

9-8 These well-focused and persuasive essays address the prompt directly and in a convincing manner. An essay scored a 9 demonstrates exceptional insight and language facility. An essay scored an 8 or a 9 combines adherence to the topic with excellent organization, content, insight, facile use of language, mastery of mechanics, and an understanding of the essential components of an effective essay. Literary devices and/or techniques are not merely listed, but the effect of those devices and/or techniques is addressed in the context of the passage, poem, or novel as a whole. Although not without flaws, these essays are richly detailed and stylistically resourceful, and they connect the observations to the passage, poem, or novel as a whole. Descriptors that come to mind while reading include: mastery, sophisticated, complex, specific, consistent, and well-supported.

7-6 These highly competent essays comprehend the task set forth by the prompt and respond to it directly, although some of the analysis may be implicit rather than explicit. The seven (7) is in many ways a thinner version of the 9-8 paper in terms of the discussion and supporting details, but it is still impressive, cogent, convincing. It also may be less well handled in terms of organization, insight, or vocabulary. Descriptors that come to mind while reading include: demonstrates a clear understanding, less precise, less well supported than the 9-8. These essays demonstrate an adherence to the task, but deviate from course on occasion. The mechanics are sound, but may contain a few errors which may distract but do not obscure meaning. Although there may be a few minor misreadings, the commentary is for the most part accurate with no significant sustained misreadings. An essay scored a six (6) is an upper-half paper, but it may be deficient in one of the essentials mentioned above. It may be less mature in thought or less well handled in terms of organization, syntax or mechanics. The analysis is somewhat more simplistic than with the seven, and lacks sustained, mature analysis.

5 Essays scored a five (5) may be overly simplistic in analysis, or rely almost exclusively on paraphrase rather than specific, textual examples. These essays may provide a plausible reading, but the analysis is implicit rather than explicit. These essays might provide a list of literary devices present, but make no effort to discuss the effect that the devices have on the poem, passage, or novel as a whole. Descriptors that come to mind while reading include: superficial, vague, and mechanical. The language is simplistic and the insight is limited or lacking.

4-3 Essays scored in this range compound the problems of the five (5) essays. They often demonstrate significant sustained misreadings, and provide little or no analysis. They maintain the general idea of the writing assignment, show some sense of organization, but are weak in content, maturity of thought, language facility, and/or mechanics. They may distort the topic or fail to deal adequately with one or more important aspect of the topic. Essays that are particularly poorly written may be scored a three (3). Descriptors that come to mind while reading include: incomplete, oversimplified, meager, irrelevant, and insufficient.

2-1 Essays scored in this range make an attempt to deal with the topic but demonstrate serious weakness in content and coherence and/or syntax and mechanics. Often, they are unacceptably (but mercifully) brief. They are poorly written on several counts, including numerous distracting errors in mechanics, and/or little clarity, coherence, or supporting evidence. Wholly vacuous, inept, and mechanically unsound essays should be scored a one (1).

0 0 is given to a response with no more than a reference to the task.