AP Language and Composition Summer Assignment Packet
A note on plagiarism:​
Plagiarism consists of “pass[ing] off” another’s ideas “as one’s own[,]…us[ing] another’s production without crediting the source[, and]…present[ing another’s idea/concept/product] as new and original idea or product” (Merriam­Webster Online Dictionary). This is not limited to merely copying from the Internet, copying from previous AP Language students, or copying from your current classmates. Plagiarism of any kind will not be tolerated within this class. Unless otherwise instructed, all material, for the entire year, must be your own, original work. For the summer assignment, you are not allowed to use outside sources other than the resources and links provided to you on Edmodo as this assignment is meant to allow us, your teachers, to gauge your current abilities and to figure out the best ways in which to support you throughout the school year. Summer Assignment Due Date: ​
You will be required to submit hard copies which are typed and properly labeled with each portion of the Summer Assignment labeled with the title of the piece and your name and block ​
on the first day of class. ​
There will be no late work accepted as this is an Advanced Placement course. Contacting Mrs. Babcock and Ms. Brandon:​
If you need to reach us over the summer, please contact us via email: Mrs. Babcock: ​
[email protected]​
Ms. Brandon: ​
[email protected] We will also be periodically checking Edmodo; however, the best way to get a prompt response from us is through email; ​
please send the email to BOTH OF US ​
and include your name in the subject line of the email. Remember, no question is a stupid question; we are here, at all times, to support you throughout your endeavors this summer and this year, so, when in doubt, ask away! Assignment Access and Edmodo​
: Please join our group on Edmodo no later than ​
the end of May!​
In order to access the summer assignments, you will need to join the group. Directions to join and how to access all of our materials are on the back of this sheet. Below is just a summary of the assignments expected to be completed by the first day of class. Please look under the folder in “AP Summer Assignments” to access the detailed assignments. ​
Located on the back of this sheet are the directions for gaining access to our 2015­16 AP Language Summer Assignment Edmodo Group; when schedules are sent out, you will receive your actual class Edmodo Group Code from your teacher. ASSIGNMENT DESCRIPTION/BREAKDOWN
Assignment
Piece
Tasks
Assignment #1 Nancy Mairs ­Multiple Choice Questions ­Rhetorical Devices and Definitions Assignment #2 Gary Soto ­Read and annotate passage ­Triple Sided Journal Entries Assignment #3 Florence Kelley ­Read and annotate the passage ­SOAPT Chart Edmodo in AP English:​
Edmodo group code:​
6pzx26
*PLEASE SIGN IN TO OUR EDMODO GROUP BY THE END OF
SCHOOL! For this school year, we will be using Edmodo in AP English Language and Composition. To access all materials for the summer assignments and for the rest of the school year, you will need to use Edmodo. If you haven’t used Edmodo, please see below on how to access files, upload assignments, etc. 1. Create an account if you do not have one – ​
www.edmodo.com 2. Join ​
Summer Assignment AP English 2015­2016 (code: 6pzx26)
3. Set your notifications:
a. Click on account b. Click on settings c. Make sure you select Notes, Alerts, and Direct Messages d. Set up your cell phone to receive text messages. T​
his is important as it sends you a text the
moment we make announcements, post assignments, or direct message you! Make sure
this notification is enabled!! 4. Finding Handouts:
a. Log on to Edmodo b. On the left side, click on “Summer Assignment AP English 2015­2016” c. Once you have clicked on our class, click on ”folders” d. Once inside the folders section, click on the folder that you need ­ summer assignments e. Click below the document on the icon that looks like a little piece of paper in order to open it. 5. How to type on a handout posted on Edmodo:
a. Complete steps for “Finding Handouts” b. Once handout is opened, click on “Enable Editing” at the top if necessary c. After you finish typing, you are going to save it to one of your files 6. Saving to Backpack on Edmodo:
a. Log in to Edmodo b. On the left hand side, click on the icon that says “Backpack” c. Create a folder – click on the “folders” icon at the top, once the drop down menu appears, click the “New” icon – create a folder for AP Language d. To access this folder, click back on the “folders” icon at the top, then select the new folder from the drop down menu. e. Once in your AP Language folder, click on “Add to Backpack” on the right hand side f. Click upload – choose file to add g. Click “Add to Backpack” again *Save all submitted assignments to your backpack as a precaution. Assignment #1: “Who are you?” By Nancy Mairs
Directions​
: Read the following passages and complete the below assignments. (1)​
​
In her stunning memoir of bicultural girlhood, ​
The Woman Warrior​
, Maxine Hong Kingston writes, “There is a Chinese word for the female I – which is ‘slave.’ Break the women with their own tongues!” English contains no such (5)​
dramatic instance of the ways in which language shapes ​
women’s reality. We can, after all use the same “I” as men do. We can, but we’re not supposed to, at least not often. In myriad ways the rules of polite discourse in this country serve, among other purposes, not to enslave but certainly (10)​
to silence women and thus to prevent them from uttering the truth about their lives. Seldom are such rules spoken out loud. Indeed, part of their forces arises from their implicitness, which makes them seem natural and essential. They carry in detail, I (15)​
think, from generation to generation, region to region, class to class, though they stifle communication in similar ways. Here, roughly put, are a few of the ones I’ve learned too obey in the company of men… If, in a fit of wishful (20) ​
thinking, you’re inclined to dismiss them as passé, spend a few hours in the classrooms and corridors of a coeducational high school or college. We haven’t actually come a long way, baby. Rule 1: Keep quiet.​
If at all possible, a woman should (25) ​
remain perfectly mute. She should, however, communicate agreement with the men around her eloquently through gestures and demeanor. Think, for instance, of the Presidents’ wives. The First Lady I remember was Mamie Eisenhower, and from then on my head holds a (30)​
gallery of film clips and still photos of women in the proper polite posture: Jackie and Lady Bird and Pat and Betty and Rosalynn and above all Nancy, eyes widened and glittering, polished lips slightly parted in breathless wonder, heads tilted to gaze upward at the sides of their husband’s faces. (35)
No one yawns or rolls her eyes (much less speaks unless spoken to). Now, if I were elected President, my husband (who dotes on me, by the way) would fall asleep during my inaugural address. There he’d be in the photos, eyes closed, mouth sagging, head rolled to one side, maybe a bit of spittle trickling into his beard. He wouldn’t mean to (40)​
be rude… Rule 2: If you must talk at all, talk about something he’s interested in. ​
If your feelings are hurt by stifled yawns and retreating backs, dig out this old chestnut. It’s still in force. try not to think of all the women who have used up brain (45)​
cells memorizing the batting averages of every outfielder in Red Sox history or the difference between the Apollonian and the Dionysian in Nietzsche, depending on their intended target, instead of reflecting on the spiritual Catholic Church or the effect on human reproductive (50)​
systems of even a “limited” nuclear war or the like. Rule 3: If you must mention your own concerns, Deprecate them prettily​
. The greatest rudeness in a woman is to appear to take herself seriously. My husband’s indictment of feminism, for example – and he’s not alone in (55)​
it – is that feminists “lack a sense of humor.” As members of Catholics for Peace and Justice, we both support Sanctuary and Witness for Peace, two nonsectarian groups that work to promote international amity. In our pained discussions of human­rights issues in (60)​
Central America I have never heard him criticize Salvadoran and Guatemalan refugees or Sandinista peasants for lacking a sense of humor about their disappeared relatives, their burned infirmaries and bombed buses, their starvation and terror. Nor should he. (65)​
and he shouldn’t expect women to crack jokes when they are enraged by the malnutrition, rape and battering of their sisters and the system that makes such occurrences inevitable. Actually, in the right places most of the women I know (70)​
laugh heartily (even though a belly laugh isn’t as polite as a giggle). But they weep in the right places, too. “Lighten up,” men tell women who grow passionate about the conditions of their lives. “what ​
is​
all this whining?” one wrote to me. When we are the subjects of (75)​
our speaking, our voices are too “shrill,” “strident”; our tongues are too “sharp”; we are “shrews,” “Xanthippes,” “termagants,” “fishwives.” All these words have in common the denigration of women’s speech. By ridiculing or trivializing women’s utterances, men seek to control what (80)​
is and is not considered important, weighty, worthwhile in the world. I, for one, was a well­bred girl who grew into a Yankee Lady. From infancy, the language slipped into my mouth was scrubbed as clean as my rattles and teething rings. To (85)​
this day, I wince at the possibility I might be thought rude. A man’s sneer shrivels me. But I guess that’s just what I’m going to have to be: rude. Because if women are ever going to be really heard, people (including women themselves) are going to have to get used to the sound of their voices (90) ​
and to the subjects they believe worth discussing. So I, for one, intend to keep telling the truth about my life as a woman: what I see, whom I love, where I hurt, why I laugh. And you? Tell me, out loud: who are you? Assignment 1 ­ Task 1: Multiple Choice Questions on “Who Are You?” By Nancy Mairs
Directions: ​
Based upon the above passage, choose the ​
best ​
answer to each question. 1) The intended target audience for the essay is A. Men B. Women C. Men and women D. Political leaders E. Church leaders 2) The purpose of the reference to the work Maxine Hong Kingston is to A. Show how Eastern culture has denigrated women B. Demonstrate that women must become warriors to survive in a man’s world C. Demonstrate the power of language to define reality D. Openly establish that all women everywhere are abused E. Prove that women are treated like slaves 3) By employing “Rule 1,” “Rule 2,” and “Rule 3,” Mairs is A. Suggesting that the conversations between men and women are a game B. Suggesting that her argument is logical and deductive C. Establishing certainty where there is usually debate and controversy D. Organizing her own thoughts so she remains clear. E. Helping readers keep track of what is most and least important 4) “Rule 1” employs A. A non­sequitur B. A straw man argument C. An Ad Hominem Argument D. Begging the question E. An appeal to authority 5) In the paragraph beginning “In our pained…” (61), Mairs’s argument now relies primarily on A. An economic fallacy B. A cultural comparison C. A false analogy D. An historical parallel E. A spiritual argument 6) The word “denigration” in line 80 is similar in tone and intent to A. “obey” (19) B. “eloquently” (26) C. “prettily” (54) D. “Whining” (76) E. “ridiculing” (80) 7) The most important rhetorical device in the last line of Mairs’s essay is A. An adverbial clause B. An apostrophe C. A rhetorical question D. A colon stop E. Parallel syntax 8) In context, the word “deprecate” in line 54 means roughly: A. Ridicule B. Ignore C. De­emphasize D. Alleviate E. Challenge 9) All of the following suggest a negative perception of women EXCEPT A. “slave” (3) B. “obey” (19) C. “widened and glittering” (32) D. “nonsectarian” (59) E. “Xanthippes” (78) 10) The purpose of using the First Ladies as an example of “Rule 1” is A. They are not in the public eye as much as their husbands B. We make them icons of our culture C. They are as politically influential as their husbands D. They have been recognized for efforts in securing women’s rights E. They are well­respected ambassadors 11) Which of the following rhetorical strategies best integrates the next­to­last paragraph? A. Passive verbs and rhetorical questions B. Strong connotative adjectives and rhetorical questions C. Parallel syntax and strong connotative adjectives D. Polysyndeton and strong verbs E. Parallel syntax and alliteration 12) The “Rules” are syntactically organized according to A. Absolute, qualification, requalification B. Thesis, antithesis, synthesis C. Statement, restatement, synopsis D. Appositive, restatement, requalification E. Synthesis, qualification, thesis 13) The types of men identified as “targets” in line 49 are A. Ministers and businessmen B. Hunters or fisherman and foreigners C. Political leaders and businessmen D. Sports fans and philosophers E. Sports fans and political leaders 14) The overall tone of this piece is A. Mournful B. Apprehensive C. Indignant D. Ironic E. Informative 15) The title of this piece is in the form of a question because A. Mairs needs an introduction and sets this up as a pun B. It is rhetorical and Mairs expects a particular response C. Mairs is asking men and women to take sides in a debate D. It builds anticipation to read further E. Mairs is trying to find an answer Assignment #1 ­ Task 2: Rhetorical Devices Directions: ​
For the following questions, you are to define the meaning of the rhetorical device, rhetorical strategy, or syntactical element that are listed for your answer choices. Question #4 – non­sequitur, straw man argument, ad hominem, and begging the question Question # 5­ fallacy, analogy, parallel Question # 7 – adverbial clause, apostrophe (not punctuation mark), rhetorical question, colon stop, parallel syntax Question #11 – passive verbs, connotative adjectives, polysyndeton, alliteration Questions # 12 – absolutes, qualification, antithesis, synthesis, appositive Assignment 1 ­ Task 3: Definitions
Definitions: ​
Define the following words that are used to describe tone in ​
question #14 Mournful ­ Apprehensive ­ Indignant ­ Ironic ­ Informative ­ Assignment #2: Gary Soto & Triple Sided Journal Entries
Assignment #2 ­ Task 1 Directions: ​
Read carefully and annotate the following autobiographical narrative by Gary Soto and analyze some of the ways in which Soto recreates the experience of his guilty six­year­old self. When finished, complete the triple sided journal entries. (1)
I knew enough about hell to stop me from stealing. I was holy in almost every bone. Some days I recognized the shadows of angels flopping on the backyard grass, and other days I hear faraway messages in the plumbing that howled underneath the house when I crawled there looking for something to do. (2)
But boredom made me sin. Once, at the German Market, I stood before a rack of pies, my sweet tooth gleaming and the juice of guilt wetting my underarms. I gazed at the nine kinds of pie, pecan and apple being my favorites, although cherry looked good, and my dear, fat­faced chocolate was always a good bet. I nearly wept trying to decide which to steal and, forgetting the flowery dust priests give off, the shadow of angels and the proximity of God howling in the plumbing underneath the house, sneaked a pie behind my coffeelid, Frisbee and walked to the door, grinning to the bald grocer whose forehead shone with a window of light. (3)
“No one saw,” I muttered to myself, the pie like a discus in my hand, and hurried across the street, where I sat on someone’s lawn. The sun wavered between the branches of a yellowish sycamore. A squirrel nailed itself high on the trunk, where it forked into two large bark­scabbed limbs. Just as I was going to work my cleanest finger into the pie, a neighbor came out to the porch for his mail. He looked at me, and I got up and headed for home. I raced on skinny legs to my block, but slowed to a quick walk when I couldn’t wait any longer. I held the pie to my nose and breathed in its sweetness. I licked some of the crust and closed my eyes as I took a small bite. (4)
In my front yard, I leaned against a car fender and panicked about stealing the apple pie. I knew an apple got Eve in deep trouble with snakes because Sister Marie had shown us a film about Adam and Eve being cast into the desert, and what scared me more than falling from grace was being thirsty for the rest of my life. But even that didn’t stop me from clawing a chunk from the pie tin and pushing it into the cavern of my mouth. The slop was sweet and gold­colored in the afternoon sun. I laid more pieces on my tongue, wet finger­dripping pieces, until I was finished and felt like crying because it was about the best thing I had ever tasted. I realized right there and then, in my tiny body of two hundred bones and three or four sins, that the best things in life came stolen. I wiped my sticky fingers on the grass and rolled my tongue over the corners of my mouth. A burp perfumed the air. (5)
I felt bad not sharing with Cross­Eyed Johnny, a neighbor kid. He stood over my shoulder and asked, “Can I have some?” Crust fell from my mouth, and my teeth were bathed with jam­like filling. Tears blurred my eyes as I remembered the grocer’s forehead. I remember the other pies on the rack, the warm air of the fan above the door and the car that honked as I crossed the street without looking. (6)
“Get away,” I had answered Cross­Eyed Johnny. He watched my fingers greedily push big chunks of pie down my throat. He swallowed and said in a whisper, “Your hands are dirty,” then returned home to climb his roof and sit watching me eat the pie by myself. After a while, he jumped off and hobbled away because the fall had hurt him. (7)
I sat on the curb. The pie tin glared at me and rolled away when the wind picked up. My face was sticky with guilt. A car honked, and the driver knew. Mrs. Hancock stood on her lawn, hands on hip, and she knew. My mom, peeling potatoes at the Redi­Spud factory, knew. I got to my feet, stomach taut, mouth tired of chewing, and flung my Frisbee across the street, its shadow like the shadow of an angel fleeing bad deeds. I retrieved it, jogging slowly. I flung it again until I was bored and thirsty. (8)
I returned home to drink water and help my sister glue bottle caps onto cardboard, a project for summer school. But the bottle caps bored me, and the water soon filled me up more than the pie. With the kitchen stifling with heat and lunatic flies, I decided to crawl underneath our house and lie in the cool shadows listening to the howling sound of plumbing. Was it God? Was it Father, speaking from death, or Uncle with his last shiny dime? I listened, ear pressed to a cold pipe, and heard a howl like the sea. I lay until I was cold and then crawled back to the light, rising from one knee, then another, to dust off my pants and squint in the harsh light. I looked and saw the glare of a pie tin on a hot day. I knew sin was what you took and didn’t give back. ­from ​
A Summer Life, ​
1990 Assignment #2 ­ Task 2: Excerpt from Gary Soto’s “A Summer Life” Triple Sided Journal Entries –
Rhetorical Analysis
Directions: ​
Complete the following Chart and the questions below based off of the above excerpt Rhetorical
Device
EVIDENCE
COMMENTARY
Copy Textual Evidence (COPY THE LINES WORD FOR WORD WHERE YOU SEE THE LITERARY ELEMENT) make sure you cite the paragraph you found the device. How is this T.E. an example of the literary element? Why is the T.E. and the literary element so important? How does it convey Soto’s overarching purpose? What does the use of this L.E. tell us about the story/character/theme/plot? PROVES THE
PURPOSE CONNECTION TO
AUDIENCE
How does this contribute to Soto’s recreation of his guilty six­year­old self? What effect does this L.E. seen within the quote have upon the reader? Paragraphs 1­3
1. Religious
Imagery
“shadows of angels flopping on the backyard” (1) 2.
“But boredom made me sin” (2). (paragraph 3) Short,
Simple
Sentence
3. Imagery
Provide an adjective to describe the type of imagery: _________
______ LITERARY
ELEMENT
4. Diction Provide an adjective to describe the feeling of the word(s) you are analyzing: _________
_ TEXTUAL EVIDENCE
COMMENTARY
PROVES THE
PURPOSE
CONNECTION TO
AUDIENCE
PARAGRAPHS 4­6
5. ​
Allusion
6. Contrasting
Imagery
LITERARY
ELEMENT
TEXTUAL EVIDENCE
COMMENTARY
PROVES THE
PURPOSE
CONNECTION TO
AUDIENCE
7. ​
Imagery
of him eating the pie Provide an adjective to describe the type of imagery: _________
______ 8. Diction
PARAGRAPHS 7­8
(from when
he is eating
the pie that
contributes
to the
imagery
above)
Provide an adjective to describe the feeling of the word(s) you are analyzing: _________
_ 9. Ambiguity
LITERARY
ELEMENT
TEXTUAL EVIDENCE
COMMENTARY
PROVES THE
PURPOSE
CONNECTION TO
AUDIENCE
10. Repetition
11. Contrasting
Imagery
Assignment #3: Florence Kelley
Assignment #3 ­ Task 1 Directions​
: Please read and annotate the following passage. Once you have done so, please complete the SOAPT Chart and the questions which follow. Florence Kelley (1859­1932) was a United States social worker and reformer who fought successfully for child labor laws and improved conditions for working women. She delivered the following speech before the convention of the National American Woman Suffrage Association in Philadelphia on July 22, 1905. Read the speech carefully and analyze the rhetorical strategies Kelley uses to craft her argument about child labor to her audience. (1)
We have, in this country, two million children under the age of sixteen years who are earning their bread. They vary in age from six and seven years (in the cotton mills of Georgia) and eight, nine and ten years (in the coal­breakers of Pennsylvania) to fourteen, fifteen and sixteen years in more enlightened states. (2)
No other portion of the wage earning class increased so rapidly from decade to decade as the young girls from fourteen to twenty years. Men increase, women increase, youth increase, boys increase in the ranks of the breadwinners; but no contingent so doubles from census period to census period (both by percent and by count of heads), as does the contingent of girls between twelve and twenty years of age. They are in commerce, in offices, in manufacturing. (3)
Tonight while we sleep, several thousand little girls will be working in textile mills, all the night through, in the deafening noise of the spindles and the looms spinning and weaving cotton and wool, silks and ribbons for us to buy. (4)
In Alabama the law provides that a child under sixteen years of age shall not work in a cotton mill at night longer than eight hours, and Alabama does better in this respect than any other Southern state. North and South Carolina and Georgia place no restriction upon the work of children at night; and while we sleep little white girls will be working tonight in the mills in those states, working eleven hours at night. (5)
In Georgia there is no restriction whatever! A girl of six or seven years, just tall enough to reach the bobbins, may work eleven hours by day or by night. And they do so tonight, while we sleep. (6)
Nor is it only in the South that these things occur. Alabama does better than New Jersey. For Alabama limits the children’s work at night to eight hours, while New Jersey permits it all night long. Last year New Jersey took a long backward step. A good law was repealed which had required women and [children] to stop work at six in the evening and at noon on Friday. Now, therefore, in New Jersey, boys and girls, after their fourteenth birthday, enjoy the pitiful privilege of working all night long. (7)
In Pennsylvania, until last May, it was lawful for children, 13 years of age, to work twelve hours at night. A little girl, on her thirteenth birthday, could start away from her home at half past five in the afternoon, carrying her pail of midnight luncheon as happier people carry their midday luncheon, and could work in the mill from six at night until six in the morning, without violating any law of the Commonwealth. (8)
If the mothers and teachers of Georgia could vote, would the Georgia legislature have refused at every session for the last three years to stop the work in the mills of children under twelve years of age? (9)
Would the New Jersey Legislature have passed that shameful repeal bill enabling girls of fourteen years to work all night, if the mothers in New Jersey were enfranchised? Until the mothers in the great industrial states are enfranchised, we shall none of us be able to free our consciences from participation in this great evil. No one in this room tonight can feel free from such participation. The children make our shoes in the shoe factories; they knit our stockings, out knitted underwear in the knitting factories. They spin and weave our cotton underwear in the cotton mills. Children braid straw for our hats, they spin and weave the silk and velvet wherewith we trim our hats. They stamp buckles and metal ornaments of all kinds, as well as pins and hat­pins. Under the sweating system, tiny children make artificial flowers and neckwear for us to buy. They carry bundles of garments from the factories to the tenements, little beasts of burden, robbed of school life that they may work for us. (10)
We do not wish this. We prefer to have our work done by men and women. But we are almost powerless. Not wholly powerless, however, are citizens who enjoy the right of petition. For myself, I shall use this power in every possible way until the right to the ballot is granted, and then I shall continue to use both. (11)
What can we do to free our consciences? There is one line of action by which we can do much. We can enlist the workingman on behalf of our enfranchisement just in proportion as we strive with them to free the children. No labor organization in this country ever fails to respond to an appeal for help in the freeing of the children. (12)
For the sake of the children, for the Republic in which these children will vote after we are dead, and for the sake of our cause, we should enlist the workingmen voters, with us, in this task of freeing the children from toil! Florence Kelley’s SOAPT Chart
Assignment #3 ­ Task 2 Directions: ​
Please complete the following based upon Kelley’s speech. Pay particular attention to the questions which arise in each box. When finished, complete the two questions below the chart. Speaker
Speaker​
: ­What are her values? _______________________________ Textual Example that proves her values (quote lines and cite line numbers): *Explanation of how Textual Example proves her values: ­​
What kind of person does she seem to be?_______________________________ Textual Example that proves what kind of person you think she is (quote lines and cite line numbers): *Explanation of how Textual Example proves what kind of person you think she is: Occassion ­What has prompted this speech? _______________________________ ­What specific event ​
forced​
her to deliver this speech? _______________________________ Textual Example that proves the occasion (quote lines and cite line numbers): *Explanation of how Textual Example proves the occasion: Audience
­What type of person does this piece reach? Be specific​
. _______________________________ Textual Example that proves the audience (quote lines and cite line numbers): *Explanation of how Textual Example proves the audience: ­How can the audience be described specifically? _______________________________ Think:​
age, socioeconomic status, experience, education, gender, etc. Textual Example that describes the audience (quote lines and cite line numbers): *Explanation of how Textual Example proves this description proves the audience: Purpose ­What is the ultimate goal of the speaker?​
​
_______________________________ ­What “change” does she want to accomplish? _______________________________ ​
*This should be a complex sentence of purpose; answers like “change immigration” might be too broad. **Define the goal specifically ­ EX: motivate changes in immigration policy; EX Improve health care opportunities for immigrants Textual Example 1 that proves the purpose (quote lines and cite line numbers): *Explanation of how Textual Example proves the purpose: Textual Example 2 that proves the purpose (quote lines and cite line numbers): *Explanation of how Textual Example proves the purpose: Tone ­What is the speaker’s attitude?_______________________________ ­What emotions does she rely upon within her argument? _______________________________ Emotion: ___________________ Textual Example (quote lines and cite line numbers): *Explanation of how Textual Example supports tone: Rhetorical Mode​
: ​
_______________________________ (suggestions: expository, satirical, narrative, persuasive ­ if you don’t know what these are, please look them up) *Rationalize why you feel it is this mode: Shifts: ​
Florence Kelley shifts from __________ to ____________ (Shifts are movements within the text ­ they can be ideas, subjects, tonal movement, or they can be based upon the organization of the piece) *Rationalize why you believe she shifts from _____________ to _________________: