AP English Literature and Composition Syllabus 2010‐2011 Mrs. Edge ‐ Scappoose High School Course Description The AP Literature and Composition class is designed to be a rigorous course that challenges students at an 11th grade level to read closely, think deeply, and write effectively. By studying a broad range of novels, poetry, short fiction, and dramatic works spanning five centuries and several continents, students learn to explore the cultures and societies of people and places in the past, and to seek out meaning not only in the context surrounding the work, but through the work itself. Students are given the tools with which to understand, explain, and evaluate a text. They learn how to extract meaning from a text by looking at the author’s choice of diction, rhetorical devices, characterization, structure, and style. Students are given the opportunity to learn to respect the opinions of others, and to allow themselves to be convinced by the arguments of others, while honing their ability to support and sustain their own arguments and opinions. Students learn the valuable skill of persistence and patience as they learn to write and rewrite their work so that they say exactly what they intend, and they learn to accept and value the opinions of their peers, educator and other academics who will assist them in developing their own writing. Thus, students are given skills that will serve them not only in this and other college‐level courses, but throughout life. Course Design Novels, poems, and short stories will be studied thematically. Each unit will open with a question, which will connect to the text read during the unit. The themes are developed so that they will lead into each other. The only exception is the first unit on short stories, which was chosen as a tool to review with students the importance of deeper reading. Critical thinking and analysis skills will be developed through in‐class activities, as well as through extensive practice in many types of written responses to the literature studied. Please note that American Literature is a prerequisite and building‐block to this course. Students have studied The Great Gatsby, by F. Scott Fitzgerald, The Crucible, by Arthur Miller, and I Know Why the Caged Bird Sings, by Maya Angelou. Most students also have analyzed and written responses to Catcher in the Rye, by J.D. Salinger. Vocabulary will be studied within the context of the major works of literature, and will be emphasized as we consider diction and word choice in both reading and writing. Opening exercises Most classes will begin with the students completing an activity in their structured journals. These small exercises serve as skill‐building exercises for the AP English Literature & Composition Exam. These exercises will include a brief passage of literature followed by two questions the students must answer. The passages will be pulled from Voice Lessons: Classroom Activities to Teach Diction, Detail, Imagery, Syntax, and Tone by Nancy Dean and the literature read in class. At various times in the quarter, the exercises will be assessed. The student will select one to be graded, and the teacher will select another to be graded. AP Exam Preparation Every week the students will complete either a short multiple choice practice test or a 40‐minute in‐class essay to prepare for the AP Exam. As the year progresses, these exercises will be counted more heavily, and will therefore be worth more points in the students’ grades. This allows students to gain skill before course grades are impacted significantly by AP exam material. Reading Assignments Most of the reading assignments for this course will be completed independently before we start discussing the texts in class. It is imperative that students manage their time effectively to ensure they always come prepared to discuss the work and contribute to discussions in class. Students will read seven complete novels. The selected novels provide a balance between British and American writers from the sixteenth century to contemporary times. For every novel read during the year, the students will complete a major works data sheet. This sheet will provide an excellent review prior to the exam. Major works studied will include: 1984, George Orwell (Utopia & Dystopia, 1949 British novel) Fahrenheit 451, Ray Bradbury (Utopia & Dystopia, 1953 American novel) Lord of the Flies, William Golding (Good vs. Evil, 1954 British novel)
Heart of Darkness, Joseph Conrad (Good vs. Evil, 1902 British novella) The Tragedy of Macbeth, William Shakespeare (Tragic Heroes, Fatal Flaws, 17th century English play) The Awakening, Kate Chopin (1899, Search for Identity, American novel) The Metamorphosis, Franz Kafka (1915, Search for Identity, German novella) Pride and Prejudice, Jane Austen (Love and Sacrifice, 1813 English novel)
In addition, students will pick one major work from a list provided for an Independent Reading Project. The year will open with a short story unit, including authors such as Shirley Jackson, Flannery O’Connor, John Cheever, and William Faulkner, and poetry by British and American writers, sixteenth century to present, will be studied throughout the year. See course schedule for examples of short stories and poems that will be studied. Poetry Poetry will not be studied as a separate unit, but will be incorporated as part of the daily opening exercises, and as supplementary readings to each novel/play studied during the course of the year. Through the integrated study of poetry, students will learn to explicate poetry by looking at rhetorical devices, and use these related elements to understand the thematic content of the whole poem. They will also learn to analyze a poem by using a specific set of questions which facilitates systematic deconstruction and understanding. Writing Assignments Students will be given several different types of writing assignments that are intended to demonstrate their understanding of, and connection to, the texts under discussion, and to develop their skills as adept writers. These assignments will take the form of creative writing assignments, personal responses, reader logs, discussion questions, short explicatory paragraphs, notes, and correspondence with peers and the educator. Students will practice some form of writing every day. Written responses will include: • Dialectical notebooks, including informal responses to most of the major works studied • Frequent (bi‐weekly) informal responses to poetry (typed, one page each) • Frequent (bi‐weekly) timed in‐class rhetorical essays, (handwritten, interpretations of structure, style, and theme, social and historical values, the use of figurative language, imagery, symbolism and tone) •
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Frequent (almost every class) short responses in the structured journal to questions raised by opening exercises. These will cover elements of structure, style, and theme in a variety of forms of writing. Bi‐quarterly formal papers, which will include extended analysis, interpretation, and evaluation of artistry and quality using textual detail as evidence. These essays emphasize the entire writing process, from planning and drafting, to revising, editing, and proofreading. The students will workshop their papers with each other and conference with the teacher as they revise and rewrite multiple drafts. Ongoing feedback will be provided on deepening critical thinking, using specific details to support general conclusions, developing and controlling an appropriate tone, and revising for logical organization, effective and stylistic language. End of the year research paper, which will trace the development of one theme (chosen by the student) through multiple works of literature studied and multiple cultural contexts. This paper will be developed through the workshop and conference process outlined above and will also include instruction and feedback on evaluating and incorporating sources and resources. Standards Reading State Standards RE.04 Demonstrate listening comprehension of more complex text through class and/or small group interpretive discussions across the subject areas. RE.12 Distinguish between the denotative and connotative meanings of words, and interpret the connotative power of words. Literature State Standards Ll.05 Analyze interactions between characters in a literary text (e.g., internal and external conflicts, motivations, relationships, influences) and how these interactions affect the plot. Ll.11 Explain how voice and the choice of a narrator affect characterization and the tone, plot, and credibility of a text. Ll.13 Evaluate the impact of word choice and figurative language on tone, mood, and theme. Ll.15 Analyze the impact the choice of literary form has on the author’s message or purpose. Ll.19 Analyze a work of literature, showing how it reflects the heritage, traditions, attitudes, and beliefs of its author. Writing State Standards WR.07 Use a scoring guide to review, evaluate, and revise writing for meaning and clarity. WR.10 Establish a coherent and clearly supported thesis that engages the reader, conveys a clear and distinctive perspective on the subject, maintains a consistent tone and focus throughout the piece of writing, and ends with a well supported conclusion. WR.12 Use precise language, action verbs, sensory details, and appropriate modifiers WR.22 Write responses to literature. WR.24 Write persuasive compositions. WR.32 Use appropriate conventions for documentation in text, notes, and works cited, following the formats in specific style manuals (e.g. Works Cited Entries‐MLA, Reference Entries‐APA) Grading Students will be evaluated on the following criteria: • Unit tests and quizzes: (30‐80 points each) • Formal essays (100 points each) •
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Timed essays (25‐50 points each) Multiple choice practice tests (25‐50 points each) Research paper (200 points) Homework and class work (10‐40 points each) All timed‐writings will be assessed according to the grading rubric used by the College Board, and other assignments will be assessed according to assignment‐specific rubrics. Students will always be assessed on the strength of their argument as well as the strength of their writing. Teacher and peer assessment will focus on positive feedback and suggestions for improving writing skills and organization. Students are encouraged to request conferences after any assignment in order to gain more detailed feedback. Any student who shows the desire to improve upon work will be provided the opportunity to revise the writing to receive an addition of up to half of the points originally missed on the assignment. Small assignments may not always be graded holistically, but may focus on certain aspects of writing, such as syntax, structure, organization of argument, and the like. Students will be informed of such instances. This serves to focus on one aspect of writing at a time, and allows for specific instruction. Late work: Because this is a college‐level course, late homework assignments will not be accepted. Students will be permitted, however, to drop the lowest homework grade in the trimester. Papers and other major assignments will be accepted late, but will be penalized by one letter grade for each day the work is late. Make‐up work: Students will have one week from the date of absence to make up any work missed. Assignments are posted on my website weekly, and students are expected to make a reasonable attempt to keep up while out of class. In the case of extended absence, the instructor and student will make an agreement on a reasonable make‐up schedule. A Final Note This course is challenging and rigorous, however you will always have access to teacher support. My objective in this course is for you to develop as fully as possible in your reading and writing skills – starting from wherever you are and moving forward. While I expect dedication and hard work on your part, I expect the same of myself, and will never ask a level of commitment from you that I do not provide myself. While this is a college‐level course, I never forget that you are junior high school students, and that your needs vary. Course Schedule 1‐2 Weeks Introduction & Refresher Dec 7‐17 Essential Poetry Questions ‐What is poetry? ‐How do we read poetry? ‐Why is poetry important? Bloom’s Taxonomy ‐What is metacognition? ‐Where are we on Bloom’s chart? Objective: The students will begin analyzing poetry using Bloom’s Taxonomy. The students will review literary elements by reading a selection of short stories. While reading stories, students will practice deeper reading of the text through sharing their ideas and journaling. Students will also review literary devices by volunteering their ideas is discussion and filling out a questionnaire. Poems: “O Captain! My Captain!” Walt Whitman “Bells for John Whiteside’s Daughter,” John Crowe Ransom Short Stories: “A Rose for Emily,” William Faulkner “The Lottery,” Shirley Jackson “The Reunion,” John Cheever, “The Life You Save May Be Your Own,” Flannery O'Connor 1‐2 Weeks Unit 1: Utopia & Dystopia Jan 3‐14 Essential ‐How do competing notions of what a utopian society should look like Questions lead to conflict? ‐What is the purpose and/or consequence of creating and/or maintaining a dystopian society? Objective: Students will explore the intersection between form and content in developing worldview in these two novels about the artistic imagination. Students will review structure of comparison contrast essays and prepare organized analysis and interpretation based on specific details from these texts. Major Texts: 1984, by George Orwell Fahrenheit 451, by Ray Bradbury Poems: “Stop all the clocks, cut off the telephone,” W. H. Auden “The Rites for Cousin Vit,” Gwendolyn Brooks “The Love Song of J. Alfred Prufrock, T.S. Eliot Literary Analysis: Compare and contrast essay Students will write a well‐organized compare and contrast essay demonstrating their knowledge of the novels 1984 and Fahrenheit 451. 4‐5 Weeks 1/18‐2/11 Unit 2: Good vs. Evil Essential ‐Is humankind inherently good or evil? Questions ‐How do different cultures shape the definitions of good and evil? ‐Have the forces of good and evil changed over time? How? Objective: The students will trace the use of literary devices that enhance character development, and present their findings to the class. Students will investigates what happens to civilized people when the structures of civilization break down. Students will pick a theme from Heart of Darkness and build a body of evidence from the text to support that theme, and use this argument in a debate. 3‐4 Weeks 2/14‐3/11 Major Texts: Lord of the Flies, William Golding Heart of Darkness, Joseph Conrad Poems: “The Strength of Fields,” by James Dickey
“The Second Coming” Yeats “White Lies,” Natasha Trethewey “This living hand, now warm and capable,” John Keats “Behold, the grave of a wicked man,” Stephen Crane Excerpts from “Howl,” Allen Ginsburg Literary Analysis: Critical Analysis Students will choose one literary device and analyze how it underscores the main character(s) growing sense of guilt/isolation in these novels. Students will prepare an organized analysis and interpretation based on specific details from the text to be used in a well‐organized essay. Unit 3: Tragic Heroes & Fatal Flaws Essential ‐When does a positive personality trait become a tragic flaw? Questions ‐Do the attributes of a hero remain the same over time? Objective: Students will analyze their conceptions about tragic flaws and will be able to reconcile preconceptions with the literary devices and methods discussed through journaling and a brief paper. After reading students will be able to relate the literary texts and terms to their daily lives through discussions and journaling. Poems: Major Texts: Macbeth, William Shakespeare “Xanadu – Kubla Khan,” by Samuel Taylor Coleridge “Mont Blanc,” Percy Bysshe Shelley “Because I Could Not Stop for Death,” Emily Dickinson Passage from Henry VII Literary Analysis: Persuasion Track the development of Macbeth’s character throughout the play, and write a paper supporting their point of view on the matter with specific references to the text. 3 weeks 3/14‐4/14 Unit 4: Search for Identity Essential ‐How does what others think about you affect how you think about yourself? Questions ‐What turning points determine our individual pathways? ‐In a culture where we are bombarded with other people trying to define us, how do we make decisions for ourselves? Objective: Through research and journaling, students will reflect on how culture and setting plays an important role in a novel, especially in local color and regional literature. Students will compose a character study, analyzing a literary characters development, specifically in relation to other characters in the novel, and generally in relation to the era. The Awakening, Kate Chopin The Metamorphosis, Franz Kafka Poems: “Metamorphosis” Billy Collins “Talking in Bed,” Philip Larkin “The Man with Night Sweats” Thom Gunn “The Second Coming,” William Butler Yeats “We Real Cool,” Gwendolyn Brooks “Ask Me,” William Stafford “Bilingual/Bilingue, “Rhina Espaillat “Speaking a Foreign Language,” Alastair Reid Literary Analysis: Character Study Students will compose a character study, analyzing a literary characters development, specifically in relation to other characters in the novel, and generally in relation to the era. 4‐5 Weeks 4/18‐6/9 Major Texts: Unit 5: Love & Sacrifice Essential ‐What are the boundaries of love and sacrifice, and where does one draw the Questions line between them? ‐Does love require sacrifice? Objective: Students will research and discuss the importance of the class system in early nineteenth‐century England, paying close attention to the status women held. Students will demonstrate their understanding of the text on four levels: factual, interpretive, critical, and personal, and write an essay expressing one or more of the four levels. Major Texts: Poems: Pride and Prejudice, Jane Austen “To His Coy Mistress,” Andrew Marvell “Six Years Later,” Joseph Brodsky “To the Virgins, to Make Much of Time,” Robert Herrick “The Great Lover,” & “The Soldier,”Rupert Brooke “In Memoriam,” excerpt, by Alfred, Lord Tennyson Literary Analysis: Students will write an essay demonstrating their understanding of the text on four levels: factual, interpretive, critical, and personal. Student’s Name _____________________________________ AP Literature Please review these expectations and return this portion of the syllabus. With this signed form, please complete contact information on the bottom of this form. The syllabus should remain in the front of the student’s AP Literature binder. Thank you and I look forward to working with you and your child throughout the upcoming year. I have read the information in the above letter and understand the expectations and requirements to be successful in AP Literature. _______________________________________________ _______________ Parent/Guardian’s Signature Date † Phone Number __________________________________________________ † Email Address ___________________________________________________ ( please check the preferred contact ) I have reviewed the syllabus and I have logged on to the website, and I have access to the AP Literature course overview and daily agenda. If I was unable to access the course, I spoke with my teacher. __________________________________________________ _______________ Student’s Signature Date