Felipe 1
“P.R.I.D.E.”
SUMMER ACTIVITIES FOR ADVANCED PLACEMENT ENGLISH LANGUAGE AND COMPOSITION
Instructor: Kelly Felipe, MS, Doctoral Candidate
Expectations for 2016-2017:
AP Language and Composition is a college course that requires the effort and responsibility of a College Board
course. This course integrates fiction with non-fiction essays, writings from a variety of genres, multi-media
studies, and non-traditional readings such as, biographies, memoirs, speeches, and letters (and more). In the
next school year, you will be responsible for reading a minimum of eight novels, write, on average, one essay a
week, rhetorically analyze current events and editorials, prepare and participate in group debates, vastly expand
rhetorical vocabulary, and daily reading and writing homework. You will learn how to develop and defend
arguments, and write persuasively using primary and secondary sources. The course is rigorous and fun, and
requires your dedication and hard work to succeed at the college level.
Summer Vocabulary: All terms must be on a 3 x 5 Notecard, numbered, and attached to a ring. See directions
at top of Rhetorical Ring Words page (see attached). Definitions and an example of how each term
rhetorically functions are required on notecards. ALL RINGWORDS DUE SECOND DAY OF CLASS
*Scroll all the way down this document for Rhetorical Ring Word list
Summer Reading:
Only two Books are required for summer reading To Kill a Mockingbird by. H. Lee and Midnight in the Garden
of Good and Evil by J. Berendt. Projects for both novels are due by the end of the first week of school.
You should have already read the following list of stories and novels: (This means you have to read these too if
you haven’t already.) Lord of the Flies, The Giver, Night, The Odyssey, Romeo and Juliet, and The House on
Mango Street.
Summer Writing: Three Essays (750-900 words, 4 to 5 paragraphs) must be typed in MLA Format. Prompts
are attached. MLA Format must be used at all times. Consult the Purdue Owl Writing Labs at
http://owl.english.purdue.edu/owl/resource/747/01/ or easybib.com and/or
http://citationmachine.net/index2.php. You must:
1.
2.
3.
4.
Follow the standard grammar rules for written English
Employ the use of active voice, present tense verbs, including verb consistency
Use clear, precise, elevated, and sophisticated diction/language
Organize/vary sentences and paragraphs logically, and effectively use transitions
ALL THREE ESSAYS ARE DUE IN A FOLDER WITH YOUR NAME ON IT ON THE THIRD DAY
OF SCHOOL. Each essay is typed and stapled to its corresponding prompt.
Have a great summer. I look forward to learning with you!
Felipe 2
1. Summer Writing- Essay 1: Open Argument Free Response Question
(Suggested time: 40 minutes)
From talk radio to television shows, from popular magazines to Web blogs, ordinary citizens, political figures,
and entertainers express their opinions on a wide range of topics. Are these opinions worthwhile? Does the
expression of such opinions foster democratic values?
Write an essay in which you take a position on the value of such public statements of opinion, supporting your
view with appropriate evidence.
2. Summer Writing- Essay 2: Open Argument Free Response Question
Write a 3 paragraph essay that conveys the rhetorical choices and strategies Roxane Gay employs in the
piece in order to convince her audience that the inclusion of “Feminist” in a Time magazine poll is lazy
and irresponsible journalism?
Why is ‘feminist’ the new F-word? By ROXANE GAY, The Washington Post, 11/22/2014 2:00 PM 11/22/2014
Read more here: http://www.miamiherald.com/opinion/op-ed/article4055881.html#storylink=cpy
It’s an amusing idea to some, this feminism thing — this audacious notion that women should be able to move through the world as
freely, and enjoy the same inalienable rights and bodily autonomy, as men. At least, that’s the impression given when feminism and
feminists are all too often the targets of lazy humor.
Take, for example, a poll posted by Time magazine recently. It seems like an innocent enough trifle, asking readers which popular
word from 2014 should be banned. Nominees include “bossy,” “basic,” “disrupt,” “kale” and “turnt,” among others. The list is
supposed to be funny, but it is largely a policing of the vernacular of anyone who isn’t a white, heterosexual man.
The list also includes the word “feminist,” with the explanation: “You have nothing against feminism itself, but when did it become a
thing that every celebrity had to state their position on whether this word applies to them, like some politician declaring a party? Let’s
stick to the issues and quit throwing this label around like ticker tape at a Susan B. Anthony parade.” Feminism was leading the poll
— by a lot — spurred in part by an effort from users at 4chan, a largely toxic online bulletin board.
We can, perhaps, ignore the hyperbole of “every celebrity” because celebrities are generally vigorous in their disavowal of feminism.
Related What we can’t ignore is the implication that the word “feminist” is somehow a nuisance we must ban because celebrities such
as Beyoncé, Emma Watson, Taylor Swift, Aziz Ansari and Lena Dunham have declared themselves feminists this year. These stars
have, at the very least, introduced a broader range of people to the idea of feminism. These celebrities cannot be singular
representatives of feminism, but they can make some noise. They can lessen some of the stigma surrounding feminism. They can help
advance feminist goals.
I keep trying to imagine a universe in which too many public figures declaring themselves feminists is a bad thing. This would have to
be a universe where “the issues,” as the poll vaguely mentions, no longer exist — one where women enjoy unlegislated reproductive
freedom and have easy, affordable access to birth control. Pregnant women who miscarry wouldn’t be charged with homicide, as was
an Iowa woman who fell down the stairs while pregnant. Women would be paid the same as men. They would be free from the threat
of violence, harassment and sexual assault while going about their lives. Women would be able to rebuff a man’s advances without
getting killed, as 27-year-old Detroit resident Mary Spears was last month. They would be able to participate in intellectual debates
without disagreement being couched in terms of their looks or sexuality. In this universe, where women would be free to simply live
their lives, “feminist” would become an antiquated term. I’d be tired of hearing it, too.
Felipe 3
But we don’t live in that universe. We are nowhere close. And there are worse things than people throwing around the F-word. Of all
the words that should be spoken more, “feminist” should be at the top of the list. Why don’t we ban “feminazi”? Better yet: Get rid of
“bitch,” “slut” and “whore.” Ban racial and homophobic slurs. Those are actual issues.
To include “feminist” in this poll was irresponsible and lazy. It was a provocation without substance, designed to amuse. Women
openly claiming feminism and a desire for equality? That’s just silly.
But it’s never really about the poll, the song, the comedian, the book, the movie. Instead, feminists — those of us who care about
equality — are raising hell about a culture in which misogyny is so deeply embedded that we barely notice what it is doing to us –
how it is choking us, how it is diminishing us. Roxane Gay is the author of the essay collection “Bad Feminist.”
Read more here: http://www.miamiherald.com/opinion/op-ed/article4055881.html#storylink=cpy
Use the Blueprint below to unlock the rhetorical choices and strategies Gay makes to convince (or not
convince) the audience of her claim.
Annotating Texts for Rhetorical Analysis Essays (use this to analyze texts)
Text Annotation: Why and how you should annotate?
http://apcentral.collegeboard.com/apc/public/courses/teachers_corner/197454.html
Model the writing you see from articles and editorials
READ ARTICLE AND DEFINE ALL UNKNOWN TERMS/IDEAS/CONCEPTS/ALLUSIONS
Circle Adjectives
HELPS IDENTIFY TONE & Rhetorical/ STYLISTIC DEVICES
Box Verbs
Labels for Text: (use highlighters)
P= Position / Thesis (Main Idea = what is said about the topic & Author’s Purpose [P.I.E.S.] = why author writes the
piece)
I= Idea (Identify Their “Big” idea you are going to connect to/write about)
E= Evidence (Types of discussion; i.e., Ethos, Pathos & Logos choices)
RD/SD = Stylistic Devices (Rhetorical Analysis of Academic language/) When you see an author use something more than
twice=pattern of SD
ATO= Address the Opposition (set off by “on the other hand,” “but,” “although,” however,”.) The author can/may do
this various times.
Complete T-Notes= Two Column Notes
Big Idea(s)
Evidence (Find Logos & Pathos)
Felipe 4
Complete T-Notes= Triple Column Notes
Identify Rh./St. Device (Serial
Killer) & Appeals
“Hot” Text (Direct, short
Quote)
Why Effective? As it relates to
AU. Purp. & Main Idea
COMPLETE A SOAPSTone for the Gay article
SOAPSTone Reading Strategy Guide
(adapted from The College Board)
This strategy aids, encourages, and strengthens readers’ interaction with analyzing and comprehending texts.
SOAPSTone should be used in conjunction with annotating!
Speaker (WHO x Two): Who is the voice that tells the story? The author and the speaker are NOT necessarily the
same. An author may choose to tell the story from any number of different points of view. Is someone identified as the
speaker? What assumptions can be made about the speaker? What age, gender, class, emotional state, education,
or…VOICE? In nonfiction, how does the speaker’s background shape his/her point of view?
Occasion (WHEN x Two): What is the time and place of the piece -- the (rhetorical) context that encouraged the
writing to happen (IMMEDIATE OCCASION)? Is it a memory, a description, an observation, a valedictory, a diatribe, an
elegy, a declaration, a critique, a journal entry or…? Writing does not occur in a vacuum. There is the LARGER
OCCASION: an environment of ideas and emotions that swirl around a broad issue. Then there is the immediate
occasion: an event or situation that catches the writer’s attention and triggers a response.
Audience: (Who it is meant for? x Two): Who is the audience – the (group) of readers to whom this piece is
directed? The audience may be one person, a small group, or a large group; it may be a certain person or a certain
people. Does the speaker identify an audience? What assumptions exist about the intended audience?
Purpose: (WHY & WHAT x THREE): Why was this text written? You should ask yourself, “What does the speaker
want the audience to think or do as a result of reading this text?” How is this message conveyed? What is the
message? How does the speaker try to spark a reaction in the audience? What techniques are used to achieve a
purpose? How does the text make the audience feel? What is its intended effect? Consider the purpose of the text in
order to examine the argument and its logic.
Subject (WHAT x Two) What are the general topics, content, and ideas contained in the text? You should be able to
state the subject in a few words or a phrase. How do you know this? How does the author present the subject? Is it
introduced immediately or delayed? Is the subject hidden? Is there more than one subject?
Tone (MAD, SAD, GLAD, AFRAID [NOTICE SHIFTS]): What is the attitude of the author? The spoken word can
convey the speaker’s attitude, and, thus, help to impart meaning, through tone of voice. With the written work, it is tone
that extends meaning beyond the literal. If the author were to read aloud the passage, describe the likely tone of that
voice. It is whatever clarifies the author’s attitude toward the subject. What emotional sense pervades the piece? How
does the diction point to tone? How do the author’s diction (intended word choice), imagery, language, and sentence
structure (syntax is deliberate sentence structure) convey his or her feelings?
*(Answering all these Questions IS YOUR Introduction for your rhetorical analysis essay) *
Felipe 5
3. Summer Writing- Essay: Open Argument Free Response Question
(Suggested time: 40 minutes)
Read the following passage by Susan Sontag. Then write an essay in which you support, refute, or qualify
Sontag’s claim that photography limits our understanding of the world. Use appropriate evidence to support
your argument.
Photography implies that we know about the world if we accept it as the camera records it. But this is the
opposite of understanding, which starts from not accepting the world as it looks. All possibility of
understanding is rooted in the ability to say no. Strictly speaking, one never understands anything from a
photograph. Of course photographs fill in the blanks in our mental picture of the present and the past: for
example, Jacob Riis’s images of New York squalor in the 1880s are sharply instructive to those unaware that
urban poverty in late nineteenth-century America was really that Dickensian. Nevertheless, the camera’s
rendering of reality must always hide more than it discloses. As Brecht points out, a photograph of the Krupp’s
works* reveals virtually nothing about that organization. In contrast to the amorous relation, which is based on
how something looks, understanding is based on how it functions. And functioning takes place in time and must
be explained in time. Only that which narrates can make us understand. (Line 10)
The limit of photographic knowledge of the world is that, while it can goad conscience, it can, finally, never
be ethical or political knowledge. The knowledge gained through still photographs will always be some kind of
sentimentalism, whether cynical or humanist. It will be a knowledge at bargain prices- a semblance of
knowledge, a semblance of wisdom…The very muteness of what is, hypnotically, comprehensible in
photographs is what constitutes their attraction and provocativeness. The omnipresence of photographs has an
incalculable effect on our ethical sensibility. By furnishing this already crowded world with a duplicate one of
images, photography makes us feel that the world is more available than it really is. (Line 17)
Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to
which everyone is now addicted. Industrial societies turn their citizens into image-junkies; it is the most
irresistible form of mental pollution. (Line 20)
-On Photography, 1977
*Krupp: A German weapons manufacturing firm that was instrumental in the Nazi rearmament effort of the 1930s.
Felipe 6
AP Language & Composition: Key AP Exam Vocabulary
Rhetorical Ring Note Card Assignment
Using 3x5 white index cards, place each term listed below in the center of the blank side of the card. On the ruled side of
the card, place the definition of that term WITH AN EXAMPLE. Please number each card- top, right hand corner blank
side. Use only black or blue pen. Definitions can be found on Internet (Make sure the definition correlates to rhetoric &
AP terminology). Hole-punch each card, and then place a metal ring through the left side of card, so all cards fit on a ring
in numerical order.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
Active Voice
Argument Ad hominem & Ad Hoc
Ambiguity (Lexical & Syntactical)
Analogy
Anaphora
Anastrophe
Anecdote
Antithesis
Aphorism
Apostrophe
Assonance
Atmosphere
Attitude
Bombast
Cacophony
Chiasmus
Circumlocution
Claim vs. Counterclaim
Colloquial
Concrete Detail
Connotation
Consonance
Dash
Deductive
Denotation
Descriptive Devices
Diction
Didactic
Double Entendre
Ellipsis
Epistrophe
Ethos
Euphemism
Euphony
Extended Metaphor
Figurative Language
Figure of Speech
Generalization (to do with argument)
Hyperbole
40. Hyphen
41. Imagery (Abstract and Concrete)
42. Irony (Dramatic, Situational, and Verbal)
43. Inductive
44. Inference
45. Innuendo
46. Invective
47. Inversion
48. Juxtaposition
49. Logos
50. Loose sentence
51. Malapropism
52. Metaphor
53. Metonymy
54. Mood
55. Overstatement
56. Oxymoron
57. Paradox
58. Parallelism
59. Passive Voice
60. Pathos
61. Parenthesis
62. Pedantic
63. Periodic Sentence
64. Personification
65. Point of View
66. Pronoun Reference (antecedent)
67. Pun
68. To Qualify (in rhetorical terms)
69. Rhetoric
70. Rhetorical Modes
71. Rhetorical Question
72. Satire
73. Semicolon
74. Simile
75. Style
76. Syllogism
77. Symbol
78. Synecdoche
79. Synesthesia
80. Syntax
81. Scheme
82. Theme
83. Thesis
84. Tone
85. Understatement
86. Voice
87. Zeugma
88. Trope
89. Apposition
90. Asyndeton