Thursday, April 28, 2011

Five Points for AP English Language Review

Five Points for AP English Language Review


Overall
  1. Get a good night’s sleep.
  2. Eat breakfast!  Yes, there are extensive studies to prove that students score higher on tests if they eat breakfast. Why do you think the school serves free breakfast to juniors before exit exams?
  3. Get to the test site early so you have time to calm down and prepare for the test.
  4. Use the entire allotted time on the test. Don’t finish early. Go back and look at difficult multiple-choice questions or proofread, edit, and revise essays. Ignore other students who succumb to senioritis and rush through the exam.
  5. If a section of the test is extremely difficult, SMILE and persevere because that means you have a much better chance of making a higher score if you charge ahead. Many, many other students will let the test defeat them and skip or rush through difficult sections. Take your time and accept the challenge!

Multiple-Choice
  1. How well did you manage time during practice exams? If you had remaining free time at the end of the exams, slow down on the real exam and read each selection twice. If you struggled to finish within the time constraints, it might help you to omit one section of multiple choice and concentrate on the other passages. If you omit a section, omit the oldest section or the section with the fewest number of questions.
  2. Don’t forget to read quotations in context. If you are asked a question over lines 32-35 of a text, start reading at least two lines about line 32 and continue reading at least two lines after line 35.
  3. Do not allow one question to take too much time. Circle the item and return to it at the end of the test if you have remaining time.
  4. Don’t forget that the multiple-choice questions are NOT graded for difficulty. The most difficult question may be #1, and the easiest question may be the final question. Don’t spend so much time on the first section that you never get to easier questions later on the test.
  5. Make sure that you look at notes at the end of passages. Often you may learn information about the time period or author that may make the passage easier to comprehend.

Synthesis Question
  1. As soon as you receive your packet, write MYAC in big letters across the top of the page:  MAKE YOUR ARGUMENT CENTRAL!  This should help you remember that the readers want to see someone who can have a conversation with the sources. Do not summarize!  That is an easier writing skill. If you summarize all sources, you might have a very good 6-page summary, but your grade will probably be a 4 or lower.
  2. Read the introduction and assignment carefully. Some people read only the introduction to the topic and miss the assignment. Make sure you know what you should write about before you begin writing.
  3. Pay attention to the minimum number of required sources and make sure you include that many. If you write a splendid essay but do not use enough sources, you cannot receive a grade above a 4.  You do not receive extra points for exceeding the number of sources.
  4. Document all sources through lead-ins or parenthetical documentation.
  5. Watch the prompt carefully. Are you supposed to take a stand and persuade someone? Are you supposed to look at both sides of an issue? Follow the directions!

Rhetorical Analysis

  1. Historically, this is the essay where national averages are lowest; therefore, this is the essay where you can score big points! Spend the full 40 minutes here even if you find the prompt difficult.
  2. Write the following words at the top of your rhetorical analysis as soon as you get the green booklet:  TONE, ETHOS (Do we trust the author? Why?)  Pathos (What effect does the passage have on the reader? Why? How does the author do this?) and Logos (How does the author use logic to make his point?). Consider these ideas and see if they fit within the prompt.
  3. Read the prompt carefully to determine what you are supposed to do. Are you supposed to explain how the author makes his argument?  If so, tell what he is doing in each section of the passage. Are you supposed to analyze rhetorical devices? If so, choose 2 or 3 and explain what he does and WHY. What effect do these rhetorical devices have on the passage?
  4. If you are absolutely lost and have no idea what to do, tell what the author is doing in each paragraph and try to make at least a 5 on the rhetorical analysis. As you dissect and write about each paragraph, you may uncover the idea the readers want you to find. If you then have a flash of understanding, include this understanding in your conclusion.
  5. Quote from the passage!  Usually, you will quote only parts of sentences or words. Do not quote large sections of a passage. You do NOT need to cite line numbers.

Open Question

  1. Read the prompt carefully so that you know what to do. Are you supposed to look at both sides of an issue or just advance your position? Read carefully!
  2. Are you allowed to bring in outside examples? If so, include several scholarly examples. If you have to, you can use personal examples, but the higher scores generally go to students who bring in examples from current events, history, science, politics, etc.
  3. Your writing must shine on the open argument question. Use some of the rhetorical devices (repetition, rhetorical questions, figurative language) that you have learned this year.
  4. Provide DEPTH to your argument. If you provide only a surface analysis, your grade will be lower. This is why you need to use the full time provided for the test.
  5. A longer paper that is well-written and on subject almost always will receive a higher score than a shorter paper. Once again, use the full allotted time for the test!

Syntax

Consider:


When I am too sad and too skinny to keep keeping, when I am a tiny thing against so many bricks, then it is I look at trees.

Sandra Cisneros, The house on Mango Street


1. What kind of grammatical structure is repeated in this sentence?  What is the effect of the repetition?
2. This is a periodic sentence, a sentence which DELAYS the subject and verb to the end.  What idea is emphasized by the END-FOCUS in this sentence?




Consider:
She is a woman who misses moisture, who has always loved low green hedges and ferns.
Michael Ondaatje, The English Patient

1. Both of the subordinate clauses in this sentence MODIFY woman.  What effect does this PARALLEL STRUCTURE have on the sentence?


2.  How would it change the feeling evoked by the sentence if it read:
She misses moisture and has always loved low green hedges and ferns.



Monday, April 4, 2011

AP Language & Composition  
Rhetoric, Modes of Discourse, Exposition The Art of Rhetoric
Rhetoric, whether spoken or written, is the art of using language effectively to inform and persuade. It includes the use of three types of appeal to the audience and can be divided into five categories or canons. Most analysis is focused on style. However, it is important to be aware of the other four canons as well as the writer or speaker’s use of appeals.
Rhetorical Appeals
Ethos
One’s credibility as a speaker and writer.
Logos
The intellectual power of one’s speech or writing.
Pathos
The emotional power of one’s speech or writing.



The Five Rhetorical Canons
Invention
Selection of the best pattern for one’s purpose: ~analogy ~cause and effect ~classification or division ~comparison and contrast ~definition ~example or illustration ~process analysis
Arrangement
Organization of writing or speech: ~cause and effect ~chronological ~comparison and contrast ~flash back or flash forward ~general to specific (or specific to general)
~least to most important (or most to least) ~spatial
Style
Artful expression of ideas: ~detail ~diction ~figures of speech ~imagery ~syntax ~tone
Memory
Devices that make speech or writing memorable: ~acronym ~pattern of three ~repetition
Delivery
Conscious use of gesture, expression, and pacing.

Common Figures of Speech
Figures of Speech: Tropes
Artful deviation from ordinary or principal signification of a word.
Figures of Speech: Schemes
Artful deviation from the ordinary arrangement of words.
Reference to one thing as another • Metaphor
• Simile • Synecdoche • Metonymy
Word play/puns • Personification •    Syllepsis (zeugma) • Onomatopoeia
Overstatement/understatement • Hyperbole
• Litotes Semantic Inversions
•    Rhetorical question • Irony • Oxymoron • Paradox
Structures of balance • Parallelism
• Antithesis Omission
• Ellipsis
•    Asyndeton (polysyndeton) Repetition
• Alliteration • Assonance • Anaphora • Chiasmus


The Traditional Four Modes of Discourse
Exposition is the most commonly used of the traditional modes of discourse. Expository writing sets out to present ideas in a clear, straightforward, objective manner. The most commonly used methods of development in expository writing are analogy, cause and effect, classification, comparison and contrast, definition, illustration, and process analysis.
Argument attempts to persuade a reader to accept the writer’s viewpoint or position. Logical argument appeals to the reason or intellect of the reader while persuasive argument appeals primarily to the reader’s emotions and often elicits a call to action or a change in a reader’s belief. Logical argument uses three methods to develop a position: induction, deduction, and analogy.
Narration tells a story or presents a sequence of events which occurred over a period of time. If the story is significant in itself, it is narration. If a story illustrates a point in exposition or argument, it may be called illustrative narration. If a story outlines a process step-by-step, it is designated as expository narration.
Description presents factual information about an object or experience (objective description) or reports an impression or evaluation of an object or experience (subjective description. Most description combines two purposes. It was a frightening night. (An evaluation with which others might disagree.) The wind blew the shingles off the north side of the house and drove the rain under the door. (Two facts about which there can be little disagreement).

The Range of Exposition
Expository writing includes writing as familiar and as ephemeral as daily newspaper stories and magazine articles and as monumental as the philosophical works of Aristotle, the history of Gibbon, or the science of Darwin. Exposition also includes technical writing such as is found in an encyclopedia and in business and engineering reports.
Expository writing also includes non-fiction personal writing such as journals, diaries, and essays of individual experience and opinion, of which Montaigne, Thoreau, Orwell, E.B. White, James Baldwin, Joan Didion, and Virginia Woolf are notable practitioners. It is this branch of exposition, the personal experience essay, sometimes also called "Creative NonFiction," with which we are mainly concerned in this course.
This kind of personal essay naturally transforms itself into the higher-level journalism characteristic of such a publication as The New York Times Magazine. The essential difference between "expository" writing and fictional short stories is that everything narrated in a piece of "expository" writing must be absolutely and literally true. The events MUST have actually happened and have happened where you say they happened and how you say they happened and when you say they happened.    Nothing can be "made up."    But otherwise, the techniques needed for good fiction are the same as those needed for good creative non-fiction---vivid storytelling, suspense, pace, scene setting, characterization, organic structure, sound themes, irony, figurative language, style and the fundamental secret of superior expository creative non-fiction writing, what I call “literal symbolism,” where a real event is made into a symbol for an entire class of events. All the resources of verbal and literary expression you will be practicing for expository writing are identical to those you might use in writing a good short story, except that exposition claims to be literally true whereas short stories do not. A good many of the devices are also applicable to poetry, though, of course, exposition is in prose, not verse.
--Harlan Underhill, adapted from Modern Rhetoric “If fiction is a world, nonfiction is the world. In the end all writing is about the
business of being human.”
--William Sloan, The Craft of Writing

Analogy is a method of development that explains something abstract or difficult to understand by comparing it to something simpler and more concrete, with which the reader is likely to be familiar.
Cause and Effect is a seemingly simple method of development in which either the cause of a particular effect or the effects of a particular cause are investigated. However, because of the philosophical difficulties surrounding causality, the writer should be cautious in ascribing causes.
Classification/Division is the division of a whole into the classes that comprise it; or the placement of a subject into the whole of which it is a part.
Comparison and Contrast is the presentation of a subject by indicating similarities between two or more things (comparison); by indicating differences (contrast). The basic elements in a comparative process, then, are (1) the terms of the comparison, or the various objects compared, and (2) the points of likeness or difference between the objects compared. Often comparison and contrast are used in definition and other methods of exposition.
Definition, in logic, is the placing of the word to be defined in a general class and then showing how it differs from other members of the class; in rhetoric, it is the meaningful extension (usually enriched by the use of detail, concrete illustration, anecdote, metaphor) of a logical definition in order to answer fully, clearly, and often implicitly the question, “What is _____ ?”
Example/Illustration is the use of a particular member of a class to explain or dramatize a class, a type, a thing, a person, a method, an idea, or a condition. The idea explained may be either stated or implied. For purposes of illustration, the individual member of a class must be a fair representation of the distinctive qualities of the class. The use of illustrations, examples, and specific instances adds to the concreteness and vividness of writing.
Process Analysis (enumeration) is a method of exposition by logical sequence, applicable to any process, from mining coal to writing a poem. Processes may be described technically and factually or impressionistically and selectively. In the latter method the steps in the sequence are organized in relation to a single governing idea so that the mutually supporting function of each of the components in the total structure becomes clear to the reader. Processes may be explained in terms of their characteristic function. Analysis may also be concerned with the connection of events; given this condition or series of conditions, what effects will follow.
--Adapted from The Essay by Michael F. Shugrue (1981)

Thursday, March 31, 2011

Women in Literature Week of 3/28-4/1

Read Kate Chopin's "Story of an Hour"
Read Charlotte Perkins Gilman "The Yellow Wallpaper"

Books for Literary Circles and Socratic Seminars:
Their Eyes Were Watching God   Zora Neale Hurston
Washington Square     Henry James
The Awakening           Kate Chopin

Establish reading groups and reading schedules.

AP Hmwk: For Friday, packet on 16th and 17th century passages

Links:
Socratic Seminar
http://www.studyguide.org/socratic_seminar.htm

Friday, March 18, 2011

Poetry Presentations

Wonderful work, everyone, on your poetry presentations.

If you have not gone yet, please put a link to your Prezi presentation here or send me your powerpoint.

Thank you!

Monday, February 28, 2011

Gloria Naylor and others--the N-Word matters

Discuss readings.

http://www.byseanferrell.com/2011/01/why_the_n-word_matters.html

Homework:

Look over the poetry project handout.  Think about what poet you would like to read and present to the class. Work on essays for Wednesday.

Wednesday, February 16, 2011

Huckleberry Finn/ Critical Approach paper

You will be writing a 4-5 pp. paper (exclusive of works cited page) on Mark Twain’s Huckleberry Finn using a literary critical approach of your choosing. The following details should help you to plan and meet deadlines:

**Due Date -- the paper will be due Wednesday, March 2, 2011.

Use Times New Roman, 12 point font, double-spaced.

**Form -- Use the MLA format for writing literary papers.



How to Write an Interpretive Essay: The Basics Article by Trent Lorcher
Use the following guidelines for teaching how to write an interpretive essay or how to write a literary analysis:
  • The introduction must introduce the literary work, capture the reader's attention, and include a clearly written thesis statement that contains the literary interpretation.
  • The body of the essay must support the thesis statement through evidence--facts, examples, summaries--and commentary--opinions, analysis, interpretation, insight.
  • The conclusion summarizes the interpretation and allows the writer to draw attention to the most important aspects of the analysis.

An 'A' essay does the following:
  • identifies the author, title, and gives a brief summary of the literary work.
  • provides a clear interpretation of the author's message and purpose.
  • provides details, quotations, and other evidence to support the interpretation.

Drafting and Revising
When teaching how to write a literary analysis or interpretive essay, emphasize the following:
  1. Reread the literary work several times. This seems logical to teachers. It's not logical for students. Read through the first time to get a feel for the work. Reread and look for passages and ideas that stand out or have special meaning.
  2. Before drafting, brainstorm possible interpretations. A good strategy is to write annotations as you read.
  3. Discuss the interpretation with others who have read the work. As a teacher, it's important to have class discussions on works being analyzed.
  4. Make sure you have a clear answer to the following questions as you write or revise:
    • What is the main point of the essay? This main point should be clearly identified in the thesis statement.
    • What evidence best supports the interpretation?
    • Are there any points that should be added to clarify the interpretation?
    • Is there any superfluous evidence that could be deleted?


Common Pitfalls of Literary Analysis
Following are the most common errors with literary analysis:
  1. Writing a Summary: No matter how many times you emphasize that you do not want a summary, you'll still get them. The only way to eliminate this error is to model analysis and give really low grades to students who summarize rather than analyze.
  2. Listing Facts: A close relative of the summary is listing facts. It's also called the, "I'll list as many facts as I can about this literary work and hope the teacher doesn't grade it very closely" syndrome. Explain that listing facts without explaining how the fact supports the thesis statement or why that fact is important is useless.
  3. Having No Evidence: At the other end of the bad analysis spectrum is the no evidence analysis. It consists of nothing but conjecture.
Bottom of Form

Using literary quotations

http://writing.wisc.edu/Handbook/QuoLiterature.html

Use the guidelines below to learn how to use literary quotations.


For further information you may wish to see Quoting, Paraphrasing, and Acknowledging Sources, or you
may wish take the Writing Center class entitled Literary Analysis?: No Problem!.

Incorporating Quotations

·       As you choose quotations for a literary analysis, remember the purpose of quoting.
·       Your paper develops an argument about what the author of the text is doing--how the text "works."
·       You use quotations to support this argument; that is, you select, present, and discuss material from the text specifically to "prove" your point--to make your case--in much the same way a lawyer brings evidence before a jury.
·       Quoting for any other purpose is counterproductive.

Punctuating and Indenting Quotations

For the most part, you must reproduce the spelling, capitalization, and internal punctuation of the original exactly.
The following alterations are acceptable:

Changing the closing punctuation

You may alter the closing punctuation of a quotation in order to incorporate it into a sentence of your own:
"Books are not life," Lawrence emphasized.
Commas and periods go inside the closing quotation marks; the other punctuation marks go outside.
Lawrence insisted that books "are not life"; however, he wrote exultantly about the power of the novel.
Why does Lawrence need to point out that "Books are not life"?

Using the slash when quoting poetry

When quoting lines of poetry up to three lines long (which are not indented, see Indenting quotations), separate one line of poetry from another with a slash mark (see examples in Incorporating Quotations into Sentences).

Using Ellipsis Points for Omitted Material

If for the sake of brevity you wish to omit material from a quoted passage, use ellipsis points (three spaced periods) to indicate the omission.
(See this sample paragraphhttp://writing.wisc.edu/Handbook/QuoLitEmphasizing.html - sample. The writer quoted only those portions of the original sentences that related to the point of the analysis.)

Using Square Brackets when Altering Material

When quoting, you may alter grammatical forms such as the tense of a verb or the person of a pronoun so that the quotation conforms grammatically to your own prose; indicate these alterations by placing square brackets around the changed form.
In the following quotation "her" replaces the "your" of the original so that the quote fits the point of view of the paper (third person):
When he hears Cordelia's answer, Lear seems surprised, but not dumbfounded. He advises her to "mend [her] speech a little." He had expected her to praise him the most; but compared to her sisters', her remarks seem almost insulting (1.1.95).

Indenting Quotations

Prose or verse quotations less than four lines long are not indented. For quotations of this length, use the patterns described above.
Indent "longer" quotations in a block about ten spaces in from the left margin; when a quotation is indented, quotation marks are not used.
The MLA Handbook (1995) recommends that indented quotations be double-spaced, but many instructors prefer them single-spaced. The meaning of "longer" varies slightly from one style system to another, but a general rule is to indent quotations that are more than two (or three) lines of verse or three (or four) lines of prose.
Indent dialogue between characters in a play. Place the speaker's name before the speech quoted:
CAESAR: Et tu, Brute! Then, fall, Caesar!
CINNA: Liberty! Freedom! Tyranny is dead! (3.1.77-78)

Emphasizing Your Ideas

What to include in literary analysis

Take a look at this sample paragraph. It includes 3 basic kinds of materials:
1.     statements expressing the student's own ideas about the relationship Woolf is creating;
2.     data or evidence from the text in summarized, paraphrased, and quoted form; and
3.     discussion of how the data support the writer's interpretation.
The quotations are used in accordance with the writer's purpose, i.e. to show how the development of Mrs. Ramsey's feelings indicates something about her personality.

Should I quote?

Quoting is only one of several ways to present textual material as evidence.
You can also refer to textual data, summarize, and paraphrase. You will often want merely to refer or point to passages (as in the third sentence in the sample paragraph) that contribute to your argument.
In other cases you will want to paraphrase, i.e. "translate" the original into your own words, again instead of quoting. Summarize or paraphrase when it is not so much the language of the text that justifies your position, but the substance or content.

Quote selectively

Similarly, after you have decided that you do want to use material in quoted form, quote only the portions of the text specifically relevant to your point.
Think of the text in terms of units--words, phrases, sentences, and groups of sentences (paragraphs, stanzas)--and use only the units you need.
If it is particular words or phrases that "prove" your point, you do not need to quote the sentences they appear in; rather, incorporate the words and phrases into sentences expressing your own ideas.

Maintaining Clarity and Readability

Introduce your quotations

Introduce a quotation either by indicating what it is intended to show or by naming its source, or both.
For non-narrative poetry, it's customary to attribute quotations to "the speaker"; for a story with a narrator, to "the narrator."
For plays, novels, and other works with characters, identify characters as you quote them.
Do not use two quotations in a row, without intervening material of your own.

Pay attention to verb tense

Tense is a tricky issue. It's customary in literary analysis to use the present tense; it is at the present time that you (and your reader) are looking at the text.
But events in a narrative or drama take place in a time sequence. You will often need to use a past tense to refer to events that took place before the moment you are presently discussing:
When he hears Cordelia's answer, Lear seems surprised, but not dumbfounded. He advises her to "mend [her] speech a little." He had expected her to praise him the most; but compared to her sisters', her remarks seem almost insulting (1.1.95).

Documenting Quotations

Follow your course instructor's guidelines for documenting sources. If your instructor hasn't told you which system to use to document sources, ask.
Keep in mind that when you are writing a paper about the same text and quoting from the same edition that everyone else in the class is, instructors will often allow you to use informal documentation. In this case just include the page number in parentheses after the quotation or reference to the text. To be sure, though, you should ask your course instructor.
The documentation style used in this pages is that presented in the 1995 MLA Handbook, but other style systems are commonly used. The Writing Center has information about the rules of documentation in general and about a number of the most common systems, such as APA, APSA, CBE, Chicago/Turabian, MLA, and Numbered References.
























Proposal:
A good essay template helps the writer get organized by allowing for a free flow of ideas. A usual outline looks like this
  • Introduction – This gives a general background to the essay topic and tells the readers why it is significant to deal with it.
  • Thesis statement – It is a statement or declaration that is elaborated in the body part of the essay.
  • Body – The body of the essay argues, proves, or discusses your point(s). It generally is divided into paragraphs, separate for each major point, and supporting information for the same.
  • Conclusion – Here you summarize and reinforce the main points discussed.
An essay outline template is a predefined framework for constructing your academic essay. It is supposed to help the writer logically arrange their own ideas. The main list of items to include in most templates are:
  1. The introduction, which should grab the interest of readers with the first sentence. The importance of the essay topic and an overview of it should come next. If the essay is comparative or persuasive, a brief statement about the different views of the subject matter comes next.
  2. An optional section for providing a background for the subject matter may be included next.
  3. The body, which presents the writers opinions with their supporting ideas.
  4. The conclusion, which is usually a reaffirmation of the essay introduction.
The structure of an essay outline template depends on the writing style. You should have good templates for all writing styles. If this option is not available to you, you will be able to find brief samples of good essay templates on the internet.

As stated, the body of the essay outline template is the portion that can be troublesome to create. Here is a tip for making essay bodies: The overview in the introduction should contain broad statements about the main points, usually three, to be discussed. The writer should have two or three supporting statements for each of them. Here is one way to present the body:
Body
Argument 1
  1. Elaborate on your first argument.
  2. Support your stand. Insert a logical link to second argument.
Argument 2
  1. Elaborate on your second argument.
  2. Support your stand. Insert a logical link to third argument.
Argument 3
  1. Elaborate on your third argument.
  2. Support your stand.