Summer Project: 2017 A.P. English Language and Composition Ms. Massare

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1 Summer Project: 2017 A.P. English Language and Composition Ms. Massare Assignment #1: SOAPSTone Analysis A few notes on graphics: In addition to analyzing and interpreting traditional prose texts, A.P. English Language and Composition requires that you demonstrate an ability to understand and explain graphics both qualitative (everything from political cartoons and advertisements to visual arts) and quantitative (numerical charts and graphs). Please plan to regularly glance at the graphics in newspapers (such as: The Democrat and Chronicle, USA Today, The Wall Street Journal, and the New York Times) and a wide variety of magazines (Time, Newsweek, U.S. News and World Report, Psychology Today, National Geographic, The Week, The Atlantic Monthly, Harpers to name some). Routinely read political cartoons and some comics, especially ones like Doonesbury and Dilbert where satire is apparent. Remember also to glance thoughtfully at carefully designed full page and/or glossy ads to note what is being sold besides the identified product. Study quantitative graphics, noting how spin can also be put on statistical information. A good beginning approach is to assume that each visual is an argument. Quickly determine the bias of any graphic, and ask yourself: What strategies is its creator using to persuade you, the viewer? What to Include: 1. 2 responses to two quantitative graphics: from U.S. News & World Report, Time, and/or Newsweek, or one of the other sources noted above 2. 2 responses to two full length editorials: New York Times and/or The Wall Street Journal (These will be labeled editorials. ) *These are not letters to the editor, nor are these the brief syndicated columns found in the Democrat and Chronicle. Please be selective; find good source material and what you write will be better response to a full length contemporary short story: The Atlantic Monthly, The New Yorker, Harper s. These will be labeled fiction. No credit will be awarded if the basis for your analysis is not fiction responses to two full length essays: The New Yorker, The Atlantic Monthly, The American Scholar, Harper s, or The New Republic. Again, these will be labeled essays. If you choose a book review, or, for example, a selection from The New Yorker s Talk of the Town, no credit will be awarded.

2 5. 2 responses to two full page glossy advertisements: The New Yorker, The New York Times Magazine, National Geographic, Time, and/or Newsweek. Note well: Your analysis needs to be based on what the advertisement is selling besides the ostensible product responses to two current political cartoons: The Democrat & Chronicle, Time. (Please do not use newspaper Comics or the artistic cartoons in The New Yorker.) What is a political cartoon? A political cartoon is a cartoon that makes a point about a political issue or event. Political cartoons can be very funny, especially if you understand the issue on which they are commenting. Their main purpose, though, is not to amuse you but to persuade you. A good political cartoon makes you think about current events, but it also tries to sway your opinion toward the cartoonist s point of view. The best political cartoonist can change your mind on an issue without you even realizing how he or she did it. *Please note, any essays or articles taken from sources other than those listed below will not be graded. See enclosed rubric before you begin the project. *Project responses must be typed. Late projects will not receive any credit. Carelessly presented projects will automatically receive half credit. Incomplete projects will be severely penalized. Due the first day of class: September, Collect graphics and other material from your above study. 2. All source material must be cut out and pasted or taped into a spiral notebook or one three-ring binder. All sources must have complete bibliographic information. 3. TYPE an analysis of each according to the attached SOAPSTone template. 4. Tape or paste the typed analysis of each piece in the notebook, on the page following the source.

3 SOAPStone Subject: Occasion: Audience: Purpose: Speaker: What is the subject of the piece (the general topic, content, or ideas contained in the piece)? How do you know this? How does the author present the subject? Is it introduced immediately or delayed? Is the subject hidden? Or is there more than one subject? What is the rhetorical occasion? Is it a memory, a description, an observation, an argument, a diatribe, a critique or...? Also, consider time and place or the current situation. Ask yourself: What is occurring in society or in the nation that indicates a need for this piece? Who is the audience (the group of viewers to whom this piece is directed)? Avoid the answer, the viewer. What assumptions exist about the intended audience? What is the purpose of the piece (the reason for its creation)? What is the speaker s or creator s reason behind the piece? What is the message? How is the message conveyed? How does the creator or speaker of the piece spark a reaction in the audience? What techniques are used to achieve its purpose? How does the piece make the audience feel? What is the intended effect? Is there a speaker (a voice behind or within the piece)? What assumptions can be made about the speaker? What age, gender, class, emotional state, education, etc? *Quick Note: There is always a speaker, consider the voice behind the essay or the graphic. Tone: What seems to be the author s or creator s attitude toward his/her subject? What emotional sense pervades the piece? What aspects of the piece reveal the tone? Describe the likely tone of the piece. Are there any shifts in tone?

4 SOAPSTone Project Grading Rubric AP English Massare Name Assignment #1 The SOAPSTone Project A. 2 Quantitative Graphics from approved sources /10 Project contains 2 quantitative Graphics /30 SOAPSTone rhetorical analysis completed B. 2 Full Length Editorials from approved sources /10 Project contains 2 Full Length Editorials /30 SOAPSTone rhetorical analysis completed C. 1 Full Length Contemporary Short Story /5 Project contains 1 Contemporary Short Story from approved source /15 SOAPSTone rhetorical analysis completed D. 2 Full Length Essays from approved sources Essay #1 /5 Full Length Essay /15 SOAPSTone rhetorical analysis completed Essay #2 /5 Full Length Essay /15 SOAPSTone rhetorical analysis completed E. 2 Full Page Glossy Advertisements from approved sources /10 Project contains 2 full page glossy advertisements /30 SOAPSTone rhetorical analysis completed F. 2 current political cartoons from approved sources /10 Project contains 2 political cartoons / 30 SOAPSTone rhetorical analysis completed G. Presentation /20 Bibliography is included for all pieces /10 Layout is accessible to the reader

5 /10 Project is neatly typed and is free from errors in spelling/ mechanics Total Points 260 / 2 = /130 Questions: 40 / 2 = /20

6 Assignment #2: Purchase a copy of Mark Twain s The Adventures of Huckleberry Finn. Have the entire novel read before the first day of school. You will want to annotate the novel as you read it. Be prepared to take a long objective test immediately upon returning to school and to write about the novel as well. I. As you annotate, consider this: You will be asked to write a This I Believe essay in the voice of one of the main characters in the novel during the first two weeks of school. Look for evidence that supports Twain s characterization of your chosen person. When an author characterizes someone in a novel, they focus on: *How the character looks and acts *What the character says *What other characters say about him/her *If the character s name has any symbolic meaning II. Write a detailed response for each of the following close-reading questions. You may wish to go over them in advance but not complete responses until you ve finished the novel. Please type. Remember, student responses should vary as each student s analysis differs. A. Characterization: 1. Characterize Huck Finn as narrator. To what extent is he a loner? To what extent does he symbolize the world of boyhood? Use specific details and page numbers to support your response (these need not be specific quotations). B. Language Use: Define colloquialism. Mark Twain makes use of colloquialism in his Huckleberry Finn, such as in the opening line of the novel: You don t know about me without you have read a book by the name of The Adventures of Tom Sawyer, but that ain t no matter. 2. Focus on Huck s dialogue. What can we tell about Huck from the way he speaks? Is he moral? Smart or dumb? Wise or naïve? A rebel or a conformist? 3. Look Huck s narration at the beginning of Ch. 31 and describe the features of this narration. C. Consider the genre of this novel.

7 4. The novel can be seen as an adventure story, a bildungsroman (Look it up!), and a political satire. Select one of these genres and defend your selection using details from the novel. D. Examine the themes and motifs of the story. 5. Provide an example of the conflict between civilization and the natural life. Consider the beginning. 6. Consider the idea of honor. Give an example of a character acting honorable. Then, give an example of a character who is dishonorable. 7. Provide specific examples of the mockery of religion in the book (Remember, the bible supported slavery! ). 8. Provide an example of the irrational behavior associated with superstition. 9. Jim protects Huck as a friend, how is the reader made to feel about slavery? 10. Provide one examples of the humanization of Jim in the story. Explain each. 11. Contrast the relationship of Huck and Jim at the beginning of the novel to the point where this relationship changes. E. Consider the use of irony in the novel: 12. Examine Ch. 32, particularly this conversation between Huck and Aunt Sally: Huck (as Tom): We blowed out a cylinder-head. Aunt Sally: Gracious, was anyone hurt? Huck: No m. Killed a nigger. Aunt Sally: Well, it s lucky because sometimes people do get hurt. Explain the irony presented here. 13. Harney Shepherdson and Miss Sophia are victims of the feud between the Grangerfords and the Shepherdsons. Compare and contrast their conflict with that of the Montagues and Capulets in Shakespeare s Romeo and Juliet. In what way is their situation the same? How is it different? Is Huck sympathetic with the couple? Give examples from the novel to support your argument.

8 14. Twain employs satire throughout the novel to speak out against the hypocrisy and corruption in his society. In what way is the church service, attended by both the Grangerfords and the Shepherdsons, an attack on the religion of Twain s day? How does the hog incident add to the satire? Explain your answer. F. Contrast and Irony: 15. In Chs. 18 and 19, life on the raft is contrasted sharply with the violence and bloodshed Huck encounters on shore. How does this contrast bring out the theme of freedom in the novel? G. Symbolism: Explain what each of the following symbolizes using supporting evidence, including quotations, from the novel. 16. Widow Douglas vs. Miss Watson 17. The Duke and the King (think about Twain s use of satire and parody) 18. The River 19. Jim

9 A Note to the Student.... Welcome to English 11 AP Language and Composition While this in many ways is a college level writing course, it is first of all a reading course. The reading required of you may be different from reading you have done in other courses: you will have to read closely, with more concentration, and more deeply than you are perhaps accustomed to. We take for granted that when you are assigned something to read that you read it all. That does not mean that you glance at something and think that what leaps out at you is what the author intended; that does not mean that you skim for main ideas thinking that a piece of artful prose or some directions can be read like a text message; that does not mean that while you read you multi-task and listen to music, text, talk on the phone, instant message, and indulge in other distractions while you attempt to read. It does mean that you probably have to read somewhere quiet, where you will not be interrupted, and where you can listen to the author s voice as you read. Recent research suggests that once a deep level of concentration is attained, that it may take up to a full half an hour to regain that level of concentration if you allow yourself to be distracted. Your reading responsibilities for this course begin with this Summer Project description. Remember: read everything. If you do not understand something, read over what you have read. Reading, real reading is time consuming, labor intensive, and deeply rewarding. Good luck in your studies.

10 Dear Student, For your AP Language and Composition course, you will be required to purchase three books, one for the summer project and two for use during the first semester. For the summer project, you will need to purchase The Adventures of Huckleberry Finn by Mark Twain. This text can be any edition you choose, new or used. For the 1 st semester, you will need to purchase the following books using the specific ISBN # s listed below: Narrative of the Life of Frederick Douglass by Frederick Douglass (Dover Edition) ISBN # Walden; or, Life in the Woods by Henry David Thoreau (Dover Edition) ISBN # Other books we use are available in the school library, but if you wish to purchase them, the titles are: The Great Gatsby by F. Scott Fitzgerald (ISBN#: ) The Catcher in the Rye by J.D. Salinger (any edition) The Things They Carried by Tim O Brien (ISBN#: ) I hope you have a restful summer and look forward to our work together next year. Sincerely, Ms. Massare AP English Language and Composition Teacher Should you need to contact us, use the following addresses: Danielle_Massare@westiron.monroe.edu Please note: Because it s summer, may not be checked daily. Expect delays.

11 May 22, 2017 Dear Sophomore enrolled in English 11 A.P. for , Concentrated, regular practice of the skills involved in reading and writing will help ensure your success in the up-coming academic year. Therefore, in order to qualify for enrollment in English 11 A.P., we are requiring you to complete a summer project. Please note that your written work must also meet minimum standards for you to qualify: hastily written rough drafts, or work riddled with grammatical and/or factual errors will not be deemed acceptable. To be successful in this course, you must demonstrate commitment to primary source readings (not on-line or print summaries) of between 25 and 35 pages on any given night. The amount of reading will vary, but if you cannot read a substantial selection of prose or poetry with good to excellent comprehension, seriously consider taking English 11 Regents. In our experience there is a direct correlation between how well you read, how well you write, and subsequently how well you perform in the course. The analysis in which we engage will most often be deliberate and detailed with the goal of learning not just what an author is saying but how that writer s purpose and sense of audience affects his or her style. Therefore we will pay particular attention to an author s use of diction, syntax, detail, imagery, and tone in short, to the writer s voice. A.P. English Language and Composition focuses primarily on the study of prose (it s worth looking up the definition) and the writing of non-fiction, both literary and argumentative essays. There will be little, if any, creative writing. We concentrate primarily on writing close textual analyses, and on writing logical, well-supported formal arguments. It is assumed that you already have command of standard English grammar and sentence structure. Instruction in this area will not be remedial; instead, it will be devoted to extending your stylistic control. In addition to out of class writing, there will be timed in-class writing. Through both forms of practice you will be prepared for your A.P. exam in May, for work on the college level, and for a lifetime of deep, appreciative reading and writing. A literature classroom cannot function without the genuine participation of its members. In signing up for this course you have said that you are willing to be an active part of a class. Grading is fair, but rigorous. We use A.P. rubrics as well as previous student models to give ourselves guidelines for evaluation and expectations. The literature studied is of college-level difficulty. That also means that it contains themes and situations that require a mature and intellectual approach and response. Some situations in the literature will involve sexual matters, racism, profanity, and violence. Great literature is not always politically correct. If you are unwilling and/or unable to approach literature with an open mind intent on analyzing an author s purpose and method of portraying human situations, you should not take this course. This course requires that you complete two summer assignments. These assignments are outlined on the following pages. Sincerely yours, Danielle Massare Teacher of A.P. English Language and Composition

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