[AP ENGLISH] [LANGUAGE & COMPOSITION] [Summer Assignments 2015] [Mr. Drinkwater]

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1 [AP ENGLISH] [LANGUAGE & COMPOSITION] [Summer Assignments 2015] [Mr. Drinkwater] Welcome to Advanced Placement English Language and Composition! This college-level course is offered to junior-year students who are steadfast readers, dedicated writers, and enthusiastic analysts of the written word. As outlined in the College Board s AP English Language and Composition Course Description, The AP English Language and Composition course focuses on rhetorical analysis of nonfiction texts and the development and revision of well-reasoned, evidencecentered analytic and argumentative writing (8). As such, this course is designed to improve both the reading and writing abilities of students by investigating a wide array of texts for their formal qualities, rhetorical contexts, and deeper implications. In order to best prepare for the school year ahead, we will begin our journey together by completing a number of summer assignments. I. WALDEN - Henry David Thoreau Noted for both its content and form, Henry David Thoreau s writing has spent more than one hundred and fifty years inspiring readers from backgrounds as differing as those of pacifist Mahatma Gandhi, anarchist Emma Goldman, and civil rights activist Martin Luther King, Jr. Walden, Thoreau s most (in)famous work, chronicles the writer s attempt to reflect upon society by stepping outside of it, dwelling in a cabin on Walden Pond in Concord, Massachusetts, and striving for simplicity. EXPECTATIONS FOR FIRST DAY OF SCHOOL (SEPTEMBER 2015) - READ & ANNOTATE: By the first day of school, Walden should have been read in its entirety. Additionally, you are strongly encouraged to take notes (these will not be collected) for your own personal use. These notes should pertain to imagery, themes, language, rhetoric, and other areas of intrigue. Given that we will continue looking at the work of Thoreau (and his contemporaries) in September, you will put yourself in an advantageous position by taking thorough notes. - ANALYTICAL NARRATIVE: On the first day of school you will submit an analytical narrative which addresses the following scenario/prompt. Scenario: Imagine you are traipsing about Walden Pond when all of sudden, you realize that you ve gone through a time warp! You no longer hear any of the cars on the now-nonexistent roads, your smartphone is now a paperweight, and there are no planes overhead! As you continue walking, you stumble upon a cabin and are greeted by Henry David Thoreau. After an enlightening chat he sends you on your way, and you eventually return to the year 2015! Prompt: What does Thoreau say to you and how do you interpret it? Write a two-three (2-3) page analytical narrative in which you describe your experience in the Walden time warp and analyze something Thoreau said to you. Please adhere to the following guidelines: o Integrate at least two textual excerpts/quotations (cite chapter name parenthetically)! o Follow MLA formatting conventions (Times New Roman/12/Double-space)! o The quality of your work must be consistent with your level. You should write with focus, organization, and detail. Your writing should be free of spelling/grammar mistakes and typographical errors.

2 II. RHETORICAL & LITERARY TERMS In order to engage in discussions that contain an elevated level of depth and sophistication, we will study some of the most regularly-employed rhetorical and literary terms. By understanding these terms fully, we will have an additional language at our disposal for describing the techniques, styles, and formal elements of the works we read. Shortly after returning to school we will have an assessment to gauge our familiarity with these terms students should be able to identify a term by its definition, the definition for a term, or an example for either. Please refer to the attached list of rhetorical and literary terms. III. I AM MALALA Malala Yousafzai and Christina Lamb See the 2015 WMHS Summer Reading Program packet: For students entering AP Language classes IV. CHOICE BOOK ONE (Required) See the 2015 WMHS Summer Reading Program packet: For students entering AP Language classes - Complete the Online Book Review Form found at to receive credit. V. CHOICE BOOK TWO (Optional) See the 2015 WMHS Summer Reading Program packet: For students entering AP Language classes - Complete the Online Book Review Form found at to enter the Superintendent Summer Reading Challenge. [][][] SUMMER ASSIGNMENT WEIGHT Walden Analytical Narrative Walden/Transcendentalism Assessment Rhetorical/Literary Terms Assessment Choice Book One (Online Review) 50 Points 100 Points 50 Points 20 Points [][][] NOTES ON NOTES Developing your own style of taking notes is important. You need to find a way to make your notes thorough yet concise. In addition to taking notes on the areas suggested, bring your own insights to your notes. For example, include questions and perhaps brief answers or engage in a running dialogue with yourself over the course of your notes. Finally, make sure your notes are understandable and accessible upon completion. If you were asked to write an essay on the importance of setting or the development of conflict could you easily access pertinent information from you notes? Notes consisting of a condensed summary of each of each chapter may not prove to be the most useful reference. Your notes should serve as a useful resource to you. [][][] QUESTIONS/CONCERNS If you have any questions or concerns, feel free to see me before the end of the school year. If your questions or concerns arise after we have left for the summer, feel free to me: allen.drinkwater@wpsk12.org (if I don t respond immediately, don t panic it s summer for me, too). Other resources: &

3 Glossary of Rhetorical and Literary Terms [AP Language and Composition] 1. Ad hominem: directed against an opponent s personal character rather than the position they are maintaining (From the Latin meaning to the man) 2. Allegory: an extended narrative in prose or verse in which characters, events, and settings represent abstract qualities and in which the writer intends a second meaning to be read beneath the surface story; the underlying meaning may be moral, religious, political, social, or satiric 3. Alliteration: the repetition of initial sounds in successive or neighboring words (Ex. while I nodded, nearly napping 4. Allusion: a reference to something literary, mythological, or historical 5. Anaphora: a rhetorical device of repeating the same word or words at the start of two or more lines of poetry or successive phrases or sentences in prose 6. Antithesis: a rhetorical device contrasting words, clauses, sentences, or ideas, balancing one against the other in strong opposition. The contrast is reinforced by the similar grammatical structure 7. Appeal to authority: an argument made in which truth is attributed to a statement based on the authority of the speaker or the authority of someone supporting the statement 8. Appeal to Ignorance: an argument made in which an assumption of a conclusion is based primarily on lack of evidence to the contrary (X is true because you cannot prove that X is false // X is false because you cannot prove that X is true) 9. Aphorism: a concise statement which expresses succinctly a general truth or idea often using rhyme of balance 10. Apostrophe: a rhetorical device in which an absent or imaginary person or an abstraction is directly addressed as though present (Ex. Death, be not proud. ) 11. Assonance: the repetition of vowel sounds between different consonants, such as in neigh / fade 12. Asyndeton: the omission or absence of conjunctions between a series of related clauses, used for the stylistic purpose of increasing rhythmic speed or emphasis ( government of the people, by the people, for the people shall not perish from the Earth. The Gettysburg Address ) 13. Blank Verse: unrhymed iambic pentameter 14. Caesura: a pause in a line of poetry created not by the meter, but by the natural speaking rhythm, sometimes coinciding with punctuation 15. Cacophony: harsh, awkward, or dissonant sounds used deliberately in poetry or prose; the opposite of euphony 16. Circular Argument: an argument in which the proposition is supported by the premises, which is supported by the proposition, thus creating a circular fallacy in which no useful information is conveyed (X is true because of Y // Y is true because of X)

4 17. Chiasmus: a statement consisting of two parallel parts in which the second part is structurally reversed (Ex. Out went the taper as she hurried in. 18. Colloquialism: informal words or expressions not usually acceptable in formal writing 19. Complaint: a lyric poem of lament, regret, and sadness which may explain the speaker s mood, describe its cause, discuss remedies, and appeal for help 20. Conceit: an elaborate figure of speech in which two seemingly dissimilar things or situations are compared 21. Confirmation: the part of a speech/essay providing logical arguments in support of a position 22. Connotation: the implied or associative meaning of a word (as opposed to denotation) 23. Consonance: Though the final consonants in several stressed syllables agree, the vowel sounds that precede them are different. 24. Deduction: a method of reasoning in which the conclusion follows from several premises (as opposed to induction) 25. Denotation: the literal meaning of a word (as opposed to connotation) 26. Diction: word choice 27. Didactic: intended to teach, particularly in conveying moral instruction as an ulterior motive 28. Dissonance: the grating of sounds that are harsh or do not go together 29. Elegy: a formal poem focusing on death or mortality, usually beginning with the recent death of a particular person 30. Ellipsis: the omission of a word or phrase which is grammatically necessary but can be deduced from the context (Ex. Kathleen wants to be a firefighter; Sara, a nurse.) 31. End-stopped line: a line of poetry that ends when the grammatical unit ends. Its opposite is enjambment. 32. Enjambment: From the French meaning a striding over, this term describes a line of poetry in which the sense and grammatical construction continue on to the next line. In an enjambed line, the lack of completion creates pressure to move rapidly to the closure promised in the next line. 33. Epigram: a concise, witty saying in poetry or prose that either stands alone or is part of a larger work; may also refer to a short poem of this type 34. Epiphora: a rhetorical device of repeating the same word or phrase at the end of several clauses (almost a reciprocal of anaphora) ( Sweet Portia,/ If you did know to whom I gave the ring/ If you did know for whom I gave the ring/ And would conceive for what I gave the ring/ And how unwillingly I left the ring/ When nought would be accepted but the ring,/ You would abate the strength of your displeasure.) 35. Ethos: the ethical appeal based on the character, credibility, or reliability of the speaker/writer persuading the audience that the person making the argument is worth listening to (from the Greek meaning character)

5 36. Euphemism: an indirect, less offensive way of saying something that is considered unpleasant (ex. laid to rest for buried ) 37. Euphony: a succession of harmonious sounds used in poetry or prose; the opposite of cacophony 38. Exemplum: a brief tale used in medieval times used to illustrate a sermon or teach a lesson 39. Fallacy: an erroneous argument dependent upon an unsound or illogical contention 40. False Dilemma: a fallacy of oversimplification, presenting the audience with a limited number of options (usually two) when more are actually available 41. Foil: a character who, by contrast, highlights the characteristics of another character 42. Free Verse: poetry that is written without a regular meter, usually without rhyme 43. Hasty generalization: a fallacy in which a conclusion is not logically justified given the evidence at hand (meaning insufficient or discernibly biased evidence) 44. Hyperbole: deliberate exaggeration in order to create humor or emphasis 45. Idyll: a short descriptive narrative, usually a poem, about an idealized country life; also called a pastoral 46. Induction: a method of reasoning in which specific instances move towards a generalized conclusion (as opposed to deduction) 47. Internal Rhyme: a rhyme occurring within a line of poetry, as in Edgar Allan Poe s The Raven : While I nodded, nearly napping, suddenly there came a tapping 48. Irony: a situation or statement where the truth is the opposite of appearances 49. Invective: Speech or writing that attacks, insults, or denounces a subject, generally in an abusive, injurious manner 50. Jargon: the use of specific words and phrases by those in a particular area of study, profession, or trade 51. Litotes: a type of understatement in which something affirmative is expressed by negating its opposite (Ex. The teacher was not overly impressed by the poor test results. ) 52. Logos: the appeal to reason, relying on logic. Logos often relies on the use of inductive or deductive reasoning (from the Greek meaning word) 53. Lyric: a type of melodious, imaginative, and subjective poetry that is usually short and personal, expressing the thoughts and feelings of a single speaker rather than telling a story 54. Metonomy: a figure of speech that uses the name of an object, person, or idea to represent something with which it is associated, such as using the crown to refer to a monarch 55. Modes of Discourse: Systems of thoughts composed of different beliefs, practices, ideas, and attitudes, which present a subject in a particular way. The four main modes are exposition, narrative, description, and argument. 56. Motif: a standard theme or dramatic situation which recurs in various works

6 57. Mood: the atmosphere that pervades a literary work with the intention of evoking a certain emotion or feeling from the audience. 58. Non Sequitir: an inference that does not logically follow from the premise(s) 59. Ode: a long lyric poem, usually serious and elevated in tone; often written to praise someone or something 60. Onomatopoeia: the formation of a word from the imitation of natural sounds, such as hiss and boom 61. Oxymoron: an expression in which two words that contradict each other are joined (ex. jumbo shrimp) 62. Parable: a short tale that teaches a moral; similar to but shorter than an allegory 63. Paradox: a statement that seems to contradict itself but that turns out to have a rational meaning, as in this quotation from Henry David Thoreau: I never found the companion that was so companionable as solitude. 64. Pastoral: a poem about idealized rural life, or shepherds, or both; also called an idyll 65. Pathos: the appeal to emotion/passion, relying on the manipulation of the audience s sentiments as a means of persuasion (from the Greek meaning suffering or experience) 66. Polysyndeton: the use of many conjunctions to achieve an overwhelming effect 67. Refutation: the part of an argument in which the speaker/writer confronts (and, ideally, dismantles) the contradicting point of view 68. Rhetoric: the art of effective, persuasive speaking or writing, especially through the use of figurative language and compositional techniques 69. Stock Character: a standard character who may be stereotyped, such as the miser or the foold, or universally recognized, like the hard-boiled private eye in detective stories 70. Syllepsis: the linking of one word with two other words in two strikingly different ways (Ex. The migrants exhausted their credit, exhausted their friends. ) 71. Syllogism: a kind of logical argument using deductive reasoning; two (or more) propositions are asserted to be true, and a conclusion follows. (All men are mortal / Socrates is a man / Therefore, Socrates is mortal) 72. Symbol: an object which is something in itself yet is used to represent something else 73. Synechdoche: the use of one part of an object to represent the entire object, such as using boards to mean a stage or wheels to mean a car 74. Synesthesia: Describing one kind of sensation in terms of another, e.g., sound as color, color as sound, sound as taste, color as temperature 75. Syntax: the arrangement of words within a sentence includes sentence length and complexity; the variety and pattern of sentence form; inversion of natural word order; unusual juxtaposition; repetition; parallelism; use of active or passive voice; level of discourse

7 76. Tautology: needless repetition which adds no meaning or understanding (Ex. widow woman; free gift; close proximity) 77. Tone: the attitude of a writer, usually implied, toward the subject or audience (may be described with words such as sardonic, apologetic, light-hearted, or somber) 78. Transition: words and phrases providing connections between ideas, sentences, and paragraphs, thus increasing flow and presenting the piece as a unified whole 79. Understatement: the deliberate representation of something as less in magnitude than it really is 80. Zeugma: a figure of speech in which a word, usually a verb or adjective, applies to more than one noun, blending together ideas that are grammatically (and logically) different (EX: John held the door and his breath.)