AP Language Summer Reading Assignment Brittain Carolina High School

Transcription

1 Advanced Placement English Language and Composition Mr. Drew Brittain Carolina High School 2014 Summer Assessment Welcome to AP Language and Composition. In order to prepare you for the upcoming school year you will need to continue practicing, reading, and thinking critically during the summer. Many may believe that I am attempting an act of torture; however, I am hoping that the assignment will give you a brief insight into the course. You are welcomed and encouraged to purchase your own copies of the assigned texts; however, Carolina High School will provide copies. This assessment has been created to portray a glance at the upcoming reading for the course and the analysis that will be required of that reading. Plagiarism: Plagiarism is not permitted. Using the school s plagiarism policy, you will not receive credit for your assessment if you have been found plagiarizing. Additionally, you cannot make up the assignment. Please refrain from following for your writing and reading: SparkNotes, CliffNotes, Wikipedia, or any other similar website to supplement reading and writing. Collaboration with other students **If you need any help you may contact me at ebrittain@greenville.k12.sc.us or through the summer help opportunities. Part I: Reading Read the following books. These selections are included on the approved AP Central College Board list for suggested readings. Please complete the readings analyzing the text for possible arguments, meanings, and author s purpose. Title and Synopsis Nickled and Dimed Nickel and Dimed reveals low-wage America in all its tenacity, anxiety, and surprising generosity. Instantly acclaimed for its insight, humor, and passion, this book is changing the way the nation perceives its working poor. A Walk in the Woods: Rediscovering America on the Appalachian Trail Bill Bryson s exploration and discovery of the Appalachian Trail gives readers an insight into one of America s greatest challenges. While engaging readers with playful commentary, Bryson arrays the English language s strengths and weaknesses. Author Barbara Ehrenreich Bill Bryson Part II: Dialectical Journal You will complete a series of journal entries for both books that demonstrates engagement with the texts, attempts to understand the various arguments presented, and provides a sampling of your best critical thinking. For each book, you will complete a chart like the example below. Please be professional all information must be typed (12 point font, Times New Roman) or uniformly written in black/blue pen. Additionally, you must: Create a heading with your name, the book title, and book author. You only need one heading for each book and you must use proper MLA format. Select 5-7 meaningful passages (the sentences can be a sentence or two in a paragraph) that adequately draw from the beginning, middle, and end of each text. Write out the entire passage to which you will refer and include the page number from which it came.

2 Paraphrase or summarize the passage. It will be helpful to provide the context in which it came. In other words, what is happening before and after the passage appears in the text? Analyze and react to the passage in full sentences not notes. Use the Prolific Characteristics to Note sheet for ideas about what you can write about. This should NOT just be a personal reaction or summary; rather, you should attempt to analyze the methods that the writer uses to make his or her argument. This is where you will show your engagement and reflection. Your analysis should be longer than the selected quotation or passage. Student Name: Drew Brittain Book Name: Reading Lolita in Tehran Author: Azar Nafisi Quotation/Passage from the text with page number. I played a lot of Monopoly growing up. Like most players of the game, I loved drawing a yellow Community Chest card and discovering a bank error that allowed me to collect $200. It never occurred to me not to take the cash. After all, banks have plenty of money, and if one makes an error in your favor, why argue? I haven t played Monopoly in twenty years, but I d still take the $200 today. And what if a real bank made an error in my favor? That would be a tougher dilemma. Such things do happen. (23) Paraphrase or Summary The author is remembering that a common childhood game had a positive moment when a player received free cash because a bank made a mistake. This is the way the book begins and sets up the idea of the Cheating Culture. Analyze and React By beginning with a reference to a childhood game, the author reminds the audience of something that most people probably remember not just the game, but the excitement of a bank error card. He also issues the question that banks have plenty of money so why argue? This really mimics what most people would probably say in real life to justify why they should keep money that isn t rightfully theirs. He moves from this game topic to a suggestion that it could really happen (which he will explain later) and suggests that it would be a tougher dilemma. It almost seems like this could be a sarcastic remark. I think many people would just take the money. We tend to view banks as huge institutions that they will not miss a few rogue dollars here and there. This idea that Wall Street continues to pay out bonuses while the little guy is barely getting by or may not even have a job is especially prevalent now. By this question, the author seems to be trying to get us to ask if we can even justify that type of thinking. Is this the right decision to make? Part III: Essay College Application Letter You will need to do a considerable amount of introspection to complete this essay. This is meant to be personal and should reveal your intellect, desire, and character. This is an application essay in which you should not tell a story - you should portray who you are through your personal experiences. You must show what you have learned about yourself. Therefore, you should avoid using passive verbs like "is/was" or "are/were," and replace them with active verbs that show action and emotion. Although you should write in first person, avoid overusing personal pronouns like "I" and "my", etc. Although the structure is truly optional, make sure your reader can follow with a clear beginning, middle, and end. The narrative should be words (typed double spaced). Choose ONE of the following prompts: A. Some students have a background or story that is so central to their identity that they believe their application would be incomplete without it. If this sounds like you, then please share your story. B. Recount an incident or time when you experienced failure. How did it affect you, and what lessons did you learn? C. Reflect on a time when you challenged a belief or idea. What prompted you to act? Would you make the same decision again?

3 D. Describe a place or environment where you are perfectly content. What do you do or experience there and why is it meaningful to you? E. Discuss an accomplishment or event, formal or informal, that marked your transition from childhood to adulthood within your culture, community, or family. F. Indicate an individual who has a significant influence on you and your personal growth. Describe that influence and how it affects your character. G. Tell us about a personal quality, talent, accomplishment, contribution or experience that s important to you. What about this quality or accomplishment make you proud and how does it relate to the person you are? H. If you could spend a year of your life in service or research, without having concern for money, what would you do and why? How would this experience foster your educational goals and aspirations? I. Discuss some issue of personal, local, national, or international concern. Specifically how has this issue personally impacted your life? Hints and Tips: 1. A great application essay will present a vivid personal and compelling view of you to your teacher and/or a college admissions board. 2. Narrow your topic and keep your focus on one great idea. Admissions officers read hundreds of essays each day, and they have many submissions on the same few topics. Try to make yours unique. 3. Avoid writing about the 4 D s : death, divorce, drugs, and depression. Don t think that you must have had a tragedy or trauma in your life to have a good essay topic. You can write about common happenings such as riding a bicycle or failing a test; the magic comes in how you approach the topic. 4. Make sure the real you comes out in your essay. VOICE is the most important: your personal voice must be communicated through your writing style. 5. After you have finished, ask yourself if anyone else could have written the essay. If the answer is yes, it is not personal and individual enough for an admissions essay. Part IV: Terminology Familiarize yourself with the words. Be capable of providing examples of each when your return to school. 1. Alliteration: The repetition of the same sound or letter at the beginning of consecutive words or syllables. 2. Allusion: An indirect reference, often to another text or an historic event. 3. Analogy: An extended comparison between two seemingly dissimilar things. 4. Anaphora: The repetition of words at the beginning of successive clauses. 5. Anecdote: A short account of an interesting event. 6. Annotation: Explanatory or critical notes added to a text. 7. Antecedent: The noun to which a later pronoun refers. 8. Antimetabole: The repetition of words in an inverted order to sharpen a contrast. 9. Antithesis: Parallel structure that juxtaposes contrasting ideas. 10. Aphorism: A short, astute statement of a general truth. 11. Appositive: A word or phrase that renames a nearby noun or pronoun. 12. Archaic diction: The use of words common to an earlier time period; antiquated language. 13. Argument: A statement put forth and supported by evidence. 14. Aristotelian triangle: A diagram that represents a rhetorical situation as the relationship among the speaker, the subject, and the audience (see rhetorical triangle). 15. Assertion: An emphatic statement; declaration. An assertion supported by evidence becomes an argument. 16. Assumption: A belief or statement taken for granted without proof. 17. Asyndeton: Leaving out conjunctions between words, phrases, clauses. 18. Attitude: The speaker s position on a subject as revealed through his or her tone. 19. Audience: One s listener or readership; those to whom a speech or piece of writing is addressed. 20. Authority: A reliable, respected source someone with knowledge.

4 21. Bias: Prejudice or predisposition toward one side of a subject or issue. 22. Cite: Identifying a part of a piece of writing as being derived from a source. 23. Claim: An assertion, usually supported by evidence. 24. Close reading: A careful reading that is attentive to organization, figurative language, sentence structure, vocabulary, and other literary and structural elements of a text. 25. Colloquial/ism: An informal or conversational use of language. 26. Common ground: Shared beliefs, values, or positions. 27. Complex sentence: A sentence that includes one independent clause and at least one dependent clause. 28. Concession: A reluctant acknowledgment or yielding. 29. Connotation: That which is implied by a word, as opposed to the word s literal meaning (see denotation). 30. Context: Words, events, or circumstances that help determine meaning. 31. Coordination: Grammatical equivalence between parts of a sentence, often through a coordinating conjunction such as and, or but. 32. Counterargument: A challenge to a position; an opposing argument. 33. Cumulative sentence An independent clause followed by subordinate clauses or phrases that supply additional detail. 34. Declarative sentence: A sentence that makes a statement. 35. Deduction: Reasoning from general to specific. 36. Denotation: The literal meaning of a word; its dictionary definition. 37. Diction: Word choice. 38. Documentation: Bibliographic information about the sources used in a piece of writing. 39. Elegiac: Mournful over what has passed or been lost; often used to describe tone. 40. Epigram: A brief witty statement. 41. Ethos: A Greek term referring to the character of a person; one of Aristotle s three rhetorical appeals (see logos and pathos). 42. Figurative language: The use of tropes or figures of speech; going beyond literal meaning to achieve literary effect. 43. Figure of speech: An expression that strives for literary effect rather than conveying a literal meaning. 44. Hyperbole: Exaggeration for the purpose of emphasis. 45. Imagery: Vivid use of language that evokes a reader s senses (sight, smell, taste, touch, hearing). 46. Imperative sentence: A sentence that requests or commands. 47. Induction: Reasoning from specific to general. 48. Inversion: A sentence in which the verb precedes the subject. 49. Irony: A contradiction between what is said and what is meant; incongruity between action and result. 50. Juxtaposition: Placement of two things side by side for emphasis. 51. Logos: A Greek term that means word ; an appeal to logic; one of Aristotle s three rhetorical appeals (see ethos and pathos). 52. Metaphor: A figure of speech or trope through which one thing is spoken of as though it were something else, thus making an implicit comparison. 53. Metonymy: Use of an aspect of something to represent the whole. 54. Occasion: An aspect of context; the cause or reason for writing. 55. Oxymoron: A figure of speech that combines two contradictory terms. 56. Paradox: A statement that seems contradictory but is actually true. 57. Parallelism: The repetition of similar grammatical or syntactical patterns. 58. Parody: A piece that imitates and exaggerates the prominent features of another; used for comic effect or ridicule. 59. Pathos: A Greek term that refers to suffering but has come to be associated with broader appeals to emotion; one of Aristotle s three rhetorical appeals (see ethos and logos). 60. Persona: The speaker, voice, or character assumed by the author of a piece of writing. 61. Personification: Assigning lifelike characteristics to inanimate objects. 62. Polemic: An argument against an idea, usually regarding philosophy, politics, or religion.

5 63. Polysyndeton: The deliberate use of a series of conjunctions. 64. Premise: major, minor Two parts of a syllogism. The concluding sentence of a syllogism takes its predicate from the major premise and its subject from the minor premise. a. Major premise: All mammals are warm-blooded. b. Minor premise: All horses are mammals. c. Conclusion: All horses are warm-blooded (see syllogism). 65. Propaganda: A negative term for writing designed to sway opinion rather than present information. 66. Purpose: One s intention or objective in a speech or piece of writing. 67. Refute: To discredit an argument, particularly a counterargument. 68. Rhetoric: The study of effective, persuasive language use; according to Aristotle, use of the available means of persuasion. 69. Rhetorical modes: Patterns of organization developed to achieve a specific purpose; modes include but are not limited to narration, description, comparison and contrast, cause and effect, definition, exemplification, classification and division, process analysis, and argumentation. 70. Rhetorical question: A question asked more to produce an effect than to summon an answer. 71. Rhetorical triangle: A diagram that represents a rhetorical situation as the relationship among the speaker, the subject, and the audience (see Aristotelian triangle). 72. Satire: An ironic, sarcastic, or witty composition that claims to argue for something, but actually argues against it. 73. Scheme: A pattern of words or sentence construction used for rhetorical effect. 74. Sentence patterns: The arrangement of independent and dependent clauses into known sentence constructions such as simple, compound, complex, or compound-complex. 75. Sentence variety: Using a variety of sentence patterns to create a desired effect. 76. Simile: A figure of speech that uses like or as to compare two things. 77. Simple sentence: A statement containing a subject and predicate; an independent clause. 78. Source: A book, article, person, or other resource consulted for information. 79. Speaker: A term used for the author, speaker, or the person whose perspective (real or imagined) is being advanced in a speech or piece of writing. 80. Straw man: A logical fallacy that involves the creation of an easily refutable position; misrepresenting, then attacking an opponent s position. 81. Style: The distinctive quality of speech or writing created by the selection and arrangement of words and figures of speech. 82. Subject: In rhetoric, the topic addressed in a piece of writing. 83. Subordinate clause: Created by a subordinating conjunction, a clause that modifies an independent clause. 84. Subordination: The dependence of one syntactical element on another in a sentence. 85. Syllogism: A form of deductive reasoning in which the conclusion is supported by a major and minor premise (see premise; major, and minor). 86. Syntax: Sentence structure. 87. Synthesize: Combining or bringing together two or more elements to produce something more complex. 88. Thesis: The central idea in a work to which all parts of the work refer. 89. Thesis statement: A statement of the central idea in a work, may be explicit or implicit. 90. Tone: The speaker s attitude toward the subject or audience. 91. Topic sentence: A sentence, most often appearing at the beginning of a paragraph, that announces the paragraph s idea and often unites it with the work s thesis. 92. Trope: Artful diction; the use of language in a nonliteral way; also called a figure of speech. 93. Understatement: Lack of emphasis in a statement or point; restraint in language often used for ironic effect. 94. Voice: In grammar, a term for the relationship between a verb and a noun (active or passive voice). In rhetoric, a distinctive quality in the style and tone of writing. 95. Zeugma: A construction in which one word (usually a verb) modifies or governs often in different, sometimes incongruent ways two or more words in a sentence.