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AP English Literature and Composition Ms. Jacqueline Sonara
Summer Enrichment
SY 2017-2018 Congratulations ___________________________________________________ ! You are currently scheduled to take AP English Literature and Composition in the fall. It is essential to your success to properly prepare yourself for this intense and rigorous course. You must be an active participant in your learning! This course will require you to be self-motivated ! Please read this packet very carefully. In this packet you will find the following items :
1. Our Summer Edmodo Page - Ms. Sonara’s AP Literature and Composition Summer Page ( Sign-up ASAP )
EDMODO CODE : s26vwt ○ Here you will find :
■ Helpful handouts ■ Summer enrichment ideas & support ■ Informative video links ■ Relevant newspaper articles ■ Templates for summer assignments (These will make your job a lot
easier! Coming in June!) ■ Books! I have many PDF files of the books on your book list! ■ Reading Recommendations ■ College Board Updates ■ Polls ■ Scholarships ■ Community Service Opportunities
2. Course Overview 3. How To Read Literature Like a Professor Assignment * ( must be thoroughly and thoughtfully completed by the
second Friday of the school year- August 25th ) 4. Book Read/Review Assignment* ( must be thoroughly and thoughtfully completed by the second Friday of the school
year- August 25th ) 5. Book List
If you have any questions, please feel free to contact Ms. Sonara or me over the summer at:
Ms. Mendenhall @ [email protected] Ms. Sonara @ [email protected]
See you in August!
Dear ___________________________________________________,
Welcome to AP English Literature and Composition! I am very glad that you chose to take this course! So you may be
wondering what AP English Literature and Composition is all about. Here is an overview based on the AP English Literature
and Composition Course Description on the College Board website. In AP Literature, you will be expected to critically read 1
and analyze literature and understand the larger framework of literary tradition through wide and varied reading. You will
be expected to write about literary works’ structure, style, theme, figurative language, symbolism, tone, historical value, etc.
Summer enrichment will help you to have a better literary background which will enable you to discuss literature in class in an
analytical way. You will be more familiar with varied texts and subject matters and it will be easier for you to write about the
works you have read. Summer enrichment will assist you in preparing for the challenges and exciting discussions in which you
will participate in class. Plus, you get to read some AMAZING stories!!!
Students choosing AP English Literature and Composition should be interested in :
● Studying and writing various kinds of analytical essays . ● Studying various works of literature from various time periods and genres and using this wide
reading knowledge in discussions of literary topics.
The core skill of this course is the ability to read well . You must be able to answer four fundamental questions when reading another writer’s work .
● What is being said?
● To whom is it being said?
● How is it being said?
● Why is it being said?
If you are already familiar with SOAPSTone , you are ahead of the game! Do you want to know more about SOAPSTone? 2
Please visit the link in the footnote.
You will develop your writing craft . In this way, you will not only be writing short and extended responses but also a very different type of essay .
● Literary Analysis : Requires you to attend to the practical and stylistic choices writers make to achieve their
purposes with particular audiences, or the effects these choices might have on multiple, even unintended, audiences.
You will also develop your close reading and timed test taking skills . Are you going to take the SAT or the ACT?
Yes? Well the good news is that the multiple choice practice in this
course will help you develop and refine those essential skills.
● Multiple Choice Assessments : Includes excerpts
from nonfiction texts. Usually 55 multiple choice questions.
1 http://media.collegeboard.com/digitalServices/pdf/ap/ap-english-literature-and-composition-course-description.pdf 2 http://apcentral.collegeboard.com/apc/public/preap/teachers_corner/45200.html
How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines
by Thomas C. Foster
In Arthur Conan Doyle's "The Red-Headed League," Sherlock Holmes and Dr. John Watson both observe Jabez Wilson
carefully, yet their differing interpretations of the same details reveal the difference between a "Good Reader" and a "Bad
Reader." Watson can only describe what he sees; Holmes has the knowledge to interpret what he sees, to draw conclusions,
and to solve the mystery.
Understanding literature need no longer be a mystery -- Thomas Foster's book will help transform you from a naive,
sometimes confused Watson to an insightful, literary Holmes. Professors and other informed readers see symbols,
archetypes, and patterns because those things are there -- if you have learned to look for them. As Foster says, you learn to
recognize the literary conventions the "same way you get to Carnegie Hall. Practice." (xiv).
Note to students: These short writing assignments will let you practice your literary analysis and they will help me get to
know you and your literary tastes. Whenever I ask for an example from literature, you may use short stories, novels, plays, or
films (Yes, film is a literary genre). If your literary repertoire is thin and undeveloped, use the Appendix to jog your memory
or to select additional works to explore. At the very least, watch some of the "Movies to Read" that are listed at the end.
Please note that your responses should be paragraphs -- not pages!
Even though this is analytical writing, you may use "I" if you deem it important to do so; remember, however, that most uses of
"I" are just padding. For example, "I think the wolf is the most important character in 'Little Red Riding-hood'" is padded. As
you compose each written response, re-phrase the prompt as part of your answer. In other words, I should be able to tell
which question you are answering without referring back to the prompts.
Concerning mechanics, pay special attention to pronouns. Make antecedents clear. Say Foster first; not "he." Remember to
capitalize and punctuate titles properly for each genre.
❏ Introduction: How'd He Do That?
How do memory, symbol, and pattern affect the reading of literature? How does the recognition of patterns make it
easier to read complicated literature? Discuss a time when your appreciation of a literary work was enhanced by
understanding symbol or pattern.
❏ Chapter 1 -- Every Trip Is a Quest (Except When It's Not)
List the five aspects of the QUEST and then apply them to something you have read (or viewed) in the form used on
pages 3-5.
❏ Chapter 2 -- Nice to Eat with You: Acts of Communion
Choose a meal from a literary work and apply the ideas of Chapter 2 to this literary depiction.
❏ Chapter 3: --Nice to Eat You: Acts of Vampires
What are the essentials of the Vampire story? Apply this to a literary work you have read or viewed.
❏ Chapter 4 -- If It's Square, It's a Sonnet
Select three sonnets and show which form they are. Discuss how their content reflects the form. (Submit copies of
the sonnets, marked to show your analysis).
❏ Chapter 5 --Now, Where Have I Seen Her Before?
Define intertextuality. Discuss three examples that have helped you in reading specific works.
❏ Chapter 6 -- When in Doubt, It's from Shakespeare…
Discuss a work that you are familiar with that alludes to or reflects Shakespeare. Show how the author uses this
connection thematically. Read carefully. In these pages, Foster shows how Fugard reflects Shakespeare through
both plot and theme. In your discussion, focus on theme.
❏ Chapter 7 -- ...Or the Bible
Read "Araby" (http://www.classicshorts.com/stories/araby.html). Discuss Biblical allusions that Foster does not
mention. Look at the example of the "two great jars." Be creative and imaginative in these connections.
❏ Chapter 8 -- Hanseldee and Greteldum
Think of a work of literature that reflects a fairy tale. Discuss the parallels. Does it create irony or deepen
appreciation?
❏ Chapter 9 -- It's Greek to Me
Write a free verse poem derived or inspired by characters or situations from Greek mythology. Be prepared to share
your poem with the class.
❏ Chapter 10 -- It's More Than Just Rain or Snow
Discuss the importance of weather in a specific literary work, not in terms of plot.
❏ Interlude -- Does He Mean That
❏ Chapter 11 --...More Than It's Gonna Hurt You: Concerning Violence
Present examples of the two kinds of violence found in literature. Show how the effects are different.
❏ Chapter 12 -- Is That a Symbol?
Use the process described and investigate the symbolism of the fence in "Araby." (Mangan's sister stands behind it.)
❏ Chapter 13 -- It's All Political
Assume that Foster is right and "it is all political." Use his criteria to show that one of the major works assigned to
you as a freshman is political.
❏ Chapter 14 -- Yes, She's a Christ Figure, Too
Apply the criteria to a major character in a significant literary work. Try to choose a character that will have many
matches. This is a particularly apt tool for analyzing film -- for example, Star Wars, Cool Hand Luke, Excalibur, Malcolm X, Braveheart, Spartacus, Gladiator and Ben-Hur.
❏ Chapter 15 -- Flights of Fancy
Select a literary work in which flight signifies escape or freedom. Explain in detail.
❏ Chapter 16 -- It's All About Sex...
❏ Chapter 17 -- ...Except the Sex
OK ..the sex chapters. The key idea from this chapter is that "scenes in which sex is coded rather than explicit can
work at multiple levels and sometimes be more intense that literal depictions". In other words, sex is often suggested
with much more art and effort than it is described, and, if the author is doing his job, it reflects and creates theme or
character. Choose a novel or movie in which sex is suggested , but not described, and discuss how the relationship is
suggested and how this implication affects the theme or develops characterization.
❏ Chapter 18 -- If She Comes Up, It's Baptism
Think of a "baptism scene" from a significant literary work. How was the character different after the experience?
Discuss.
❏ Chapter 19 -- Geography Matters…
Discuss at least four different aspects of a specific literary work that Foster would classify under "geography."
❏ Chapter 20 -- ...So Does Season
Find a poem that mentions a specific season. Then discuss how the poet uses the season in a meaningful, traditional,
or unusual way. (Submit a copy of the poem with your analysis.)
❏ Interlude -- One Story
Write your own definition for archetype. Then identify an archetypal story and apply it to a literary work with which
you are familiar.
❏ Chapter 21 -- Marked for Greatness
Figure out Harry Potter's scar. If you aren't familiar with Harry Potter, select another character with a physical
imperfection and analyze its implications for characterization.
❏ Chapter 22 -- He's Blind for a Reason, You Know
❏ Chapter 23 -- It's Never Just Heart Disease...
❏ Chapter 24 -- ...And Rarely Just Illness
Recall two characters who died of a disease in a literary work. Consider how these deaths reflect the "principles
governing the use of disease in literature". Discuss the effectiveness of the death as related to plot, theme, or
symbolism.
❏ Chapter 25 -- Don't Read with Your Eyes
After reading Chapter 25, choose a scene or episode from a novel, play or epic written before the twentieth century.
Contrast how it could be viewed by a reader from the twenty-first century with how it might be viewed by a
contemporary reader. Focus on specific assumptions that the author makes, assumptions that would not make it in
this century.
❏ Chapter 26 -- Is He Serious? And Other Ironies
Select an ironic literary work and explain the multivocal nature of the irony in the work.
❏ Chapter 27 -- A Test Case
Read "The Garden Party" by Katherine Mansfield, the short story. Complete the exercise, following the directions
exactly. Then compare your writing with the three examples. How did you do? What does the essay that follows
comparing Laura with Persephone add to your appreciation of Mansfield's story?
❏ Envoi
Choose a motif not discussed in this book and note its appearance in three or four different works. What does this
idea seem to signify?
Book Read and Dialectical Journal Assignment
Here’s your next assignment:
Refresh your knowledge from 9 th grade through 11 th grade readings from your ELA classes as well as vocabulary of literary
elements and devices.
You will choose from the following books to read. A minimum of five (5) books is required. Remember you will have all of
summer vacation to complete this enrichment assignment. There will be a TERM 1 critical literary analysis associated with
this assignment.
A Midsummer Night’s Dream , William Shakespeare
A Raisin in the Sun , Lorraine Hansberry
A Streetcar Named Desire , Tennessee Williams
Crime and Punishment , Fyodor Dostoyevsky
Doctor Faustus , Christopher Marlow
Heart of Darkness , Joseph Conrad
I Know Why the Caged Bird Sings , Maya Angelou
Jane Eyre , Charlotte Brontë
One Flew Over the Cuckoo’s Nest , Ken Kesey
Pride and Prejudice , Jane Austen
Tess of the D’Urbervilles , Thomas Hardy
The Awakening , Kate Chopin
The Bluest Eye , Toni Morrison
The Bonesetter’s Daughter , Amy Tan
The Dollmaker , Harriet Arnot
The Glass Menagerie , Tennessee Williams
The Great Gatsby , F. Scott Fitzgerald
The Portrait of Dorian Gray , Oscar Wilde
The Sun Also Rises , Ernest Hemingway
Their Eyes Were Watching God , Zora Neale Hurston
Things Fall Apart , Chinua Achebe
To Kill a Mocking Bird , Harper Lee
Please keep a reading journal for each of your books. Your journal should include quotes from the book and
reactions/reflections from those quotes. Your journal should record your own reactions, questions, and observations about
the reading. The journal should reveal what you are thinking and feeling as you read the works. It should be neither all
literary analysis nor all emotion, but rather a mix of the two.
You might include any of the following: reactions to a character or situation, comparison to other characters or novels,
comments about techniques or theme, inspirations from the ideas in the book, questions that the book provokes, and
predictions about characterization, plot or theme. Journals should consist of a minimum of three entries for each chapter in
each book (but successful AP students seldom aim for the minimum standards).
Bring your journals with you to turn in on the first day of class.
All books are available at the public library, as well as through bookstores both used and new. You may purchase the titles
electronically (Kindle, etc.), but make sure you can highlight pieces of the text on the device. Feel free to watch the movies from the list below to add to literary background knowledge . Literary enrichment is so very
important to your success on the AP Literature and Composition exam.
**IF you are also enrolled in AP Human Geography/AP Environmental Science, you may swap out one of the above books for one of the novels for this class (see last page for ideas).
See the next page for………….Further AMAZING Novels and Plays for your enjoyment and summer reading pleasures.
A
A Bend in the River by V. S. Naipaul
A Doll House by Henrik Ibsen
A Farewell to Arms by Ernest Hemingway
A Gathering of Old Men by Ernest Gaines
A Passage to India by E. M. Forster
A Portrait of the Artist as a Young Man by James
Joyce
A River Runs Through It by Norman Maclean
A Room of One's Own by Virginia Woolf
A Room with a View by E. M. Forster
A Separate Peace by John Knowles
A Tale of Two Cities by Charles Dickens
A Tree Grows in Brooklyn by Betty Smith
Adventures of Huckleberry Finn by Mark Twain
Agnes of God by John Pielmeier
All My Sons by Arthur Miller
All The King’s Men by Robert Penn Warren
All the Pretty Horses by Cormac McCarthy
An American Tragedy by Theodore Dreiser
An Enemy of the People by Henrik Ibsen
An Ideal Husband by Oscar Wilde
Anna Karenina, Leo Tolstoy
Anthony and Cleopatra by William Shakespeare
Antigone by Sophocles
As I Lay Dying by William Faulkner
As You Like It by William Shakespeare
Atonement by Ian McEwan
B
Before Night Falls by Reinaldo Arenas
Beloved by Toni Morrison
Brave New World by Aldous Huxley
C
Cat’s Eye by Margaret Atwood
Cat on a Hot Tin Roof by Tennessee Williams
Catch22 by Joseph Heller
Ceremony by Leslie Marmon Silko
Civil Disobedience by Henry David Thoreau
Cold Mountain by Charles Frazier
Cry, The Beloved Country by Alan Paton
D
Daisy Miller by Henry James
David Copperfield by Charles Dickens
Delta Wedding by Eudora Welty
Dutchman by Amiri Baraka/Leroi Jones
E
East of Eden by John Steinbeck
Echo Maker by Richard Powers
Enemy of the People by Henrik Isben
Emma by Jane Austen
Extremely Loud and Incredibly Close by Jonathan
Safran
F
Faust by Johann Goethe
Feed by M.T. Anderson
Fences by August Wilson
Flowers for Algernon by Daniel Keyes
For Whom the Bell Tolls by Ernest Hemingway
Frankenstein by Mary Shelley
G
Ghosts by Henrik Ibsen
Go Tell It on the Mountain by James Baldwin
Great Expectations by Charles Dickens
Gulliver's Travels by Jonathan Swift
H
Hard Times by Charles Dickens
Henry IV, Parts I and II by William Shakespeare
Henry V by William Shakespeare
I
In the Lake of the Woods by Tim O'Brien
In the Time of Butterflies by Julia Alvarez
Invisible Man by Ralph Ellison
J
Jude the Obscure by Thomas Hardy
Julius Caesar by William Shakespeare
K
King Lear by William Shakespeare
L
Letters from an American Farmer by de
Crevecoeur
Like Water for Chocolate by Laura Esquivel
Little Women by Louisa May Alcott
Lord of the Flies by William Golding
M
Macbeth by William Shakespeare
Madame Bovary by Gustave Flaubert
Major Barbara by George Bernard Shaw
Mansfield Park by Jane Austen
Medea by Euripides
Metamorphosis by Franz Kafka
Middle Passage by V. S. Naipaul
Miss Lonelyhearts by Nathanael West
Middlesex by Jeffery Eugenides
Moby Dick by Herman Melville
Mother Courage and Her Children by Berthold
Brecht
Much Ado about Nothing by William
Shakespeare
Murder in the Cathedral by T. S. Eliot
My Antonia by Willa Cather
My Last Duchess by Robert Browning
N
Native Son by Richard Wright
Native Speaker by ChangRae Lee
Nineteen Eightyfour by George Orwell
No Country for Old Men by Cormac McCarthy
No Exit by John Paul Sartre
Notes from the Underground by Fyodor
Dostoevski
O
Oedipus Rex by Sophocles
Of Mice and Men by John Steinbeck
Old School by Tobia Wolff
Oliver Twist by Charles Dickens
One Hundred Years of Solitude by Gabriel
García
Márquez
Othello, The Moor of Venice by William
Shakespeare
Out of Africa by Isaak Dinesen
P
Pamela by Samuel Richardson
Paradise Lost & Paradise Regained by John
Milton
Persuasion by Jane Austen
Portrait of a Lady by Henry James
Pygmalion by George Bernard Shaw
R
Ragtime by E. L. Doctorow
Redburn by Herman Melville
Reservation Blues by Sherman Alexie
Richard III by William Shakespeare
Robinson Crusoe by Daniel Defoe
Romeo and Juliet by William Shakespeare
S
Sent for You Yesterday by John Edgar Wideman
Siddhartha by Hermann Hesse
Silas Marner by George Eliot
Slaughterhouse Five by Kurt Vonnegut
Snow Falling on Cedars by David Guterson
Song of Solomon by Toni Morrison
Sons and Lovers by D. H. Lawrence
Sophie’s Choice by William Styron
Surfacing by Margaret Atwood
T
Tale of Two Cities by Charles Dickens
The Age of Innocence by Edith Wharton
The Amazing Adventure of Kavalier and Clay by
Michael Chabon
The Bear by William Faulkner
The Blind Assassin by Margaret Atwood
The Bonesetter's Daughter by Amy Tan
The Brothers Karamazov by Fyodor Dostoevski
The Canterbury Tales by Geoffrey Chaucer
The Caretaker by Harold Pinter
The Catcher in the Rye by J. D. Salinger
The Cider House Rules by John Irving
The Cherry Orchard by Anton Chekhov
The Chosen by Chaim Potok
The Color Purple by Alice Walker
The Crisis by Thomas Paine
The Crucible by Arthur Miller
The Death of Ivan Ilyich by Leo Tolstoy
The Divine Comedy by Dante Alighieri
The Fall by Albert Camus
The Father by August Strindberg
The God of Small Things by Arundhati Roy
The Good Soldier by Ford Maddox Ford
The Grapes of Wrath by John Steinbeck
The Handmaid's Tale by Margaret Atwood
The Heart of the Matter by Graham Greene
The House of Mirth by Edith Wharton
The House of Seven Gables by Nathaniel
Hawthorne
The House on Mango Street by Sandra Cisneros
The Iliad by Homer
The Importance of Being Earnest by Oscar
Wilde
The Joy Luck Club by Amy Tan
The Kiss of the Spider Woman by Manuel Puig
The Kite Runner by Khaled Hosseinii
The Little Foxes by Lillian Hellman
The Loved One by Evelyn Waugh
The Mayor of Casterbridge by Thomas Hardy
The Member of the Wedding by Carson
McCullers
The Merchant of Venice by William Shakespeare
The Mill on the Floss by George Eliot
The Moor's Last Sigh by Salman Rushdie
The Odyssey by Homer
The Optimist's Daughter by D. H. Lawrence
The Piano Lesson by August Wilson
The Plague by Albert Camus
The Poisonwood Bible by Barbara Kingsolver
The Portrait of a Lady by Henry James
The Red Badge of Courage by Stephen Crane
The Remains of the Day by Kazuo Ishiguro
The Return of the Native by Thomas Hardy
The Sandbox by Edward Albee
The Scarlet Letter by Nathaniel Hawthorne
The Sound and the Fury by William Faulkner
The Stranger by Albert Camus
The Stone Angel by Margaret Laurence
The Street by Ann Petry
The Tempest by William Shakespeare
The Things They Carried by Tim O'Brien
The Turn of the Screw by Henry James
The Warden by Anthony Trollope
The Wasteland by T. S. Eliot
The Way of the World by William Congreve
The Women of Brewster Place by Gloria Naylor
To the Lighthouse by Virginia Woolf
Trifles by Susan Glaspell
Twelfth Night by William Shakespeare
Typical American by Gish Jen
U
Uncle Tom’s Cabin by Harriet Beecher Stowe
V
Victory by Joseph Conrad
W
Waiting for Godot by Samuel Beckett
Watch on the Rhine by Lillian Hellman
Who's Afraid of Virginia Woolf? by Edward
Albee
Winter in the Blood by James Welch
Winter's Tale by William Shakespeare
Wise Blood by Flannery O'Connor
Woman Warrior by Maxine Hong Kingston
Wuthering Heights by Emily Bronte
One of the best ways to prepare for the AP test is to READ. Dialectical Response Journal:
As you read, you will complete a dialectic journal. Please complete on the template provided on Edmodo.
Dialectical Journal The term “Dialectical” means “the art or practice of arriving at the truth by using conversation involving question and answer.” Think of your dialectical journal as a series of conversations with the texts we read during this course. The process is meant to help you develop a better understanding of the texts we read. Use your journal to incorporate your personal responses to the texts, your ideas about the themes we cover, your rhetorical analysis of the piece, and our class discussions. You will find that it is a useful way to process what you’re reading, prepare yourself for group discussion, and gather textual evidence for your analysis assignments. Procedure:
● As you read, choose passages that stand out to you and record them in the left-hand column of the chart. You must always include chapter and page number.
● In the right hand column, write your responses using the following codes:
Q Question Ask about something in the passage that is unclear
C Connect Make a connection to your life, the world, or another text
P Predict Anticipate what will occur based on what is in the passage
CL Clarify Answer earlier questions to confirm or disaffirm a prediction
R Reflect Think deeply about what the passage means in a broad sense- not just to the characters/people in the text but also to the author
E Evaluate Make a judgement about what the author is trying to say
Sample Dialectical Journal entry: from “Paper Towns” by John Green
Passages from the text. You must quote at least 3 per chapter assigned. Be sure to
number them.
chapter # / page # EACH passage quote must relate to one of the following codes above. Do not repeat codes within a chapter. Using
the same codes will result in a lower score.
“When did we see each other face-to-face? Not until you saw into my cracks and I saw into yours. Before that, we were just looking at ideas of each other, like looking at your window shade but never seeing inside. But once the vessel cracks, the light can get in. The light can get out” .
Chapter: 1 Page: 78
(R) Reflect: This quote is basically saying that sometimes people don’t know each other as well as they think they do. It’s also saying that seeing someone every day does not mean you know this person on a deep level. This quote is important to the story because the characters--especially Q, Radar, and Ben--begin to realize that the students around that they’ve been going to school with for four years are as opaque as a hard vessel. These people around them who they are supposed to
know so well, all have secrets and experiences that define them. There’s more to their personality than meets the eye. This is especially true with Q’s perception of Margo, someone who he’s idolized for years without actually getting to know. Q eventually realizes that he is in love with the idealized image of Margo that he’s created in his mind, rather than the actual girl.
“Here's what's not beautiful about it: from here, you can't see the rust or the cracked paint or whatever, but you can tell what the place really is. You can see how fake it all is. It's not even hard enough to be made out of plastic. It's a paper town. I mean, look at it, Q: look at all those culs-de-sac, those streets that turn in on themselves, all the houses that were built to fall apart. All those paper people living in their paper houses, burning the future to stay warm. All the paper kids drinking beer some bum bought for them at the paper convenience store. Everyone demented with the mania of owning things. All the things paper-thin and paper-frail. And all the people, too. I've lived here for eighteen years and I have never once in my life come across anyone who cares about anything that matters.”
Chapter: 4 Page: 100
(Q) Question: What is the author is alluding to when he says “it’s a paper town?”
● I know this quote is probably vital to the overall meaning of the novel because Margo is a main character and “paper towns” is the title of the novel.
● I know that Margo is speaking about her town negatively because she says in the beginning “here’s what’s not beautiful about it.”
● She says people are “demented with the mania of owning things.” Mania means “madness” “lunacy” or delusions” So she must be saying that people are too obsessed with their possessions.
● I think she’s saying her town and the people who live there are shallow.
● By comparing her town and everything in it to paper--something thin and easily breakable--Margo is emphasizing the lack of depth her town has. She also implies that her town is not going to do anything great in the future, and that the people living there are fake.
“What a treacherous thing to believe that a person is more than a person.”
Chapter: 9 Page: 242
(c) connection to the world: This concept of idealizing someone to the point where they are dehumanized in some way is extremely relevant in today’s society. We see this especially in the social media world, because the social media users are able to control their image to the point of perceived perfection, or at least enough to distort the reality of who they really are. This sometimes leads other people to become obsessed or infatuated with the idea of someone, instead of the actual human being behind the computer screen. When Q tells Margo he is in love with her, she is stunned and claims that Q doesn’t even really know Margo, but has only idolized her from afar all of these years. Q gets a reality check after traveling thousands of miles to find Margo only to be rejected by her immediately. It is easy to empathize with both Margo and Q in this situation because both of them are young, confused, and sometimes make irrational decisions for love.
Choosing Passages:
Look for quotes that seem significant, powerful, thought provoking or puzzling. For example you might record: ● Effective and/or creative use of stylistic or literary devices ● Passages that remind you of your own life or something you have seen before ● Structural shifts or turns in the plot ● A passage that makes you realize something you had not seen before ● Examples of patterns: recurring images, ideas, colors, symbols or motifs ● Passages with confusing language or unfamiliar vocabulary ● Events you find surprising or confusing ● Passages that illustrate a particular character or setting
Text Response: You can respond to the text in a variety of ways. The most important thing to remember is that your observations must be very specific and detailed . You must include n o less than five thorough and thoughtful sentences for each response . Basic Responses (the following will not garner credit):
● Raise questions about the beliefs and values implied in the text ● Give your personal reactions to the passage ● Discuss the words, ideas, or actions of the author or character (s) ● Write about what it makes you think or feel ● Agree or disagree with a character or the author
Sample Sentence Starters (the following will not garner credit): I really don’t understand this because… I really like/dislike this idea because… I think the author is trying to say that… If I were (name of character) at this point I would… This part doesn’t make sense because.. This character reminds me of (name of person) because...
Higher Level Responses (the following may garner full credit if thoroughly and thoughtfully developed):
● Analyze the text for use of literary devices and rhetorical strategies (tone, structure, style, imagery) ● Make connections between different characters or events in the text ● Make connections to a different text (or film, song, historical event, etc…) ● Make connections to a meaningful life experience that helped shape you as a person, gave your life deeper meaning, or taught
you a valuable lesson. (i.e. don’t tell me about the time you went to the mall with your friends) ● Discuss the words, ideas, or actions of the author or character (s)
● Consider an event or description from the perspective of a different character ● Analyze a passage and its relationship to the story as a whole
Formatting:
● All dialectical journals must be typed and submitted to me via Edmodo ● You will find a dialectical journal template on Edmodo. Be sure to download and save this template. ● Submit your completed dialectical journal to Edmodo per our class calendar. Do not wait until the last minute to do so. Always
anticipate technical difficulties (get prepared for college). Know the following terms :
Allegory Alliteration Allusion Anapest Anaphora Antagonist Antimetabole Antithesis Apostrophe (literary) Assonance Atmosphere Ballad Beast fables Blank verse Cacophonous/cacophony Caesuras Characterization Chiasmus Climax Connotation Contextual Contextual symbol Continuous form Couplet Dactyl Denotation Dénouement Dynamic characters Didactic Dialect Dialogue Diction Dimeter Direct presentation Double dactyl
Double entendre Dramatic irony Dramatic point of view Dues ex machina Elegy Enclosing setting End rhyme End stopped line English sonnet Epic Epigram Epiphany Episodes Epitaphs Euphonious/euphony Exposition Extended metaphor Falling action First-person point of view Flat characters Foot/feet Formal diction Framing Free verse Grammatical pause Gustatory imagery Haiku Heroic couplet Hexameter High diction Hymnal stanza Hyperbole Iamb Idiom Informal diction Internal rhyme
Irony Italian sonnet Jargon Kinesthetic imagery Light stress Limerick Limited omniscient third person Line Low diction Lyric Metaphor Meter Metonymy Monometer Mood Music of poetry Narrative ballad Narrator Neoclassic couplet Neutral diction Objective point of view Octave Olfactory imagery Omniscient point of view Onomatopoeia Open form poetry Overstatement Parables Paradox Paradoxical situation Paradoxical statement Parallelism Pastoral Pentameter Persona Petrarchan sonnet
Plot manipulation Poeticize Point of view Point of view character Postulate Premise Private symbol Prose meaning Prose poems Prosody Protagonist Pyrrhic Quatrain Realism Refrain Resolution Rhetoric Rhetorical pause Rhetorical stresses Rhyme scheme Rising action Romances Round characters Run on line Sarcasm
Satire Scanned Scansion Second person point of view Sequence Sestet Shakespearean sonnet Shaped verse Situational irony Sonnet Speaker Spondaic Spondee Stanza Stanzaic Static characters Stereotype Stock characters Stream of consciousness Structure Style Suspense Symbol Symbolism Synecdoche
Tactile imagery Tenor Tercets Tetrameter Theme Third person limited point of view Third-person point of view Tone Total meaning Trait Trimeter Trochee Truncation Understatement Universal symbol Values Vehicle Verbal irony Verbal paradox Verisimilitude Versification Villanelle Visual images Visual poetry Voice
