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Pre-AP English II: Summer Assignment 2016 Instructors: Roslyn Patrick, roslyn.patrick@yukonps.com

Becca Reape, rebecca.reape@yukonps.com Mandee Chapman-Roach, mandee.roach@yukonps.com

This assignment is due the first day of school (August 18, 2016). All students entering Pre-AP English II must complete the summer work listed below. This work will provide the foundation for the advanced course work we will complete throughout the school year. Tests on the material, including an in-class timed writing, will be given during the first few days of school. Course overview: The purpose of Pre-AP English II is to prepare students for college work and/or Advanced Placement exams. These exams give students the opportunity to earn college credit. Successful AP students are highly self-motivated, proficient readers who have a strong desire to engage in college-level skills, including concise scholastic writing, discussion, and close analysis of mature, imaginative works of recognized literary merit. Class discussions are significant and require active participation on a daily basis. Other characteristics of AP courses include content immersion, fast pacing, student learning independence, collaborative projects, and homework. AP courses are taught with college-level curricula and college-level materials, often with mature content. If you have any concerns, please contact one of the instructors. Assignment #1: Read and annotate a novel. See pages 2-3 for further instructions. In the first few days of school, you will complete a timed-writing over the novel you choose. Assignment #2: An understanding of the literary devices that writers use is extremely important for this course and the AP English courses taken during the junior and senior years. A list of terms is attached; the Pre-AP English I terms should be review. Students are required to (1) make flashcards for ALL the Pre-AP English II terms and any of the Pre-AP English I terms they don’t already know—(term on the front, definition/examples on the back) and (2) memorize the definitions. Although we will work toward understanding and applying these concepts throughout the school year, students will need to know the basic definitions for the summer work test given during the first few days of school. Assignment #3: Having a wide vocabulary is a critical need for AP students, both for reading comprehension and appropriately formal, academic writing. A list of common Greek and Latin affixes is attached, as well as words derived from classical mythology. Understanding these affixes can help students make intelligent guesses about unfamiliar words they may encounter. Students need to (1) create flashcards for each of the affixes [with the affix on the front, definition/examples on the back], (2) create flashcards for the words derived from classical mythology [word on front, definition on back], and (3) memorize the affixes and vocabulary words. Students will need to know these for the summer work test given during the first few days of school. **These flashcards must be written by hand. This article explains why: goo.gl/riqMLn (case sensitive). [If you have an objection to or inability to meet this requirement, please contact one of the instructors to make alternate arrangements.] **The flashcards created for Assignments 2 and 3 are an investment in the work we will do all year. Make them early in the summer and study them frequently. These flashcards will be used all year along with the flashcards added throughout the year, and students will be assessed on the terms and vocabulary over and over again (this year and in AP classes, too).

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ASSIGNMENT #1: SUMMER READING (Read and annotate) Choose one of the novels (that you haven’t already read) from the list on the next page. Read it, and annotate it. You may annotate directly in the text or by using sticky notes. You will need your own copy of the book you choose. Inexpensive copies can be purchased online or from used bookstores. Reading is an active process. As you read, annotate the text. Annotating requires you to read closely, studying the novel as you read. This results in an active “dialogue” with the story. As you read, you should have questions, predictions, and opinions about what you are reading. Annotating also helps you review the book when you need to prepare for tests, essays, and class discussions. Annotating is a selective process. You do not want to mark everything because then nothing would stand out. When you do mark something, your annotation should connect the text to overall meaning and purpose; otherwise you are just highlighting words. Everyone must annotate in his or her own way, but to help you determine what to mark, here are some suggestions: ANNOTATING: Ø Basic Elements of Style and Structure:

• Setting o make notes about the time, place, etc. and why it is significant o make note of anytime the setting changes, and why the change is significant

• Characters and characterization o make note of each character’s name the first time you see it. o Also mark the passages that describe the character’s:

§ Physical appearance § Motivations behind his/her actions § Relationships to other characters § Personality (especially changes in personality)

• Plot - events of rising action, climax, falling action and resolution o Identify conflict types (Man vs. Man, Man vs. Self, Man vs. Nature, etc.) o Make notes periodically at the tops of pages to help you remember major plot points

• Vocabulary: Look up words you do not understand. When you find a definition for the word, you may want to write a synonym out to the side.

• Tone – Tone is the attitude implied in a literary work toward the subject and the audience. The following figures of speech may help when identifying tone in literature.

o Metaphor: comparison between two otherwise unlike things (i.e. Love is a Rose, Life is a Roller Coaster, All the World’s a stage, etc.)

o Simile: comparison of two things often using “like” or “as” (i.e. Brave as a lion, Fits like a glove, Moves like a snail, etc.)

o Diction: words with significant connotation (beyond the literal meaning) o Imagery: appeals to any one of the five senses (taste, touch, smell, sight, hearing) o Details: important and noteworthy facts o Language: the sound of the text (formal/informal, elevated/colloquial, convoluted/simple,

etc.) o Syntax: basic sentence structure, punctuation, arrangement of words in a sentence, etc. o Point of View: The way the events of a story are communicated from the author to the

reader. For further details look up the definitions for 1st, 2nd and 3rd person POV. • Theme

o What message(s) is the author trying to convey? o What are readers meant to learn from the characters actions/journey/life, etc.?

• Symbolism o What people, objects, places, colors, etc. are symbolic? o What larger purpose do these symbols serve in the novel? In other words, why were they

included?

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Ø Focus on Quotes: Quotes can be any length, but try to be clear, concise, and focused in your selections. The following suggestions may be helpful in identifying quotes: • Important or Striking Passages

o Make note of quotes that you find interesting, or that “speak” to you in some way. υ • Confusing Passages

o If you find yourself baffled, offended, or puzzled, you may want to write a question in the margin to mark that passage/quote for clarification or discussion at a later time.

• Thought-Provoking Passages o Look for passages that might provoke discussion about book. o Make connections to movies, current issues, history, or other pieces of literature o Look for commentary on issues of a social, emotional, ethical (moral), or spiritual nature o Examine human nature in general or how the book does/ does not hold true today

Reading Options:

Frankenstein, by Mary Shelley One of the first science fiction novels, Frankenstein tells the story of committed science student Victor Frankenstein. Obsessed with discovering the cause of generation and life and bestowing animation upon lifeless matter, Frankenstein assembles a human being from stolen body parts but; upon bringing it to life, he recoils in horror at the creature's hideousness. Tormented by isolation and loneliness, the once-innocent creature turns to evil and unleashes a campaign of murderous revenge against his creator, Frankenstein.

The Grapes of Wrath, by John Steinbeck First published in 1939, Steinbeck’s Pulitzer Prize-winning epic of the Great Depression chronicles the Dust Bowl migration of the 1930s and tells the story of one Oklahoma farm family, the Joads—driven from their homestead and forced to travel west to the promised land of California. Out of their trials and their repeated collisions against the hard realities of an America divided into Haves and Have-Nots evolves a drama that is intensely human yet majestic in its scale and moral vision, elemental yet plainspoken, tragic but ultimately stirring in its human dignity.

The Handmaid’s Tale, by Margaret Atwood It is the world of the near future, and Offred is a Handmaid in the home of the Commander and his wife. She is allowed out once a day to the food market, she is not permitted to read, and she is hoping the Commander makes her pregnant, because she is only valued if her ovaries are viable. Offred can remember the years before, when she was an independent woman, had a job of her own, a husband and child. But all of that is gone now...everything has changed.

The Joy Luck Club, by Amy Tan In 1949 four Chinese women-drawn together by the shadow of their past-begin meeting in San Francisco to play mah jong, invest in stocks, eat dim sum, and "say" stories. They call their gathering the Joy Luck Club. Nearly forty years later, one of the members has died, and her daughter has come to take her place, only to learn of her mother's lifelong wish-and the tragic way in which it has come true. The revelation of this secret unleashes an urgent need among the women to reach back and remember...

Slaughterhouse-Five, by Kurt Vonnegut Vonnegut's absurdist classic Slaughterhouse-Five introduces us to Billy Pilgrim, a man who becomes unstuck in time after he is abducted by aliens from the planet Tralfamadore. In a plot-scrambling display of virtuosity, we follow Pilgrim simultaneously through all phases of his life, concentrating on his (and Vonnegut's) shattering experience as an American prisoner of war who witnesses the firebombing of Dresden.

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ASSIGNMENT #2: LITERARY TERMS (53+ Flashcards) Pre-AP Engl i sh I (Rev i ew) : OPTIONAL FLASHCARDS – Create flashcards for any of these PAPE9 terms you don’t already know.

1. characterization: the method a writer uses to develop a character a. flat: a simple character that is one-dimensional (shows one trait) (ex: Beatty in Fahrenheit 451) b. round: a complex character that is multi-dimensional (displays many traits) (ex: Clarisse in

Fahrenheit 451) c. static: a character that stays the same from the beginning to the end of a work (ex: Mildred

in Fahrenheit 451) d. dynamic: a character that changes from the beginning to the end of a work (ex: Montag in

Fahrenheit 451) e. protagonist: the main character of a work f. antagonist: the force that opposes the main character of a work (does not have to be a

person, can be a force of nature) g. character foil: a character that acts as an opposite to another character and, because of this,

emphasizes the differences between them (ex: Mercutio and Benvolio are character foils in Romeo and Juliet: In comparison to the hot-headed Mercutio, Benvolio’s rational behavior is even more pronounced.)

2. point of view: the perspective from which a story is told a. narrator: a storyteller of any kind b. first person: the narrator tells a story from his perspective and refers to himself as “I” c. third person limited: the narrator knows the actions, feelings, and motivations of only one

character d. third person omniscient: the narrator knows all the actions, feelings, and motivations of

many characters 3. plot: the arrangement of events in a story

a. exposition: the point in the plot when background information is revealed b. inciting incident: introduces the major conflict in a work c. rising action: the early part of the story which builds momentum and develops the story’s

main conflict d. climax: the moment of highest tension in the story e. falling action: the latter part of the narrative in which the protagonist responds to the

events of the climax f. resolution: (also called denouement) an ending that satisfactorily answers all the questions

raised over the course of the plot 4. conflict: the central struggle that moves the plot forward

a. internal (man vs. self) b. external (man vs. man, man vs. nature, man vs. society, man vs. fate/supernatural/machine)

5. irony: a technique of detachment that draws awareness to the discrepancies between what is and what seems to be

a. verbal: the use of a statement that implies its opposite (ex: sarcasm is a type of verbal irony) b. situational: a technique in which one understanding of a situation stands in sharp contrast

to another (ex: A sailor is stranded in a boat, surrounded by water, but he is dying of thirst. We would expect him to have all the water in the world or for a sailor. If he were too die ANY way, we would expect it to be by drowning in water, but, he is actually dying from a lack of drinkable water.)

c. dramatic: a technique in which the author lets the audience or reader in on a character’s situation while the character himself remains in the dark (ex: In Romeo and Juliet, the characters think Juliet is dead, but the audience knows she has just taken the Friar’s sleeping potion.)

6. symbol: a concrete thing that is used to represent an abstract idea or concept [ex: The American flag (a concrete object) represents freedom, patriotism, liberty (abstract concepts)]

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7. figures of speech: language not meant to be taken literally a. metaphor: a direct comparison between two unlike things (ex: Shakespeare—“All the world’s

a stage, and all the men and women merely players…” This compares the world to a stage and people to actors on the stage)

b. simile: an indirect comparison between two unlike things using “like” or “as” (ex: Carl Sandburg—“Life is like an onion: You peel it off one layer at a time, and sometimes you weep.” This compares life to an onion using “like”; saying it is like something rather than it is something else)

c. personification: giving human attributes to animals, objects, or ideas (ex: Emily Dickinson—“Because I could not stop for Death,/ he kindly stopped for me…” Dickinson gives Death the human characteristic of “kindly” stopping)

8. mood: the atmosphere of a work (as the reader experiences it) 9. tone: a writer’s attitude toward his/her subject 10. diction: a writer’s word choices

a. denotation: the dictionary definition of a word (ex: group = more than one; this is a neutral definition and there are all types of groups)

b. connotation: the implied, suggested, or “loaded” meaning attached to a word (Words can have the same denotative meaning, but very different connotative meanings. Ex: gang = this can also mean more than one, but there is a negative implied meaning; party = this can also mean more than one, but there is a more positive implied meaning)

11. foreshadowing: hints about what will happen later in the story 12. flashback: an event or scene taking place before the present time in the narrative 13. setting: the time and place in which a story occurs 14. theme: the central, universal idea explored in a literary work

Pre-AP Engl i sh II : REQUIRED FLASHCARDS – All students must create flashcards for terms with definitions listed below. (53 flashcards)

1. allegory: a story with multiple levels of meaning – a literal level (what is ACTUALLY happening in the story) and a deeper, more symbolic level (commenting on religion, society, politics, etc.). (ex: Edgar Allan Poe’s “The Masque of the Red Death” or George Orwell’s Animal Farm)

2. syntax: the way a writer chooses to join words into phrases, clauses, and sentences 3. rhetorical question: a question asked to emphasize a point, with no answer really expected 4. appeal to ethos: an appeal to a person’s character, credibility, sincerity, or trustworthiness 5. appeal to pathos: an appeal to a person’s emotions 6. appeal to logos: an appeal to a person’s sense of logic 7. pathetic fallacy: when events that are happening in nature (the setting) mimic what is happening in

the plot of a story (ex: a clap of thunder at the most suspenseful moment) 8. analogy: a comparison between two things in which the more complex is explained in terms of the

more simple (ex: Asking the wealthy nations of the world to feed the impoverished nations is similar to asking people on a full lifeboat to take on more passengers.)

9. oxymoron: the association of two contrary terms side by side (ex: same difference, wise fool) 10. paradox: a statement that appears to be contradictory or absurd on the surface, but actually

expresses a deeper truth (ex: Oscar Wilde—“ And all men kill the thing they love.”) 11. hyperbole: an excessive overstatement or exaggeration (ex: My professor is a total psychopath.) 12. anachronism: anything out of its proper historical time (ex: Shakespeare writing about a clock in The

Tragedy of Julius Caesar – a clock had not yet been invented in Roman times) 13. allusions: a reference to something that is believed to be commonly known

a. biblical: a reference to the Bible (also called, more generally, religious allusion) b. classical: a reference to Greek or Roman mythology c. historical: a reference to an important historical event d. literary: a reference to a famous work of literature

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14. rhetoric: the art of effective communication, especially persuasive discourse 15. rhetorical modes: patterns of organization developed to achieve a specific purpose

a. narration: writing that tells a story b. description: writing that describes c. persuasion/argumentation: writing that tries to convince the reader of a particular point d. exposition: writing that explains

Poetry 16. speaker: the author, speaker, or person whose perspective (real or imagined) is being advanced in a

speech or piece of writing 17. persona: the speaker, voice, or character assumed by an author (the “mask” the writer wears when

telling a story) 18. organization

a. stanza: grouping of lines in a poem b. couplet: two successive rhymed lines that are equal in length c. quatrain: a four-line stanza d. sestet: a six-line stanza e. octave: an eight-line stanza

19. sound devices: the techniques of deploying the sound of words, especially in poetry (rhyme, alliteration, assonance, consonance, onomatopoeia)

a. rhyme scheme: the pattern of rhyme in a poem b. slant rhyme: an imperfect rhyme c. alliteration: repetition of similar sounds at the beginning of words (ex: Dr. Seuss—“Barber,

baby, bubbles, and a bumblebee.”) d. assonance: repetition of similar vowel sounds in a sequence of nearby words (Edgar Allan

Poe—“And so, all the night-tide, I lie down by the side/ Of my darling, my darling, my life and my bride.” Poe repeats the long “i” sound)

e. consonance: repetition of similar consonant sounds in a sequence of nearby words (Edgar Allan Poe—“It was many and many a year ago,/ In a kingdom by the sea,/ That a maiden there lived whom you may know/ By the name of Annabel Lee” Poe repeats the “n” sound.)

f. onomatopoeia: the use of words that sound like the thing they refer to (ex: crackle, whisper, murmur, sizzle, rustle, buzz, pop.)

g. euphony: a pleasing arrangement of sounds h. cacophony: the clash of harsh sounds within a sentence or phrase

20. syntactical devices: the ways a poet breaks lines of poetry a. end-stopped line: when there is a break at the end of a line of poetry indicated by a comma,

period, semicolon, or other punctuation mark b. caesura: an abrupt break in the middle of a line of poetry c. enjambment: a line of poetry that continues into the next line with no break d. refrain: a phrase or group of lines that is repeated at significant moments in a poem

Drama

21. dialogue: speech between two or more characters 22. monologue: speech from one person 23. interior monologue: a record of a character’s thoughts 24. aside: when a character in a play speaks directly to the audience, but the other characters on the

stage cannot hear his words 25. soliloquy: when a character, alone on the stage, speaks her thoughts aloud 26. act: the major (larger) section into which a play is divided 27. scene: the smaller sections into which an act is divided 28. stage directions: instructions written into the script of a play, indicating stage actions, movements

of performers, or production requirements

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ASSIGNMENT #3: VOCABULARY (47 flashcards) Greek and Latin Affixes:

1. dys: bad, ill, difficult (ex: dysfunction, dystopia) 2. macro: large, long (ex: macrocosm, macroscopic) 3. micro: small, minute (ex: microfilm, microorganism) 4. a (an): not, without (ex: anarchy, anomaly) 5. poly: many (ex: polygamy, polygon) 6. path: (definition 1) feeling, suffering (ex: antipathy, empathy, sympathy) 7. path: (definition 2) disease (ex: pathogenic, psychopathic) 8. morph: form (ex: amorphous, metamorphosis) 9. peri: around, about, near, enclosing (ex: peripheral, periscope) 10. cur: run (ex: current, recur) 11. voc (cit, dic, loc, logue, loquy, loqu): speak, talk, say (ex: loquacious, diction, soliloquy) 12. tain (tend, ten, tens, tent): hold (ex: contain, retain) 13. spir (sphere, spire): to breath (ex: respiration, inspire) 14. photo (luc, lum): light (ex: photograph, elucidate) 15. vor: eat greedily (ex: carnivore, voracious) 16. viv: live, alive (ex: revive, survive) 17. omni: all, every, everywhere (ex: omniscient, omnipotent, omnipresent) 18. cred: believe (ex: credible incredulous) 19. mor (mort): death (ex: mortician, mortal) 20. corp: body (ex: corporal, corpse)

Words Derived from Mythology

1. atlas: book of maps [from Atlas, giant who had to support the earth and sky on his shoulders because he rebelled against the gods]

2. draconian: cruel; harsh; severe; ironhanded [from Draco, Athenian lawmaker who had a harsh code of laws]

3. forum: medium or place for open discussion and expression of ideas [from forum, place of assembly for judicial/public business in an ancient Roman city]

4. iridescent: having colors like the rainbow [from Iris, goddess of the rainbow] 5. jovial: jolly; merry; good-humored [from Jove (Jupiter), king of the Roman gods] 6. labyrinthine: full of confusing passageways; intricate; complicated [from Labyrinth, a fabled maze in

Crete] 7. laconic: using words sparingly; terse; concise [from Lakonikos, meaning “Spartan.”] 8. lethargic: unnaturally drowsy; sluggish; dull [from Lethe, river in Hades whose water, when drunk

caused forgetfulness of the past] 9. marathon: an endurance contest [from Marathon, where Greeks defeated Persian invaders in 490

BC. Pheidippides raced to Athens with news of the victory.] 10. martial: warlike; pertaining to war [from Mars, god of war] 11. mercurial: 1. quick; vivacious; active; lively 2. unstable; subject to rapid and unpredictable mood

changes (antonym of saturnine) [from Mercury, the Roman Hermes] 12. muse: someone’s source of inspiration, especially in artistic, creative endeavors [from The Muses, nine

goddesses who presided over the arts and gave inspiration to mortals] 13. narcissistic: in love with oneself; egocentric [from Narcissus, a young man who fell in love with his

own image, which led to his death] 14. nemesis: 1. due punishment for evil deeds. 2. one who inflicts such punishment [from Nemesis,

goddess of vengeance] 15. protean: variable; readily assuming different shapes or forms [from Proteus, sea god who could

easily change shape to avoid capture] 16. saturnine: heavy; dull; gloomy; morose (antonym of mercurial) [from Saturn, who alchemists and

astrologers associate with the metal lead]

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17. Spartan: marked by simplicity and avoidance of comfort; marked by self-discipline, bravery and ability to endure pain [from Sparta, whose citizens pursued these traits]

18. tantalize: excite a hope but prevent its fulfillment; tease [from Tantalus, kept hungry and thirsty in Hades with food and water just beyond his reach]

19. thespian: of enormous strength, size, or power [from the Titans, lawless, powerful giants defeated by Zeus]

20. halcyon: tranquil, happy, idyllic; usually with nostalgic reference to earlier times [from Alcyone, daughter of Atlas]

21. zephyr: a gentle breeze [from Zephyr, the Greek god of the West Wind] 22. oracle: a person of great knowledge or wisdom [from Oracle, (1) a person through whom a deity is

believed to speak (2) a shrine in which a deity reveals hidden knowledge] 23. harpy: a scolding, nagging, bad-tempered woman [from Harpy, loathsome, voracious monster with

the head and trunk of a woman and the tail, wings, and talons of a bird] 24. cornucopia: an abundance; “horn of plenty” [from the horn that may have been that of a goat

which the infant Zeus drank from] 25. somnambulism: the act of sleepwalking [from Somnus, god of sleep and ambulare, Latin for

“walking”] 26. venerate: to look upon with feelings of deep respect [from Venus, Roman goddess of love] 27. vestal: chaste; pure; stainless; virtuous [from Vesta, goddess of the hearth, home, and family]

You should have 100 flashcards (plus any for the Pre-AP English I literary terms you didn’t know) by the time you are finished. You will add notecards to this set throughout the year, so keep them with you and keep them organized. Now, study them!