AP Language Summer Reading

2019-2020

Congratulations on choosing to take AP Language your junior year! This is the single most effective class in preparing you for college level writing. I guarantee that I can teach you how to organize an effective and commanding essay, but first you must have something to say! One way of helping students prepare for the demands and rigor of AP/college level work is to make sure that they are well-read and have excellent annotation skills. Reading quality materials and taking analytical notes will ensure that you have something to say As we are on the semester schedule, there is truly no time to waste, especially as we must prepare for the American Literature Milestone and the AP Language and Composition test. Begin now adjusting your study habits. Sheer intellect is not the recipe for success in my class. Students with strong organizational skills and a driven work ethic usually find themselves academically rewarded in the end. I look forward to working with you soon

The Assignment: Your assignment has TWO parts. The first part of your summer

assignment is to create flashcards. The second part you will read The Things They Carried by Tim O’Brien. For this novel you will follow the instructions provided for you to create both a nonfiction dialectical journal and a fiction dialectical journal. Directions and examples for each are included in this packet.

Due Dates: If you are in my class first semester, your work will be due August

13th. If you are in my class second semester, your work will be due January 11th. *** As of now, I have one section of AP Language first semester and one section of AP Language second semester. I will have no way of knowing which section you are in until late July.***

Note: This work will count as TWO test grades and will greatly affect your

first 9 weeks’ grade if not completed, but more importantly, if you fail to complete this work, you will begin the year behind. It does not mean that your grade will never recover or that there will be no other opportunities to improve your average; however, it does mean that

you will likely begin our time together feeling very stressed and frustrated. I urge you to save yourself this heartache.

If you have any questions, please feel free to email me at: Micaela.armona@bartow.k12.ga.us

Sincerely,

Micaela Armona

Assignment Part One: Vocabulary Flashcards

Directions and Disclaimer:

Although I wish there was a less cruel way to do it, this is the only way I know to get you to actually wrestle with these terms. Yes, this assignment absolutely MUST be handwritten and on index cards. If not, then one person could type it all up, and a bunch of people could turn it in without actually having done the assignment. Plagiarism is an ugly thing, people; let’s all try to avoid it for the first week of school, shall we?

The purpose of making flashcards is for you to develop a strong familiarity with the language of rhetoric. The flashcardscan help you do this if you spend time memorizing the meanings/definitions of each of the terms so that you know themlike you know the back of your own hand. USE your flashcards. Take them with you on your adventures. Reviewthem every single day, and you will be rewarded with impressive knowledge of what RHETORIC is all about. To giveyou that extra motivation/inspiration to take full advantage of this assignment, get some extra credit bytaking them with you on a vacation or adventure on which you take a “SELFIE” with you and the flashcards. You should email this photo to the same email addresses on the front of this packet . We will focus a great deal of time on how the use of these terms helps a writer achieve his/her purpose. You must know the terms and their meanings if you are going to be successful.

Remember, you are creating a future study guide; time invested here on these flashcards will save you future headaches

1. Ad hominem argument—an argument attacking an individual’s character rather than his or her position on anissue.2. Allusion—a reference to something literary, mythological, or historical that the author assumes the reader willrecognize.3. Analogy—a comparison of two different things that are similar in some way, usually written as an extended simile4. Anaphora—repetition of the same word or group of words at the beginning of successive clauses (Example

from the great Richard D. Bury: “In books I find the dead as if they were alive; in books I foresee things to come;in books warlike affairs are set forth; from books come forth the laws of peace.”)5. Anecdote—a brief narrative that focuses on a particular incident or event6. Antecedent—the word, phrase, or clause to which a pronoun refers7. Antithesis—a statement in which two opposing ideas are balanced8. Aphorism—a concise, statement that expresses succinctly a general truth or idea, often using rhyme or balance9. Asyndeton—a construction in which elements are presented in a series without conjunctions (“They spent theday wondering, searching, thinking, understanding.”)10. Balanced sentence—a sentence in which words, phrases, or clauses are set off against each other toemphasize a contrast (George Orwell: “If thought corrupts language, language can also corrupt thought.”)11. Chiasmus— a statement consisting of two parallel parts in which the second part is structurally reversed(“Susan walked in, and out rushed Mary.”)12. Cliché—an expression that has been overused to the extent that its freshness has worn off (“the time of mylife”, “at the drop of a hat”, etc.)13. Climax—generally, the arrangement of words, phrases, or clauses in an order of increasing importance, oftenin parallel structure (“The concerto was applauded at the house of Baron von Schnooty, it was praised highly atcourt, it was voted best concerto of the year by the Academy, it was considered by Mozart the highlight of hiscareer, and it has become known today as the best concerto in the world.”)14. Colloquialism—informal words or expressions not usually acceptable in formal writing15. Complex sentence—a sentence with one independent clause and at least one dependent clause16. Compound sentence—a sentence with two or more coordinate independent clauses, often joined by one ormore conjunctions17. Compound-complex sentence—a sentence with two or more principal clauses and one or more subordinateclauses18. Concrete details—details that relate to or describe actual, specific things or events19. Connotation—the implied or associative meaning of a word (slender vs. skinny; cheap vs. thrifty)20. Cumulative sentence (loose sentence)—a sentence in which the main independent clause is elaborated by thesuccessive addition of modifying clauses or phrases (Jonathan Swift, A Modest Proposal: “I have been assured bya very knowing American friend of my acquaintance in London, that a young healthy child well nursed is at ayear old a most delicious, nourishing, and wholesome food, whether stewed, roasted, baked or boiled; and I makeno doubt that it will equally serve in a fricassee or a ragout.”)21. Deductive reasoning—reasoning in which a conclusion is reached by stating a general principle and thenapplying that principle to a specific case (The sun rises every morning; therefore, the sun will rise on Tuesdaymorning.)(CSI method) 22. Denotation—the literal meaning of a word

23. Dialect—a variety of speech characterized by its own particular grammar or pronunciation, often associatedwith a particular geographical region (“Y’all” = Southern dialect)24. Diction—the word choices made by a writer (diction can be described as formal, semi-formal, ornate,informal, technical, etc.)25. Didactic—having the primary purpose of teaching or instructing26. Ellipsis—the omission of a word or phrase which is grammatically necessary but can be deduced from thecontext (“Some people prefer cats; others, dogs.”)27. Epigram—a brief, pithy, and often paradoxical saying28. Ethos—the persuasive appeal of one’s character, or credibility29. Euphemism—an indirect, less offensive way of saying something that is considered unpleasant30. Figurative language—language employing one or more figures of speech (simile, metaphor, imagery, etc.)31. Hyperbole—intentional exaggeration to create an effect32. Idiom—an expression in a given language that cannot be understood from the literal meaning of the words inthe expression; or, a regional speech or dialect (“fly on the wall”, “cut to the chase”, etc.)33. Imagery—the use of figures of speech to create vivid images that appeal to oneof the senses34. Implication—a suggestion an author or speaker makes (implies) without stating it directly. NOTE: theauthor/speaker implies; the reader/audience infers.35. Inductive reasoning—deriving general principles from particular facts or instances (“Every cat I have everseen has four legs; cats are four-legged animals.) (Scooby Doo Method)36. Inference—a conclusion based on premises or evidence37. Invective—an intensely vehement, highly emotional verbal attack38. Inverted syntax—a sentence constructed so that the predicate comes before the subject (ex: In the woods Iam walking.)39. Irony—the use of words to convey the opposite of their literal meaning; or, incongruity between what isexpected and what actually occurs (situational, verbal, dramatic)40. Jargon—the specialized language or vocabulary of a particular group or profession41. Juxtaposition—placing two elements side by side to present a comparison or contrast42. Litotes—a type of understatement in which an idea is expressed by negating its opposite (describing aparticularly horrific scene by saying, “It was not a pretty picture.”)43. Logos—appeal to reason or logic44. Maxim—a concise statement, often offering advice; an adage45. Metaphor—a direct comparison of two different things46. Metonymy—substituting the name of one object for another object closely associated with it (“The pen[writing] is mightier than the sword [war/fighting].)47. Mood—the emotional atmosphere of a work48. Motif—a standard theme, element, or dramatic situation that recurs in various works49. Non sequitur—an inference that does not follow logically from the premises (literally, “does not follow”)50. Paradox—an apparently contradictory statement that actually contains some truth (“Whoever loses his life,shall find it.”)51. Parallelism—the use of corresponding grammatical or syntactical forms

52. Parody—a humorous imitation of a serious work (Weird Al Yankovich’s songs, and the Scary Movie seriesare examples)60. Parenthetical—a comment that interrupts the immediate subject, often to quality or explain61. Pathos—the quality in a work that prompts the reader to feel pity62. Pedantic—characterized by an excessive display of learning or scholarship63. Personification—endowing non-human objects or creatures with human qualities or characteristics64. Periodic Sentence -- deliberately structured to place the main point at the end. Therefore, a period sentence will have its main clause or predicate as the last part (ex: Despite the blinding snow, the freezing temperatures, and the heightened threat of attack from polar bears, the team continued.)65. Polysyndeton—the use, for rhetorical effect, of more conjunctions than is necessary or natural (John HenryNewman: “And to set forth the right standard, and to train according to it, and to help forward all students towardsit according to their various capacities, this I conceive to be the business of a University.”)66. Rhetoric—the art of presenting ideas in a clear, effective, and persuasive manner67. Rhetorical question—a question asked merely for rhetorical effect and not requiring an answer68. Rhetorical devices—literary techniques used to heighten the effectiveness of expression69. Sarcasm—harsh, cutting language or tone intended to ridicule70. Satire—the use of humor to emphasize human weaknesses or imperfections in social institutions (JonathanSwift’s Gulliver’s Travels, The Simpsons, etc.)71. Scheme—an artful deviation from the ordinary arrangement of words (anaphora, anastrophe, antithesis aresome examples of schemes)72. Simile—a comparison of two things using “like,” “as,” or other specifically comparative words73. Simple sentence—a sentence consisting of one independent clause and no dependent clause74. Structure—the arrangement or framework of a sentence, paragraph, or entire work75. Style—the choices a writer makes; the combination of distinctive features of a literary work (when analyzingstyle, one may consider diction, figurative language, sentence structure, etc.)76. Syllogism—a three-part deductive argument in which a conclusion is based on a major premise and a minorpremise (“All men are mortal; Socrates is a man; therefore, Socrates is mortal.”)77. Synecdoche—using one part of an object to represent the entire object (for example, referring to a car simplyas “wheels”)78. Synesthesia—describing one kind of sensation in terms of another (“a loud color,” “a sweet sound”)79. Syntax—the manner in which words are arranged into sentences80. Theme—a central idea of a work81. Thesis—the primary position taken by a writer or speaker82. Tone—the attitude of a writer, usually implied, toward the subject or audience83. Trope—an artful deviation from the ordinary or principal signification of a word (hyperbole, metaphor, andpersonification are some examples of tropes)84. Understatement—the deliberate representation of something as lesser in magnitude than it

85. Vernacular—the everyday speech of a particular country or region, often involving nonstandard usage

Assignment Part Two: Dialectical Journals. See attached examples for both your fiction and nonfiction

journal. Please follow the format given to you. Points will be deducted for work that does not follow the directions provided.

**The Things They Carried can be checked out from our school media center. In fact, you can check your book out before this school year ends. Just tell Mrs. Herring you need it for your AP summer reading assignment**

Nonfiction Dialectical Journal Directions

What Do I Do While I Am Reading?

I am so glad you asked. You should “engage with the text.” Take notes in your book; explain connections; look up words; ask questions; speculate, think, and write it all down.Additionally, you should consider the following questions for your novel and make notes in the margins (or on sticky notes if you didn’t buy it) of your book with your responses. Even if you aren’t sure, make a reasonable guess. You must first risk being wrong if you ever hope to be right.

Start practicing.• What argument(s) is/are the author making in the novel? What is his or her purpose for writing?• Given the historical context of the novel, who was the author’s intended audience?• How does the author structure or organize this novel to achieve his or her purpose?• Choose 1 or 2 passages from the text that capture the author’s voice most clearly. Why did you choose these passages?

What Do I Do After I’m Done Reading?

After reading, you will choose two (2) standout passages from each 1/3 of the novel for which you’ll analyze author’s tone AND the purpose of the passage and/or its effect on the intended audience (6 total). The requirements are as follows:

1. Using Microsoft Word create three columns electronically.2. For each passage (2 passages per 1/3 of novel), you will complete 2 analyses, one on tone and another on purpose and/or effect on audience.3. Tone analyses should be at least 1 strong, analytical sentence in length.4. Analysis of purpose and/or effect should be at least 2 sentences in length.Choose passages that: are significant to the text as a whole contain a strong or unique tone present a problem or a solution would have been particularly poignant to the original audience

Example:

Fiction Dialectical Journal Directions

The term “Dialectic” means “using the process of question and answer to investigate the truth of a theory or opinion.” The “dialectic” was the method Socrates used to teach his students how to be actively engaged in the struggle to obtain meaning from an unfamiliar and challenging work. A dialectical journal is a written conversation with yourself about a piece of literature that encourages the habit of reflective questioning. You will use a double-entry format to examine details of a passage and synthesize your understanding of the text. Use these directions for your fiction novel only.

In this process, there is to be NO collaboration with other students. Any assistance from theInternet, movies, or secondary sources such as Sparknotes, Cliff Notes, or Wikipedia will be viewed as cheating and will be scored accordingly. I would rather you use your own brain and be flat out wrong in your analysis than have you get into the habit of taking these kinds of shortcuts as they will not help you prepare for in-class, on-demand analysis and writing you must be able to do for the Milestone and AP test.

Instructions:1. Create a Microsoft Word document and insert a two column table. 2. Label the left column TEXT and the right column RESPONSE.3. In the TEXT column, copy passages word for word from the novel, including quotations marks and page numbers:

a. Choose 1 passage from every chapter that you read.b. How do you choose what passages to write down? Passages become important if:

i. Details in the passage seem important to you.ii. You have an epiphany!iii. You learn something significant about a character.iv. You recognize a pattern (recurring images, ideas, colors, symbols, descriptions, details, etc.).v. You agree or disagree with something a character says or does.vi. You find an interesting or potentially significant quotation.vii. You notice something important or relevant about the author’s writing style.viii. You notice effective use of literary devices.ix. You think that the passage contributes to or reveals a theme in the novel.

5. In the RESPONSE column, reflect upon the passages:a. Raise questions about the beliefs and values implied in the text.b. Give your personal reactions to the passage, the characters, the situation.c. Discuss the words, ideas, or actions of the author or character.d. Compare the text to other characters or novels.e. Write about what it makes you think or feel.f. Write about questions you have or details that confuse you and why.g. Argue with or speak to the characters or author.h. Make connections to any themes that are revealed to you.i. Make connections among passages or sections of the work.j. Make prediction about the characters’ futures.k. DO NOT MERELY SUMMARIZE THE PLOT OR RESTATE THE PASSAGE IN YOUR OWN

WORDS.HERE IS AN EXAMPLE OF HOW I WILL GRADE YOUR RESPONSES:

Example of MLA format: