AP Eng Lit 2015 16 Audit Syllabus

Advanced Placement English Literature & Composition 2015 - '16 Syllabus INTRODUCTION & GENERAL INFORMATION Welcome to ...

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Advanced Placement English Literature & Composition

2015 - '16 Syllabus

INTRODUCTION & GENERAL INFORMATION Welcome to Advanced Placement English Literature & Composition. The school year ahead will undoubtedly be exciting, enriching, and represent a significant academic challenge. This Advanced Placement English course is for students who wish to pursue excellence in their understanding and written analysis of literature. Although not wholly focused on the AP exam, the goals of the course are consistent with those of the College Board and aim to provide the academic equivalent of one year of English literature and composition at the university level. Students who score well enough on the AP exam may be granted one, or even two semesters of college credit, depending on the institution. More importantly, the skills the student will develop in this course will contribute to a more comfortable and meaningful college experience.

COURSE DESCRIPTION & GOALS As previously stated, this course of study is designed to provide a learning experience and workload equivalent to the first year of a college literature course. Students will engage in the careful, close, and critical reading of literature in the form of poetry, plays, essays, short stories, and novels from a variety of cultures, societies, and time periods ranging from the sixteenth century to the present. Through the careful and deliberative reading of recognized works of literary merit, participants in this course will deepen their understanding of the ways writers use literary method, device, and technique to provide both meaning and pleasure for their readers. In addition to reading, students will apply their understanding through thoughtful discussion, writing and revision (viz. ondemand and extended argumentative essay), research, and various forms of argumentation and explication. Through a process of interpreting, evaluating, responding, and revising, students will gain the necessary perspective to demonstrate their understanding of the social/cultural, and historical values reflected in these works. Indeed, it is important for all students of literature to become aware of its universal and personal impact and to articulate its multiple contextual meanings. Throughout the year, students will study a wide range of fiction, poetry and drama. Specifically, students will tap into prior knowledge and spend a fair amount of time focusing their attention on familiar American and British writers. Additionally, the course will cover several English translations from the non-English literary world and examine how certain literary traditions have evolved over time and influenced literary movements and traditions. As a tool to articulate meaning and understanding, participants in this course will learn the important literary elements, devices, methods, and techniques used in the creation of fiction, poetry, and drama. Additionally, students will develop the skills necessary to conduct personal and group close readings of texts, participate in sophisticated/in-depth discussions of literature, and write (and rewrite) expository, analytical, argumentative, and creative pieces. Because writing and revision is an integral part of this course (and the AP exam), students in this course will spend a fair amount of time responding to essential questions specific to the literature covered in the class. This will be accomplished in several ways: 1. Students will participate in an on-going web-log (blog) which will help in the preliminary articulation of their ideas and assist in understanding their classmate’s varying perspectives. 2. Students will write and revise detailed papers, expanding and developing arguments in service of critical and analytical perspectives. 3. Students will practice writing and rewriting short, constructed responses that focus on individual ideas and insights. 4. students will respond to, On-Demand prompts that will help develop the knowledge and understanding necessary to be successful on the AP exam in May.

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Advanced Placement English Literature & Composition

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While participating in these many forms of writing and rewriting, students will pay close attention to the authority and maturity of their own voice and writing style, (viz.) the argumentative and persuasive nature of positions; the logical organization of ideas; the clarity and precision of expressions; the varied nature of sentence structure; and the balance of generalization with specific illustrative and textual detail. In order to achieve this goal, students will frequently participate with their peers and instructor in editing and revision conferences. These meetings will take place before, during, and after on-demand and extended assignments. It is through this revision-oriented discourse that the necessary elements of clear, concise, and argumentative/persuasive writing will be achieved.

EVALUATION & ASSESSMENT Grades will be updated regularly and accessible on-line. The list below is non-exhaustive and indicates various activities and assignments by which student progress will be assessed. All written pieces will receive formative and summative evaluation. Students may rewrite/revise and/or submit alternative pieces but must first participate in writer's conferences before revising or re-submitting their work. Alternative or additional assessments are available at the teacher's digression and will depend on the quality and completion of formative work. COURSE COMPONENT Analytical, Critical, Argumentative Essays, and Constructed Responses Detailed, extended analyses on selected pieces from novels, short stories, prose passages, and plays. In-Class/On-Demand Prompts Timed essays reflective of exam questions 1, 2, and 3 • Writing and revision • Peer and instructor-led writing conferences Poetry Explication Papers (PEPs) Detailed, extended analyses, arguments, and critiques of selected poetry Writer’s Feed-Forward Conferencing Notebook and Revision Portfolio Evidence of re-writs and revisions that track student progress toward composition mastery and conceptual understanding Literary/Poetic Device & Terms Assignments Device Journals, Notebooks, and Presentations AP Style Multiple-Choice Exercises Poetry & Prose Passage Annotation Assignments ex: ATIA = Annotate, Translate, Interpret, Analyze In-class Socratic Seminars and Small Group Harkness Discussions Reading Response Journals & On-Line Blogging Specifically… What is understood about the literary works and why are they interpreted as they are? Blogs are posted on-line once per unit/major literary work and require thoughtful, clear, and supportable observations. Literary Research Paper and Presentation The major paper for the year; an extended literary research paper that can deal with any author or work of literary merit.

ACADEMIC INTEGRITY Plagiarism is copying words or ideas from someone else (including repurposing original works) and presenting them as original. Plagiarized work, as well as any fabrication of information, is a serious academic integrity issue. This school uses Turnitin.com as a check of academic integrity for written work. Students will register for Turnitin for this class and submit papers electronically and in hardcopy. Students need to do: The work submit is expected to be original. Any borrowed ideas or written words should be honestly acknowledged as such and the source(s) should be properly credited. Plagiarism is a serious academic offense. If there can be any possible doubt about academic honesty in an assignment, speak with the instructor before submitting the product.

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The following rubrics will be use to evaluate all constructed responses, essays, and explications: AP TEST ANALYTICAL ESSAY & CONSTRUCTED RESPONSE RUBRIC % SCORE

(AP Test/College Board Language)

9

100

8

97

7

94

6

89

5

84

4

79

3

74

2

69

1

64

AP TEST SCORE

%

9

100

8

97

7

94

6

89

5

84

4

79

3

74

2

69

1

64

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Able writers of these well-ordered essays write with clarity and precision; they demonstrate the writer’s ability to read perceptively and to write with clarity and skill. Comprehensive in the grasp of the novel or play, these writers neither oversimplify nor ignore ambiguities of the text. Specific textual references and solid literary analysis support their assertions and demonstrate their own facility with language. These essays deal appropriately with the text and provide a clear, coherent discussion of the topic. In addition to minor flaws in interpretation, their analysis is likely to be shorter than an 8 - 9 paper. These essays demonstrate the writer’s ability to express ideas clearly, but with less mastery and controls than do papers in the 9 - 8 range. Although these lower-half essays are often characterized by shallow, unsupported generalizations, they provide at least a plausible argument. Though competent, plot summary may substitute for analysis and references to the text may be limited, random, or vague. The writing in these essays does not usually demonstrate consistent control over the elements of composition. These lower-half papers convey a less than adequate comprehension of the assignment. They choose a more or less appropriate direction, but their discussions will explore more specific implications than analysis of the work as a whole. They seldom exhibit compelling authority over the selected text. Though these essays offer at least a rudimentary argument, support generally depends on unsubstantiated generalizations rather than specific examples. These essays may contain significant misinterpretations and displace analysis with paraphrase or excessive plot summary. The writing may be sufficient to convey some semblance of the writer’s ideas, but it reveals only limited control over diction, organization, syntax, or grammar. These essays compound the weaknesses of essays in the 4 - 3 range. They may seriously misread the novel, the play, the poem, or the question itself. They may also choose a problematic direction. They may contain little, if any clear, coherent argument; they provide impressions rather than analysis. In addition, they are poorly written on several accounts, including many distracting errors in grammar and mechanics, or they are unacceptably brief. Essays that are especially vacuous, ill organized, illogically argued, and/or mechanically unsound should be scored as 1.

POETRY EXPLICATION RUBRIC (AP Test/College Board Language) These well-organized and well-written essays clearly demonstrate an understanding of how the poet expresses the complex attitude of the speaker. In their textual references, they are apt and specific. Although the writers may provide a range of interpretations, these papers will offer a convincing interpretation and extrapolation of the poem as well as consistent control over the elements of effective composition, including the language unique to the criticism of verse. Though not without flaws, they demonstrate the writer’s ability to read poetry perceptively and to write with clarity and sophistication. These essays reflect a sound grasp of this poem; but they are less sensitive to the complexities than the best essays, and their interpretation of the poem may falter in some particular aspect of analysis or explication. Though perhaps not as thorough or precise in their discussion of how the speaker’s tone is revealed in the poem, their dependence on paraphrase, if any, should be in the service of analysis. These essays demonstrate the writers' ability to express ides clearly, but they do not exhibit the same level of mastery, maturity and/or control as the very best essays. These essays are likely to be brief, less incisive, and lack the specific support found in the 9-8 papers. These essays are, at best, superficial. They respond to the assigned task yet say little beyond the most easily grasped observations. Their analysis of HOW the author creates meaning may be vague, formulaic, obvious, unoriginal, or inadequately supported. They may suffer from the cumulative force of many minor misreadings. They tend to rely on paraphrase but nonetheless paraphrase which contains some implicit analysis. Composition skills are at levels sufficient to convey the writer’s thoughts, and egregious mechanical errors do not constitute a distraction. These essays are nonetheless not as well conceived, organized, or developed as upper-half papers. These lower-half essays reveal an incomplete understanding of the poem and perhaps an insufficient understanding of the prescribed task: they may emphasize literal description without discussing the deeper implications of the poem or poet's methods and subsequent effect on the reader. The analysis may be partial, unconvincing, irrelevant, or it may rely essentially on paraphrase. Evidence from the text may be meager or misconstrued. The writing demonstrates uncertain control over the elements of composition, often exhibiting recurrent stylistic flaws and/or inadequate development of ideas. Essays scored 3 may contain significant misreadings and/or unusually awkward writing. These essays compound the weaknesses of the papers in the 4-3 range. They may seriously misread the poem. Frequently, they are unacceptably brief. They are poorly written on several counts and may contain many distracting errors in grammar and mechanics. Although some attempt may have been made to respond to the question, the writer’s assertions are presented with little clarity, organization, or support from the text of the poem.

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IMPORTANT NOTE: This year will pass quickly. Plan ahead, keep spare ink cartridges handy, “save” often, and be prepared to write anything by hand that a computer might tragically devour. In the event of a computer or printer breakdown, students may e-mail their work to the instructor or share a GoogleDoc. In the case of a total apocalyptic event, a handwritten copy of the assignment will be accepted on the due date; students may hand in the typed version the next day.

STUDENT CONDUCT Attendance, Absence, and Tardiness It is important that students are in class, on time, and ready to thoughtfully participate. An un-excused absence sends a clear message about the commitment to this course, classmates, and to the instructor. Indeed, if students are absent, they cannot benefit from the insights gleaned and discussed in-class. In the case a student is absent, they are expected to communicate with the instructor via e-mail or in person before they miss class. This basic level of communication is critical to keep from falling hopelessly behind. While one tardy might be an accident, two or more tardies constitute a problem. Indeed, three tardies are a deliberate insult to classmates and to the instructor. Again, be on time, and come prepared. Absences and tardies must be kept to an absolute minimum. Schedule the dentist, the doctor, and any other important meetings or appointments for after school.

Responsibility as a Reader: 1. AP Lit. students read texts closely and identify literary method, device, and technique. 2. AP Lit. students annotate, interpret, translate, and analyze literature of varying style, complexity, and meaning. 3. AP Lit. students engage all readings with thoughtful curiosity and a critical eye. 4. AP Lit. students learn and seek to understand a variety of literary/critical theories and perspectives. 5. AP Lit. students' reading results in observations that lend themselves to logical supportable conclusions, bolstered by knowledge of the “language” of literature, relevant terminology, poetic device, and authorial intent.

Responsibility as a Writer: 1. Through the conferencing process, AP Lit. students develop a realistic sense of their strengths and weaknesses and set measurable goals for improving their writing. 2. Regularly revising their work will help demonstrate the AP Lit. students persistence to improve as a writer. This will be evidenced and evaluated through the writer’s revision portfolio/conference notebook. 3. AP Lit. students recognize writing as both a process and a product. Again, conferencing, editing, and revising are critical parts of that process. 4. AP Lit. students collaborate in the writing process by participating in the meaningful dialogue and tuning of their written work with fellow students and the instructor. 5. AP Lit. students develop a recognizable maturity as writers, including a sense of voice and authority over the subject matter.

Responsibility as a Learner: 1. AP Lit. students develop a study program and strategies for approaching short-term and long-term reading, writing, and research assignments. 2. AP Lit. students manage and maintain course materials and important AP exam information. 3. AP Lit. students complete assigned formative tasks on deadline and according to instructions. 4. AP Lit. students attend and participate in whole-class and other required instructional activities. 5. AP Lit. students recognize the value of support and actively seek it through appropriate communication.

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Respect 1. Please avoid put-downs and ridicule. As the coursework will cover many controversial topics and adult themes, it is imperative that all students respect one another's opinions and ideas. That said, it is acceptable (and expected) to ask for clarity and evidence when disagreeing with the opinions of others. 2. Accept criticism graciously and give it with courtesy. 3. Pay attention to what others are saying and when appropriate, respond to the entire group. 4. Many class periods will involve some lecture, sharing information on the board or electronically, whole class Harkness or Socratic dialogue, small group discussion, and individual conferencing that warrants the keeping of detailed notes. After several weeks students often forget much of what they have heard in class. Writing down important ideas or nuggets of information greatly increases the ability to remember and utilize what has been learned.

ASSIGNMENTS & COURSEWORK Reading Journal & On-Line Blog (Writing To Understand) The Reading Journal is a one-to-two page reflection of the on-going reading for this class. In contrast, blogging is an on-line discussion/journal where class participants provide insights and respond to other's thoughts on a particular subject or focus item. These on-line conversations, and individual journal entries, will help in the instruction and feedback of the development of students' ideas before engaging in formal, analytical writing. The ability for the whole class to leave comments in interactive and personally reflective formats, such as these, is an important part of learning to reflect, interpret, and ultimately analyze literature. Indeed, this is a central part of the coursework for this class as it encourages critical engagement with the texts and your classmates, and allows me to monitor and provide on-going feedback on your progress. 

Good journals and blog entries look beneath the surface of the text; they explore ideas, patterns, and implications; they show the fruits of careful reading; they demonstrate a mind actively engaged in the reading. Your journal and blog entries might not have all the answers, but they should ask good questions and search for new meaning and understanding.



Conversely, poor reading journals and blog postings are often brief, show little or no authentic thought, tend to summarize plot, are general and shallow, sloppy, and show little active engagement with the text.



Reading journal entries are to be hand written and kept in a spiral-bound notebook (separate from your binder). Each entry must have a clear title, date, and entry number.



Reading journal and blog entries are evaluated on the following scale:  1 - 4 = poor  5 - 7 = average (nothing special)  8 - 9 = exceptional  10 = authoritative



Blogs are to be completed on or before the indicated due date. Here’s a hint: Students who hate doing their blog or journal, are not doing them properly. By definition, active thought is always interesting to the thinker.

Poetry & Prose Passage Annotation (Writing To Explain) 6 times per quarter (roughly every week, or two) students will be asked to annotate (or mark critically) an entire poem or an important excerpt or passage from a selected reading from that week. Unlike the Reading Journal or Blog, these exercises serve to help discover tools authors and poets use that are essential to understanding the greater meaning of the literature (or at least important to working-out its greater meaning).

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  

2015 - '16 Syllabus

Good annotations focus on rich, interesting, important poetry and/or prose passages and demonstrate a close reading; that is, just how much meaning a reader can get out of that bit of text? A successful annotation is not a summary of plot or a retelling of the poem. Do not simply state what is going on in the poem or passage. The plot or story is obvious; what close readers want to get at is beneath the plot. When completing an annotation, look for the following elements: o Literary Devices – document them and discover how and why they are used. What effect/affect do they have? o Opposing Images & Symbols - good/evil, light/dark, young/old, etc. o Allusions – good prose and poetry is laden with allusions from all walks of life. Discover why they are there and what they imply. o Structure and Form – examine the shape, meter, and rhyme of the poem or prose. Each means something different and each has noteworthy impact on the reader.

Poetry/Prose Explication Papers (PEPs) (Writing To Evaluate) Twice per quarter (roughly every three weeks) students will write and rewrite a response paper to a poem or prose passage in the form of a one-to-two page explication. Analyses will evaluate the text by thoughtfully addressing the poem or passage's form, meaning(s), idea(s), use of language, and content. In addition, students will do well to analyze structure, diction, and/or its sound or sense. Students will explore, plan, and draft their papers and conference with their instructor throughout this process. 

Please refer to the following list of analytical strategies to aid in explications. Detailed handouts and graphic organizers will be provided: o ADD - Argument; Detail; Diction o PASS - Purpose; Audience; Speaker; Subject o SOAPS-tone - Speaker; Occasion; Audience; Purpose; Syntax o STOMP - Syntax; Tone; Occasion; Mode; Point-of-view o DIDLS - Details; Images; Diction; Language; Syntax o TPCAST2 - Title; Purpose; Connotation; Attitude; Shifts; Title; Theme



All papers must be typed and follow accepted guidelines for the submission of academic work.



PEPs should reflect growing skill and fluency in poetic/prose analysis. Students need not “capture” every element of a poem or passage, but you should read closely to clearly articulate (verbally and in writing) the fruits of inquiry.



True analysis will focus on the techniques and meanings of the poem or passage rather than on personal, emotional, or qualitative responses. Careless, uninterested, flippant, largely personal or off-subject submissions won’t score well and will prompt a conference and rewrite (refer to the Poetry Explication Rubric for scoring guidelines).

Analytical, Argumentative, Critical Essays and Constructed Responses (Writing To Evaluate) For each major unit of study or work of literature, participants in this course will construct arguments and analyze literature through the development of an extended essay and/or several shorter constructed responses. After the reading of a particular work of literature (usually every three – four weeks), students will respond to a prompt (or series of prompts) stemming from in-class discussions and pervious AP exams. These papers are designed to help students formulate and develop viable analytical and critical arguments surrounding a work of poetry or fiction and draw upon textual details to make and explain judgments about the work’s artistry and quality. The following week, students conference with their instructor, and carefully revise and re-submit their work based on the feedback provided. Topics/prompts will be broad enough to lend themselves to high-level academic thought, critique

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and/or argument, but narrow enough to allow sufficient coverage of the literature and the students' unique insights.

Literary Research Paper & Presentation (Writing to Evaluate) This is the major paper for the year. Students will engage in an extended literary research paper, the subject of which can deal with any recognized author and/or work of literary merit. Through the formulation of this analytical, argumentative research paper, students will draw upon textual details to make and explain judgments about the artistry and quality, as well as the social, historical and/or cultural values and implications of an author and their works of poetry, fiction, and/or drama. Students will focus upon the contributions of critics, historians, and philosophers and contributions to the general study of literature to demonstrate a deep appreciation of the complexity of responses to literature and its many forms and influences. This literary research paper will be developed through multiple drafts, complete with direct feedback from the instructor regarding form, style, and content.

In-Class/On-Demand Writing (Writing to Evaluate) For each major unit of study or work of literature (and occasionally without notice) students will practice timed writing activities to prepare for the AP exam (usually every three – four weeks). On-Demand essay prompts will stem from previous AP exam questions or questions generated during class discussions. Assessment will be specific and reflect the rigor of an AP reading (see analytical rubric). Less emphasis will be placed on grammatical issues and more on structure and content. As such, this process and practice will help students formulate competent introductions and theses as well as learn the skills of supporting evidence quickly, clearly, and concisely. This activity helps the writer to focus on important (and often hidden) details of a specific question, avoid plot summary, and over-generalization. Each On-Demand assignment is evaluated by the instructor and feedback is given through a writer's conference, Papers are then discussed and reviewed by student peers, and then revised/rewritten and resubmitted by the student.

Multiple-Choice Practice For each major unit of study or work of literature, students participate in multiple-choice practice sessions in anticipation of the multiple-choice section on the AP exam. These reflective sessions aid in developing the necessary knowledge and skill to provide in-depth analysis of prose, poetry, and drama, and build literary vocabulary – a necessity for success on the AP exam. An in-depth study of sophisticated English vocabulary and the “language of literature” take place throughout the year to support these activities. Test taking strategies and an understanding of how the multiple-choice section of the AP exam works is be a priority.

MATERIALS Students need to obtain the following items for success in this course:    

a two-inch binder (with 12 dividers) to organize handouts, notes, reference materials, practice tests, and other important “nuggets” of information; a single-subject, spiral bound notebook for Reading Journals, blog printouts, and explication, analysis, argumentative paper drafts and revisions; many pens, pencils, and highlighters will come in handy, though formal assignments must be typed. Class work, informal work, and tests must be written in pencil or blue/black ink. Journals, notes, etc. should be written in ink or pencil; and sticky notes of all sizes. Students will use sticky notes to track and justify explications and analyses, as well as rewrites and revisions. Additionally, students will want to mark passages of interest in their texts.

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Advanced Placement English Literature & Composition

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COURSE TEXTBOOKS Arp, Thomas R., and Greg Johnson. Perrine’s Sound and Sense: An Introduction to Poetry. 13th ed. Boston: Michael Rosenberg/Thompson:Wadsworth, 2010. Bain, Carl E., Jerome Beaty, and J. Paul Hunter. The Norton Introduction to Literature. 11th ed. New York: W.W. Norton & Company, Inc., 2012. Foster, Thomas C. How to Read Literature Like a Professor. 1st ed. New York: Harper Paperbacks, 2003. 1-336. Hacker, Diana, and Nancy I. Sommers. A Writer's Reference. 7th ed. Boston: Bedford/St. Martins, 2011.

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MAJOR UNITS & SELECTED TEXTS This course will cover many forms of literature throughout the year, including novels, plays, short stories, essays, and poems. Students are encouraged to purchase their own copies of the assigned works. Used copies are fine, but check that they are not too “marked-up”, as course participants may want to annotate/mark them in their own way. Please refer to the handout, “How to Mark a Book” by Mortimer J. Adler, Ph.D. upon the beginning of each new text. The following are the major units of study for this course and their corresponding texts: Symbolism, Imagery, and Allusion  How To Read Literature Like A Professor, Thomas C. Foster (2003)  The Old Man And The Sea, Earnest Hemingway (1952, American)  The Crucifixion, Excerpts from the gospels of Matthew, Mark, Luke, & John, Bible: King James Version  Critical essays and selected poetry from course texts Narrative Structure, Point of View, & Critical Theory  Catch-22, Joseph Heller (1961, American)  The Sound and the Fury, William Faulkner (1929, American)  Critical essays and selected Poetry from course texts It’s All About Perspective: The Relationship Between Author, Narrator, & Reader  Pride and Prejudice, Jane Austin (1813, British)  A Yellow Raft In Blue Water, Michael Dorris (1987, American)  The Book of Job, Bible: King James Version  Critical essays and selected poetry from course texts God, Nature, & Man’s Ambition  The Book of Genesis, Bible: King James Version  Frankenstein, Marry Shelley (1818, British)  Prometheus Myth  Critical essays and selected poetry from course texts Conscience and Awareness of the Self  Crime and Punishment, Fyodor Dostoevsky (1917, Russian, English translation by Constance Garnett)  Die Verwandlung (Tr. The Metamorphosis), Franz Kafka (1915, German, unknown English translator)  Hamlet, William Shakespeare (1601?, British)  The Republic (excerpted), Plato (360 B.C.E., Greek, English translation by Benjamin Jowett)  Critical essays and selected poetry from course texts The Role of Women: Power, Choices, & Consequences  Moll Flanders, Daniel Defoe (1722, British)  Their Eyes Were Watching God, Zora Neale Hurston (1937, American)  Pride and Prejudice, Jane Austen (1813, British)  Critical essays and selected poetry from course texts

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Poetry Boot Camp  Selected Poetry, Terminology, & Devices from Perrine’s Sound and Sense: An Introduction to Poetry

      

Annotation Exercises (ATIA) Lyric – Dover Beach, Matthew Arnold (1851, British) Sonnet – “Sonnets From The Portuguese 43 (How Do I Love Thee?)” Elizabeth Barrett Browning (1846, British) Ballad – “Ballad of Birmingham” Dudly Randall (1969, American) Free-Verse – “Juggler”, Richard Wilbur (1948, American) Blank Verse – Soliloquy of Choice, William Shakespeare (1600s, British) Narrative – “Kubla Khan” Samuel Taylor Coleridge (1798, British) Extended/Epic – “The Rhyme of the Ancient Mariner”, Samuel Taylor Coleridge (1798, British)

Short Story Boot Camp (see List of Analytical Strategies)  Selected short stories from The Norton Introduction to Literature







 



Short Story Device Papers Plot – The Rocking-Horse Winner, D. H. Lawrence (1932, British); and Happy Endings, Margaret Atwood (1983, American); or The Country Husband, John Cheever (1958, American) Point Of View – The Cask of Amontillado, (Edgar Allan Poe (1846, American); and Blow-Up, Julio Cortazar (1956, Argentinean), or The Yellow Wallpaper, Charlotte Perkins Gilman (1892, American) Characterization – The Story of an Hour, Kate Chopin (189, American); and Why I Live at the P.O., Eudora Welty (1941, American); or Our Friend Judith, Doris Lessing (1963, British) Setting – Araby, James Joyce (1914, British/Irish); and A Rose for Emily, William Faulkner (1931, American); or The Lady with the Dog, Anton Chekhov (1899, Russian) Symbol – Young Goodman Brown, Nathanial Hawthorn (1835, American); and The Loons, Margaret Laurence (1966, Canadian); or The Lame Shall Enter First, Flannery O’Connor (1965, American) Theme/Meaning – How Much Land Does a Man Need?, Leo Tolstoy (1886, Russian); and Her First Ball, Katherine Mansfield (1922, New Zealand); or A Souvenir of Japan, Angela Carter (1974, British)

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