oo jor

20J4-201ÿ

KaU zij ÿ

OUT °

Course b®s¢ÿiption, l×ÿctÿtioHs, and Pdi¢i¢ÿ

'*You shall no longer take things at second or third hand, nor took through the eyes of the dead, nor feed on the spectres in books,You shall not look through my eyes either, nor take things from me,

You shall listen to all sides and filter them from your self." WaR Wli{raan, Noÿag of Mysdf

AP ENIish Lÿngua£¢ sad {;ÿmpasitioa is dedicated to developing confidence and expertise in reading and writing.The course emphasizes rhetoric and composition with attention to critical reading and ÿjritin9 activities that offeropportunities for groÿth. It is importent to remember that this course is dedicated to preparing students for theexam given in the spring, but the content and quality of the course have broader goals. Enhencin9 readingproficiency, developing writing fluency, and promoting higher level thinking skills and creativity are important goalsof the course.

RcadiN: Students wilt read from a variety of prose forms during the year. Fiction (for the purposes ofrhetorical value) and nonfiction selections ÿ,Jill be examined carefully. Readin9 is a critical attribute forcollege success, and students in this course ÿJill be given challenging materials requiring detailedapproaches. Students will also practice the AP exam multiple-choice questions, which in format andcomplexity, are similar to the verbal sections of the PSAT/NMSQT, the SAT, end the ACT.

Additionally, parents and students should be aware that the majority of the u¢orks of literature studied inAP Language and Composition appear on the Advanced Placement trading List; these works arerecommended by the College leard to be read by high school students ÿho choose to take kP courses. Thisliterature requires considerable maturity on the part of the reader and is not necessarily chosen toentertain, but to make the reader think.

As with any uJork of art, ftcrature is a form of communication from one mind to another, an expression of

human diversity and difference of opinion. Literature demands that uÿe cherish our right to be delighted,enriched, and strengthened, as well as our right to be challenged or offended. From this confrontationcomes struggle; but it is a struggle that ultimately results in our growth. Literature as art is on end untoitself whereby appreciation, not approwfl, is the goal. It is our sincere hope that the students will come %appreciate the textual richness and depth of thought that this literature offers.

WritiHÿ: Students will be required to ÿ,Jrite in various forms, including literary aÿlysis. Timed essays uÿillalso be written frNuently in class, emphasizing close reading analysis and mature uaritin9 style.

gÿabulaÿ: gocabular3, development is a key element of the AP English Language and Compositioncurriculum. Literary vocabulary uÿill be taught in preparation for the kP exam. Additionally, students ÿilIlearn ÿords frequently used in various nationally harmed exams, to include the AP, PSAT, SAT, and ACT.

, ÿdiÿ: In accordance with the Katy ISb district grading handbook six uaeeks grades in AP Language andComposition be calculated using the following formula:

o Tests/Essays/Timed Writings: 70%o Quizzes £0%o baily Assignments/Homework 10%

{;lass Expÿ'tÿtiaÿs: Classroom expectations are high for juniors at Katy High 5chool. First and foremost,you get ÿhat you give, so it is imperative that you understand your rde in this classroom. Be mindfuÿ of yourwords and your actions; work hard and to the best of your abilii'y, and you ÿill be just fine. I wil treat youfairly and respectfuly, and I expect the same from you. While this is a course for college freshmen, I ÿ#illkeep in mind that you are stHI juniors in high school. You ÿ411 make mistakes; I am here to help you ÿork

past any roadblocks that might hinder your current and future success. Here are some specific non-negotiable 9uiddines for this course:

> ALL technological devices will be silenced and placed out of view. You will not charge yourtechnological devices in this room.

> Observe your teacher's personal space. My desk is not your workstation.

> NO eating in this classroom. Bottled water is acceptable.> busing instruction, stay soared and be respectfully participative.> Check the HAg as soon as possible to access your grades.

> Fighting, inflammatory Banguage, cursing, or reckless humor will nat be tolerated in this class. Yourtact and positive attitude will determine the tone of your dass's environment. 4 toxic classroomenvironment is not enjoyable.

> I will honor the KHS tardy policy; so shall you.> Deal with your restroom issues between classes, bo not ask me to leave during dogs.> Per your six weeks and semester averages, I follow the guidelines in the Grading and Reporting

Handbook for KISD.> Makeup work will be completed per the Grading and Reporting Handbook for, KISb.> Keep an open mind in this classroom. Remember that we come from a variety of backgrounds. Given

our diversity in culture, race, religious beliefs, personal beliefs, etc.., we must strive to listen to

our fellow classmates and be mature in our responses to one another. Thoughtful discussion cannot

happen in a room where an individual fears judgment. Bigot#/is unacceptable.

Aeadÿm{c HoHÿsty: Because of our accelerated course content and atmosphere, as wdl as our clear

expectations for academic honesty, it is the responsibility of each student to adhere to a high code ofhonor and integrity and for our parents to support us in this endeavor. Our students work hard anddeserve to succeed. It is in an atmosphere of trust, comfort, and openness that ÿearning will take place.This rdationship of mutual respect between the student and the teacher requires honssty in d/5'ituationso

Should cheating or plagiarism occur, the student will receive no credit for the assignment and be referredto his or her assistant principal. In addition, a student involved in an instance of academic dishonestyshouM be aware of the ramifications regarding teacher recommendations and college admission.

Cheating and plagiarism are serious offenses including but not limited to:

1.

,

3.

4.

5.

Stealing passages or ideas from any other source and using them in ands own writingwithout proper documentation.Collaborating with another student on an individualessignment, even daily assi9nments.Recording/copying and/or receiving test or quiz questions or answers.Cheating on a quiz or test.Telling students in other classes essay prompts for timed writings.

We encourage parents and students to discuss our expectations; it is important to us that you understandthe strong commitment we have to the development of both intellectual and moral responsibility. This yearwill be an exciting one for our students, and we are truly honored to be. able to contribute to and share inthis time in their lives.

Sincerely,Jenny Harris and Johanna SchneiderAP En9tish Lan9ua9e and Composition Team

Chronology of Am®titan l.iferQÿ'y Periods

Pufi)ÿnism: The Colonial Period

÷ (Beginnings to 1750)= Religion dominates= Serious, plain style

SINNERSIri lhÿ

HANDSa[ xn

ANGRYGOD

and (hhÿr

RÿtioHÿlism: The Age of ReasonJONAI IhÿN [DWAIDÿ

J .........

@ 1750 to 1800[] Intellect dominates= Reason and logic are important

lllJllll PIIIIIIIhll 1, [IIll[l

Romanlcism: The Period of Idealism

÷ 1800 to 1850= Emotion dominates= Passionate, expressive language

#ÿnsc÷nden@Q£sm: A New Spiritualism

÷ 1850 to 1865= Intuition dominates= Profoundly optimistic and idealistic

Reÿ£sm: The Age of the Average Man

TFIE NAIÿX]IVEor [HI UFEOF

FREDERICKDOUGLASS

÷ 1865 to 1890= Accuracy dominates= Simple, everydaylanguage

NaIuralism: A Period of Pessimism

÷ 1890 to 1915= Struggle dominates[] Focus on man's interaction with the world

Modernism: The Psychological Factor

÷ 1915 fo 1945= Scrutiny dominates= Rejection of traditional themes and styles

Post-Modernism: A Culture of Diversity

!945 to present= Controversy dominates[] Experimentation with nandradifionalforms

÷

FRILl )(;REI4XTOMATOES

AP Grading 5caJ¢

General Comments: The score on each essay reflects the quality of the essay as a whole. Writers are rewarded for the thingsthey do well in response to the question and consideration is given for the time constraints under which the essay wasproduced. All essays, even those scoring an 8 or 9, will likely demonstrate occasional flaws in prose style or mechanics; suchlapses are taken into consideration but may not necessarily significantly impact the score unless the errors are so numerousand distracting that they interfere with clarity and fluency (ease of reading). Further, essays should be thought of as above orbelow .5. A 5 is an essay which doesn't say very much, but says it rather well. Essays below 5 are those which make significanterrors in interpretation. A student cannot get above a 5 with an essay which has significant errors in interpretation or gross

mechanical and/or prose flaws.

9 {9B) Essays earning a score of 9 meet all the criteria for 8 papers and, in addition, are particularly wellreasoned and insightful, rich in content, full of analysis and commentary, demonstrate superb insight,and/or demonstrate particular stylistic command of finesse.

8 (93)

6 {83)

2 {63)

4 {73)

Essays earning the score of 8 effectively evaluate the argument, work, or tasks through a carefully reasoned critique ofthe strategies of the work. These essays are in-depth, show a significant understanding of literary techniques andterminology and relate all observations to the meaning of the work. These essays show strong detail and elaboration.Their prose demonstrates their writer's ability to control a wide range of the elements of effective writing, but need

not be without flaws.

7 {88} Essays earning the score of 7 fit the description of 6 essays but are distinguished from them by fulleranalysis or stronger prose style. They are significantly more than competent.

Essays earning the score of 6 adequately evaluate the argument, work, or tasks. They present the views accurately,and their comments on important elements are generally sound. They do not have the depth, the elaboration, or thedetail which must be related to the meaning of the work that essays which earn higher scores do. Yet they arelogically ordered, well developed, and unified around a clear organizing principle. A few lapses in diction or syntaxmay be present, but, for the most part, the prose of 6 essays conveys their writer's ideas clearly.

{78) Essays earning the score of 5 evaluate the work, argument, or tasks adequately, but their ownreasoning is limited or unevenly developed. A few lapses in diction or syntax may be present, but forthe most part the prose of 5 essays conveys their writer's ideas clearly. A 5 essay doesn't say muchthough it makes no significant errors of interpretation, and it says what it does rather well. Theseessays are generally competent but superficial.

Essays earning the score of 4 respond inadequately to the question's tasks or argument. They may misrepresent ormisinterpret a significant part of the work, or they may represent accurately but evaluate through a presentation thatdoes not make the writer's views of the argument clear or convincing. The prose of 4 essays usually conveys thewriter's ideas adequately, but may suggest inconsistent contTol over such elements of writing as organization, diction,

and syntax.

3 {68) Essays earning the score of 3 are described by criteria for the score of 4 but are particularlyunsuccessful in their attempts to evaluate the work, the tasks, or the argument or particularlyinconsistent in their control of the elements of writing.

Essays earning the score of 2 demonsirate little or no success in evaluating the question. Some may substituteanother related task, The prose of 2 papers may reveal consistent weaknesses in grammar or another of the basics of

composition. These essays are characteristically brief.

{5o) Essays earning the score of 1 are particularly simplistic in their response, inadequately short inlength, and may reveal consistent weaknesses in grammar or other elements of composition. They

often simply restate the prompt and add a sentence or two.

0 Essays which have no response or whose response is unrelated to the question.

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Modes of Discourse: AP English Language and Composition

Listed below are the three (3) types of essays students can expect to see in APELC. The listrepresents the modes of discourse evaluated on the AP exam. Students should read all

prompts carefully to determine exactly what they are being asked to do since each prompt isunique. Students have forty (40) minutes to complete each essay.

Essay #1 : 5jnthesis Ar£umentThis prompt requires the student to read 6-9 sources which are linked by subject. Studentsare then asked to form an opinion on the topic presented and craft an argument based on the

sources given. Textual evidence may come ONLY from the sources given; outside informationcan also be used to extend the argument.

.Suggestions:1. Keep your argument/position central.

2. Write a thesis before you look at the sources.

3. Always include a concession.

4. You MUST use AND CITE three sources to support your argument. That means your use is more than just themechanical act of citing.

Essay#2: Rhetorical AnalysisThis prompt requires the student to identify and analyze the rhetorical strategies a

writer/orator employs to achieve a specific purpose. Textual evidence must come from theexcerpt only. No internal citations are necessary.

.Suggestions:1. You MUST determine tone and purpose. (tone/purpose/strategy/text support/analysis)2. Be clear about the author's purpose in your introduction and conclusion.

3. Remember, you should always work through a passage chronolo_ÿ.

4. Relate all examples and discussion back to author's purpose. Remember, rhetorical strategies are just tools to

convey the purpose.5. Don't forget bIDLS. Use an adjective in front of words like "diction" and "syntax."

6. Instead of writing "ethos," "pathos," and "logos" use "ethical appeal," "emotional appeal," and "logical appeal."

Essay #3:This promptpurpose andSupport for

OPEN Argumentrequires the student to examine a brief excerpt or quote to determine its

then determine whether he/she agrees or disagrees with the opinion presented.the student's argument must come from his/her personal knowledge base.

,Suggestions:1. Sit on your hands for 2-3 minutes. Don't use the first examples that come to you. These are the same things

every other teenager IN AMERICA just thought of. Wait for something richer and more original.2. Give more examples than you think you need and ELABORATE! Remember REHUMO.3. Extend your argument to the adult world. Don't use only examples from the realm of teenagers. It's limiting

which means it's a 5!4. Alwaÿ include a concession.

Acroÿyrÿ for ÿhe Rhetorÿcaÿ Aÿÿ:

D = Diction (see handout)I = Imagery (include 2¢pe)D = Details (specificity)L = Language (similes, metaphors)S = Syntax (semence, paragraph, or excerpt)

Elements of a RA paragraph:

Soÿae ÿ%ig picture" sÿraÿeg[es:Compare/contrastLogicEmotionEthicsDefinitionClassical ÿgumentationSatire

TONEPURPOSESTRATEGYTEXT SUPPORTANALYSIS

These elements do not uecessarilyhave to appear m this order, but youmust include all of them to beeffective in your essay.

Acroÿyÿ for mÿeÿaÿioÿ (Syÿhesis aÿd Opeÿ Argÿeÿaÿ):

Students should ÿlse examples from the fol!owirÿg:

R = reading (3)

E = persoÿaÿ experience (4)

H = history (2)

U = universal troths (throughout)

M = media/current events (1)

O = observations about hÿmaiÿs (throughoÿt)

How do t[ fiuerease {he sophistieaÿiou of Nÿ ÿrose? Avoid "BE" verbs (am, is, are, was, were)° WriteLEGIBLY. Avoid clichds. Vary your sentences. Find your voice! Have an opirfion! Elevate your vocabulaxy.Never begin a seuteuce with °°this" or °°that" when introducing a strategy or supporting an opinion. Also avoid°there are" or ÿ'it is" as sentence starters. NEVER use yon or your anywhere iu your essays. Pÿactice, practice,

practice! Come to tatoriug. Listen° Incorporate the sÿggestious of your writing coach. Ask questious in class.Adjust your attitude and stop thirfldÿg ÿhat your writing is worse than everyone else's. Seriously.

@f

ABLUbES ZNVORE5

ASSERT5

AR@UE5

BELIEVE5

BLASTS

CRAFTS

CNAÿEN@E5

CONSTRUe5

COUNTER5

COUNTERARÿES

CONVkÿS

CONCEbES

bÿAILS

INSPIRES

JUXTAPOSES

AANEUVERS

AUSES

MANIPULATES

OPZNES

OFFERS

PONbER5

REBUTS

ILLUmiNATE5 [ÿ

A "5" student

used all ofthese in one

essay which

boosted thesophistication

of her prose,

bETRAÿqÿS

bESCRIBES

ENGAGES

EXPLAINS

EXPLORES

EMPHASIZES

EXPLICATES

ENUMERATES

EN#OURA@ES

REVEAÿ

REMINbS

REFÿES

SUGGESTS

SURÿSES

Pos#ive tone/all#uric words:

lightheartedconfidentamusedcomplimentaryunderstanding

hopefulcheeryelatedpassionatefervent

exuberantoptimisticsympatheticproudanimated

enthusiasticlovingcompassionatesensitivereceptive

ative tone/attitude words:

Aÿger: angryfiariouscondemnatorythreateninginflammatory

disgustedwrathfulirritatedaccusingresentful

outragedcondemningindignantbitteracidic

HÿmorNroÿy/gareasm:scornfulsarcasticcriticalsatiricmockoheroic

banteringpompouswhimsical

Neutral tone/art#uric words:

objectivecandidclinica!questioningmatteroofofact

didactic

formalceremonialrestraineddetachedurgentfactual

SorrowÿeariWorry:somber

melancholicmourrfftÿlapprehensivedespairingforebodinggrave

elegiacdistressedsoleÿmaconcerned

gloomyhopelessresigned

incredulousshockedbaffleddisbelievingadmonitoryivÿformative

disdainfulcynicalfacetioussardonicmockoserious

tauntingironicarrmsed

contemptuouscondescendingpatronizingderisiveirreverentinsolentflippantcheeky

reflectivedisturbedseriousfemur!soberstaid

nostalgicreminiscentsentimentalinstructivelearneda.uthoritative

Adjeeg ve Voe b [ Zy

The Author:

culturedphilosophicbroadornindedunsophisticatedconservativeshallowProvincialdramaticrationalsensiblehypercritical

intellectualanalyticalidealisticoriginalwogressivesupeiÿicia!narrowominded

pragmaticoNimisticprophetic

eruditeimaginativereligiouscleverradicalbigotedpessimisticscholarlysophisticatedsympathetic

well readperceptiveorthodoxwittyreactionaryopinionatedcynicalmelodramaticwhimsica!fanatical

sagevisionm7unorthodoxhumoroustmprejudicedintolerantegotisticNsentimentalromatlticrealistic

Diction:

lucid graphic intelligible explicit precisesuccinct condensed pithy poetic scientificsimple forceful eloquent sonorous smoothextravagant rhetorica! pompons grandiose vagueabrupt awkward crude wAgar formalexact concrete colloquia! homespun learnedesoteric lemTÿed cultured idiomatic connotativecacophonous euphonious exact biological polishedverbose concrete c@ured inexact conciseplain bombastic harsh precise triteeuphemistic positive negative

Four Bask Leveÿs of DicÿiomformalinformalColloquialslang

Sentence:

loose (main clause first)

euphonicungrammaticalcacophoniclong

periodic (main clause last)

rhythmicalincoherentmonotonous

short

balancedaphoristicinvolvedvariedunounified

amitheticalepigrammaticramblingtortuous

invertedfbrcefulemphaticawkward

Additiono furthermore

o moreover

too

÷ alSOo in thesÿcond

placeo againo in addition° even more

next

o further° last, lastlyo finallyo besides° and, or, nor

o firsto second, secondly,

etc.

° so far

o this timeo subsequently

Placehere

o there

o nearby

o beyond* wherever

opposite too adjacent too neighboring ono above, below

however

° thougho otherwise

o on the contrary

÷ in contrast

o notwithstandingo on the other

hando at the same time

E×emplfiea%onor Ilustratien

o to illustrateo to demonstrate

o specifically° for instance. as an ilustration

° e.g., (for

exam#e)o for example

Qÿalificatien÷ almost

° nearly

o probablye never

° always

o frequentlyo perhapso maybe. although

Clarificationo that is forayo in other words

o to explain° i,eo, (that is)

o to clarify+ to rephrase ito to put it another

way

Timeo while° immediately÷ never

° after

, later', earlier

alwÿs* when

Soon

e whenever

o meanwhile

o sometimes

o in the meantimeo duringo afterwards

o now, until nowe next

. following÷ once

o then

o at lengtho simultaneously

CaU$@

® because® Since

. for that reason

Comparisono in the same wayo by the same

tokeno similarlyo in like mannero Ikewiseo in similar fashion

Contrast. yeto and yeto nevertheless

o nonetheless

o after allbut

Intensifica%ono indeedo to repeat

° by all meansof course

+ certainlyo without doubt÷ yeS, no

o undoubtedlyo in fact

° surelyo in fact

@

@

@

@

o therefore

+ consequently

o accordinglythus

* hence

. near°suit

Purÿseo in order thato so thato to that end, to

this endo for this purpose

to be sure

grantedof courseit is true

8ÿmmaÿ. to summarize

in sum° in brief* to sum upo in short

. in summary

Conclusiono in conclusion

o to conclude

o finally

Deciphering Ed#ing Symbols (This is nolÿ an exhaustive tist; ask for clarO%ation if necessary.)

nbo! Meÿxÿg Explanation Suÿestion

CS co,rÿna splice You joined two sentenceswith only a comma°

Use a semicolon, FANBOYS, or a conjunctiveadverb.

frag or ro fragment or runoon Shame on you!!! ® Proofi°ead careNllyo

? lacks clarky or presentsa random thought

Yoreÿ sentence is confusing.Yoÿ thought came out ofnowhere°

Proofread to ensmÿethat your thoughts are clearand on topic.

awk awkward wording The sentence does not read Determine the sentence'swell. I had to read it several problem and add thetimes° © appropriate transition(s)o

trite cliche, overusedexpression

Familiarity weakens theeffect of your writing°

Come up with new, freshways to make your point.Use yoreÿ own words! ©

spo with a circledword or just acircled word

spelling error Cormnorfly misspelledwords distract from anyserious piece of writing.

Use a dictionmTo Make a listof your personal misspelledwords and use the list duringyore• va°iting.

a check I am following yore' ideas° Spend adequate timeYou have made good points, answering questions or

explaining your topic°

a check plus Impressive statement.Insightful! ©

Look for a deeper meaning.Find an uncommon idea orconnection.

underlining Good! Often accompaniesthe check or check plus0

Recast sentences to includefigurative language.

wavy line; oftenaccompanies the?

Needs some attention.

May be an inaccurateobservation or conclusion.

Recast these p[H'ases or

or sentences to reflectaccuracy or sophistication°

sJ. split infinitive Don't split to+verb structures To go boldly where no ....

WC word choice (diction)or ÿn'ong word

You have either misused Use a dictionary or thesaurnsoa word, or your diction is Do ÿaoÿ ÿse recNess humor.weak, ineffective, or offeÿasi-Veo

slang Colloquial Too casual for a formalessay°

Use appropriate language fora standard, formal essay°

ex? how? examples Details are missing° Add an example, illustration,or detail. This wit! adddepth°

pro. or sop pronolln You have pronotm issues. Do not begin sentences with°'tiffs/' ÿ'that,'' '°these," or

"those," used as subjects.

Mÿe smoe your antecedents

are clear°

Soy or agi". agreement The subject of your sentence A singular subject takes adoes not agree with your singular verb, and a plm°alverb in NUMBER° subject takes a plural verb.

Sop or aÿ agreement The pronoundoes not match theantecedent in NLÿdBERo

Example: Everyone shouldshould raise ÿheir hand°°Their" should be his or her°

was/were subjunctive mood Use the correct verb formif expressing a wish orconditions that are notfactual°

I wish it w Friday°Was" should be were.

Move this text. Misplaced or danglingmodiferso

The book has a torn pagetha is lying on the floor.corrected: The book thatis lying on the floor has atorn page.

faulty parallelism All compound elementsmust have the samestrncttÿral format°

MiN likes bowling, icecream, dancing, and ÿdraw."to draw'Lÿ ÿ'drawing"

rep repetitive/redundant You are saying the same/king over and over. ©

Vm?/your diction andsentence structure.

Pronoun Review

AP/GT English Language and Composition

Personal Pronoun Chart (A pronoun takes the place of a noun.)

ease: Nominative ISÿbject) Objective Possessive

SÿN@UÿR

I me, my mine

You you your(s)

He, she, it him, her, it his, her, it(s)

Caseÿ NeÿJnative ÿSub]eÿ}

We

Objective

PLURAL

us

2nd

3rd They

You you

them

P@ssesgUve

our(s)

your(s)

their(s)

8ndefinJte Pronouns

Singular:

Any ÿ ÿ one

Some | thingNo )

These are singular and must be used with singular 9ersonalpronouns. For example,

Eve(yone must turn in hiÿs homework.Someonÿ left h!r essay on the table,

Otheÿ SinguOar indefinites: another, each, either, neither, onePmuraO: Both, many, few, severalSingumar OR PRurag: all, some, any, none, most

Generat Grammar Reminders for the AP Test

Don't mispJace your modi#ers!!

Awkward: A package was delivered by a messenger [wrapped in red paper],

Clear: A package [wrapped in red paper] was delivered by a messenger.

Don't spnit your infinitive!!

Incorrect: The teacher inspired his students [to truly try] their best on his exam.

Correct: The teacher [truly] inspired his students [to try] their best on his exam.

Don't were in passive voice!

Incorrect: The dinner was prepared by the restaurant's best chef.

Correct: The restaurant's best chef prepared the dinner,

Rule: Subjects should be "doing" the action of the verb,

Use a possessive before a gerund (ing+veÿ)!

Incorrect: Erin's mood was restored by [Ashley] laughing at all of her jokes!

Correct: Erin's mood was restored by [Ashley's] laughing at ala of her jokes!

Incorrect: My morn hates [me] forgetting to take out the trash on Friday mornings,

Correct: My morn hates [my] forgetting to take out the trash on Friday mornings,

Reÿnember your bjpes of sentences:

Interrogative:

Imperative:

Declarative:

Exclamatory:

Veÿ Moods:

Indicative:

Imperative:

Subjunciive:

Who are you? (question)

Pass the salt, please. (request)

The professor graded all of the papers overnight. (statement)

I made a 5 ell my AP Language exam! (expresses strong emotion)

Goed/Weÿh

I [wrote] my answers on my paper, (statement)

[Write] the answers on your paper. (request)

If I [were] you, I would write my answers on the paper. (contrary to fact}

if I [were] president, I would repair tile economy, (expressing a wish}

! did well [[,.IOT good] on my AP UoS, Ristory test,

English III APGTArgÿentation = CÿassieaO ghetasic

I. Three basic lines of appeals ÿork in argumentation; the}, are: pathos, ethos° and Iogos.

Ao Pathos - is that quality that either in a real situation or in a literary/artisticwork evokes sympathy and a sense of sorros or pity. Interestingly, the Greekword bathos applies to a false or overdone pathos that is absurd in its effect, thuscreating a triteness or sentimentality.

Ethos ° involves argumentation based on the distinÿ beliefs and ÿÿ of anindividual or of a particular group. This is an appeal to conform to the established moral standardsof the author/speaker. Because principges DO change, a person sho uses this appeal must cony%,honesty, authority/credibility and respect especially considering our country's political,religious, cultural, and personal diversity. To use this appeal well, an author must know his/heraudience. For example, corporations and political organizations do massive demographic studies todiscover and respond to their consumers and/or constituents.

C. Lÿos o is the presentation/use of Fÿrÿnÿ, which are used in

argumentation according to the principles of correct rÿsoninÿ. Logic is a test against emotion.

II. Logical Fallacies and Argument

o Crÿtionism must be a science because hundreds of scientists believe in it.Smoking must cause cancer because a higher percentage of smokers get coercer.

o Smoking doesn't cause cancer because my grandfather smoked two packs a day for fiftyyears and died in his sleep at age ninety.

o an abnormal percentage of veterans sho sere marched to ground zero during atomic testsin Nevada died of leukemia and luÿg cancer. Surely their deaths sere caused by' theinhalation of radioactive isotopes.

What is ÿroÿ with the aÿve arguments?Although it may distress us to think so, none of the above arguments is conclusive. But that doesn't meanthey're false either. So shot are they? Well, they are, to various degrees, "persuasive" or ÿ'unpersuasive."

The problem is that some people sill mistake arguments such as those above for "conclusive" or airtightarguments. The reason se argue about issues is that none of the argumÿts on any side of an issue isabsolutely conclusive; there is always room to doubt the argumÿt, to develop a counterargument. We canonly create more or less persuasive arguments, never conclusive ones.

5o, how do we get fooled into thinking inconclusive and/or invalid arguments are conclusive? Often weconfuse correlation with causation. In the example above, we know smoking and cancer ore correlated but

further argument is needed before se can say smoking eauseJ cancer. This is just one example of a logicalfallacy. The other examples that follow are organized into three categories derived from classical rhetoric:pathos, ethos, and bgas° Fallacies of pathosrest on a flased relationship between shot is argued and theaudiesce for the argument. F}//ades' of ethos rest on a rinsed relationship betseen the argument and thecharacter of those involved in the argument. Saflacies of/ayosrest on flaws in the relationship amongstaesmests of an argument.

An Fallacies of Pathas

1, Argument ta th® Pee#e (Apÿa8 to Stiÿirÿ 8ymboSs): Argument to the peopleappeals to the fundamental beliefs, biases, and prejudices of the auditor in orderto sway opinion through a feeling of solidarity among those of the group. Forexample, when a politician says, ÿMy fellow Americans, Z stand here, draped in thisflag, from hÿd to toe to indicate my fundamental dedication to the values andprinciples of the United States of America," he's redirecting to his own person ourallegiance to rationalistic values by linking hirasdf with the prime syrabol of thosevalues, the flag. The linkage is not rational, it's associative.

Appeal ta Z]naraÿe (Presentiÿ EvM,ÿ, the Audieÿe gan°i° E×aÿne): Those whocoramit this fallacy present assuraptions, assertions, or evidence that the audience isincapable of judging or examining. If, for example, a critic were to praise the naval C'/#eissafor its dullness on the grounds that this dullness was the intentional effect of the author,we would be unable to respond because we have no idea what was in the author's mind whenhe crated the work.

3ÿ Appedta IrratioHM Premises: ÿis can take three forms:1. Appeal ta common practice. (It's all right to do X because everyone else does it)2. Appeal to traditional ÿAsdom. (It's all right because we have always done it this way)3. Appeal to popularity ÿ the bangwagaa apÿaÿ. (It's all right because lots of people like it)Examples: 1. "Of course I borrowed money from the company slush fund. Everyone on thisfloor has done the same thing in the last eighteen months."2. "We've got to require everyone to rÿJd Hamlet because we have dwWs rÿuired everyoneto rÿd it." 3. "You should buy a Ford Escort because it is the best selling car in the world."

Praviÿiaiism: Appÿling to the belief that the known is always better than the unknoÿJn. Anexample from the 1960's "you can't sdI small Japanese car's in America. In American culture,cars a/mbolize prestige and personal freedom. ÿose cramped little Japanese boxes winnever win the hearts of American consumers."

5. Rÿ Herein: Shifting the audiences' attention frora a crucial issue to an irrelevant one.

. Personification: a weiloknown and often used literary element is known in argumentation as apathetic fallacy, which is the author's intentional humanization af an object in order toevoke feelings of ÿmpathy or sorrow. For exaraple, "Be carefug with your crayons, Billy.They'll cry if you break one of their family members." Obviously, the desired effect wouldbe to be to have Billy take care with his belongings and to feel guilt if he does not. Thevalidity af this appÿl is definitely arguable.

ao A 2002 TX bat tdevision campaign offered the following appeal: "Noteveryone who gets hit by a drunk driver dies." Then, a horrificatlyburned face of a drunk drivirÿg victim is presented to the viewers.

b. ÿae famous "brain on drugs" ads ÿere to young people.

Co For political purposes, the following appeal was used: "Cat socialsecurity benefits0 Grandma eats cat food. ban't cut S.S. benefits,

and the health care system will go broke and leave nothing for thebabyoboomers.°'

d. The bumper stickers that read Wore Republican: It's easier thanthinking" and "Vote bemocrat: It's easier than working" are obviousexamples of ridicule or sarcasm.

eo :en Noffmen's article ÿHype was all that blew in" while very funny,made potent emotional appeals for improving plans for dealing withcatastrophic events. (reference to 2005 hurricanes Katrina and Rita)

Bo Fallacies of Ethos

AppeaO to FaQse AuthosiW: Appealing to the authority of a popular person rather than aknowledgeable one. Appeals to false authority involve relaying on testimony given by aperson incompetent in the field from which the claims under question emerge. Nestcommercial advertisements are based on this fallacy. Cultural heroes are paid generously toassociate themselves with a product without demonstrating any real expertise in evaluatingthat product. Appeals to authority can be legitimate when the authority knows the field andwhen his/her motive is to inform rather than profit.

2ÿ Ad Homiaem: Attacking the character of the arguer rather than the argument itself.Ideally all arguments should be ad ram "to the thing", that is addressed specifically % thecase itsdf. For example, an ad ram critique of a politician would focus on their votin9record, the consistency and cogency of their public statements, responsiveness toconstituents etc. An ad hominem argument woutd shift attention from their record toirrelevant features of their personality or personal life. Ad haminem arguments are notalways necessarily fallacious so long as ÿ[) personal authority is what gives the opposingargument much of its weight, and 2) the critique of the person's credibility is fairlypresented.

Strawmaÿ: Greatly oversimpliÿing an opponent's argument to make it easier to refute orridicule. Essentially you make up the argument you wish your opponent had made andattribute it to them because it is so much easier to refute than the argument they actuallymade. Some political debates consist almost entirely of strawperson exchanges such asWhile my opponents would like to empty our prisons of serial killers and coddle kidnappers,

I hold to the sacred principles of law and order."

Some ideas to consider when ÿ this (ethical) appeal include:a. The person/group does not live up to the current value system.b. Past values are better/naMer than current values,

c. Future values are better/worse than the current values.d. befit be reluctant 1'o use/accept concessions like "I confess" or "I

suppose." They do hdp 1"o increase honesty or believability.

As a rÿder, consider the foiowing;a. What does he/she know or appear to know? Credentials?b. What are his/her experiences? Does this person even know me?Co Why should I attend to this speaker/writer? Is she/he honest?

Q o Fallÿies of lÿos

Consider the following qua're, =Figures lie, and liars figure." Responsible argumentation demandsthat one furnish evidence for every claim that one makes. A person might want to celebrate thatO.5. unemployment stands at just over 5% and that 95% of American have jobs; however, 1 out ofevery 20 adults who wants work can't find it. ]lqerefore, the same statistics can be cited forcelebration or shame. Aristotle divided logical proofs into two kinds:

2.

artistic appÿls (hard evidence)inartistic appeals (reason, common sense)

leg£iÿg the Question: Supporting a claim with a reason that is really a restatement of theclaim in different words, legging the question involves stating a claim as though itwarranted itself. For example the statement °Abortion is murder because it involves theintentioÿl killing of an unborn human being" is tantamount to saying "Abortion is murderbecause it's murder." Murder by definition is the intentional killing of a human being. 5o theabove statement is merely a repetition. It is like saying °That man is fat because he isconsiderably overweight".

o Paise bilemma/Iither - Or: Oversimplifying a complex issue so that only two choicesappear possible. Typically, we encounter false dilemma arguments when people are trying tojustify a questionable action by creating a false sense of necessity, bedding whether adilemma is truly a dtemma or only an evasion of complexity often rquires a difficultjudgment. Although we should be suspect of any attempt to convert a complex problem intoan either/or choice, we may legitimately arrive at such a choice through thoughtfuldeliberation.

o Cenfusiÿ Correlation for {:ause/Post Hec, Erie Prepter bÿo¢ (This, Therefore becauseof This): Assuming that event X causes event g because event X preceded event g. Thisfallacy occurs when a sequential relationship is mistaken for a causal relationship. To besure when two events occur in conjunction with each other in a particular sequence, wdvegot a good case for a causal relationship. But until we can show how one causes the other, wecannot be certain a causal relationship is occurring.

4ÿ 51ipÿry Slope: The slippery slope fallacy is based on the fear that once we take a firststep in a direction we don't like we will have to keep going. We see this thinking in publiceducation quite a bit. For example, "Look, Blotnik, no one feels worse about your need foropen- heart surgery than I do. But I stii can't let you turn this paper in late. If I were tolet you do it, then I'd have to !et everyone turn in their papers late."

III. The following questions are extremely impoetant as an audience membee or eeader ÿahen dealing with anyargument/appeal:

B.

g.

b.

E.

F.

G.

What is this piece up to?On uJhat assumptions is it based?Hoÿj good is its evidence?Am I being Nÿulated?Again, after good individual thought has been applied, what is this piece up to?What rhetoric is bein9 used? (°tÿe means by which the information is being presented)Finally, hoÿg does the author achieve his/her goal? Does the author achieve his/hergoal?

The Cÿassicaÿ Argument

Adapted from Walter Beale, Real V/tiring, 2na edition, 1986

One of the oldest organizing devices in rheto,ic is the classical aÿgggmem, which incorporates the fivepmÿs of a discourse that ancient teachers of rhetoric believed were necessary for persuasion, especiallywhen the audience included a mixture of reactions from favorable to hostile. They often prescribed thisorder to students, not because it was absolutely ideal, but because using the scheme encouraged the writerto take account of some of the most important elements of composing:

° begimÿing in an interesting way - PtQUtNG interestproviding background or context that was relevant to their specific audiencestating their claims and evidence clearly and emphaticallytaking account of opposing viewpoints and anticipating objections

* and concluding in a satisfying and effective way.

The classical argument isn't a cookie=cutter template: simply filling in the parts does not by itself makeyou successful. But if you use the structure as a way to make sure you cover all the needs of all parts ofyour audience, you will find it a very.

The classJeM argÿment tradRÿouaRy consists of five parts:

n WrRingiin writing, the first ÿo parts of the cla;sicai argument, €he imroductioÿ and narragiouÿ are o--ftenruntogether. In speaking, the introduction often served as an "icebreaker" for the audience. Since the writerneeds to focus on grabbing and focusing attention rather than making the audience feel comfortable beforebeginning the argument, a written classical argument usually condenses these two elements into one. Someof the most common devices writers use in a classical introduction are a focusing event or quotation, aquestion, a statement of a problem or controversy, a representative analogy or case, an attack on anopposing point of view, or a confession or personal introduction.

The iÿoÿfirmatioÿ, where you present the claims and evidence that back up or substantiate the thesis of y0m°,argument. These claims and evidence are often connected together in a chain of reasoning that link the:reasoning, facts and exaraples, and testimony) that support the main claim you are making.

The c[mcesMoÿ aÿd mfiÿgaÿou sections, which go together, exist because arguments always have more thanone side. It is always dangerous to ignore them. Moreover, reasonable audiences often have more than oneresponse to an argument. So, considering the opposing viewpoints enables a good speaker to anticipate andrespond to the objections that his or her position might raise and defuse opposition before it gets started.The conchgsion, where the Writer ties things together, creates a sense of finality or closure, answers thequestions or solves the problem stated in the introduction--in other words, "closes the circle" and gives the!readers a feeling of completion and balance. Sometimes writers like to add a "final blast'--a big emotionalor ethical appeal-that helps sway the audience's opinion.

The Introduction

The introduction has four jobs to do:

1. It must attract the interest of a specific audience and focus it on the subject of the argument.PIQUE interest!

2. It must provide enough background information to make sure that the audience is aware of boththe general problem as wel! as the specific issue or issues the writer is addressing,

The Cÿassieall Argumegÿ¢

Adapted from Walter Beale, Real Writing, 2na edition, 1986

3. It must clearly signal the writer's specific position on the issue and/or the direction of her/hisargument. Usually a classica! argameN has a written tkesi/claim statement early in the paper--usually in the first paragraph or two.

4. It must establish the writer's role or any special relationslfip the writer may have to the subject orthe audience. It should also establish the image of the writer (tile ethos) that he/she wants toproject in the argument: caring, aggressive, passionate, etc.

Some Ques¢iom to Ask as goÿ, Develop Your Imrodÿclioÿ

!, What is the situation that this argument responds to?

2. What elements of background or context need to be presented for this andience? ts this newinforrYuation or am I just reminding them of matters they already have some familiarity with?

3. What are the principal issues involved in this argument?

4. Where do I stand on this issue?

5. What is the best way to capture and focus the audience's attention?

6. What tone should I establish?

7. What image of myself should I project?

The Coÿtfirtÿatÿoÿ

There's a strong temptation in argument to say "Why should you think so? Because!" and leave it at that.But a rational audience has strong expectations of the kinds of proof you will and will not provide to helpit accept your point of view. Most of the arguments used in the corffirmation tend to be of the inartistickind, but artistic proofs can also be used to support this section.

Some Q¢ges¢iom go Ask as gou Develop Your Coÿfirma¢ioÿ,

1. What are the arguments that support my thesis that my audience is most likely to respond to?2. what arguments that support my thesis is my audience least likely to respond to?3. How can I demonstrate that these are valid arguments?4. "C/here can I find the facts and testimony that will support my arguments?

The Concession/Refutation

You want to concede any points that you would agree on or that wil! make your audience more willing tolisten to you (as long as they don't fatally weaken your own side) Again, here is a place to use bothpathos and ethos: by conceding those matters of feeling and values that you carl agree on, while stressingthe character issues, you can create the opportunity for listening and understanding.

But you will also have to refute (that is, counter or out-argue) the points your opposition wil! make° Youcan do this in four ways:

Tÿe Cÿassi{:aÿ Aÿguÿeÿ¢

Adapted from Walter Beale, Real Writing, 2"a edition, 1986

1. Show by the use of facts, reasons, and testimony that the opposing point is totally wrong. Youmust show that the opposing argument is based on incorrect evidence, questionable assumptions,bad reasoning, prejudice, superstition, or il! will.

2. Show that the opposition has some merit but is flawed in some way. For instance, the opposingviewpoint may be true only in some circumstances or within a limited sphere of application, or itmay only apply to certain people, gq'oups, or conditions. When yon point out the exceptions to theopposition role, you show that its position is not as valid as its proponents claim it is.

3. Show that the opposition has merits but is outweighed by other considerations. You are claiming,in essence, that tTuth is relative: when a difficnlt choice has to be made, we must put fh'st thingsfn'st.

DefiHition: the literary art of diminishing or dÿ a subject by making it ridiculous andevoking toward it attitudes of amusement, ÿt, scorn, or ÿnation.

An im#oAant distiHction: Satire differs from the comic in that comedy evokes laughter mainlyas an end in itself, while satire derides; i.e., it uses laughter as a weapon, and against a buttan object - that exists outside the work itself.

: the bu#, or object, of satire may be an individual (in "personal satire"), or AZWpe of, a cla , an institution, a nati , or even the entire human race.

: Satire has usually been justified by those who practice it as a corrective of humanvice and follÿL. According to these same practitioners, the aim d satire is to ridicule the fault orfailiÿ of the individual - rather than the individual person - and to target only those faults thatare correctable, not those for which the individual is not responsible.

aÿ satirist is a blend of idealist and realist. He is an idealist in that he wants toimprove the world and is keenly aware of the great discrepancy between what the world couldbe and what it is. He is a realist in that he recognizes that he must go beyond the customaryavenues of appeal in order to influence.

Satires vs° works cot#arming: Satire occurs as an incidental, or side, element (i.e., nota main element) within many works whose overall mode is not satiric = in a certain character orsituation, or in an interpolated passage or an ironic commentary on some aspect of the humancondition or of contemporary society. For example, Jane Austen's novels Sense and Sensibilityand Pride and Prejudice contain satire but are not considered to be satire since satire is not themain focus of either novel.

However, literary writings, whether poetry or prose, in which ridicule isconstitute a distinct literary genre termed "satire." Outstanding examples of this genre

include JoHathaH Swiÿ'® GulliveCs Travels..

PersoHa Imask}: Satirists often make use of a special kind of narrator, called a mask or, which normally confused with the author's own voice. (Example: Mark Twain's

Adventures of Huÿ, in which Twain is NOT personally advocating the naÿve andinnocent but nonetheless racist mindset of the work's persona, Huck Finn.)

s of Satire: Satire is divided into ÿo ÿpes based on the tone of the writing:

, Horatian satire: tends to be ÿ, end, less serious in tone. The speaker manifeststhe character of an urbane (sophisticated), witty, and tolerant man of the world, who ismoved more often to wry amusement that indignation at the spectacle of human folly,pretentiousness, or hypocrisy.

. Juvenalian satire: tends to be more serious, even harsh and bitter, in tone. Thecharacter of the speaker is that of a serious moralist who uses a dignified and publicstyle of utterance to decry kinds of vice and error that, while ridiculous, are usually moreserious or dangerous, instead of amusement, in this type of satire the speaker attemptsto evoke from readers contempt, moral indignation, or uniHusioned sadness at theaberrations of humanity.

TONE: ANGER, SARCASM, ATTACK, DAIRIBE, INVECTIVE TONE: HUMOR, WIT, COMEDY, SARCASM

JUVENALIAN HOÿTIAN(bitter, angry) EFFECTOVE 8ATURE=BALANCE BETWtEEN THE 2 POLES (humorous, lighthearted)

SatiricaB Devices

Typicaÿ literary devices: Both satirists and humorists tend to employ the following devicesto create satire and comedy:

o Euphemismo Hyperboleo Ironyo Juxtapositiono Litoteso Point of view o Sarcasmo Selection of detail o Jargono Understatement

H. Satiric Devices and ÿaodes

A. Burlesque: imitation of the manner (the form and style) or the subject matter o1 aserious literary work or a literary genre, in poetry or prose, which makes the imitationamusing by creating a ridicuÿ beÿeen the matter and the manner, mostoften by either treating a trivial or ridiculous subject (the "matter") in a serious, high°toned way (or "manner"), or by doing the opposite, treating a serious subject in a light orderogatory way. Example: Monty Python and the Holy Graft (a burlesque of the legendof King Arthur and his noble knights).

B. Caricature: a description of a persona using exaggeration of some characteristics andoversimplification of others.

C. 0tony: a discrepancy beÿJeen typically one of three things: 1) what a speaker ÿ andactually means (verbal irony), 2) what a character thinks or believes about a situationand what we as readers or audience know to be true (dramatic irony), or 3) what we or acharacter ÿ will happen and what actually occurs (situational irony).

D. IHvective: Speech or writing that abuses, denounces, or attacks. 8t can be directedagainst a person, cause, idea, or system. Jt empgoys a heavy use of negative emotivelanguage.

E. Lam!goon: A crude, coarse, often bitter satire ridiculing the personal appearance orcharacter of a person.

F. Mock epic: treating a frivolous or minor subject seriously, especially by using themachinery and devices of the epic (invocations, descriptions or armor, battles, extendedsimiles, etc.). Example: Alexander Pope, Rape of the Lock (the cutting of a lock of awomen's hair).

G. Parody: A satiric imitation of a work or of an author with the idea of ridiculing the author,his ideas, or work. The parodists exploits the peculiarities of an author's expressionhis propensity to use too many parentheses, certain favorite words, or whatever. Theparody may also be focused on, say, an improbable plot with too many convenientevents.

H. Travesÿ: A work that treats a serious subject frivolously = ridiculing the dignified. Oftenthe tone is mock serious and heavy handed. A travesty is identical to a parody with thisdifference: travesty is a parody that has been, to use the words of Emeril, "kicked up anotch." A parody tends to be Horadan in tone whereas a travesty tends to be Juvenalian.

L Wit, burner, and the comic: wit and humor are both instances of the comic, whichdesignates ÿ element in a work of literature, whether a character, event, or utterance,which is designed to amuse or evoke mirth in the reader or audienÿ.1. Wit denotes a kind of verbal expression which is briefS, and intentionaHÿ

contrived to produce a shock of comic surprise.2. Hamor as a term applies to comic modes of aÿearances and behavior as well as

comic utterances, in contrast to wit, which refers ÿ to the written and ÿoken word.Also, wit is ÿ intended by the speaker to be comic; humor is many times foundin speeches the speaker intends to be serious.

TO HELP WÿH MULTXPLE #NOZ#E QUESTIONS:Advanced POacemeÿt kaÿguag, and #omÿsitionRhetoric and Figurative Laÿuage

Abstract Lap,age: Language describing idaas andqualities rather than observable or specific things,people, or places.Ad Hominem: Latin. In an argument, this is an attackon one's opponent, rather than on the opponent's

ideas.

Allegory: A narrative or dÿcription having a secondmeaning beneath the surface one. k story, fictionalor nenfictional, in which characters, things, or eventsrepresent qualities or concepts. The interaction ofthese characters, things and events is meant toreveal an abstraction or truth. F. Scott Fitzgerald'sThe Great Gatsby.

An?ithesis: The juxtaposition of contrasting ideas.Conjunctions that express antithesis include but, yeLand whi/e.X offered to hdp, but he refused my assistance.The prodigal robs his heir; the miser robs himself."... ask not what your country can do for you; ask

vJhat you can do for your country." oÿffohn F. Kennedy,"Inaugural Address"" That's one small step for a man, one giant leap for

menkind." ooNeil Armstrong

Antithesis can occur shen the sardine contrasts,when the sense of the statement contrasts, or shenboth contrast.

AHiteratbn: The repetition of initial consonantsounds in words, as in "rough and ready."

Appeals:Ethos: Appealing to the audienc#s sense ofethics, morals, or principles.Loges: Appealing to the audiencds sense oflogic.Pathos: Appealing to the audiencds emotions.

AIBusian: An indirect reference to famous charactersor events from history, literature, or rwthology.

Aÿb@uity: An event or situatien that may beinterpreted in more than one way. Also, the manner

of expression of such an event or situation may be

ambiguous. Artful languege may be ambiguous.Unintentional ambiguity is usually ÿueness.Nathaniel Hawthorne's The Scarlet Letter isintentionally ambiguous.

In Julius Caesar a clock chiming would beconsidered an anachronism because clocks hadnot yet been invented.

Anaphera: Repetition of a word, phrase, or clause atthe beginning of two or more sentences in a row. Thisis a deliberate form of repetition and helps make theauthor's point more coherent.

Aÿ¢hroNsm: Placement of an event, person, or

thing, out of its proper chronological relationship,sometimes unintentional, but often deliberate as anexercise of poetic license.

"I thought as I ejiped my eyes on the cornerof my apron: Pendop¢ did thistoo." --Edna St. Vincÿt Millay

Aÿstrephe: An address to the dead as though theysere living; to the inanimate as if animate; to theabsent as if present; to the unborn as if alive.

Arÿmentatbn: exploring a problem by investigatingall sides of it; persuasion through reason. One of thefour chief forms of discourse, the others beingexpositien, narration, and description, The purpose ofargumentatien is to convince by establishing thetruth or falsity of a proposition.

Areheÿpe: The original model, form, or patternfrom which something is made or from whichsomething develops. (stereotype of literature)

Arsenate: The repetition of identical or similarvowel sounds, especially in stressed syllables, withoutrepetition of consonants. Examples: "mad as ahÿtter," "free as a breeze,"

Assumptbs: When details are not stated but mustbe inferred by the reader or audience°

Awndet@a: a series of words separated by commas

(sith no conjunction), e.g. "I came, I saw, Iconquered." The parts in the sentence are

emphasized equally; in addition, the use of commaswith na conjunction thesentence.

BaOaÿ¢e: Construction in which both hades of thesentence are about the same length and importance,sometimes used to emphasize contrast°

Cÿmu[ative: Sentence that begins with the main ideaand then expands on that idea with a series of detailsor other particulars.

Cathassis: The process by which an unhealthyemotional state produced by an imbalance of ladingsis corrected and emotional health is restored.

Causaÿ ÿ®0atÿonship: A writer asserts that one thingresuats from another. To shaw how one thingproduces or brings about another is often relevant inestablishing a logical argument.

b®ÿ@ta?ion: The specific, exact meaning of a ward,independent of its emotiand cabration orassociations.

The word home, for instance.., means only a place

where one lives [denotation], but by connotation itsuggests security, love, comfort and family.

Chiasmus: arrangement of repeated thoughts in thepattern XYoYX. Chiasmus is often short andsummarizes a ÿin idea, e.g. "ask not what your

country can do for you, ask what you can do far yourcountrY."

Coÿrÿ$e Laaÿags: Language that describesspecific, observable things, people, or places ratherthan ideas or qualities.

Coÿotation: The emotional implication that wordsmay carry as distinguished from their denotativemeanings.

Consoaaÿe: The repetition of consonant soundsomot

limited to the first letters of words."... and high ÿchool girls with clear =skin srailes" ooJanis Ion, "At Seventeen"

C@nwati@ad: Following certain conventions, ortraditional techniques of writing. An over reliance onconventions may result in a lack of originality. The 5paragraph theme is considered convÿtiond.

Comic valet: Humorous speeches and incidents in thecourse of the serious action of a tragedy; frÿuentiycomic relief widens and enriches the tragicsignificance of the work.

gfch& any expression so often used that itsfreshness and clarity have warn off. The reader orspeaker of the expression pays no attention to thereal meaning of the words. (trite)"The new policy is just the tip of the iceberg, but ithas already bred verbal pyrotechnics that throw awet blanket over the inodepth brainstorming ofseminaA issues"°

bictioa: ÿvels of. There are at least four levels ofdiction: formal, informal, colloquial, and slang. ItshouM be noted that the accepted diction of one ageis often unacceptable to another,

Formal diction refers to the levd of usagecommon in serious books and Iofÿ discourse."Ultimately every successful characterrepresents a fusion of the universal and theparticular and becomes an example of theCONCRETE UNIVERSAL".

o Informal diction refers to the levd of usagefound in the rdaxed but polite and cultivatedconversation.

"Let's go to a movie tomorrow night" rather

than the formal, "Would you tike to attendthe cinema with me tomorrow evening?"

o (Mlÿuial diction refers to everyday usageand may include terms and constructionsaccepted in that group but not universalyacceptable.

"How y'alI doing?" instead of "How are you alldoing2"

÷ Slaÿg refers to a group of newly coined wordsthat are not yet a part of formal usage."That movie was the bomb," meaning that itwas a good movie

Didactic: Term used to describe fiction or nonfictionthat teaches a specific lesson or moral or provides amodel of correct behavior or thinking.

b@ressioa: k temporary departure from the mainsubject in speaking or writing.

l£1eNg; k formal sustained poem lamenting the deathof a particular person.

ENpticaÿ: Deliberate omission of a word or ÿaordsimplied by context.

Empathy: The reader understands closely what thecharacter is feeling.

The children in Harper Lee's To Ki//AMockingbird(eventually) feet empathy forBoo Radley. This causes the reader to feelempathy for Boo, also.

Rare: The major catÿory in which a literary workfits. ÿsic divisions: prose, poetry, draraa. Among

these divisions, there are many subogenres. On the

Long/Camp exam expects writing from the following:autobiography, biography, diaries, criticism, essays,as wen as journalistic, political, scientific, and nature

writing.

atesque: Grotesque is applied to anything havingthe qualities of grotesque art: bizarre, incongruous,ugty, unnatural, fantastic, abnormal. In a piece of

literature, a character can serve as a ÿ9rotesque."

Eathyÿeme: a syllogism in which the premises ooften the major premise° is unstated, but meant tobe understood.

E#thet: strictly, an adjective used to point oat acharacteristic of a person or thing, such as "noisymansions" for schoolhouses.

Figurative Mÿage: word or words that areinaccurate literally, but describe by calling to mindsensations or responses that the thing describedevokes. Figurative language may be in the form ofmetaphors or' similes, both nonoliteral comparisons.

Freightotrain: sentence consisting of three or morevery short independent clauses joined bycoÿ]unctions.

aeraSiaa$ÿos: when a writer bases a claim upon an

isolated example or asserts that claim is certainrather than probable. 5ÿeepin9 generalizations occur

when a writer asserts that a daim applies to allinstances instead of some.

Foreshadoÿiÿ: The arrangement and presentation ofevents and information in a FZCXON or DÿAMA insuch a way that later events in the work are preparedfor.

In drama, a method used to build suspense byproviding hints of what is to come.

Euphemism: a mild word or phrase that substitutesfor another that would be undesirable because it istoo direct, unpleasant, or offensive. The word 'joint'

is a euphemism for the word prison."little boys room" in replace of "bathroom""passed away" in place of "died""French velvet" in place of "prostitui°e''

Nyÿrbde [overstatement}: Figurative language thatgreatly overstates or exaggerates facts, whether inearnest or for comic effect.

Idiom: A use of words, a grammatical constructionpeculiar to a 9iron lan9uage, or an expression thatcannot be translated literally into a second language.shooting yourself in the foot; don't put all your eggsin one basket ; between a rock and a hard place

Imagery: The representation through language ofsense experience

. aÿdit©ry imageÿ. The representationthrough language of an experience pertainingi'o sound.

o ÿstatoÿ imagery. The representationthrough language of an experience pertainingto taste.

o gia®sthetÿ¢ imageÿ. The representationthrough tanguage of an experience pertainingto the movement of the body's muscles,

tendons, and joints.

o 08factory iÿageÿ. The representationthrough language of an experience pertainin9to smell.

Taetige imagery. The representation throughlanguage of an experience pertaining to touch.VisuM imageÿ. The representation throughlanguage of an experience pertaining i'o sight.

Inversion: Variation of the normal word order(subject first, then verb, then complement), whichputs a modifier or the verb as 'first in the sentence.The element that appears first is emphasized morethan the subject. ÿ_ is he she hves longest.

IraÿyoSitua?ioÿ: The discrepancy between what isexpected and what actually happens.

argue that mood reveals the author's attitudetowards the subject and tone the author°s attitudetoward the audience.

IronyoVerbah A character says the oppositeof what he or she means.

Iranyobramatie: The reader ar audienceunderstands more about "the events af a storythan the character in the story.

The mood in the poem "We Real Cool" ismocking. The poet believes people who thinkthey are so cool will waste their lives awaybecause they have a false image of what beingcoo) really is.

uÿaÿs#ioa: Placing two or more things side byside for the purposes of examination.

Loose S®ÿ?erÿe: A type of sentence in which themain clause comes first, followed by dependentgrammatical units, such as phrases and douses.

ese sentences seem more informa8 and

conversational

etaphor: In a metaphor, a word is identified withsomething different from what the word literallydenotes. A metaphor is distinguished from a simile inthat it equates different things without usingconnecting terms such as/ike or as. An extendedmetaphor explores a variety of ways in which ametaphor is appropriate to its subject.

Me?oÿymy: Designation af one thing with somethingclosely associated with it. ÿGray hairs" (old prop{e)should be respected. "llÿe pen is mightier than thesword." (SÿE gYNECbOCHE)

Nood: The atmosphere or feeling created by aliterary work, partly by a description of the objectsor by the style of the descriptions. A work maycontain a mood of horror, mystery, holiness, or

childlike simplicity, to ÿame a few, depending on theauthor's treatment of the work. Some peopleconsider mood to be synonymous with tone; others

In 5wift's "A Modest Praposal," which suggestseating children as a solution for Ireland's poverty,the speaker raises possible objections fa dispensewith them, saying, "some scrupulous People might beapt to censure such a Practice (although indeed veryunjustly) as a little bordering upon Cruelty".

Lgto?es (uÿers?atemer#): Understatementpurposefully represents a thing as much lesssignificant than it is, achieving an ironic effect.

&ÿo?if: A frequently recurring character, incident, orconcept in literature.

NegÿtiveoPos#ive: sSenfence that begins by statingwhat is not true, Then ending by stating what is true,

Oÿmafoÿe(a: The use of a word whose soundsuggests its meaning: ban9, c/an9, buzz, s/#k, murmur.

Oÿmoron: An oxymoron is a type of paradox thatcombines two terms ordinarily seen as opposites.Simply put, oxymoron is the combination of words,which at first view, seem to be cantradictory orincongruous, but whose surprising juxtapositionexpresses a truth or dramatic effect, such as, coolfire, deafening silence, or wise folly°

Para)Odism: Similarity of structure in a pair or seriesof related words, phrases, or clauses. In other words°

equivaJent items (those joined by coordinateconjunctions) must be placed in comparabOe9raramatieal structures. Parallel items are joined bycoordinate conjunctions (especially #n4 on, n#r) andcorrelative conjunctions (e/Net/or, neiNer / nor,not only/but ado ).She went to the grocery store, post office, and gasstation.

Either you will turn in the espy on time, or you willsuffer a significant penalty."We the people of the United States, in order toform a more perfect Union, establish ffustice, insuredomestic Tranquillity, provide for the commondetente, promote the general Welfare, and securethe Blessings of Liberty to ourselves and ourPosterity, do ordain and establish thisCONSTITU3XCON for the United States of America."ooConstitutien of the United States

4

Parade×: A statement that contains seeminglycontradictory elements or appears contrary tocommon sense, yet can be seen as perhaps, or indeed,

true when viewed frora another angle.Parady: k comic imitation of another work, oftenused to ridieute the other work.

Reaÿsÿ: In fiction, rÿtisra is a faithfulrepresentation of actuality. The author strives tomake his or her imaginative story or naval seem asthough it couM rÿl]y happen by using realisticcharacters, dialogue, settings and plot.

Pedantic: Writing that borders on Jecturia9. It isscholarly and academic and often ovally difficult or"bookish."

Red Herriÿ: When a writer raises an irrelevant issueto draw attention away from the red issue.

PareHthesis: Insertion of some verbal unit in aposition that interrupts the normal flow of thesentence.

One day in class we got off the subject (as oftenhappens with overoworked, slespodeprived seniors)and bexjan to discuss the literature of hr. Souse.Grades (which should be abolished) are detrimentalto the health and sanity of students.

PaSyÿadetaa: Sentence which uses and or anotherconjunction (with no commas) to separate the iteras ina series. Pdysyndeton appears in the form of X and Yand Z, stressing equally each member of the series.It makes the sentence slower and the items moreemphatic than in asyndeton.

Pan: A play on words. It exploits the multiplemeanings of a word, or else replaces one ward withanother that is similar in sound but has a verydifferÿt meaning. Puns are sometimes used forserious purposes, but more often for comic effect--

draost exclusively so after the eighteenth century.

Persaaificatÿaa: The attribution of human qualities toinanimate objects or abstract concepts. "Justice isblind."

Periadic s,nfsÿce: Sentence that places the mainidea or canted complete thought at the end of thesentence, after all introductory elements. E.g. Across

the stream, beyond the clearing, from behind thefallen tree, the lion emerged. Think of Yoda fromSY41P bfap& "Blind we are, f o'ea¢ion of tMs clone army wecould Rot see. "

Rh¢?arÿe: The art of effective communication,especially persuasive discourse. Rhetoric focuses onthe interrdationship of invention, arrangement, andstyle in order to create a felicitous and appropriatediscourse. Greek far "orator."

Rhetarica6 Criticism: Emphasizes communicationbetween author and reader. Analyzes the elementsemployed in a literary work to impose on the readerthe author's view of the meaning, bath denotative andconnotative, in o work.

Rhe?arieat Questÿaa: A question asked for rhetoricaleffect to emphasize a point; no answer is expected.

,9srcasm: A form of verbal irony in which, underguise of praise, a caustic and bitter expression ofstrong and personal disapproval is given. @eek for"to tear flesh."

Sÿtÿre: A method to arouse laughter at targets suchas individuaJs, types of people, groups, or humaÿnature. Often satire is used to expose human vice or

folly. See you notes.

SimiOe: A figure of speech which takes the form of acomparison between two unlike quantities for which abasis for comparison can be found, and which usesthe words 'like' or 'as' in the comparison.

Stream af Caasciausness: technique of writing thatundertakes to reproduce the raw flow ofconsciousness, with the perceptions, thoughts,

judgments, feelings, associations, and memories

presented just as they occur without being tidiedinto grammatical sentences or given logical andnarrative order. Williara Faulkner's 4sY'L@" Oyiÿy.

5

5trÿctur®: The organization or arrangement of thevarious dements in a work° A poem's structure can

depend on subject matter, the effect intended, orother considerations.

Narrative strÿcÿr®° Used whÿthere's a story to be told (it's usuaglyin chronobgicd order).braaatic stact.rÿ. Sometimespoems borroow the structures of plays:

"it consists of a series of scenes, each

of which each of which is presentedvividly and in detail".biscursive stÿcÿreo Organized likean argument or essay ("First ....second .... third").

gyÿestheÿia: one sensory experience described interms of another sensory experience.Emily bickinson, in "I Hÿrd a Fly BuzzoWhÿ I bied,"uses a color to describe a sound, the buzz of a fly"with blue, uncertain stumbling buzz." A neurobgicalanomoay by which some people, for exampae, associate

a odor with a ÿrficular word or let%to

5yÿtÿx: The ÿJay an author chooses to join vÿords into phrases, douses, and sentences. Similar to diction,

but rather' than referring only to words, synta×refers to youps'of words.

Theme: The main idea(s) the author expresses in aliterary work° (Not to be confused with motif.)Themes may be explicitly stated or implied.

SyHepsis: A grammatically correct construction inwhich one word is placed in the same 9rammaticagrelationship to two words but in quite differentsenses, as "stain" is used in Adexander Pope's line "Or

staiÿ her honor, or her new brocade." (SEE ZUEGÿA)

Synecdoche: A figure of speech wherein a part ofsomething represÿts the whole thing.All hands on deck! (sailors)bid you get new wheels? (car)Tell your morn you need some new threads, (clothes)(SEE ÿETONYMY)

5ymboB: 5omething that is itself and yet alsoreprÿents something else, like an idea. For example,a sword may be a sword and also s3,mbolize justice. Asymbol may be said to embody an idea. There are twogeneral types of symbols: universal symbols thatembody universally recognizaMe meanings whereverused, such as light to symbolize knowledge, a skull tosymbolize death, etc., and ÿmbols that aregiven symbolic meaning by the way an author usesthem in a literary work, such as the whale in ÿobyDiÿA

SyHÿism: The format of a formal argument thatconsists of a major premise, a minor premise, and a

condusiOno

Style: The arrangement of words in a mannerbest expressing the individuality of theauthor and the idea and intent in the author'smind.

Thesis: In expository writing, the thesis statementis the sentÿce or group of sentences that directlyexpresses "the author's opinion, purpose, raexÿning, or

proposition. A writer must strive to prove his/herthesis accuratdy, effectively, and thoroughly°

Toad: The attitude the spiker of a work ofiterature expresses through language to the rÿadero

Tone can express the full spectrum of human%dings, from formal to lightohÿrted, witty orironic, passionate or sorrowful. Some people consider

mood to be synonymous sith tone; others argue thatmood reveab the author's attitude towards thesubject and tone the author's attitude toward theaudience.

Voice: Controllin9 presence of 'authorial voice'behind the characters, narrators, and personae of

literature. In plainer words, 'Who's doing thetalking?" It is the total "sound+' or "feel+' of a writer°s

style.

Wit: Intellectual humor, A witÿ statement ishumorous, while suggesting the speaker's verbalpoÿver in creating ingenious and perceptive remarks.

Zÿma: the writer uses on word to govern severalsuccessive words or clauses, ÿhs discavsrsdNsw

Yoÿk at,d her wor/d. (,9ÿ ÿYLLÿPÿXÿ)

StudeHt/PareHt Acknowledgement

AdvaHced Placemeet EHIIish LaHgÿage and CompositioH, Raty High £choot

I have read the introductory letter in the Tools for Success packet and understand the objectives,

expectations, and policies of the AP English Language and Composition team. ! understand that failure

to adhere to the policies will result in disciplinary action and possible removal from this course.

Students will briHg the following supplies to class each dai:

® Blue or black ink pen

Pencil (for Scan°tron assessments ONLY}

o Red orgreen grading utensilo Binder

o Paper (wide-ruled preferred)

e Tools for Success

o Vocabulary Workbook

o Novel (paper copies only)

o One box of tissue (optional}

® Index cards as assigned

oveÿs that need to be purchased for thÿs schooÿ year:

The Scarlet Letter by Nathanie[ Hawthorne

The Gropes qf Wrath by John Steinbeck

This acknowledgemeut is due by FridaV, Aÿ.ÿgust 29, 2014.

Sincerely,

Mrs. HarrisMrs. Schneider

STUDENT SIGNATURE:

STUDENT'S PRINTED NAME:

PARENT SIGNATURE:

PARENT'S PRINTED NAME: