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Library » Summer Reading Assignment 2017 AP Literature and Composition

Summer Reading Assignment 2017 AP Literature and Composition

Summer Reading Assignment 2016

AP Literature and Composition

E7X/Mrs. Kritikos

Email: dkritikos@schools.nyc.gov

 

 

This assignment is designed to help you prepare for college and the AP exam, where skills developed by avid reading are essential. Only the well-read student can respond intelligently to the open essay question on the AP exam; therefore, summer reading is vital to your success. This summer assignment packet contains directions, assignment descriptions, examples and an essay rubric. Assignments are due on the first day of school. Remember to pace yourself accordingly during the summer break.

 

The summer assignment for AP Literature not only indicates your willingness to work hard, but it also measures your commitment to the course.

 

One of the main differences between an AP English class and a regular English class is the amount of effort students are required to put into their work. An AP student is expected to always put all of their thinking and effort into assignments and readings. This kind of effort is expected on every aspect of the summer assignment.

 

Reading:

 

You are to obtain a copy of How to Read Literature like a Professor by Thomas C. Foster. You can purchase it online or through a bookstore, such as Barnes and Noble or Amazon. You will need to get Mary Shelly’s Frankenstein. You will be using both of these books quite extensively, annotating and marking them up, so you might want to get a used copy of both Frankenstein and How to Read Literature.

 

As mentioned before, you will be REQUIRED to annotate the text, marking significant passages and writing abundant marginal notes. You will need to bring both books to class the first day of school so your annotations can be checked. If you are unsure how to mark a book, I have attached an outline that describes this process in detail. Annotations are a portion of the overall grade.

 

Writing:

 

First, read How to Read Literature and then read Frankenstein. Apply the novel to a chapter of your choice in Foster. There is a sample essay in the back of Foster to guide you, as well as multiple examples within each chapter. Your chapter response will be a five-paragraph essay between 750 - 1,000 words in length. For example, if you are reading the chapter “He’s Blind for a Reason, You Know” in How to Read Literature, you will write an essay on the significance of the blind man in Frankenstein. This essay will be due September 9, 2015 (the first day of school).

 

Essays that are submitted after the due date will not be eligible for full credit. I have attached a rubric that shows how your essays will be graded.

 

Second, you will need to complete the Literary Vocabulary Journal (attached). The instructions are on the worksheet. This will also be due the first day of class.

 

Third, in addition to marking up the chapters as you read, you will complete a Dialectical Journal of each chapter of Frankenstein, also due the first day of class.

 

All writing needs to be submitted in a two-pocket folder on the first day of class. Work not submitted properly may be counted late.


Dialectical Journal

 

For each chapter you are to do the following:

 

On the top line of your notebook paper, center the chapter number and page numbers. Underneath, on the first line of the paper, write a one-sentence summary of the chapter. Then divide your paper into two halves, lengthwise.

 

Label the left hand column CONTENT.

Label the right hand column PERSONAL RESPONSE.

Write the page number down, in parenthesis, after each quote or passage.

 

For each chapter, find a significant quote or passage that exemplifies major events in the text or is an example of a literary element. Consider plot development, shifts in tone or point of view, character development, theme, sentence structure, diction, imagery, figurative language, etc. The examples below are taken from The Chosen and Night. The first two are examples of entries that focus on literary elements, and the last two are student reactions to events in the novels.

 

 

 

 

Chapter 1 p. 7-40

Reuven describes how he and Danny first meet at a baseball game.

 

 

 

CONTENT

PERSONAL RESPONSE

 

 

"For the first fifteen years of our lives, Danny

This gives us the point of view for the

and I lived within five blocks of each other and

novel, first person, through the eyes Of

neither of us knew of the other's existence" (9).

Reuven Malter.

 

 

 

 

“…like specters, with their black hats, long black

These are descriptive details of the Hasidic

coats, black beards, and earlocks" (25).

sect of Judaism. (There is also a simile).

 

{imagery}

 

 

“We had arrived at Buchenwald” (98).

A simple sentence that can encourage hope,

 

bring happiness, and bring sadness. It can

 

make someone happy knowing they will have

 

food and shelter. It can make someone sad

 

to know that they will again become slaves,

 

and bring the thought that maybe it would

 

have been better to die in the train.

 

 

“The sound of a violin, in this dark shed, where

The violin was giving Juliek hope to survive,

the dead were heaped on the living. What madman

and he played his soul on it, so it must have

could be playing the violin here, at the brink of

been deeply moving music. When the violin

his own death” (90)?

broke, he must have died.

 

 

 

 


Frankenstein: Literary Vocabulary Journal

 

 

Directions: As you read Frankenstein, you will note examples of important literary devices used by Shelley in the text. First, find the definition and fill them in the table below. Then, find an example from the text. You can find definitions on the internet (search for a literary term dictionary), or in a Literary Dictionary. If you don’t have enough room, you may use a separate sheet of paper.

 

Term/Definition:

Example from Text

Brief Explanation:

How does the example create meaning in the text?

Page #

 

Archetype:

 

 

 

 

 

 

 

 

 

Allusion:

 

 

 

 

 

 

 

 

 

Connotation:

 

 

 

 

 

 

 

 

 

Diction:

 

 

 

 

 

 

 

 

 

Epiphany:

 

 

 

 

 

 

 

 

 

Figurative Language:

 

 

 

 

 

 

 

 

 

Imagery:

 

 

 

 

 

 

 

 

 

Irony:

 

 

 

 

 

 

 

 

 

Mood:

 

 

 

 

 

 

 

 

 

 

 

 

Point of View:

 

 

 

 

 

 

 

 

 

 

 

Term/Definition:

Example from Text

Brief Explanation:

How does the example create meaning in the text?

Page #

 

Setting:

 

 

 

 

 

 

 

Stream-of-consciousness:

 

 

 

 

 

 

 

Style:

 

 

 

 

 

 

 

Symbol:

 

 

 

 

 

 

 

Syntax:

 

 

 

 

 

 

 

Theme:

 

 

 

 

 

 

 

 

 

Tone:

 

 

 

 

 

 

 


 

How to Annotate a Book

 

This outline addresses why you would ever want to mark in a book. For each reason, the outline gives specific strategies to achieve your goals in reading the book.

 

  1. Interact with the book – talk back to it. You learn more from a conversation than you do from a lecture (this is the text-to-self connection.)
    1. Typical marks
      1. Question marks and questions – be a critical reader
      2. Exclamation marks – a great point, or I really agree)
  • Smiley faces and other emoticons
  1. Color your favorite sections. Perhaps draw pictures in the margin that remind you about the passage’s subject matter or events.
  2. Pictures and graphic organizers. The pictures may express your overall impression of a paragraph, page, or chapter. The graphic organizer (Venn diagram, etc.) may give you a handy way to sort the materials in a way that makes sense to you.

 

    1. Typical writing
  1. Comments – agreements or disagreements
  2. Your personal experience
  • Random associations
        1. Begin to trust your gut when reading! Does the passage remind you of a song? Another book? A story you read? Like some of your dreams, your associations may carry more psychic weight than you may realize at first. Write the association down in the margin!
  1. Cross-reference the book to other books making the same point. Use a shortened name for the other book – one you’ll remember, though. (e.g., “Harry Potter 3”) (This is text-to-text connection.)

 

  1. Learn what the book teaches (this is the text-to-world connection.)
    1. Underline, circle or highlight key words and phrases.
  1. Cross-reference a term with the book’s explanation of the term, or where the book gives the term fuller treatment.
    1. In other words, put a reference to another page in the book in the margin where you’re reading. Use a page number.
    2. Then, return the favor at the place in the book you just referred to. You now have a link so you can find both pages if you find one of them.
  2. Put your own summaries in the margin.
    1. If you summarize a passage in your own words, you’ll learn the material much better.
    2. Depending on how closely you with to study the material, you may wish to summarize entire sections, paragraphs, or even parts of paragraphs.
  • If you put your summaries in your books instead of separate notebooks, the book you read and the summary you wrote will reinforce each other.

A positive synergy happens! You’ll also keep your book and your notes in one place.

 

 

  1. Leave a “trail” in the book that makes it easier to follow when you study the material again.
    1. Make a trail by writing subject matter headings in the margins. You’ll find the material more easily the second time through.
    2. Bracket or highlight sections you think are important.

 

  1. Pick up the author’s style (this is the reading-to-writing connection.)
    1. Why? Because you aren’t born with a writing style. You pick it up. Perhaps there’s something that you like about this author’s style but you don’t know what it is. Learn to analyze an author’s writing style in order to put up parts of his/her style that becomes natural to you.
    2. How?
      1. First, reflect a bit. What do you like about the writer’s style? If nothing occurs to you, consider the tone of the piece (humorous, passionate, etc.) Begin to wonder: how did the writer get the tone across? (This method works for discovering how a writer gets across tone, plot, conflict, and other things.)
      2. Look for patterns.
        1. Read a paragraph or two or three you really like. Read it over and over. What begins to stand out to you?
        2. Circle or underline parts of speech with different colored pens, pencils, or crayons. Perhaps red for verbs, blue for nouns, even green for pronouns.
        3. Circle or underline rhetorical devices with different colored writing instruments, or surround them with different geometrical shapes, such as an oval, a rectangle, and a triangle.
        4. What rhetorical devices?
          1. How he/she mixes up lengths of sentences
          2. Sound devices, alliteration, assonance, onomatopoeia, repetition, internal rhymes, etc.
  • Pick a different subject than that covered in the passage, and deliberately try to use the author’s patterns in your own writing.
  1. Put your writing aside for a few days, and then edit it. What remains of what you originally adopted from the writer’s style? If what remains is natural and well done, you may have made that part of his/her style part of your own style.