AP English Literature & Composition
2015-2016 Course Syllabus
Course Overview
Advanced Placement English Literature and Composition is a rigorous course intended for
the serious, accelerated student. Through careful reading; critical analysis of a cross-section
of British, American, and world literature; and through extensive writing, students deepen
their understanding of how writers use language to provide both meaning and pleasure for
their readers. After intensively examining several canonical literary works, students will be
encouraged to take the AP English Literature & Composition exam for possible college credit.
AP English Literature and Composition examines elements of literature over several genres
and subgenres. Students read novels, novellas, short stories, sudden fiction, dramas
(including comedies, tragedies, and realistic plays), and poetry from a wide range of time
periods and cultures. Students learn to read closely for basic elements of theme,
characterization, setting, diction, pacing, point of view, plot development, and tone. However, students move beyond
identification of these elements; rather, they learn to recognize patterns within the writer’s craft. Students begin to analyze
text differently than they do in most of their former traditional language arts studies: Instead of reading a text to gauge
comprehension, students begin to ask, “How does the author create his work?” and “What effect does the writer’s use of ‘x’
have on the overall piece?” When they learn how to answer these questions, students begin to understand the tools of
literature, such as irony, foreshadowing, and figurative language, because they begin to understand the strategies behind
the literature.
The curriculum for AP English Literature and Composition reflects the skills required for successfully completing the
objective questions and the essays on the AP English Literature and Composition exam. By focusing on these skills, the
course covers standards and objectives recommended by the College Board, the State of Indiana, and the School Town of
Munster. The school year is organized by genre: fiction/prose and drama cover the first semester, and poetry becomes the
focal point during the second. Since students have more experience with fiction than any other genre, the class examines
this genre first; however, students study this genre with critical lenses to evaluate literature analytically. During the course of
the semester, students also read novels independently in conjunction with their readings during any particular grading
period.
AP English Literature and Composition students are evaluated according to their mastery of interpreting and evaluating text,
their mastery of writing skills, the efficacy of their rhetoric, their written and oral presentation skills, and identification and
application of literary strategies and devices. Students are consistently assessed according to the
Six +1 Traits of Writing (Idea Development, Organization, Voice, Sentence Fluency, Word Choice,
Conventions, and Presentation). The Traits afford an opportunity for systemic, analytical
breakdown of student writing. Through revision of these Traits, students learn to recognize their
strengths while at the same time focusing on their weaknesses. Traditional “grammar” study
emerges as errors materialize in student essays. “Mini-lessons” over specific problems tackle
common errors as they occur during the semester. The “Presentation” Trait requires students to
follow teacher-specific guidelines not covered in the other Six Traits. MLA formatting and citation
fall under this category.
Students receive copies of writing rubrics at the beginning of the course. Though specific task requirements may change per
assignment, overall writing expectations remain constant. As students draft their essays, they are expected to dialogue
about their writing in a variety of conferencing and editing modes. Students may always receive extra help before or after
school or electronically via e-mail or following the link to the instructor web site. In addition, students in AP English Literature
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and Composition revise their writing regularly. Any or all of these activities support student revision: applying multiple literary
devices, peer editing, and “glossing” essay revisions.
Eventually, AP English Literature and Composition students identify characteristics of successful writing and evaluate their
peers’ and their own writing more objectively as they approach the road to analytic independence. Students write in a
variety of modes and discourse openly as they make sense of various texts and the texts’ connection to their world.
A note on plagiarism: All student work must be original. Any researched and cited sources must be documented
both parenthetically and on a separate works cited page. Students will submit their essays to the school’s
Turnitin.com account prior to submitting them in class. Any student who fails to document sources or who
misrepresents another’s work as his/her own will receive ZERO credit for the assignment, or possibly, even fail the
course. “Recycled” essays from other classes, which have already received a grade, will be treated in the same
manner as a plagiarized paper (will receive a zero). In addition, blatant plagiarism will result in disciplinary action in
accordance with the Student Code of Conduct. Plagiarism is a serious infraction, and academic integrity is an
expectation, not a choice.
Grading Scale (In accordance with district policy)
Percent
100-93
92-90
89-87
86-83
82-80
Grade
A
AB+
B
B-
Percent
79-77
76-73
72-70
69-67
66-63
Grade
C+
C
CD+
D
Percent
62-60
Below 60
Grade
DF
Category Grade Weighting
Tests/Quizzes/Writing/Projects
Classwork/Homework
Summer Reading Tests
Common Assessments
(Midterm & Final Exams)
1st Quarter
70%
10%
10%
10%
2nd Quarter
80%
10%
****
10%
3rd Quarter
80%
10%
****
10%
4th Quarter
80%
10%
****
10%
Dual Credit, Exam Credit, and Honors Diploma
AP English Literature and Composition at Munster High School gives students the opportunity to earn dual credit through
Purdue University North Central. Students who successfully register for dual credit, pay tuition, and complete the course
with a grade of “C” or better may earn 3 college credits. Students should see Guidance regarding this option. In addition,
students who take the AP English Literature and Composition exam in May and earn a passing grade of a “3” or better will
earn college credit in any Indiana state college/university. Students should also investigate out-of-state college opportunities
with passing the AP English exam. Finally, students may use this class as part of the requirements to earn the Indiana
Academic Honors Diploma. Information regarding the application of this course for the Academic Honors Diploma’s
requirements can be found on the Indiana Department of Education website or from your guidance counselor.
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Assessments and Grading
As would be expected in an accelerated college preparatory class, the pace of this course is intensive. AP English Literature
and Composition demands self-discipline, rigor, initiative, and the willingness to “think outside the box.” In addition, as in any
college English class, AP English Literature and Composition closely examines the process of critical reading, writing, and
thinking. Therefore, students in this course do not complete traditional worksheets or study guides. Instead, as serious
scholars, students are expected to complete all readings on time and interact with the text (highlighting, writing on or about
the text, discussion, etc.).
Further, grades are determined largely through a combination of objective timed and untimed tests that mirror multiplechoice questions found on the AP exam, writing (both formal and informal, timed and untimed) assessments, analytical
projects, in-class participation, and assessment of the terminology of literary criticism and college-level vocabulary within the
context of reading.
Not only are students in AP English Literature gauged according to their ability to evaluate literature and language, but they
are also assessed on their ability to use it. Writing assignments include journaling, dialoguing with the text, formal and
informal essays (written in various modes of discourse), letters, memoirs, stories, dramatic scenes, and poems. As students
practice writing their own literature, they begin to understand the writer’s craft, the implementation of imaginative strategies
for a unified purpose. Improving writing is a fundamental goal of this course. Students rewrite and revise every major formal
assignment. Although difficult, learning how to evaluate one’s own writing objectively emerges as students critique both their
peers’ essays and previously scored AP English essays. Students gauge their evaluations by comparing their findings to
their peers’, the teacher’s, and the AP readers’ scores. Finally, students should expect to communicate often through wholegroup and small-group discussion as an informal means to brainstorm and synthesize ideas from their peers.
Materials
In addition to any assignments or texts, students should procure the following materials and bring them to class on a regular
basis (or per teacher’s instructions):
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Your sufficiently charged laptop
Writing implements (pens and pencils)
Highlighters (various colors)
Paper (yes, you will still use your hands to write!)
Flash drive
One two-pocket folder for the junior research project
Miscellaneous Classroom Procedures
 I do not accept late work for your homework assignments. If you turn an ESSAY in late, you automatically lose 50% one
day after the original due date. The second time an essay is late, the paper automatically receives a zero. Part of your
assessment includes a factor of time management. Projects in college and “the real world” do not receive infinite time for
completion.
 I do not return tests and quizzes to you to keep; instead, I store them in my room for a semester. You may come see
your tests/quizzes during contact time, after school most days, or by appointment. All other work will be returned to you.
Keep in mind, the larger the class, the longer the essays will take for me to return.
 I follow the school’s Code of Conduct. Therefore, no food or drink is allowed in my classroom. If I see food or drink, it
must be put away or thrown away.
 Come to class on time. You will be counted tardy if you are not in my room when the bell rings. On that same note, do
not ask for passes to print out during class or to use the restroom. You are expected to be in my classroom for the full
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time every day. Note: Students who have excessive tardies or absences may lose credit for the semester. See the
Code of Conduct for more information.
 You are responsible for your absences, including school activities. All essays must be submitted on the due date,
regardless of excused or exempted absence. These deadlines are provided with sufficient notice, so plan accordingly.
Likewise, planned tests/quizzes must be made up the day you return. I reserve the right to substitute tests/quizzes for
absent students to maintain the integrity of the exam.
Course Texts and Resources
Texts (Note: Some titles may not be used every year, and some titles may include only excerpts.)
**Because some modern literature honestly examines the human condition, students must be able to handle adult
content. All texts are chosen for their literary merit; however, some texts may contain objectionable or
controversial material. Because AP English classes are college-level courses, alternative assignments will NOT be
made available. If students or their parents object to violence, sexual content, or adult language, those students
should reconsider taking this ELECTIVE course.
Austen, Jane. Pride and Prejudice. Penguin Books, 2003. Print.
Brontë, Emily. Jane Eyre. Signet Classic, 2004. Print.
Casson, Allan. Cliffs AP: English Literature and Composition. 2nd ed. Wiley Publishing, Inc., 2001. Print.
Chopin, Kate. The Awakening and Selected Short Stories. Bantam Books, 1992. Print.
Dostoyevsky, Fyodor. Crime and Punishment. Pocketbooks, 2004. Print.
- - -. Notes from Underground. Trans. Mirra Ginsburg. Bantam, 1992. Print.
Edson, Margaret. Wit. The Norton Introduction to Literature. Ed. Kelly J. Mays. 11th ed. New York: Norton, 2014. Print.
Ellison, Ralph. The Invisible Man. 2nd ed. New York: Vintage International, 1995. Print.
Fitzgerald, F. Scott. The Great Gatsby. New York: Scribner, 2004. Print.
Foster, Thomas C. How to Read Literature like a Professor: A Lively and Entertaining Guide to Reading Between the Lines.
New York: Harper Collins, 2003. Print.
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers. 7th ed. New York: The Modern Language Association of
America, 2003. Print.
Hamilton, Sharon. Essential Literacy Terms with Exercises. New York: W. W. Norton & Company, 2007. Print.
Hansberry, Lorraine. A Raisin in the Sun. The Norton Introduction to Literature. Ed. Kelly J. Mays. 11th ed. New York:
Norton, 2005. Print.
Hardy, Thomas. Jude, the Obscure. Bantam Classic, 1996. Print.
Hawthorne, Nathanial. The Scarlet Letter. Bantam Classic, 1996. Print.
Ibsen, Henrik. A Doll’s House. The Norton Introduction to Literature. Ed. Kelly J. Mays. 11th ed. New York: Norton, 2014.
Print.
James, Henry. The Turn of the Screw. New York: Penguin Classics, 2003. Print.
Kafka, Franz. The Metamorphosis. New York: Bantam Classics, 1986. Print.
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Kingsolver, Barbara. The Poisonwood Bible. New York: Harper Collins, 1998. Print.
Mays, Kelly J., ed. The Norton Introduction to Literature. 11th ed. New York: Norton, 2014. Print.
Miller, Arthur. The Crucible. The Norton Introduction to Literature. Ed. Kelly J. Mays. 11th ed. New York: Norton, 2014. Print.
- - -. Death of a Salesman. The Norton Introduction to Literature. Ed. Kelly J. Mays. 11th ed. New York: Norton, 2014. Print.
Moliere. Tartuffe. The Norton Introduction to Literature. Ed. Kelly J. Mays. 11th ed. New York: Norton, 2005. Print.
- - -. A Doctor in Spite of Himself. The Norton Introduction to Literature. Ed. Kelly J. Mays. 11th ed. New York: Norton, 2005.
Print.
Morrison, Toni. The Bluest Eye. Vintage International, 2004. Print.
Murfin, Ross and Supryia M. Ray. The Bedford Glossary of Critical and Literacy Terms. 2nd ed. Boston: Bedford/St. Martin’s,
2003. Print.
Roberts, Edgar V. Writing About Literature. 13th ed. Upper Saddle River, New Jersey: Pearson, 2014. Print.
Rostand, Edmond. Cyrano de Bergerac. New York: Penguin Classics, 2006. Print
Salinger, J.D. The Catcher in the Rye. New York: Little, Brown, and Company, 1991. Print.
Shakespeare, William. King Lear. Four Great Tragedies: Hamlet, Othello, King Lear, and Macbeth. Signet Classics, 1998.
Print.
- - -. Much Ado About Nothing. Penguin, 1999. Print.
- - -. Othello. Four Great Tragedies: Hamlet, Othello, King Lear, and Macbeth. Signet Classics, 1998. Print.
- - -. The Taming of the Shrew. Signet Classics, 1998. Print.
Sophocles. Antigone. The Norton Introduction to Literature. Ed. Kelly J. Mays. 11th ed. New York: Norton, 2014. Print.
Twain, Mark. The Adventures of Huckleberry Finn. New York: Penguin Books, 2003. Print.
Williams, Tennessee. A Streetcar Named Desire. The Norton Introduction to Literature. Ed. Kelly J. Mays. 11th ed. New
York: Norton, 2014. Print.
- - -. Cat on a Hot Tin Roof. New York: Signet, 1985. Print.
Miscellaneous Titles (This list may change without advanced notice.*)
 POETRY
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“Lord Randall” (Unknown)
“Barbara Allen” (Unknown)
“Edward, Edward” (Unknown)
“Sonnet 169” (Petrarch)
“Sonnet 18” (Shakespeare)
“Sonnet 29” (Shakespeare)
“Sonnet 116” (Shakespeare)
“Sonnet 130” (Shakespeare)
“One Day I Wrote Her Name upon the
Strand” (Spenser)
“When I Have Fears That I May Cease to Be”
(Keats)
“Bright Star, Would I Were Steadfast as Thou
Art” (Keats)
“Ode on a Grecian Urn” (Keats)
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“Ode to a Nightingale” (Keats)
“On the Sonnet” (Keats)
“On First Looking into Chapman’s Homer”
(Keats)
“Ozymandias” (Shelley)
“Ode to the West Wind” (Shelley)
“England in 1819” (Shelley)
“Those Winter Sundays” (Hayden)
“The Whipping” (Hayden)
“Childhood Is the Kingdom Where Nobody
Dies” (Millay)
“The Convergence of the Twain” (Hardy)
“Ah, Are You Digging on My Grave?” (Hardy)
“The Ruined Maid” (Hardy)
“Channel Firing” (Hardy)
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“Refusal to Mourn the Death, by Fire, of a
Child in London” (Thomas)
“Do Not Go Gently Into That Good Night”
(Thomas)
“In My Craft or Sullen Art” (Thomas)
“Fern Hill” (Thomas)
“Whoso List to Hunt” (Wyatt)
“To the Virgins, to Make Much of Time”
(Herrick)
“Essay on Man” (Pope)
“Sound and Sense” (Pope)
“My Last Duchess” (Browning)
“Porphyria’s Lover” (Browning)
“Soliloquy of the Spanish Cloister” (Browning)
“The Lady of Shalott” (Tennyson)
“Break, Break, Break” (Tennyson)
“The Lotos-Eaters” (Tennyson)
“The Kraken” (Tennyson)
“Ulysses” (Tennyson)
“In Memoriam, A. H. H.” (Tennyson)
“The Love Song of J. Alfred Prufrock” (Eliot)
“The Hollow Men” (Eliot)
“The Waste Land” (Eliot)
“Valediction: Forbidding Mourning” (Donne)
“Meditation XVII” (Donne)
“Death, Be Not Proud” (Donne)
“Love’s Diet” (Donne)
“The Flea” (Donne)
“For Whom the Bell Tolls” (Donne)
“Daddy” (Plath)
“Mirror” (Plath)
“Metaphors” (Plath)
“Blackberrying” (Plath)
“Point Shirley” (Plath)
“Lady Lazarus” (Plath)
“Sonnet to a Negro in Harlem” (Johnson)
“Dover Beach” (Arnold)
“Dover Bitch” (Hecht)
“Sympathy” (Dunbar)
“We Wear the Mask” (Dunbar)
“Kubla Kahn” (Coleridge)
“The Chimney Sweep” (Blake)
“London” (Blake)
“The Sick Rose” (Blake)
“A Poison Tree” (Blake)
“Aunt Jennifer’s Tigers” (Rich)
“Diving into the Wreck” (Rich)
“Living in Sin” (Rich)
“Barbie Doll” (Piercy)
“What’s that Smell in the Kitchen?” (Piercy)
“The Thought Fox” (Hughes)
“Hawk Roosting” (Hughes)
“Leda and the Swan” (Yeats)
“The Second Coming” (Yeats)
“An Irishman Foresees His Death” (Yeats)
“Sailing to Byzantium” (Yeats)
“Easter, 1916” (Yeats)
“A Last Confession” (Yeats)
“The Lake Isle of Innisfree” (Yeats)
“The Wild Swans at Coole” (Yeats)
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“Sestina” (Bishop)
“The Fish” (Bishop)
“Curiosity” (Reid)
“Formal Application” (Baker)
“Thanatopsis” (Bryant)
Miniver Cheevey” (Robinson)
“Richard Cory” (Robinson)
“Lucinda Matlock” (Masters)
“When I Heard the Learn’d Astronomer”
(Whitman)
“When Lilacs Last in the Dooryard Bloom’d”
(Whitman)
“I Hear America Singing” (Whitman)
“A Noiseless Patient Spider” (Whitman)
“I Sit and Look Out” (Whitman)
“Oh Captain! My Captain!” (Whitman)
“Aboard at a Ship’s Helm” (Whitman)
“I celebrate myself, and sing myself”
(Whitman)
“Sympathy” (Dunbar)
“The Unknown Citizen” (Auden)
“Musee des Beaux Arts” (Auden)
“Stop all the clocks, cut off the telephone”
(Auden)
“The Funeral Blues” (Auden)
“God’s Grandeur” (Hopkins)
“Pied Beauty” (Hopkins)
“Spring and Fall” (Hopkins)
“The Works and Days” (Hesiod)
“Elegy” (Lord Byron)
“Grief” (Barrett Browning)
“How Do I Love Thee” (Barrett Browning)
“The Sword of Surprise” (Chesterton)
“The Mirror of Matsuyama” (Hashimoto)
“The Old Stoic” (Bronte)
“Remember” (Rossini)
“In Memory of My Dear Grandchild, Elizabeth
Bradstreet” (Bradstreet)
“To My Dear and Loving Husband”
(Bradstreet)
“Meditation 8” (Pain)
“Nani” (Rios)
“Cloud Painter” (Flanders)
“To the Confederate Dead” (Young)
“A Myth of Devotion” (Gluck)
“Green Chile” (Baca)
“Jasmine” (Komunyakaa)
“At Great Pond” (Oliver)
“Black Snake” (Oliver)
“Elegy for Jane” (Roethke)
“The Waking” (Roethke)
“My Papa’s Waltz” (Roethke)
“Blackberry Eating” (Kinnell)
“Saint Francis and the Sow” (Kinnell)
“Blackberry Picking” (Heaney)
“Digging” (Heaney)
“Blackberries” (Komunyakaa)
“Spring and All” (Williams)
“Gospel” (Levine)
“On Turning Ten” (Collins)
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“The History Teacher” (Collins)
“Sonnet” (Collins)
“Men at Forty” (Justice)
“Cinderella” (Sexton)
“The Fury of Overshoes” (Sexton)
“The Genius of the Crowd” (Bukowski)
“A Barred Owl” (Wilbur)
“Domestic Violence” (Boland)
“It’s a Woman’s World” (Boland)
“Kubla Khan” (Coleridge)
“Old Ironsides” (Holmes)
“The Tide Rises, The Tide Falls” (Longfellow)
“Concord Hymn” (Emerson)
“Nuns Fret Not” (Wordsworth)
“London, 1802” (Wordsworth)
“Lines Written a Few Miles above Tintern
Abbey” (Wordsworth)
“The World Is Too Much with Us”
(Wordsworth)
“I Wandered Lonely as a Cloud”
(Wordsworth)
“Because I Could Not Stop for Death”
(Dickinson)
“I Heard a Fly Buzz—When I Died”
(Dickinson)
“There’s a Certain Slant of Light” (Dickinson)
“The Soul selects her own Society”
(Dickinson)
“Tell All the Truth, but Tell It Slant”
(Dickinson)
“Success Is Counted Sweetest” (Dickinson)
“I measure every Grief I meet” (Dickinson)
“She Dealt Her Pretty Words like Blades”
(Dickinson)
“After great pain, a formal feeling comes—”
(Dickinson)
“I dwell in possibility” (Dickinson)
“Wild Night—Wild Nights!” (Dickinson)
“A narrow fellow in the grass” (Dickinson)
“The Moon Is Distant from the Sea”
(Dickinson)
“anyone lived in a pretty how town”
(cummings)
[l(a] (Cummings)
“since feeling is first” (cummings)
“Of Modern Poetry” (Stevens)
“Anecdote of a Jar” (Stevens)
“Sunday Morning” (Stevens)
“The Emperor of Ice Cream” (Stevens)
“Thirteen Ways of Looking at a Blackbird”
(Stevens)
“Ars Poetica” (MacLeish)
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“Hanging Fire” (Lorde)
“Poetry” (Moore)
“Chicago” (Sandberg)
“Fog” (Sandberg)
“Birches” (Frost)
“Stopping By Woods on a Snowy Evening”
(Frost)
“Mending Wall” (Frost)
“Out, Out—" (Frost)
“Acquainted with the Night” (Frost)
“After Apple Picking” (Frost)
“Oven Bird” (Frost)
“Design” (Frost)
“Fireflies in the Garden” (Frost)
“Departmental” (Frost)
“Range-Finding” (Frost)
“The Road Not Taken” (Frost)
“Desert Places” (Frost)
“We Real Cool” (Brooks)
“The Bean Eaters” (Brooks)
“To a Daughter Leaving Home” (Pastan)
“Ethics” (Pastan)
“To His Coy Mistress” (Marvell)
“The Red Wheelbarrow” (Williams)
“A Red, Red Rose” (Burns)
“The Death of the Ball Turret Gunner”
(Jarrell)
“Harlem” (Hughes)
“The Weary Blues” (Hughes)
“Mother to Son” (Hughes)
“Dulce et Decorum Est” (Owen)
“Disabled” (Owen)
“Anthem for Doomed Youth” (Owen)
“The Passionate Shepherd to His Love”
(Marlowe)
“The Nymph’s Reply to the Shepherd”
(Raleigh)
“Ode on a Grecian Urn Summarized”
(Skirrow)
“On Being Brought from Africa to America”
(Wheatley)
“The Incident” (Cullen)
“Elegy Written in a Country Churchyard”
(Gray)
“Siren Song” (Atwood)
“The Ballad of Birmingham” (Randall)
“When I Was One and Twenty” (Houseman)
“To an Athlete Dying Young” (Houseman)
“If” (Kipling)
“Patterns” (Lowell)
“Gunga Din” (Kipling)
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“Happy Endings” (Atwood)
“A Sunday in the Park” (Kaufmann)
“Hills Like White Elephants” (Hemingway)
“Miss Brill” (Mansfield)
“The Garden Party” (Mansfield)
“Bliss” (Mansfield)
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SHORT FICTION
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“The Story of an Hour” (Chopin)
“Desiree’s Baby” (Chopin)
“A Pair of Silk Stockings” (Chopin)
“Little Things” (Carver)
“Cathedral” (Carver)
“A Jury of Her Peers” (Glaspell)
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“Luck” (Twain)
“Kew Gardens” (Woolf)
“Everyday Use” (Walker)
“A Rose for Emily” (Faulkner)
“Barn Burning” (Faulkner)
“The Allegory of the Cave” (Plato)
“A & P” (Updike)
“Araby” (Joyce)
“The Rocking-Horse Winner” (Lawrence)
“The Yellow Wallpaper” (Perkins)
“Young Goodman Brown” (Hawthorne)
“A Good Man is Hard to Find” (O’Connor)
“Babylon Revisited” (Fitzgerald)
“King of the Bingo Game” (Ellison)
“The Demon Lover” (Bowen)
“The Secret Life of Walter Mitty” (Thurber)
“An Occurrence at Owl Creek Bridge” (Bierce)
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“A Worn Path” (Welty)
“Why I Live at the P.O.” (Welty)
“Nineteen Fifty-Five” (Walker
“I Stand Here Ironing” (Olsen)
“Spunk” (Hurston)
“Sonny’s Blues” (Baldwin)
“Bartleby, the Scrivener” (Melville)
“A Hunger Artist” (Kafka)
“Chrysanthemums” (Steinbeck)
“Thank You, Ma’am” (Hughes)
“Marigolds” (Collier)
“A Wall of Fire Rising” (Danticat)
“No Witchcraft for Sale” (Lessing)
“The Interpreter of Maladies” (Lahiri)
“Where Are You Going, Where Have You
Been?” (Oates)
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Course Planner
“If your actions inspire others to dream more, learn more, do more and become more, you are a leader.”—J. Quincy Adams
During AP English Literature and Composition, students read and write for a variety of purposes and audiences.
Students receive reading and writing opportunities under many contexts. For example, students receive practice in
timed close readings as well as reading longer works over an extended period of time. In addition, students write a
variety of texts (journals, “quickwrites,” letters, dialogue journals, critiques, and formal essays) for a variety of
audiences and purposes during the course. Discourse is not limited only to the written medium, however. Students
discuss their impressions and findings on a regular basis and explore non-print texts, such as film. Finally, students
are assessed on their use and understanding of vocabulary that both expose them to the language of literature and
provide practice in college-level vocabulary.
Course Planner by Calendar
The course planner provides a general, tentative outline of major units during each semester.
Semester 1
Unit 1: What makes literature literary?
 Short fiction
 The Catcher in the Rye
 The Awakening


The Metamorphosis
Pride and Prejudice
Unit 2: Why is drama dramatic?
 Othello
 King Lear
 Much Ado About Nothing
 A Raisin in the Sun
 The Crucible




Death of a Salesman
A Streetcar Named Desire
Cyrano de Bergerac
Tartuffe
Unit 1: Poetry—The Art of Reduction?
 Learning to analyze various poetry
 Creating poetry


The Great Gatsby
The Scarlet Letter
Unit 2: Putting It All together: Preparing for the Exam
 Literary Movements
 Cliffs Study Guide


Notes from Underground
The Invisible Man
Unit 3: Revisiting Fiction Independently
 The Adventures of Huckleberry Finn
 The Bluest Eye
Semester 2
Unit 3: Where Have You Been, Where Are You Going?
 Career and College Research Project
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Course Planner by Class Guidelines and Expectations
Regular class assignments and activities include the following:
 Outside, whole-group, individual, and timed reading assignments
 Weekly vocabulary quizzes: SAT vocabulary and literary elements/devices (Quiz formats vary week to week. After
the first grading period, vocabulary quizzes usually require some form of knowledge beyond definition—toward
identification, interpretation, and analysis in text.)
 Timed writing assignments (both formal (graded) and informal (graded or not graded))
 Practice AP exams (informal and formal assessments; individual and group practice)
 Objective assessments (multiple choice, content-specific questions, skill-based questions, AP exam question
stems)
 Essays: Process writing, including evaluating and improving idea development, organization, sentence fluency,
voice, and use of conventions (Six +1 Traits of Writing)
 In-class, exploratory responses to various texts (written and oral)
 Whole class discussion, cooperative groups, Socratic seminars, and various student presentations
 Cumulative writing and research projects
 Glossing exercises: Students must not only revise their papers, but they must also, in writing, explain the changes
they made, and why these changes enhance the paper.
 Articulating revision through glossing and applying standard writing conventions from reviser's handbook of most
frequent errors
 Formatting essays and citing sources according to the guidelines set by the Modern Language Association (MLA)
 “It says—I say” journaling of assigned text prior to discussion, along with various other journal topics and formats
 Annotation of texts during whole-group practice exams/discussions in CliffsAP English Literature and Composition
 Responding to various non-print media (i.e., films) and the development of literary elements
 Responding to literature through Critical Reading Journals (CRJs)
 Writing in various modes (narrative, descriptive, expository, and persuasive)
 Drama Project: Groups of students choose a play and read it independently. Groups then present a brief
description of the play before performing a scene that represents one of the work’s defining moments. In addition,
in a chart, students analyze a section of the play (100 lines) for subtext. They search for implicit meaning from
stage direction, diction, dramatic conventions, tone, pacing, syntax, and indirect characterization.
 Poetry Project: Students create and analyze poems of various forms.
Contact Information
To check daily assignments and weekly vocabulary lists, visit and bookmark:
http://moodle.munster.us
To communicate with me personally, please visit room N130. You may make an appointment or try your luck.
Otherwise, please email me at tldaugherty@munster.us. Students who wish to Facebook me may do so. However,
be aware that as a teacher, I am required by law to report any questionable or illegal activity. Use sound judgment in
this decision! 
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