Welcome to:
AP LITERATURE AND COMPOSITION
Mrs. Heather Floros
Email: heather.floros@hcps.org
Class Philosophy:
We are all teachers and students. Each one of us has a unique voice and perspective to enhance our class’s discovery
of the world within worlds that literature has to offer. We will learn from each other and share our thoughts, ideas,
and observations with one another; we will function as a community of learners.
Course Overview:
The AP English Literature and Composition course is designed to mirror what students do in English courses in
college: namely, read great works of literature that are open to multiple interpretations and then discuss them in
intellectually stimulating seminars. Also like college English courses, this particular class requires students to
formalize their ideas about literature by writing in a variety of ways: through reader responses that capture initial
thoughts and visceral reactions upon reading a text, through persuasive essays that argue personal analysis of a text
with a great deal of textual support (specifically, quotations), and through timed in-class essays that require students to
either analyze a cold reading for elements such as style, figurative language, tone, and social commentary or require
students to read a new piece in the same vein as a studied author, time period, or style and analyze that new piece’s
techniques.
Overall, there will be lots and lots of reading, lots and lots of heated debate with students feverishly returning to texts
in order to find specific support, and lots and lots of writing that is everything from creative to critical. All of the
reading will be done outside of class so that the precious time allotted to our meetings can be used for discussions and
activities that will spark more ideas. By the end of the course, students will be able to:
1.
2.
3.
4.
understand the way that writers use language to provide meaning
consider a work’s structure, style, and themes
consider the use of figurative language, imagery, symbolism, and tone
study representative works from various genres and periods (mainly from the sixteenth to the twentieth
century) but know a few works extremely well
5. consider the social, historical, and biographical values a work reflects and embodies
6. write focusing on critical analysis of literature including expository, analytical, and argumentative essays as well
as creative writing that embodies an author’s intent
7. become aware through speaking, listening, reading, and writing of the resources of language: connotation,
metaphor, irony, syntax, and tone
Reading Assignments:
The most important requirement is that students come to class prepared with the reading of the day. Whether that
reading was a novel assigned three weeks ago, or a poem assigned the night before, for this class to have the discussion
base it needs, students must come prepared with the reading. Reading does not mean seeing the words. Rather,
reading means actively constructing meaning from the text, so students must read with care and with thought. We
will begin the year by studying various approaches of literary criticism such as deconstructionist, formalist, feminist,
and mythological. Keep them in mind as we try to cull meaning from ambiguous texts.
Writing Assignments:
Students will write a number of creative assignments as well as four, full-process, critical essays. In addition,
informal, response writing (reading rehearsals) will be due bi-weekly. Creative writing will allow the students to choose
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a format such as a sonnet, a narrative poem, a free verse poem, an imitation poem, a journal, etc. Reading rehearsals
provide students an open, informal forum to record, explore, and develop their ideas about their reading and class
instruction. Critical essays will require students to compare a play to a poem, analyze the style of a play, analyze key
literary elements of a play, and research the historical and cultural context of a Victorian novel.
Writing Assignments: Critical
Each student will write several critical papers analyzing poetry, drama, and novels, including one that is research based.
Each paper will use specific and well-chosen textual evidence to articulate an argument about the particular text(s).
Specifically, these critical essays are based on close textual analysis of structure, style (figurative language, imagery,
symbolism, and tone), author’s purpose, and social / historical context. These critical papers must be typed,
double-spaced, and proofread, and will be approximately three to seven pages. All critical essays must include an
appropriate and unique title. One annotated bibliography will be completed as well, during the year. It is meant to
review sources for literary criticism and give students a broad understanding of critical views of a particular text.
The writing process is emphasized in this class. Each formal paper will consist of 2-3 drafts. Students are expected
to show all steps of the writing process. Plagiarized papers will receive NO CREDIT. See the handbook for
consequences for subsequent offenses.
If you are not happy with your grade on any final draft, you have the chance to revise it. ALL REVISIONS MUST BE TURNED
IN WITHIN ONE WEEK OF THE DAY YOUR PAPER WAS RETURNED.
Writing Assignments: Formative
Students will be expected to generate between 3-4 pages of writing (bi-weekly) in response to their reading.
These written responses are called Reading Rehearsals. Students will take their ideas about the reading
(both in class and independent) and develop them further into fluid, connected responses to the reading,
class instruction, author’s style, connections to other texts, reactions, their own writing, and the impact and
influence of the world around them as well as the world of the text
Writing Assignments: Creative
Students will be asked to complete a creative assignment for each major reading of the year. The responses will take
on various formats that are appropriate given the text and the author’s intent behind the text. Each creative
assignment must also include a separate explanation of how the format and the content fit the text’s style and author.
A lengthy journal will be kept in conjunction with the reading of Hamlet.
In-class Writing and Quizzes:
PRESSURE WRITINGS
At least eight in-class, timed, forty-minute essays will be completed each year. The exams are primarily AP questions
used in previous years, but may be teacher generated questions modeled on the old AP tests. These pressured
writings will be announced ahead of time. The reading they are based on, however, will not. For example, after
reading Tess of the d’Urbervilles, students will analyze either a Thomas Hardy poem or another Victorian poem but will
not know which one beforehand. All timed essays will be graded on the AP 9 point rubric. Comments will be
provided both within and following the essay.
QUIZZES:
Unannounced quizzes to check reading comprehension will be given periodically. The quizzes may contain some
recall questions but will focus mainly on analyzing passages from the reading and articulating the passage’s significance
to the entire work, as well as comparing characters to each other and author’s style to others we have read.
Vocabulary quizzes will be given on a regular basis.
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Independent Practice
As an AP course, this is a rigorous college-level course. You will be asked to practice various focus skills independently
on a consistent basis. The reading is challenging; the writing is frequent and requires an independent mind. This class
requires a commitment to completing assignments in a timely manner. Class discussions only work if we all come to
class prepared. We will cover material at a steady rate, so you will need to plan your time accordingly. If you ever
have any questions or concerns, please come talk to me. Independent practice is due when students walk in the door
for class. (See late work policy)
Absences
Absences do affect your ability to pass the class. The school absence policy applies. See your student handbook for
further details. If you are absent, YOU are responsible for finding out about any work or instruction you may have
missed. Students who have an excused absence will be allowed the same number of days absent to make up their work
for full credit. After that, the normal late work policy applies.
-Tardiness
When you are late, you get yourself off to a bad start, and you also create a disruption for the entire class. If
for some reason you are late, please come in as quietly as possible, and see a fellow classmate or me after class
for any information you may have missed.
Late Work Policy
All assignments, projects and papers should be completed and submitted on time. Scores for work turned in late will
be reduced from the total points possible by 50% once deemed late. As all assigned work is important, no assignment
will be marked down more than 50%.
Grades
You will receive a weighted grade for this course. In other words, some class requirements have a greater impact on
your final grade than others. Updated grades will be posted regularly. Your final grade will be based on the following
percentages:
Major Assessments: tests, full-process essays, reading rehearsals
Minor Assessments: timed-writes, practice tests, quizzes, practice assignments, etc.
60%
40%
Recommended Supplies
 Highlighters
 Sticky notes (An excellent annotation tool. A big must if you don’t plan on purchasing your own copies of the
texts.)
 A notebook or notebook paper (simple notebook paper may work best as the sheets can be removed and
organized more easily than with a spiral notebook)
 A binder with dividers
 A thumb/flash/usb drive (Most papers will be submitted digitally. This will be useful for transporting papers
from home to be submitted at school as email is not always reliable.)
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Instructions for Paper Submission
-To be used to submit drafts and finals of critical essays and reading rehearsals
1. Create two folders with the following names:
a. Last name_First Initial_rehearsals
b. Last name_First Initial_Essays
These folders will become “drop boxes” for your completed work. I will collect your work from these
folders, comment on them and return them to you, either in printed form or digitally (to your h drive).
2. The file names for your rehearsals/essays should be saved in the following format:
a. Lastname_FirstInitial_rehearsal_duedate = Floros_H_rehearsal_Sep13
b. Lastname_FirstInitial_essay_type_draft = Floros_H_essay_poetrycomparison_final*
*As you compose/draft, do not overwrite your previous drafts. Save each as its own file.
3. Your papers should be headed in the proper, MLA-style format.
4. Essays and rehearsals are to be submitted to these folders by 2:10 pm. on the day they are due. For example,
if you have a reading rehearsal due on September 13th. You will need to transfer the final copy of your rehearsal
to your rehearsal folder by 2:10 pm that day. Anything submitted after that time will be considered late.
*Don’t forget, the computer will show me what time it was saved to that folder.
5. Make sure that you only save the drafts that you are submitting for grades to those folders. Everything else
should be saved to other folders in your h drive (unless otherwise instructed).
6. Electronic submission accomplishes several things:
a. Saving paper! ‘Nuf said, right?
b. Giving you that college “feel.” More and more colleges are going paperless and/or adding hybrid
courses that require some type of electronic submission. It is highly probably that you will rarely turn
in a paper copy of an assignment.
c. Increasing efficiency of commentary: it is much more efficient for me to read and comment on papers
using my computer. I can type faster than I can write, and the comments that I find making on many
papers can be copied and pasted rather than written over and over again. Also, this saves you from
having to read my handwriting, which can become quite atrocious (especially after commenting on
several hundred papers)!
What all this means is that you get your writing and feedback returned much more quickly; I don’t perish
from severe carpel tunnel syndrome, and we do a little more to help the earth. Cool? Cool.
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I can
Yes.
revise? Yes, You can!
Instructions for Revision of Final Copies (After initial scoring)
You May Revise If…
You are making significant changes to content to improve the quality of
your support, ideas, and message to the audience!
You can use revisions to alter organization of content, details,
sentences, and other significant changes that will build and strengthen
your writing.
You May NOT Revise If…
You are fixing grammatical (spelling, punctuation, tense) errors,
correcting items solely in the conventions area of the rubric, fixing
APA style problems, or trying to regain late work points.
You got a 93% or above; instead, put your efforts into the current
assignment.
The First Step…
You must schedule a revision conference with me. This will take
about 10-15 minutes, and we will discuss any questions you have and
suggestions I have. *You must bring a completed revision sheet (see
next page) to the conference.
Your Revision Submission MUST Include …
1) your original document you submitted to me,
2) the graded rubric I sent to you with my comments,
3) completed revision sheet (see next page), AND
4) your newly revised document with your revisions highlighted.
These completed revision packets are due one week from the date
your original paper was returned. You must turn in revisions with all
the above pieces in order to be considered for a change in your grade.
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revision
process
Name: ________________________
Section: ___________
REVISION REFLECTION SHEET
Assignment: _________________________
Ever wonder why your instructors write on your papers before they return them to you? Ever wonder what would
happen if you read them? Well…today is your lucky day! Using this sheet, you will read the suggestions/comments
given on your paper and then think about how you can utilize them to make the next draft of your paper even better!
Fill out this sheet in full, bring it with you to your revision conference, and include it with the revised version of your
paper. Make sure you highlight the changes you made in this new copy. Remember: Revisions are for SIGNIFICANT
changes!!!
Teacher’s
Suggestion or
comment
My thoughts about it
What I’m going to do for my
next draft/What I need…
Example: What is the main
point of this paragraph?
How could you make that
point clearer for the
reader?
My main point was supposed to be
that people enjoy reading my
author’s work, because they can
relate to the characters. I can see
now that I never really say that, and
some of the things I write don’t
really relate to that point at all.
I’m going to start off my paragraph with a
topic sentence that makes my point clear,
and I’m going to take out anything that
does not relate to that point. I think I need
to use some quotes to support my point too,
but I’m not really sure where or how to add
those in. I’ll need help with that.
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Your Success is Important to Me
I would like to see 100% success for my students! I am willing to do everything I can to help you be successful and
learn a great deal. I encourage you to stay after school for academic help. The key to academic success in my class is
to do the following:
 Come to class on time everyday
 Write down all assignments and major dates in your notes or planner
 Ask questions
 Expect to be challenged
 Turn all assignments in, even if they are late (late credit is better than no credit)
 Keep up with your reading
 Keep all assignments until the end of the semester
 See me before a problem gets out of hand
 Keep an open mind and be willing and prepared to learn new things
 Be willing to do anything extra that will help you succeed (for example: come to school early for help, stay after
school for extra explanations, ask for help, get a tutor, complete extra projects, be organized, etc.)
I look forward to our semester together!
Reading and Writing Schedule
COURSE FOUNDATION
Week 1: Introduction to the Course
 Students will complete a pre-assessment
 Students receive their summer writing assignments (See description below) with scores and feedback.
Students will complete reflections on their strengths and weaknesses. Students will create personal
(quarter) goals for themselves based on the feedback and their reflections.
 Heart of Darkness--Conrad: students will use this summer text as an anchor text to practice the
discussion and seminar formats they will be engaging in for the rest of the course.
Week 2: Intro to the Course, continued
 Dr. Faustus—Marlowe: Continued modeling and practice of discussion and seminar formats
 Academic integrity review (based on pre-assessment results): strategies for incorporating and properly
documenting research, special focus on critical sources
 Practice AP test: shortened version. Debrief process and results as a class. Set personal goals based on
results and reflection.
CLOSE READING
Week 3&4
Novels:
Heart of Darkness—Conrad
Dr. Faustus—Marlowe
Short Fiction:
from The Poisonwood Bible—Kingsolver
“An Image of Africa”—Achebe
“The Birthmark”—Hawthorne
“The Secret Sharer”—Conrad
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Other:
Various critical texts on Conrad and Marlowe
Focus on:
 Close reading strategies
 Archetypes
 Ten main approaches to literary criticism: Formalist, Biographical, Psychological, Historical, Marxist, New
Historicist, Feminist, Mythological, Reader Response, and Deconstructionist
 Experience, Analysis, Extension
Writing:
 Formative: students will write a reading rehearsal processing the texts read during the unit (both in class and
independently) in connection with the various strategies and elements taught in the unit
 Critical: Response to an excerpt from The Poisonwood Bible by Barbara Kingsolver, demonstrating the
experience, analysis and extension model discussed in class
ANALYZING POETRY and FICTION
Weeks 5-10
Novels: *Novels may change based on availability of texts and pacing. At least two weeks notice will be
given in the case of any changes
Their Eyes Were Watching God—Zora Neale Hurston
The French Lieutenant’s Woman—John Fowles
Pride and Prejudice—Jane Austen
Poetry:
“To His Coy Mistress”—Andrew Marvell
“Coy Mistress”—Annie Finch
“Pathedy of Manners”—Ellen Kay
“A Work of Artifice”—Marge Piercy
Other Selections to be determined
Short Fiction:
“The Destructors”
“Miss Brill”—Katherine Mansfield
“The Rocking Horse Winner”
“Araby”—James Joyce
“Eveline”—James Joyce
“The Lesson”
“Cathedral”—Raymond Carver
“A Good Man is Hard to Find”—Flannery O’Connor
Excerpts from The Canterbury Tales—Chaucer
Focus on:
 Elements of Style: diction, figurative language/imagery, syntax, tone and mood
 Elements of Fiction: Plot/Structure, Character, Theme, Setting, Point of View, Symbol, Irony
 Elements of Poetry: rhyme, meter, form, syntax, sound
 Writing a Close Analysis Essay
 Writing a Comparison and Contrast Essay
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Writing:
 Formative: students will write reading rehearsals processing the texts read during the unit (both in class and
independently) in connection with the various strategies and elements taught in the unit
 Critical: Students will write a Close Analysis of a short story (full process)
 Creative: Students will try their hand at several poetic forms and parodies of author’s styles. Students will also
complete several creative quick-writes in response to texts in class
 Pressure: Students will complete two timed writes, one focusing on a close reading of prose passage, one
requiring the comparison of two poetry pieces
 Reflections based on writing, scores, and feedback. Revise previous goals for new quarter
ANALYZING DRAMA
Weeks 11-18
Dramas:
Oedipus Rex—Sophocles
Macbeth—Shakespeare
A Streetcar Named Desire—Tennessee Williams
No Exit—Jean-Paul Sartre
Poetry:
“Lady Lazarus”—Sylvia Plath
“Dream Song 14”—John Berryman
“Out, Out—“—Robert Frost
“Myth”—Muriel Rukeyser
“The God Who Loves You”—Carl Dennis
“Not Being Oedipus”—John Heath-Stubbs
“The Vegetable King”—James Dickey
Short Fiction:
“A Rose for Emily”—Faulkner
“Wyrd Sisters”—Terry Pratchett
Other selections to be determined
Focus on:
 Plot, character, setting, symbol as they relate to drama
 Writing an Interpretive Essay
 Writing an Essay Using Multiple texts
Writing:
 Formative: students will write reading rehearsals processing the texts read during the unit (both in class and
independently) in connection with the various strategies and elements taught in the unit
 Critical: Students will write an interpretive essay of a drama using several texts to support their theses (full
process)
 Annotated Bibliography requiring 8 different sources: two for each of the plays we will read
 Creative: Students will also complete several creative quick-writes in response to texts in class
 Pressure: Students will complete three timed writes: one focusing on a close reading of prose passage, one
requiring the comparison of two poetry pieces, and one modeled after the free response question on the AP
exam
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APPEARANCE VS. REALITY
Weeks 19-27 (Week 20 is Midterms)
Novels:
The Turn of the Screw—Henry James
Frankenstein—Mary Shelley
Brave New World—Aldous Huxley
Drama:
Othello—Shakespeare
Poetry:
Various sonnets—Shakespearean and Petrarchan
“Cinderella”—Anne Sexton
Short Fiction:
To be determined
Focus on:
 Motif—appearance masking reality, reputation, jealousy
 Connotation, diction, irony, tone, syntax
 Theme, style, structure
 Cultural context
 Literary criticism and archetypes
Writing:
 Formative: students will write reading rehearsals processing the texts read during the unit (both in class and
independently) in connection with the various strategies and elements taught in the unit
 Critical: Students will write a comparison/contrast essay using several texts to support their theses (full
process)
 Creative: Students will complete several creative quick-writes in response to texts in class
 Pressure: Students will complete two timed writes: one focusing on a close reading of prose passage, one
focusing on a question-3-type response
 Reflection on writing based on practice, full process essays, scores and both peer and instructor feedback
SOCIAL COMMENTARY
Weeks 28-35
Novels:
Like Water for Chocolate—Laura Esquivel
One Flew Over the Cuckoo’s Nest—Ken Kesey
Dramas:
Waiting for Godot—Samuel Beckett
A Doll’s House--Ibsen
The Sandbox
Poetry:
“The Unknown Citizen” and “Funeral Blues”—W. H. Auden
“The Flea”—John Donne
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Various selections by A. E. Houseman, Margaret Atwood, Marge Piercy, Willie Perdomo, Demetria, Martinez, Martin
Espada, Roque Dalton, and Joanne Monte
Short Fiction:
Selections to be determined
Focus on:
 The idea of social commentary
 The Restoration (British/Irish relations)
 Absurdist theatre
 Magical Realism
 Author’s intent, tone, humor, irony
Writing:
 Formative: reading rehearsals
 Critical: Students will complete an essay analyzing a work for theme/author’s intent (full process)
 Creative: students will try their hand at social commentary in various genres
 Pressure: students will complete two timed writes: focusing on the close reading of both prose and poetry
 Feedback reflections
Author Study
Weeks 36 & 37
Novels:
Student Choice of novel by one of the previous authors read
Poetry:
Student Choice
Short Fiction:
Student Choice
Focus on:
 Analyzing author’s style
 Recognizing common thematic threads between various genres
 Literary analysis
Writing:
 Formative: reading rehearsals
 Critical and Creative: Author Study
 Pressure: one timed-write practice
AP TEST REVIEW
Weeks 37-38
 Review of works read and discussed
 Discussion of test strategies and practices
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Texts:
Anthologies:
Adventures in English Literature, Athena Edition. Orlando, FL: Holt, Rinehart and Winston,
1996.
The Language of Literature, British Literature, Evanston, IL: McDougal Littell, 2002.
Book of Time Exercises:
Comprehension, Analysis, Style, Expression: Book of Self-Timed Exercises, ed. Conal Keogh,
Wellesley Hills, MA: Independent School Press, 1970.
Trade Books:
Thomas C. Foster – How to Read Literature Like a Professor
Christopher Marlowe – Doctor Faustus
Joseph Conrad – Heart of Darkness
Sophocles – Oedipus Rex
Ed. William McAvoy – Dramatic Tragedy
Henry James – The Turn of the Screw
Tennessee Williams – A Streetcar Named Desire
William Shakespeare – Macbeth
William Shakespeare – Othello
Ken Kesey – One Flew over the Cuckoo’s Nest
Samuel Beckett – Waiting for Godot
Laura Esquivel – Like Water for Chocolate
Jean-Paul Sartre – No Exit
Thomas Hardy – Tess of the d’Urbervilles
John Fowles – The French Lieutenant’s Woman
Tim O’Brien – The Things They Carried
Mary Shelley – Frankenstein
Books used as References:
The Bedford Introduction to Literature, ed. Michael Myers, 6th edition. Boston, MA: Bedford /
St. Martin’s, 2002.
A Writer’s Resource: A Handbook for Writing and Researching, eds. Elaine Maimon and Janice
Peritz, New York, NY: McGraw-Hill, 2003.
Barbara Kingsolver - The Poisonwood Bible
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Plagiarism and Misrepresentation
The most important part of any educational experience is academic honesty. For the most part, you control what you
learn, and your ethics, or lack thereof, can shape your academic decisions. All of your teachers understand that
cheating is possible, but you are responsible for being honest during this process. You are responsible for ensuring
that you do not plagiarize and that you do not misrepresent yourself in any way. If you are caught, the penalties are
severe. Do you really want to risk your graduation?
You have committed plagiarism when you:
 use phrases, quotes or ideas not your own;
 paraphrase (without citing) the work of another even though you may have changed the
wording or syntax;
 use facts or data, without proper citation, not considered common knowledge;
 use work that you have completed for another teacher, without approval. This is considered
academic dishonesty. (You may expand on previous research, but you must have approval
first.);
 use research that you do not include in your research findings (see research paper
guidelines). Your teacher must be able to verify all the research that you use. If
you have material in your paper that the teacher cannot verify with the material in
your research notes, he or she will assume that you have plagiarized your paper. Turning
in your research is common practice for many college classes now;
 submit a paper from an essay service or agency even if you have paid for it (these papers are
usually of low quality, so you probably didn’t get your money’s worth);
 submit a paper by another person even though she or he may have given you permission to
use it;
 pass on your work to another student in another class and/or in another school.
What constitutes misrepresentation?
 Claiming you have no previous experience or knowledge in a given area when you actually
do.
 Falsifying documents and assignments.
 Allowing other people to complete portions of your assignments.
Student name: _______________________________________________________________________________
(Print)
I have read the plagiarism and misrepresentation policy. I understand that if I am caught cheating in any way during this process, I will receive
zeroes for part or all parts of the process, thus jeopardizing my grade in this class. I also have reviewed the penalities for plagiarism and
misrepresentation in the CMW student handbook. I understand that any grade may be changed if I am found guilty of this infraction at a later
date. I give my word that I will be honest during the year regarding my work.
__________________________________________________________________________________________
Student Signature
Date
I have read the plagiarism and misrepresentation policy. I have reviewed it with my son/daughter. I have read and reviewed with
my son/daughter the penalties for plagiarism as outlined in the CMW Student Handbook, and I understand and support the
consequences if he/she is caught cheating in any way.
Parent name: _______________________________________________________________
(Print)
__________________________________________________________________________
Parent Signature
Date
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Course Expectation Agreement Sheet
STUDENT NAME:_________________________________________________________
Please sign below after reviewing the course syllabus and classroom expectations sheets:
I have read the course syllabus and understand the outcomes of this course, the grading policy, the late work policy, the required
materials, and any other expectations of this course. I will do my part to ensure my success in this class.
I also understand what is expected of me and the consequences of not meeting those expectations.
Student Signature
Date
I have read the course syllabus and understand the outcomes of this course, the grading policy, the late work policy, the required
materials, and also any other expectations of this course. I will do my part to ensure my success in this class.
I also understand what is expected of my child and the consequences of their not meeting those expectations. I will do my best to
reinforce and support the instructor and his/her expectations.
Parent Signature
Date
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