A.P. 12: English Literature and Composition
May, 2012
There is no frigate like a book
To take us lands away,
Nor any coursers like a page
Of prancing poetry.
This traverse may the poorest take
Without oppress of toll;
How frugal is the chariot
That bears a human soul!
-Emily Dickinson
Course Description:
Advanced Placement English Literature and Composition is a challenging, year-long, collegelevel course in the careful reading and critical analysis of literature. Through the close reading of
selected texts from various genres and periods, students will deepen their understanding of the
ways writers use language to provide both meaning and pleasure for their readers. Each literary
work is carefully analyzed, usually in a seminar approach, and often with the students leading the
discussion. Students write frequent analytical and creative pieces ranging from paragraphs to
timed essays to longer essays. This course is designed to comply with the curricular
requirements described in the A.P. English Course Description.
Major Texts:
Alighieri, Dante. Inferno. Approx. 1314
Bronte, Charlotte. Jane Eyre. 1847.
Camus, Albert. The Stranger. 1942.
Chopin, Kate. The Awakening. 1899.
Conrad, Joseph. Heart of Darkness. 1899
Dostoevsky, Fyodor. Crime and Punishment. 1866.
Ellison, Ralph. Invisible Man. 1946.
Hurston, Zora Neale. Their Eyes Were Watching God. 1937.
Irving, John. A Prayer for Owen Meany. 1989
Morrison, Toni. Love. 2003
O’Neill, Eugene. Long Day’s Journey Into Night. 1941.
Roberts, Edgar V. Writing About Literature.
Shakespeare, William. Othello. 1603
Sophocles. Oedipus and Antigone. Approx. 400 B.C.
Stevenson, Robert Louis. Jekyll and Hyde. 1886.
Warren, Robert Penn. All the King’s Men. 1946.
Williams, Tennessee. A Streetcar Named Desire. 1947.
and a range of poetry and articles.
Writing:
This class strives to help students master the process of writing, both analytically and personally.
The major assessment for each unit will always be writing based. Drafts will always be expected
in class in some form (outline through complete draft) for feedback and editing before the final
draft is due to help students develop a system when writing. When handing in an essay, evidence
of pre-writing and drafting are considered as part of the final assessment.
A.P. 12: English Literature and Composition
May, 2012
Students will always get feedback on their writing from instructor in both formal (use of rubrics,
examples of which are included as appendices, with space for specific comments on targeted
assessment areas) and informal ways. All feedback will address elements of writing, such as:
 Indication of most effective sentence(s).
 Usage and skill of detailed textual evidence, strong vocabulary, varied sentence structure,
flow and voice
 Questions about inconsistencies in argument, organization, voice, tone, word choice, etc.
 Response to specific feedback question student wrote on essay prior to submitting it
Students will also complete timed essays in class, as well as other, more informal, writing during
time in the classroom. Due dates for all work are available on the class website, as well as any
supplemental information.
Class discussion:
The nature of the A.P. class is to have focused and meaningful discussion of the literature.
Participation on a daily basis is expected. Typically once a term, students will lead a Socraticstyle discussion and be assessed on their preparation and management of the class (example
rubric in the appendix). Students will also be expected to complete in-class or home assignments
designed to help focus thinking and allow students ample opportunity to contribute to
conversation. Reading schedules and due dates will always be posted on the class website.
Grading:
Students will be assigned points for assignments. The total number of points achieved will
provide the grade for the term; no assignments are weighted. Students can regularly check the
on-line student grade portal for grade updates. All grade assignments will be made based on
student performance through the use of rubrics, in keeping with the grading expectations
published in the student handbook.
2
A.P. 12: English Literature and Composition
May, 2012
Unit: Summer Reading "Boot Camp" (September)
Students present their summer reading work, discuss summer reading books, and hone their
literary analysis skills by writing six essays, each on a different aspect of Jane Eyre.
Summer Assignments:
Jane Eyre by Charlotte Bronte
You will be spending a lot of time with Jane. Take careful notes to help you write six essays
through September; this process is affectionately called “boot camp”. Notes on the novel should
focus on conflict, theme, setting, character, point of view, and symbolism. Also note significant
quotations. Cite page numbers for easy reference.
Heart of Darkness by Joseph Conrad
Students will take notes and write an essay discussing the function of the two contrasting settings
(approximately 750 words or two typed, double-spaced pages). Analysis should provide a clear
focus on the purpose of the settings in the narrative development of the novel. This essay is due
on the first day of class.
Love by Toni Morrison
Choose one of the main characters who interest you the most and write a two page (typed,
double-spaced) character analysis, using textual support. This character analysis will be handed
in on the first day of class.
A Prayer for Owen Meany by John Irving
Take notes on the novel, specifically focusing the ideas of social justice, faith, and fate. You will
also complete an analytical essay, selecting from two former AP prompts. The essay is due on
the first day of class.
Unit Assignments (September):
Read appropriate chapters and corresponding texts* in Writing About Literature by Edgar V.
Roberts. Write six Jane Eyre essays following each Roberts’ chapter: character, setting, plot and
structure, symbolism, theme, and close reading. Prior to turning in each essay:
1. Underline your thesis (Double underline the central idea)
2. # your evidence (examples/quotations) within each body paragraph
3. *(put a star) where you address “so what?” and broaden the discussion.
4. Write a specific question you would ask me about this essay if you came for a writing
conference (feedback you would like on it).
Supplemental Material: “Shouters” by Steve Martin (The New Yorker 11 September 2000)
“The Love Song of J. Alfred Prufrock” by T.S. Eliot
*“The Necklace” by Guy de Maupassant
*“Trifles” by Glaspell
*“The Cask of Amontillado” by Poe
*“The Three Strangers” by Hardy
*“An Occurrence at Owl Creek Bridge” by Bierce
*“The Bear” by Chekhov
3
A.P. 12: English Literature and Composition
May, 2012
Unit: The Darkness Within
Students will explore the darkness of Man’s heart, and the choices he makes, though class
discussions of the literature which will cover several texts. Students will also continue their work
on developing strong analytical writing skills.
Part I: Heart of Darkness by Joseph Conrad (two weeks)
Students will read the novel as part of their summer reading, taking notes and then writing a
short analytical essay for the opening of school. Classwork will seek to place the novel in a
historical and cultural context, as well as establish an understanding of the potential of human
beings and the effect of time and place on an individual’s actions. Work on this novel will set the
groundwork for the class in terms of discussion norms, class activities and involvement, and
assessment of work. At the end of the text, students will complete a 40-minute timed essay
(rubric attached in appendix).
Supplemental Material:
“The Hollow Men” by T.S. Eliot
“An Image of Africa: Racism in Conrad’s Heart of Darkness” by
Chinua Achebe
Part II: Jekyll and Hyde by Robert Louis Stevenson (one week)
In this short unit students read the entire novel, taking notes based on the reading guide (see
appendix). Once the students have read the novel, it will be discussed, with some students taking
on the formal role of discussion leaders (rubric is in appendix). Students will make connections
to the poems listed below. The focus of the discussions will be a continuation of some of the
concepts from Heart of Darkness, including seeking to understand the darker capabilities of a
person. The students will write a timed essay on the novel at the end of the unit as a final
assessment.
Supplemental Material:
“Mirror” by Sylvia Plath
“My Shadow” by R.L. Stevenson.
Part III: Othello by William Shakespeare (two weeks)
Students will explore the many elements of darkness while reading Othello. Students will journal
daily (see sample journal page in appendix) as a way to prepare for formal, student-led
discussions and theatrical presentations of key scenes in the play. Students will be not only
analyzing the play as a complex work of literature, but also as a piece of performance art by
comparing film interpretations and making their own artistic choices. Student logs will be
collected as part of assessment, as well as students completing a formal, multi-paragraph essay.
Supplemental Material:
Othello dir. Wilson Milam, 2008
Othello dir. Oliver Parker, 1995
Othello, dir. Stuart Burge, 1965
Part IV: Long Day’s Journey into Night by Eugene O’Neill (one week)
Students will continue their exploration of human suffering through reading and analyzing the
play. While reading, students will create character portraits through words to illustrate the
sufferings for the characters in the play. Students will also highlight specific scenes which are
instrumental to understanding the characters and their interactions and relationships with each
other. Students will also view selected scenes of the play and do a text to film comparison as a
final assessment.
Supplemental Material:
Long Day’s Journey into Night, dir. Sydney Lumet, 1962
4
A.P. 12: English Literature and Composition
May, 2012
Long Day’s Journey into Night, dir. Michael Blakemore, 1973
Unit: The Voice of Women
Students will explore the female perspective as created by both women and men, while
continuing their analytical work in writing and class discussion.
Part I: A Streetcar Named Desire by Tennessee Williams (one week)
Students will start the unit by referring back to the summer reading texts Love and Jane Eyre,
texts which have strong female voices created by female authors. Students will use their summer
reading work to guide their thinking as they begin to define qualities of a female voice and
perception. Students will read the play, answering specific guided reading questions (see
appendix) to prepare for class work. Class discussion will focus on the representation of genders
in specific scenes, which will be analyzed both on the page and on the screen.
Supplemental Material:
A Streetcar Named Desire, dir. Elia Kazan (1993 extended
director’s edition)
“A Rose for Emily” by Faulkner
Part II: Their Eyes Were Watching God by Zora Neale Hurston (two weeks)
Students will begin the unit by listening to Ruby Dee read the opening of the novel, after which
students will document their reading experience in a journal. As part of the journal students will
track recurring images and write analytical paragraphs. These paragraphs will be used to guide
class discussion (students will be given specific images as a focus for a formal, Socratic-style
discussion) and as a way to track developing ideas; they will also serve as a pre-writing exercise
for the final analytical essay.
Supplemental Material:
“I am Not Tragically Colored” by Zora Neale Hurston
“Georgia Dusk” by Jean Toomer
“Douglass” by Paul Laurence Dunbar
Article on Zora Neale Hurston by Alice Walker published in Ms.
Magazine 1976
Part III: The Awakening by Kate Chopin (one week)
Continuing their work thinking about women as both authors and protagonists, students will read
the novel labeled “poison” by critics when published. Students will frame their class discussions
around the public reaction to this novel over time, seeking to find some understanding to the
changing perception of this text. Students will write a persuasive essay at the end of the unit,
seeking to justify or redefine the social perception of this novel.
Supplemental Material:
“The Storm” by Kate Chopin
“The Story of an Hour” by Kate Chopin
Unit: Justice and Redemption
Students will explore the ideas of transgression, seeking and finding justice, and the journey or
redemption through a series of texts. Students will be asked to understand how different authors
arrive at definitions for these ideas, as well as seeking to clarify their own personal views on the
concepts.
Part I: Inferno by Dante (two weeks)
5
A.P. 12: English Literature and Composition
May, 2012
Students will begin the unit examining what it means to sin or transgress. While reading the
cantos, students will be taking notes on the crimes, punishments, and the logic behind these
punishments (see template in appendix), which will be used in class to determine how Dante
defines punishment and justice. Students will be responsible for explaining the sin and logic
behind the suffering for specific cantos, and will be assessed at the end of the unit through
creating their own circles of justice (assignment is in appendix).
Part II: Oedipus and Antigone by Sophocles (one week)
Going back to the foundations of Western literature and civilization will enrich the students’
understanding and discussion of the ideas of divine justice and involvement. Students will read
the two plays, answering focused questions to further discussion, especially to pick up on
continuing ideas and concepts between the two plays. At the end of the plays, the students will
complete a timed essay in class.
Part III: All the King’s Men by Robert Penn Warren (four weeks)
The focus of the novel is for students to lead Socratic discussions of the chapters, exploring the
language, allusions, vocabulary, and themes. Students write nightly “3-2-1 notes” as preparation
for class (organizing guide in appendix). Students will also complete two timed in-class writing
assignments tailored to fit the specific Socratic topics for each class (to be graded with in-class
rubric). As a final assignment, students will complete a multi-paragraph, analytical essay.
Supplemental Material:
“Kubla Khan” by Samuel Taylor Coleridge
“A Patient Spider” by Walt Whitman
Unit: The Search for Meaning
Students will take on the idea of Existentialism, beginning with texts written before the term was
created. The literature addresses the great human question of seeking and defining meaning in
life and students will compare and contrast how different authors arrive at an answer, or lack of
one.
Part I: Crime and Punishment by Fyodor Dostoevsky (five weeks)
To begin the unit, students will briefly revisit A Prayer for Own Meany from their summer
reading to reintroduce the journey for meaning. To give cultural and historical background to the
novel, the class will watch the film “Anna Karenina” as they are starting Crime and Punishment.
Students lead discussions on this challenging novel. Each student keeps notes on each reading
assignment to use in class discussions (a clear delineation of assignments for each section is in
the appendix) and for the final analytical essay.
Supplemental Material:
Anna Karenina, dir. Bernard Rose, 1997
“Notes From the Underground” by Feodore Dostoevsky
Part II: The Stranger by Albert Camus (two weeks)
Students will read the novel, taking guided notes (see appendix). Class work and discussion will
focus on students collaboratively presenting their work and thoughts on the character pairings, as
well as fleshing out theoretical elements in the novel. As a final assessment, students will write a
short analytical essay using the novel to define either existentialism, absurdism, or naturalism.
Supplemental materials:
excerpts from The Myth of Sisyphus by Albert Camus
Part III: Invisible Man by Ralph Ellison (three weeks)
6
A.P. 12: English Literature and Composition
May, 2012
In reading the novel, students will begin an existential journey where race plays a significant
role. While reading, students will take structured 3-2-1 notes (see appendix for exact assignment)
and will have the role of formal discussion leader on an assigned chapter. As a final assessment,
students will select a former AP prompt which best suits their area of interest in the novel, and
construct an essay around this prompt.
Unit: Appreciating Poetry (two weeks)
After analyzing several poems as a class and reading poetry which is connected to the literature
in some way, students will make presentations comparing the works of a contemporary poet and
an established poet of their choosing. This assignment allows students to apply the skills they
have been developing all year in focused poetry analysis. Complete assignment below:
Samples of Poems analyzed as a class:
 "Whoso List To Hunt" by Sir Thomas Wyatt (1503-1542)
 “My Last Duchess” by Robert Browning (1842)
 Other selections from Understanding Poetry
 Essay practice from previous A.P. exams, such as for “Evening Hawk” by Robert Penn
Warren
 Multiple choice samples from previous A.P. exams
The Poetry Connection
After finishing the major literary units for the year, we will be connecting new poets and established poets
in a series of presentations which you will make to the class. You may work alone or with a partner of
your choice.
1. Choose a living (or recently deceased) poet (no duplicates in the class, get choice approved
by me, please) and read at least one book by that poet. The goal is to find a poet who is
contemporary and about whom the critics haven’t written a great deal. Some suggestions are
listed at the end of this handout.
2. Write an essay focusing on the contemporary poet and his/her poetry that includes
a. Analysis of 2-4 poems by the poet (see list of questions to consider)
b. The connection you made with the poetry
c. Hallmarks of the poet’s style
d. Copies of the poems you analyze
[Due the day prior to your presentation]
3. From the book(s) of poetry by your contemporary poet, select a poem which you feel can be
thematically or structurally connected with a poem by a more established poet. Poetry
anthologies are a good resource. Copies of Understanding Poetry are available for your reference.
4. Create a handout with the two poems you are comparing (one by a newer poet and the other
by a well-known poet). Distribute the handout a minimum of a day before your presentation.
(If you would like for me to make copies, I must have the master copy a minimum of 24
hours prior to the class when it will be distributed.)
5. Prepare a presentation (approximately 30 minutes):
a. Introduce the two poets and their poetry
*Focus (brief) biographical information on what influenced the poets’ writing
*You may use PowerPoint or other visuals if they enhance your presentation
b. Lead a discussion of the specific poems (include the connection you made between them)
7
A.P. 12: English Literature and Composition
May, 2012
6. As participants in the class, keep copies of all the poems distributed during the presentations.
They will be helpful as practice for the AP exam.
Some contemporary poets to consider: Any poets featured in The New Yorker or Atlantic Monthly
Margaret Atwood
Allen Ginsberg
Rodney Jones
Donald Hall
Sonia Sanchez
Michael Blumenthal
Raymond Carver
Ruth Daison
Richard Wilbur
Peter Davison
Louise Gluck
Jane Kenyon
Sharon Olds
Ellen Bryant Voight
Li Young Li
Adrienne Rich
Baraka
Robert Pinsky
8
Stephen Dunn
Rachel Hadas The Empty Bed
Galway Kinnell Imperfect Thirst
Leland Kinsey Family Drives
Kevin Young
Mary Oliver
Philip Levine
Maya Angelou
etc., etc.
A.P. 12: English Literature and Composition
May, 2012
Appendix
9
A.P. 12: English Literature and Composition
May, 2012
Sample timed essay rubric:
A
9
8
“Persuasive,” “perceptive” analysis
“apt and specific” textual evidence
Compelling connections between literary devices and interpretation
“clear and sophisticated” writing
B
7
6
“competent” essays
“reasonable analysis” of literary elements
“less thorough”
“less convincing” clear writing
C
5
D
4
3
F
2
1
“plausible reading”
Analysis may be superficial, vague, not grounded in textual evidence
Heavy reliance on paraphrase/plot summary
Possible minor misinterpretations
Writing may have errors
inadequate analysis: “partial, unconvincing or irrelevant”
limited evidence
paraphrase/plot summary instead of analysis
“inadequate development of ideas”
errors in conventions
Essay accomplishes few or none of the goals of the assignment
Descriptors in quotations are from actual A.P. exam scoring guidelines.
10
A.P. 12: English Literature and Composition
May, 2012
Sample rubric for analytical essay:
I.
Establishing importance of plot and/or structure
- Student clearly establishes element(s) of plot/structure as focus
- Student links element(s) of plot/structure to thesis of essay
Comments:
/5
II.
Creation of argument
- Student has created a clear thesis statement (central idea, topics of evidence)
- Student has supported thesis statement through essay in analytical writing
- Student has used the text and other research to support argument
- Student has effectively concluded argument
Comments:
/5
III.
Organization of essay
- Student has clear paragraphing
- Structure of essay follows thesis statement
- Student has ensured essay clear and forceful
Comments:
/5
IV.
Fluidity
- Student had edited the essay for clarity of sentences, vocabulary
- Student has varied the language, sentence structure
Comments:
/5
V.
Mechanics
- Student has addressed any grammar, spelling issues
- Student has edited for word selection, usage
- Student has used all appropriate citations for page numbers (MLA)
Comments:
/5
Total points for essay:
/25
11
A.P. 12: English Literature and Composition
May, 2012
Discussion Leader example rubric:
Preparation
5 – Clear, effective plan: questions, page numbers and allusions ready, well-chosen goal(s)
4 – Clear plan: questions, page numbers and allusions ready, goal (key points) targeted
3 – Rough plan: some questions, page numbers and allusions ready, goal may be less clear
2 – No clear plan
0 – No plan, no allusions, no questions, no notes - help!
Quality of the discussion questions: do they foster a rich text-based discussion?
5 – Insightful, analytical questions frame the discussion and encourage textual references;
effective follow-up questions deepen discussion,
facilitator demonstrates agility by reframing and rephrasing questions as needed.
4 – Analytical questions drive the discussion and encourage textual references
facilitator asks follow-up questions to deepen the discussion
facilitator avoids asking leading questions and rephrases questions as needed
3 – Facilitator primarily asks questions, but they may be leading or primarily plot-based
facilitator asks few follow up questions
2 – Few questions and or plot-based questions; few or no follow up questions
0 – No prepared questions or quotations
Focus of discussion
5 – Insightful, not forced, targeting of core issues and connections in the chapter.
4 – Discussion addresses core issues and connections in the chapter
3 – Some core issues and connections discussed
2 – Few of the core issues and connections discussed; discussion does not identify key points of chapter
0 – All tangents, no core issues discussed
Engagement of the class
5 – Facilitator inspires a naturally flowing energized discussion that draws on all voices
4 – Facilitator encourages a flowing, active discussion that draws on all or almost all voices
3 – A good portion of the class participates in a discussion though it may lack flow and energy
2 – Discussion lacks flow and energy; many students do not participate and may feel uncomfortable
0 – Class members fall asleep and/ or the facilitator tries to strong-arm people into participating
Allusions
5 – All allusions identified, clearly, thoroughly and concisely explained, and connected to the novel
4 – All major allusions identified, clearly explained and connected to the novel
3 – Some major allusions identified and explained
2 – Many allusions not identified or explained and/or poor explanations
0 – Allusions??? No research done
N/A – not applicable because no allusions in chapter
Total: /25
12
A.P. 12: English Literature and Composition
May, 2012
Sample reading questions for Dr. Jekyll and Mr. Hyde:
Reading Guide for Dr. Jekyll and Mr. Hyde
Pre-reading questions:
During what era was the novel written?
What were the prevailing values of the time? How might they influence the authors of
the time?
What are doppelgängers? (Cite your source)
As you read…
Take notes on the characters Jekyll and Hyde paying specific attention to:
Physical appearance
Manner of speaking
Significant actions
Reactions of others
Be prepared to compare Jekyll and Hyde. (A chart might be useful for these notes.)
Consider point of view as you read: through whose eyes do we see the story?
How does Stevenson’s choice of point-of-view/character serve his purpose?
How would you describe Stevenson’s writing style? Note examples to support ideas.
Have you heard allusions to Dr. Jekyll and Mr. Hyde before? In what context?
13
A.P. 12: English Literature and Composition
May, 2012
Sample log assignment for Othello:
Othello Log
A log is a record of a journey.
As we read, act, etc. Shakespeare’s play Othello, keep a log of your journey through the play.
For every assigned reading, write a log entry even if there is an additional assignment.
Vary your entries. Make up your own category if the suggestions below don’t fit your thinking.
Keep all logs contained in a folder, spiral notebook or journal.
Design a fitting cover before we finish the play. Be creative.
Be prepared to turn in your log at any time for periodic checks.
Clearly label each entry with:
a) the act and scenes covered b) log choices (from list below) c) date you are writing
Log Options
For each reading do a minimum of three of the following:
a. Summarize the action of the scene
b. Comment in one thorough sentence on what you think is the significance of the scene.
What would the play be like without it?
c. Ask questions about the scene(s). Has anything caused confusion?* Ask one of the
characters in the scene a question – or ask a question for the class to pursue*.
d. Quote lines from the scene(s) you enjoyed and comment on them.
e. Describe your reaction to a character, action or idea you confronted in the scene(s).
f. Talk about the relationships between characters, quoting specific words or phrases to give
evidence for your opinion.
g. Retell a portion of the story from the perspective of another character. (Be sure to indicate
which scene and whose perspective.)
h. Pretend you are an actor playing one of the characters in a scene. Get inside that character’s
mind. Tell how the character feels about him/herself, about other characters, about the
situation of the scene. What is motivating that character?
i. Capture whatever thoughts you have about the scene(s) even if they do not fit one of these
prompts.
14
A.P. 12: English Literature and Composition
May, 2012
Sample note taking guides for literature units:
Long Day’s Journey Into Night Guided Note Taking:
As you read the play, please take notes (with page numbers) on the following motifs:
fog
home
religion (Catholicism)
clash of “old world” versus “new world” values
Please also take notes (with page numbers) on each character’s story:
James Tyrone
Mary Tyrone
Jamie
Edmund
A Streetcar Named Desire Guided Note Taking:
Read the introduction and the play, both by Tennessee Williams. (The introduction does not
reveal anything specific about the play, so you may read it before or after.) Based on the play,
please answer the following questions, citing page numbers.
1.) How is the tone of the relationship between Stella and Stanley set at the opening of the
play?
2.) What opposing forces do you find in the play (such as light  dark)?
3.) Are there antagonists and protagonists in this play? Who? Explain.
4.) The play makes several references to old streetcars of New Orleans and places found in
literature. Explain the allusions and their significance in the play:
a. Desire, Cemetaria (streetcars)
b. Elysian Fields
c. “the ghoul-haunted woodland of Weir.”
5.) Which scene would you like to see performed? Why?
6.) Are there any connections you can make to other works we have read?
15
A.P. 12: English Literature and Composition
May, 2012
Sample journaling assignment:
Their Eyes Were Watching God Journal Assignment
One of the best ways to improve your writing is to improve your reading: move beyond plot to
follow images, symbols, metaphors. Zora Neale Hurston’s beautifully written novel Their Eyes
Were Watching God gives us an excellent opportunity to become richer, deeper readers and
writers.
As you read the novel, please keep a reading journal. Create a journal entry for each reading
assignment (total pages assigned that night, not for each chapter). See the reading schedule on
the back of this page. Each journal entry should be comprised of two pages that include:
Their Eyes Were Watching God Journal
Chapters ______ to ______
Date
Your Name
Images:
One word followed by a list of page numbers
where you find the image. For example:
sun: 1, 5, 20
Symbols:
Symbols come from images, are continually
used, and take on symbolic meaning. You may
not find any early on in your reading.
Quotations:
Choose quotations you feel are crucial to
developing the setting, plot, characters,
themes, symbolism, etc. You may also choose
quotations purely for the beauty of their
language. CITE PAGE NUMBERS FOR ALL
QUOTATIONS.
Reader Response:
Write about any connections you can make
with the reading, your life, other literature,
film, art, history, etc.
and/or
How did you feel about what you read?
Analytical paragraph:
Reflect on the first page of your journal.
 How do the images, symbols, quotations,
plot, etc. interact?
 What is interesting to analyze? How can
you engage with the text?
Make an analytical statement and support it
with evidence from the text in a well-written
paragraph.
Notes:
Questions you have as you read.
Key events in the chapter to jog your memory.
etc.
 For notes, use bullet point format.
 Note page numbers.
16
A.P. 12: English Literature and Composition
May, 2012
Example note taking chart for Inferno:
Inferno: Logic chart
Canto
Circle
number
number
1
Crime
Punishment
2
3
4
5
6
7
Part I
Part II
Part III
8
Part I
Part II
Part III
Part IV
Part V
Part VI
17
Logic behind
punishment
A.P. 12: English Literature and Composition
May, 2012
Part VII
Part VIII
Part IX
Part X
9
Part I
Part II
Part III
Part IV
Final assignment for Inferno:
Reading Dante, you travel through Hell as Virgil lead Dante the Pilgrim through the circles, and
Dante the author makes clear his thoughts on sin as it pertains to his life in Florence. You are
going to take us on your own journey.
As a final assignment, you will create your own Inferno. This will have two parts; you
will write a paper detailing your circles and will make one of the circles visual. While Dante
created a world with nine main circles, you will create only three. They can be connected, but do
not have to be. Your paper should have an introduction to clarify your structure and a guide. The
body of the paper should clarify where the part of Hell exists and what it looks/feels/sounds like;
who is suffering there; why these specific individuals are there; and connect their suffering to
their actions in life. Your souls assigned to Hell can be anyone
(historical/personal/living/dead/fictional, etc.), but please do not be libelous or overly offensive
to those still alive, especially those in the building!
For the visual component, I would like you to illustrate one of your three sections. This
can be done in any way; you can create a painting, poster, sculpture, photograph, map, diorama,
or drawing. You just need to clearly depict the content of your paper for one of the circles.
Your project will be assessed on the order, clarity, and structure of your writing. You
must also have three circles or areas of Hell which are clearly defined and populated. Your visual
must reflect time and effort, and clearly illustrate one of the parts from your paper.
I, as always, am available for conferences if you are having trouble.
18
A.P. 12: English Literature and Composition
May, 2012
Example guided note taking:
All the King’s Men: 3-2-1 Notes
A. Give each chapter a title
B. Complete a 3-2-1 for each chapter as follows:
THREE 3 Quotations each with a bullet point explanation of why you chose it
TWO
2 Questions (clarifying and/or discussion questions)
ONE
1 Connection (a specific connection with another part of the book, another book,
the real world, etc.)
Note: Your 3-2-1s may be collected at any time.
All the King’s Men Discussion Leaders
When you facilitate the discussion, you are the expert on your assigned chapter.
o You are responsible for orchestrating an engaging and insightful class discussion.
o Think “Socratically.”
o Analyze the chapter, determine what is most crucial, and plan how you will guide the
class to focused insights. Also, be prepared to facilitate clarification of difficult sections
of the text including allusions.
o Involve everyone in the discussion.
o There is not one right way to approach this. You are welcome to be creative.
19
A.P. 12: English Literature and Composition
May, 2012
Sample note taking and unit writing assignments:
Crime and Punishment Part I Writing Assignment
 Choose one character and one setting from Part I of the novel and write a paragraph
analysis of each (so, two paragraphs total).
 Open each paragraph with a statement to be proven about the topic and support it with
textual evidence.
 For the character you choose, incorporate information from the “Cast of Characters”
handout as well as your reading notes.
Crime and Punishment Assignment for Parts II, III, IV, V and VI:
For each assigned reading (see schedule):
A.
B.
C.
Title the chapters.
As you read, note for textual examples of the following concepts:
 suffering
 sacrifice
 crime (definitions, justifications)
 confession
 redemption/resurrection
Choose an aspect of the reading you think is most crucial to that particular section
(theme, plot, characterization, style, setting, imagery, symbolism, point of view, motif…)
Write a one sentence (analytical) statement about it (a thesis statement).
Provide 2 - 4 pieces of evidence (quotations/examples) to support your point.
Vary the topics, so you use each one at least once during the novel.
Keep potential essay topics in mind!
Crime and Punishment Discussion Leaders
 Complete the regular assignment for your chapters.
 Be the expert on your chapters (including explaining allusions, if applicable).
 Choose a passage for close reading. Make a handout (1 page preferably) with the passage
and 3-5 close reading questions for the passage. Bring enough copies for the class.
 (You can cut and paste the passage from an on-line version of the text:
http://www.bibliomania.com/0/0/235/1029/frameset.html or search
www.bibliomania.com for Crime and Punishment)
 Prepare probing discussion questions to guide the class through the reading (use
assignment above to guide your choices)
20
A.P. 12: English Literature and Composition
May, 2012
Sample guided note taking for units of study:
The Stranger: A work in pairs
A. Create a complete list of characters
B. For each character do the following:
a. Find a least one “match” for the character
b. Explain your justification for the pair
c. Provide at least one pair of textual quotes which supports your connection
between the characters
C. Make sure all characters are included in your analysis
D. What do you notice about the pairs you have made? What does this reveal about the
novel?
Invisible Man: 3-2-1 Notes
A. Give each chapter a title
B. Complete a 3-2-1 for each chapter as follows:
THREE 3 Quotations with a bullet point for each briefly explaining why you chose it
TWO
2 Questions (clarifying and/or discussion questions)
ONE
1 analytical statement (which could serve as a thesis for an essay or the topic
sentence of a paragraph. It should be debatable (not mere plot summary!) and
supportable with the text)
Invisible Man Discussion Leaders
When you facilitate the discussion, you are the expert on your assigned chapter.
 You are responsible for orchestrating an engaging and insightful class discussion.
 Think “Socratically” (drive the discussion with questions)
 Analyze the chapters, determine what is most crucial, and plan how you will guide the class
to meaningful insights. Also, be prepared to facilitate clarification of difficult sections of the
text including allusions.
 Involve everyone in the discussion.
 There is not one right way to approach this. You are welcome to be creative.
21