AP English Literature and Composition Course Description
This course is a college-level literature and writing intensive class offered through the
cooperation of the AP college-board designed to facilitate independent study for the
mature student of letters. A spirit of cooperation and exchange will assist students as they
evaluate and support each other’s work and ideas. Students are directed to read the
course description for English Literature and Composition located at
www.apcentral.collegeboard.com under the course description link.
The advanced student of literature and writing will bring a strong work ethic naturally
derived from a genuine interest in knowledge for its own sake, and a willingness to
engage with others in a search for multiple answers to essential questions often focused
on the human condition. Students will read and think critically as they become
wordsmiths using language with precision and sensitivity. Denotation and connotation of
words along with literal and figurative meanings of images and symbols will be stressed
throughout this course. My guiding belief is that the best approach toward a thorough
understanding of literature is to think like the writer leading to a close-text analysis of
diction, syntax, and a myriad of choices that flow to his or her pen. To illustrate a
relationship with authors, students will often imitate style through their own essay
responses and creative efforts. W. H. Auden’s claim, “Literature reflects the dominant
tendencies of an era,” illustrates a binding thread that will run throughout this course,
while E. M. Forster’s insistence to “only connect,” will influence methodology and
assessments. Therefore, units of study will often be designed around comparisons and
contrasts. Additionally, students will experience higher levels of critical thinking as they
learn to negotiate multiple and theoretical perspectives toward literature. Nothing will be
studied in isolation in an effort to offer an authentic experience with literature, art,
thinking, writing and culture.
AP English Literature and Composition
Quarter 1
Unit 1: The Journey
4 weeks
Individual assessment and goal setting
Students will assess baseline knowledge of literary terms, logical fallacies, genre
markers for literary pieces and composition, archetypes, allusions and vocabulary
to assist in the development of individual goals for this course (Pre-test).
This is a non-graded, self-assessment. Students bring various educational
experiences to the AP course, though all seniors have studied composition and
vocabulary including SAT prep. Efforts to increase knowledge and improve skills
will be encouraged via weekly notebook updates. Strategies and methodologies
may vary based on student needs.
Individual conferencing
Students will share frustrations and victories from the pretest, determine a path for
individual, documented strategies toward knowledge in these base areas.
We will identify with Billy Collins as we enjoy his poem, “Marginalia.”
Students will receive handouts on close-text reading and how to mark a book.
Each student will receive praise or questions as a direct response to thoughtprovoking, summer-reading log entries, close-text annotations and written
analysis of Barbara Kingsolver’s The Poisonwood Bible.
Students will share enthusiasms and concerns about their AP journey,
recent independent readings and The Poisonwood Bible.
Educating Rita (In-class oral reading/three days)
During individual conferences the class will enjoy an oral reading of
Willy Russell’s Educating Rita (1983) which will highlight key issues
surrounding education practices, popular literature, the classics and opinion
versus criticism. Several allusions to classics and quotes from literary giants that
will be a part of our curriculum accentuate the usefulness of Russell’s play.
Students will write response logs to each Act (Response journal).
The Poisonwood Bible (Summer reading)
Exemplary student essays will be presented on the overhead to promote
specific writing goals and lively discussion plus preparation for
a written test focused on Kingsolver’s unique style including point of view,
structure, setting, characterization and themes.
Students will read the author’s response to 11 questions on this novel,
available through written transcripts at www.kingsolver.com.
Student led panels will present defining moments for each of Kingsolver’s
six main characters. Significant scenes and dialogue will highlight motifs,
physiognomy and precision of language.
Students will write a response synthesis of 3 online reviews from Sarah Kerr,
Michiko Kakutani and Verlyn Klinkenborg (www.nytimes.com).
This sub-unit will culminate in a full group discussion and evaluation of The
Poisonwood Bible based on Kingsolver’s goals as a writer gleaned from audio
interview clips with Barbara Kingsolver and Don Swaim
(http://wiredforbooks.org/barbarakingsolver).
Quarter 1
Unit 1: The Journey (continued)
The AP English Literature and Composition Exam Introduction
Students will reread the AP English Literature course description; receive
handouts clarifying the 9 point composition scale; study sample essays against
the criteria established within a 9 point scale; and examine various, contentspecific rubrics adapted to the 9 point scale.
Students will respond to previous AP exam poetry sections including multiplechoice questions. Initially, students will read the poem and answer questions
individually; then, students will partner and agree on correct answers. Finally, the
answers will be revealed and they will discuss the results together. This will
acquaint students with the basic format, terminology, vocabulary, analysis
including reasoning and test-taking skills that are required for optimum
performance on the AP exam. These will be offered throughout the course as
pacing adjustments will allow.
Students will receive a handout on how to explicate a poem. Samples will be
viewed. Random poetry analysis questions will be discussed from previous
AP exams. Additional, specific focus on poetry elements and in depth analysis
will continue for several weeks at the start of Quarter 3.
Students will receive a handout that categorizes past AP free-response questions
according to subject matter/topics. We will scan previous AP free-response
questions and discuss essential terms within 3-4 of the prompts.
Students will be advised that AP timed essay prompts from previous
exams will be sprinkled throughout this year’s course. Initially, students will be
offered three free-response options the night prior to a 40 minute in-class essay.
Students will benefit from close-text analysis over a broader spectrum while
becoming familiar with various types of AP prompts. Eventually, of course, the
essay prompt will be presented at the time of assessment only.
Workbooks such as those offered by Princeton Review, Pearson’s, and Barron’s
will be examined and discussed. Students will be reminded that the endorsement
of a practice text will not be offered though the purchase of any specific, practice
workbook will remain optional.
Self-guided improvement! Students will be strongly urged to meet with me
casually, randomly or by appointment throughout the year to assess writing,
revision and personal goals. Students will be notified of my contact hours, phone
and email information. My role as facilitator in their educational journey will be
emphasized. This does not exclude teacher initiated conferencing as needed.
*Focus on the AP exam introduction has been withheld until this time to accentuate the
importance of taking a college-level course beyond that of the experience and possible credit
afforded by the AP examination itself.
Students will read and respond to “The Great Books, the Great Ideas, and a Lifetime of
Learning,” by Dr. Mortimer J. Adler (Response journal)
Quarter 1
Unit 2: Social context and culture
5 weeks
“Literature reflects the dominant tendencies of an era.” W.H. Auden
“Only connect.” E. M. Forester
Beowulf and John Gardner’s Grendel
Excerpts from the Kennedy, Raffel or Heaney translations will be read in class
with focus on Pagan versus Christian customs and the reoccurring epic battle
between good and evil.
Supplemental readings and handouts may include student driven responses
advocating and denouncing Joseph Campbell’s heroic myth cycle that “invades
every culture.” A small group discussion may be prompted by a teacher-led
introduction to this pattern as seen and revisited within such works as Star Wars
Matrix, and the recently popular version of the French classic, Tristan and Isolde.
Yes, it’s an age-old formula. Is it universal? Does it continue to deliver truth and
inspire? (Response Journal)
Excerpts from John Gardener’s novel, Grendel, will be read during class,
highlighting the shift in points of view and their influence on character empathy.
Students will write a 1-2 page analysis on point of view with specific focus on the
final chapter of Grendel.
How do we relate to the good vs. evil epic question? (Response Journal)
Are there basic good or basic evil parameters that are not context bound?
Related themes of conflict such as savage vs. civilized and passion vs. refinement
will preview later works.
Extended connections: Richard Wilbur’s poem, “Beowulf” and several movie
versions including Beowulf and Grendel (2005) will be suggested
Recommended research: Archetypes and epics focused on good versus evil
Vocabulary will include Anglo-Saxon roots and influence on today’s English
with a brief presentation on the identification and etymology of words
Quarter 1
Unit 2: Social context and culture (continued)
Subculture and perspective
Students will read Edith Wharton’s Ethan Frome. This novella, set at the turn of
the century, within a rural New England harsh environment where poverty
coupled with isolation and a narrow vision affects the human condition will serve
as a contrasting piece to Kate Chopin’s The Awakening, set within the same time
period, where the wealth and status of the closed-Creole culture ironically,
illustrates a similar effect.
Ethan Frome will offer a close-text examination on the impact of a framed novel
and naturalism. The paradox within the act of negation will be further explored
and discussed. Annotation will continue to be stressed and assessed.
Test: Emphasis on the framed novel, point of view and naturalism
Students will read Kate Chopin’s “Story of an Hour.” A class
discussion will focus on irony and pacing. Chopin’s techniques will be explored
that allow Mrs. Mallard’s authentic feelings to gradually emerge. An emphasis on
Chopin’s mastery of motif will be introduced and continue throughout The
Awakening.
Focused reading on imagery and diction to reveal culture clash and perspective
will open our close-text study of The Awakening. A brief analysis essay will
examine Chopin’s use of the clothing, sleep and art motifs.
A cooperative learning task will encourage students to compare and contrast
the role of environment, subculture and identity within the two novellas.
An in-class reflection essay on Chopin’s thought-provoking claim, “Perhaps,
it is better to wake up, even to suffer, than to remain a dupe to illusions all one’s
life,” will be followed by a brief debate on Edna’s final act. Students will
read from 12 different critical reviews prior to the debate; write a synthesis
of three that together reflect their own viewpoint. Six, from the remaining, will
be rejected with one paragraph responses (Response Journal).
Samples on organization of comparison/contrast essays will be evaluated.
Final assessment: Comparison and contrast essay with emphasis on the impact of
social context and setting.
Extended connections: Tillie Olsen’s “I Stand Here Ironing”
Vocabulary will include the French words from Chopin’s text.
*A final discussion of women in literature and relational tensions will conclude
this subunit and preview other female characters to be studied within this course
from Macbeth, Hamlet, Wuthering Heights and Heart of Darkness plus various
short story selections.
Notebooks will be assessed for completion of ongoing notes, documentation of
terms, vocabulary and organized, meaningful compilation of all handouts.
This is a necessary practice initially until students recognize the benefits and
continue to document, synthesize and organize on their own.
Quarter 2
Unit 1: Writing About Literature
2 weeks
Student samples from department files and original work will be used
as models for this brief unit that will assist student writing throughout the course.
Students will be offered presentations, handouts, power points and samples
focused on common concerns and best practices.
Basic conventions:
Author names
Titles-book, play, film, short stories, poetry, essays
Your own work
Thesis construction samples
Thesis types and introductions
Topic sentence-claim that needs support
-should never be a statement of fact
Quotations-integrating quotes
Eliminating or adding to quotes, ellipses and brackets
Voice
Tense-always write about literature in the present
Paragraphing-openers and transitions
Conclusions-powerful impressions
MLA guidelines
Grammar and mechanical errors common to the group will be assessed and
demonstrated following the return of each essay.
Frequent rewrites will focus on language precision and sentence structure variety
including a review of subordinate and coordinate constructions.
Vocabulary work will be ongoing, based on SAT lists and strategies, plus
student-selected, and context based as recognized within literary works.
Students will be offered one of many approaches toward writing about literature
when the topic is analytical but open.
A. Become an expert on the text. Flip back through the pages and answer
questions established through initial marginalia and annotations of the text.
Consider what interests you about this piece of writing—what seemed strange,
new, important or otherwise curious.
B. Make a list of potential topics
A pattern of imagery or events, repetition, similar scenes or events
A problem of conflict/tension or significant moments for character/plot
C. Select a topic with considerable evidence
D. Create a working thesis
E. Establish an extended list of evidence
Abstract ideas supported by concrete evidence
Consider plot, point of view, characters and setting
F. Refine your thesis to offer direction or a position
G. Select and organize your evidence into categories
H. Write your rough draft freely, using reminders of your thesis
I. Remember not to use literary jargon for its own presentation but for precision
Quarter 2
Unit 2: Classic versus Modern
3 weeks
Macbeth and Death of a Salesman
A presentation of classical tragedy as explained by Aristotle and C. Bradley and
an overview of the Great Chain of Being theory will be applied and assessed.
Students will discern the role of diction and significant action by reducing the
play to 30 minutes by careful selection of key lines, from five major characters.
Student groups will present their selections along with a rationale for the selected
quotes guided by a minimum/maximum number.
Film clips from three versions will be shown to highlight differences in art forms
and various interpretations of key scenes and characters.
A cooperative learning activity on verbal, situational and dramatic irony
will heighten student awareness of irony and its impact. Students will read,
“The Final Irony,” a humorous essay on irony from The Guardian/weekend
and write an informal reaction. (Response Journal)
Focus on Tone:
Students will benefit from several models focused on the tone of Macbeth’s
famous, “Tomorrow, tomorrow and tomorrow,” soliloquy. (Modeling)
Students will be assigned key scenes. Students will scrutinize diction, rhythm and
other techniques that allow the writer to control tone and its contribution to
meaning within their assigned scene or soliloquy.
Students will design a one-page bulleted handout/power point showcasing all
elements and techniques that affect and control the tone within their selection.
A final comment on the significance of their scene to the play as a whole will
serve as a conclusion for each handout.
Classic versus Modern Tragedy:
Arthur Miller’s Death of a Salesman will be primarily read during class,
with emphasis on oral interpretation. Clips from the 1985 film version
may supplement if needed. Students will explore similarities between
that “Scottish play” and Death of a Salesman. Students will offer written
responses following each Act (Response Journal).
Focus on tragedy and the tragic hero, and the contrasting roles of Ben and the
witches, Lady Macbeth and Linda Loman, and Macbeth and Willy Loman.
Students will read and respond to Arthur Miller’s essay, “Tragedy and the
Common Man.” Others insist that this play is not a tragedy. Students will
locate and read three refuting pieces to Miller’s proposal that his play
is a tragedy; then, write their own argumentative 2-3 page essay, with a rough
draft requirement defending or rejecting Miller’s claim. (Out of class essay)
A presentation on argumentative writing will precede this task with exemplary
student models following.
The difference between revision and editing must be recognized and illustrated.
Extended connections: A forum with previous AP students may be scheduled.
Quarter 2
Unit 3: Additional Shakespearean study
2 weeks
Independent reading will afford an opportunity to work with students on
individual, close-text analysis. Help in determining significance without reliance
on outside study guides will be the goal. Hamlet, King Lear or Othello will be
read outside of class with an annotated bibliography of 12 credible, scholarly
essays due on the drama completion date.
Subjects from critical essays must include characterization, figurative language
and sound devices, parallel lines or scenes/dualism and themes.
Students will benefit from a presentation by our media specialist concerning
media literacy and evaluation of web sites with emphasis on a discussion of
primary and secondary sources as well as evaluation of credibility. (2 days)
College-level research as required by the Quarter 3 project will be modeled.
Close-text reading/paraphrasing
Students will write a line-by-line paraphrasing of one soliloquy during class
following a presentation (Teacher-modeling).
Students will write a point-by-point paraphrasing of three additional soliloquies,
one by a character other than the main figure. Some oral readings/sharing will
further develop understanding of this skill and the benefits of paraphrasing
difficult, archaic or challenging literature. (Student models)
Students will seek to know the essential question asked by the central figure.
Students will examine religious and cultural beliefs that influenced Shakespeare
as evidenced through this play.
Socratic circles:
Students will prepare one open-ended, one world connection and two literary
analysis questions.
Sample questions and a handout will assist. Three student-led circles
will continue throughout two class sessions. Circle reflections (Response journal)
Explication of a student-selected quote (In-class writing)
Students will respond to a previous AP free-response prompt within a 40 minute
time block, most likely from 1993 and 1994. Students will create a rubric based
on the 9 point scale for their particular prompt following the paper. Student
names will be replaced with numbers and work in small groups will determine a
grade category based on the rubric. A self-assessment check list will conclude this
in-depth focus on evaluation and adaptation of the AP scoring.
Extended connections: Local theater productions will be encouraged.
Read Samuel Beckett’s Waiting for Godot or Tom Stoppard’s Rosencrantz and
Guildenstern are Dead for comparison and contrast if Hamlet is selected.
Vocabulary-Context related and student driven with notebook documentation
from each of the five acts.
*Due to limited time and many world authors and playwrights, the second
Shakespearean play will be replaced depending on the summer reading and
independent selections per school year. Similar close text emphasis will remain.
Quarter 2
Unit 4: Creative Non-fiction and Non-Fiction
2 weeks
Several definitions of non-fiction will be explored as students
create parameters of this genre to prepare for original work that
might assist with college application and scholarship essay writing.
Creative non-fiction selection authors include:
-Annie Dillard
-Amy Tan
-Rita Dove
-E.B. White
-Sandra Cisneros
-Others based on student-interest and needs
Using the above-mentioned as models, students will write
reflection essays or narratives. The following will be emphasized:
-Subjective point of view
-Imagination and memory
-Tone and diction
-Pacing
-Quotations and appropriate punctuation
Students will assess their writing in various stages of development.
This unit and the creation of original work will force students to examine the
‘how’ or technical side of good writing that is often glossed over as they rush
from the interpretation level of criticism to the evaluation of works.
Non-fiction:
Much of this subunit will be explored while students revise original work
alternating days with in-class writing.
Students will receive instruction on how to evaluate non-fiction essays.
This will assist as students conduct independent research in Quarter 3.
Students will evaluate works from many including:
-Thomas Carlyle
-Diane Ackerman
-Stephen Gould
-Oliver Sacks
-Ralph Waldo Emerson
-Lance Morrow
Literary criticism from a variety of online sources
Selections from periodicals including:
-The Guardian Weekend (UK publication)
-The Atlantic Monthly
-Poets and Writers
Quarter 2
AP and semester review:
1 week
AP exam questions from multiple choice and essay selections.
Content specific testing will include objective and short answer.
Essays will be assessed according to the 9 point scale.
Peer and teacher conferencing will follow.
Student samples from classmates will conclude this AP practice.
Reflection on first semester skills and knowledge:
-Discussion
-Course Evaluation sheet
-Recommendations for improvement of pacing and curriculum
-Response journal review
Semester and Exam review will include:
-Terminology
-Vocabulary
-Selections and genres
-Quotes
-Literary giants
Quarter 3
Unit 1: Poetry
4 weeks
“Perhaps the final thing to be learned is this: in the realm of poetry, as in the
realm of consciousness, there is no end to the possible learnings that can take
place.”
Seamus Heaney
Perrine’s Sound and Sense: An Introduction to Poetry 11th Edition will drive the
organization of this unit.
Students will read and respond (Response journal) to the following as assigned:
What is poetry? Page 2
Meaning and Idea Page 148
Tone Pages 161-162
Evaluating Poetry/Poetic Excellence Pages 273-274
Why write about literature? Pages 303-304
Independent note-taking and exercise completion will include:
Denotation and Connotation-41-44 with Exercises on 47
Imagery-56-64
Figurative Language/Simile, Metaphor, Personification,
Apostrophe and Metonymy
Pages-70-74 with Exercises on 79; Pages 80—83
Figurative Language/symbol and allegory
Pages 90-100 with Exercises on 101
Pages 102-110
Figurative Language/Paradox, Overstatement, Understatement and Irony
Pages 113-119 with Exercises on 121,
122, 125, 126,128
Allusion-Pages 136, 140, 142, 145
Meaning and Idea-Pages 149-158
Tone-Pages 163, 169,170, 171 and 174
Musical Devices 180-190
Rhythm and Meter Pages 200-213
Sounds and Meaning Pages 229, 234 and 239
Pattern Pages 244-247 with Exercises on 248; 250-258
Three announced quizzes will assess need for further models and instruction.
In-class poetry analysis may be drawn from Perrine’s Sound and Sense:
Denotation and connotation comparing title lines-Page 54
Irony of situation using a Blake poem-Page120
Irony in conveying theme-Page 134
Metaphor as dominant to theme-Page-89
Comparison and contrast of poetry-Page 305
In-class poetry analysis will include:
-Comparison and contrast of tone with focus on diction
in Tennyson’s “Crossing the Bar” and Browning’s “Prospice”
-Analysis of structure with focus on stanza and line breaks
in selections from Imagist poets and Cummings
Quarter 3
Unit 1: Poetry (continued)
Teacher-demonstrated poetry analysis will include:
“My Last Duchess” as dramatic monologue Page 132
“Ozymandias” Page 121
“Dover Beach” Page 173
Metaphysical poetry and conceits-selections from John Donne
Carpe diem poetry and “To His Coy Mistress,” page 86
“To Autumn” page 67 and “Bright Star”-Page 76
“The Hollow Men” will receive a full class analysis.
Students will read Seamus Heaney’s essay on the Power of Influence; a tribute to
T.S. Eliot, “The Hollow Men,” and other works at
http://bostonreview.net/BR14.5/heaney.html
Chapters 15 and 16 in Sound and Sense:
Evaluating Poetry-reference for lesson plans
Writing about Poetry-reference for lesson plans
Explication of poems from 341-426 may be included.
Renaissance sonnet analysis and memory work may be incorporated.
Villanelles, confessional poems or socio-political poems may also receive focus.
Students may create their own poems imitating various forms and styles
*Schedule variations will reflect student motivation and academic needs.
Poetry Project: Students will read and study one poem from
a select list of award winning poets within the past 20 years.
Poets may have earned honors from the T.S. Eliot Prize for poetry,
Nobel prize for literature, or Pulitzer prize for poetry.
Students will create a one-page bulleted handout to share:
-Background/inspiration of the poem
-Author purpose/intent
-Significance of Title
-Speaker
-Diction and tone/Language-Abstract or concrete
-Patterns in language or form
-Subject and Theme
-Imagery, symbols and allusions
-Style devices unique to this poet
-Figurative language device-Sound devices
-Two key lines; famous or significant and line-by-line paraphrasing
Two in-class workshop days will afford teacher-student conferencing on
the project and selected poem.
Assessment: Written explication of the poem
Extended connections:
-Poetry slam of an original or found piece (Oral interpretation)
-Video of professor and student viewpoints on “Ulysses”
-Recording of “The Lady of Shalott” by Loreena McKinnett
-Audio clips of Marge Piercy, Alice Walker, Charles Simic,
Ted Kooser, Claudia Emerson or others may be enjoyed.
Quarter 3
Unit 2: Classic novel study
Wuthering Heights (2007 selection)
3 weeks
The novel will be assigned according to 6 major divisions so that
teacher-led, close text analysis and full class discussions are practical.
Rationale: Sophisticated, intricate structure and dualism; literary giant
Areas of emphasis:
Influence of culture, family as subculture, author purpose
Romantic elements esp. nature, imagination and supernatural
Victorian novel characteristics
Dualism-two houses/families:
-passion and reason
-character foils
-generational conflicts
-duty versus desire
-two 1st person narrators
Symbols and motifs
Frame and structure-manipulation of time
Joseph’s role and dialect
Willing suspension of disbelief
Revenge novel and revenge as theme
Role of violence and abuse
Sibling and family dynamics
Moral ambiguity
Assessments and activities:
Annotations will be encouraged and include peer sharing/critiquing
Brief analytical papers on narrative style, symbols, character or theme
Six reading logs (Response journal)
Handouts and presentation on literary theory analysis and application
Unit Test-assess student understanding and ability to negotiate theoretical
perspectives including Feminist, Psychoanalytic, Marxist and others
AP free-response essay focused on moral ambiguity.
Extended connections: A Story of Heathcliff’s Journey Back
by Haire-Sargeant/Professor at the University of Massachusetts
Vocabulary will include teacher selected for the six divisions while
students will continue to select and document their own.
*Other novels have included works from Jane Austen, Charlotte Bronte,
Charles Dickens, Thomas Hardy, D.H. Lawrence or Kurt Vonnegut
Quarter 3
Unit 3: Research/position paper
2 weeks
Purpose of research/student as critic and primary source analysis
Topics may focus on any larger work from this class.
MLA guidelines will be presented and assessed.
http://owl.english.purdue.edu may be used along
with the Gibaldi MLA Handbook for Writers.
Length: 6-8 double-spaced, 12 pt. and Times Roman
Sources: primary, online periodical essays, full-length scholarly essays
Position paper-language, suitable transitions and voice
-evidence (highlighted copies of all cited material)
-two-sided persuasion practices
-review of logic and reasoning
-emphasis on deductive reasoning
-organization/structural options
-balance of generalization and specific, illustrative detail
Instructor checkpoints will assess progress on thesis, sources and rough draft.
Sample papers will be reviewed and critiqued.
Consider audience as educated, knowledgeable of topic/issues.
Narrowed topics will be submitted for instructor approval
following preliminary research.
Individual conferencing will continue throughout the unit.
Peer conferencing and editing in-class.
Drafts and revision will be used as assessments.
Final paper will be due three weeks after the assignment.
The number of in class instruction and writing workshop
days will vary dependent upon student needs.
A minimum of 7 writing, editing and conferencing days
in addition to guidelines, models and assignment clarification.
Note* Independent reading will be assigned to begin following completion
of the research/position paper. Selections will most likely include:
Return of the Native by Thomas Hardy
Support materials will include essays on naturalism and impressionism.
The Cave by Jose Saramago
Crime and Punishment by Fyodor Dostoyevsky
Support materials will include a name pronunciation guide.
Time for 1 Test day, 1 in-class AP free response essay and 1 day panel
presentations for each novel will be set aside during Quarter 4.
Quarter 4
Unit 1: Short stories
2 weeks
The timing of this unit permits the completion of a polished
final research paper.
Short stories from American, British and world authors will be
selected to highlight various elements and style techniques.
A minimum of 8 stories will be read followed by 2 page
analysis of one key element or technique. The main purpose will
be to limit and narrow focus for study and analysis.
Selections will most likely include the following:
“The Helping Hand” E.M. Forster
“The Lagoon” or “Secret Sharer” Joseph Conrad
“Araby,” “Eveline,” or “The Dead” James Joyce
“The Rocking-Horse Winner” D.H. Lawrence
“Master Harold and the Boys” Athol Fyard
“The Things They Carried” Tim O’Brien
“The Woman in the Looking Glass” Virginia Woolf
Other represented authors:
Graham Greene
Kurt Vonnegut
Herman Melville
Anton Chekhov
Nathaniel Hawthorne
O. Henry
Ambrose Bierce
Katherine Mansfield
Key elements to be studied and analyzed include:
Stream of consciousness, point of view and shifting point of view, omniscient
narrator, epiphany, science fiction, flashback, identity, absurdity, symbolism,
structure, tone, psychological doubles/dualism, themes of human rights, the
fragility of the human condition, and relationships including male/female and
adult/child.
Variety of available textbook options, teacher files and web sites will provide
access to these and many other short stories of literary merit for study
Quarter 4
Unit 2: Satire
1 week
Satire, of course can require sophisticated analytical skills.
Thus, this unit has been placed within Quarter 4.
Satire review will include means and degrees of satire.
Purpose of satire will be explored through teacher presentation,
informative readings and student discussion. Emphasis will
highlight satire’s intent to disturb, often born from frustration, anger
or outrage. Juvenalian and Horatian satire will be studied.
Selections for the exploration of satire will include an emphasis
on l8th century British satire and may be limited to the following:
William Hogarth series including The Rake’s Progress and Stages of Cruelty
“A Modest Proposal” by Jonathan Swift
Gulliver’s Travels by Jonathan Swift
Letters from a variety of sources
Political cartoons from a variety of sources and eras
“The Schartz-Metterklume Method” by H.H. Munro
“The Rape of the Lock” by Alexander Pope
Independent Reading
1 week
Presentation and assessments as outlined in Quarter 3.
Unit 3: Heart of Darkness
2 weeks
Remind students of Conrad’s short stories and predict style devices.
Several student and critical comments on this novel will be shared as
an introduction to the text. Historical importance will be stressed along with
literary value. Students will discuss connections with The Poisonwood Bible.
Freud’s manifest versus latent dream analysis will be used to prepare
students for Conrad’s portrayal of surface vs. deep reality.
Novel divisions will include 3 parts for analysis and discussion purposes.
Presentation on patterns in order to determine and perceive meaning
Structural consideration of frames and non-linear chronology
Impressionism, idealism and disillusionment
Diction and tone through an examination of words and phrases
Discuss the central image for each section to establish constructed meaning.
Character analysis will include the faithful, corrupt, adventurous and persevering.
Remind students to draw parallels with Eliot’s “The Hollow Men.”
Human condition/civilized man in the wilderness-metaphorically and literally.
Pulling it together/inferences, synthesis and analysis (Instructor presentation)
AP free response essay emphasizing the influence of title.
Vocabulary-context related but teacher guided, as this work can be complex.
Extended connections: Film, Apocalypse Now
Quarter 4
Unit 4: The Importance of Being Earnest
1 week
Presentations to assist students may include:
Oscar Wilde introduced and significance of background.
Audience as target: Can we laugh at ourselves? (Response journal)
Comedy as satire
Epigrams
Diction, syntax and tone
Imagery, puns and connotations
Reading between the lines
Students will enjoy reading this play out loud during class time while
annotating significant lines. Students will categorize key passages
into subject groupings before writing an exposition paper of
Wilde’s key targets and his main criticisms for each in this popularized play.
*This enjoyable work is carefully placed within the syllabus immediately
following Heart of Darkness and preceding AP Exam preparation.
Vocabulary-connotations, colloquial and symbolic language
Extended connections: Film, Importance of Being Earnest
If time permits the film, a written review will follow. (Response journal)
Unit 5: AP English Literature and Composition test preparation
Vary
Methodology and activities will vary widely depending on student needs
and preferences.
Notebook review of handouts pertaining to writing about literature, poetry
Analysis and acceptable writing practices for various writing genres will
most likely be reviewed.
Students may want to practice linking specific novel readings to past AP
free-response prompts.
Students may wish to review tips from alumni and various sources on
multiple choice scoring and how to approach the essay portions of the exam.
AP English Literature and Composition Test for 2007-May 10.
School will be in session for approximately 1 week following the AP exam.
Reflections on second semester skills and knowledge:
-Discussion
-Course Evaluation sheet
-Recommendations for improvement of instruction and curriculum
Students have shown interest in conducting an AP boot camp for juniors
registered to enter AP for the next school year. If so, that would serve as an
effective review for next year’s college freshmen as well.
Textbooks
Arp, Thomas, Greg Johnson, and Laurence Perrine, eds. Perrine’s Sound and Sense.
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers.
Kinneavy, James. Elements of Writing Revised Edition.
Trimmer, Joseph F. Writing with a Purpose: Eleventh Edition.
Teacher Resources
CollegeBoard Advanced Placement Program. AP® English Literature and Composition:
Professional Development Workshop Materials 2006-2007.
English Department archives
Instructor files
Peterson, Linda H., ed. Case Studies in Contemporary Criticism.
Rosenblatt, Louise M. Literature as Exploration.
Periodicals
Atlantic Monthly
College English 2007 National Council of Teachers of English
Poets and Writers 2007
Web Sites
The Academy of American Poets
www.poets.org
AP Central®
apcentral.collegeboard.com
Art and Culture: Literary Connections
www.artandculture.com
Bartleby
www.bartleby.com
Cambridge University
www.english.cam.ac.uk/vclass/terms.htm
Critical Approaches
bcs.bedfordstmartins.com/virtualit/poetry/index.ht
Chekhov Stories
chekhov2.tripod.com/garnett.htm
E-Server Online Availability of Works
eserver.org/poetry
E-Text Online Availability of Works
etext.library.adelaide.edu.au
Kingsolver
www.kingsolver.com
Literature
www.lit.org
Literature Nobel Prizes
nobelprize.org/nobel_prizes/literature/laureates
Lowell Lecture Series
www.dce.havard.edu/pubs/lowell/madler.html
National Council of Teachers of English
www.ncte.org
New York Times
www.nytimes.com
Owl Online Writing Workshop
www.owl.english.purdue.edu
Poets
www.poets.org
Poets and Writers Online Periodical
www.pw.org
Pulitzer Prize Archive
www.pulitzer.org
Representative Poetry Online
rpo.library.utoronto.ca/poet/37.html
Sonnets
www.sonnets.org
Time
www.time.com/time/nation/printout/0,8816,174641,00.html
T.S. Eliot Poetry Awards
www.poetrybooks.co.uk/PBS/pbs_ts_eliot.asp
Voice of the Shuttle
vos.ucsb.edu
Wired for Books Online Availability of Works
www.wiredforbooks.org
*Novel Selections, as per syllabus, will vary per year.