Cory Smith csmith@kaufmanisd.net 972-932-2811 AP Language & Composition Course Syllabus Course Overview The AP Language and Composition course overview and description are taken from the College Board’s AP English Course Description May 2007, May 2008 and AP Central. The course expectation is that students will read, write, and think critically across the curriculum from a local, national, and global standpoint to include their visual world. Written and visual texts are selected from the representative lists of authors provided therein as well as outside sources. The reading list for this course is primarily non-fiction with the exception of Macbeth, Othello, “Sir Gawain and the Green Knight,” and a few poetry selections that are paired with non-fiction texts. A list of textbooks, passages, websites, films, photographs, and cartoons is located within the description of each six weeks unit and/or in the Teacher Resources section at the end of this syllabus. Course Planner The duration of the course is one year. The fall and spring semesters are divided into 6 six- week units. Our courses operate on a 50-60 minute time period each day. The units are concept-based using Lynne Erickson’s Concept-Based Curriculum and Instruction roughly. All texts, written and visual, are thematically linked. Essay questions taken from the AP Language and Composition Released Exams are strategically selected to connect to the unit of study. In addition, AP released multiple choice exams are integrated into each six weeks unit. The AP Released Language and Composition Exams serve as curriculum power pieces as they prepare students for the reality of the rigor and challenge expected from the course and the AP Language and Composition Exam. Our district expects great and wonderful things form our AP students, they pay, in full, each students’ fees to take any/all AP exams. Close Reading Strategies The course focuses on developing the literacy skills necessary for reading, understanding, and analyzing a variety of texts. Here, close reading skills such as SOAPSTone, developed by Tommy Boley, become an integral part of the curriculum. In addition, students learn strategies for effectively annotating texts. Students are taught to use strategy when confronted with text and to choose a close reading application appropriate for that text. For example, if the text is a photograph, they should use the Photograph Deconstruct strategies; if the text is a poem, they should use TP-CASTT (TP-CASTT is a poetry analysis method I learned at an AP Summer Institute in 2008. It is an acronym meaning theme-paraphrase-connotation-attitude-shiftstitle-theme). Outside Reading and Dialectical Journal In addition to the many passages assigned from On Writing Well and other sources, students are assigned four outside readings. The outside reading assignments (ORA) include the following selections: A Passage to India by E.M. Forster, Angela’s Ashes by ~1~ Cory Smith csmith@kaufmanisd.net 972-932-2811 Frank McCourt, Othello by William Shakespeare, and one other selection of their choice off of a pre-made reading list. In addition to reading the work, students are required to write in a dialectical journal, which is a two column note-taking journal. Students are required to document details in one column and commentary in the other. Sometimes I ask students to document the writer’s techniques as the details and to provide commentary addressing those techniques. Other times, I ask students to document content detail and to comment on those pieces. The dialectical journal forces students to read closely and to make sense of what they are reading. Style And Rhetorical Analysis Using close reading strategies, students develop the skills necessary to write effective style and rhetorical analysis. Students learn to view style as a component of rhetoric rather than some “alien” or separate element. Students learn to discern the connection and nuances between purpose, meaning, style, effect, and structure. The oftentimes challenging task of moving students from close reading application to the actual writing of analysis paragraphs and essays led me to create an analysis helper packet entitled, “SOAPSTone to Style Analysis Paragraphs and Essays.” We use these packets throughout the course, as they remind students that analysis is not the mere identification of the writer’s techniques, but rather the effect of those techniques. Here also, students learn to realize that writers are using various techniques and devices to achieve their purpose and that this is the backbone of analysis. The helper packets break analysis into manageable “ingredients” that must present and be sustained throughout their analysis. Through these packets students learn a great deal about diction, syntax, and tone. Formulaic writing is discouraged, but we realize that some students still need their food cut up for them. Through continued work with our Pre-AP/ AP Vertical Team, we have managed to scaffold style and rhetorical analysis strategies to seventh and eighth grade in the hope that we can wean students from patterns and formulas sooner than their arrival into high school and the AP Language and Composition course. From Reflective Journals to Timed Writings Students write one journal per week on a topic that is linked to the unit theme. Students can be presented a cartoon, graph, photograph, or prompt that relates to the theme then respond in writing in a timed setting. These responses transform into texts for Spenser Kagan’s Think-Pair-Share activities and eventually to discussions in Socratic seminar or Inner/Outer Circles. The end product is the timed writing where students take their ideas, assert positions on issues, and compose well-constructed, well thought-out arguments. Discussion (Listening and Speaking) Discussion is a key component of the course. Students participate in Think-Pair-Share, Socratic seminar, and Inner/Outer Circle discussions throughout the course. Students learn to develop their listening and speaking skills and to make relevant contributions to these conversations. During these activities, students are provided with a variety of texts such as film, speeches, letters, essays, research, and photographs. Students learn to identify the assertions made in the texts and to take positions, ask questions, and share ideas. This process includes refuting the ideas of others, accepting the ideas of others, and meaningfully engaging in conversations that lead them to be better listeners, speakers, ~2~ Cory Smith csmith@kaufmanisd.net 972-932-2811 and writers. Discussions are student or teacher lead. Divergent thinking and multiple viewpoints are encouraged. Visual Literacy Throughout the course, students learn to read their visual world. Students are introduced to photographs, political cartoons, graphics, and film. Visual texts are paired with thematically linked written texts. To help develop visual literacy skills, I created a Cartoon Deconstruct Helper and Photograph Deconstruct Helper that students use in the same way they use SOAPSTone with written texts. Film is also used and analyzed as text using visual literacy strategies. Research Throughout the course, students are expected to conduct research and are given opportunities to locate primary and secondary sources to support their written arguments as well as class discussions. Research topics are linked to the unit theme. Students are taught how to deconstruct their research articles using a graphic organizer. Students learn to evaluate, synthesize, and cite sources for their researched arguments. The citation format used in the course is MLA. Students write one researched argument essay in the fall semester and one in the spring semester. In addition, students learn to respond to the new synthesis question using the College Board sample prompts located on AP Central (“Television and U.S. Presidential Elections” and “Invasive Species”). Students also respond to teacher-made synthesis prompts. Argumentative Writing Skills The introduction, development, and refining of argumentative writing skills serve as a curriculum power piece throughout the course. Due to our open enrollment policy, these skills are introduced, taught, re-taught, reinforced and re-fined each six weeks. Students are taught the Toulmin as well as Zinsser’s model of argumentation as they are introduced in On Writing Well and handouts. This process includes learning the terminology such as syllogism, data, claim, warrant, logos, ethos, pathos, concession, refutation, etc. More importantly, students learn to view the rhetorical triangle as the relationship between speaker, audience, and text. Further, students learn to SOAPSTone their own arguments and to use strategy in order to construct an effective argument. Students participate in interactive writing intensive workshops in order to develop their argumentative compositions. Here, students read and discuss the works of authors from the reading list as well as peer respond to student samples from AP Language and Composition Released Exams. These activities include perusing the Chief Reader commentary provided on AP Central and reviewing the AP scoring guides. Students learn to revise and refine their drafts modeling the good work of others as well as by using the writing process. Student-generated samples from within the class are also used as “masterpiece” models. The competition and desire to create a “masterpiece” serve as an incentive to strive for improvement. Narrative, Expository, and Descriptive Writing Opportunities to write in the argumentative mode are balanced with assignments that ~3~ Cory Smith csmith@kaufmanisd.net 972-932-2811 require students to use narrative, expository, and descriptive writing. Most of the writing takes place in an on-demand, in-class timed setting; however, some writing assignments are completed as homework. Students are given the opportunity to model the style of authors such as Sullivan Ballou, Frank McCourt, E.M. Forster, Shakespeare, etc. The style modeling assignments are described in detail in the unit descriptions. Major essay assignments require students to use the writing process and to show evidence of this process through pre-writing and drafts. Following all major writings, students are required to reflect, revise, and refine their work. Sentence Composing During the revising and refining of drafts, students learn to deconstruct and rebuild their own writing. This step is a sentence-by-sentence process. Here, we teach the value and power of sentence variety and techniques for constructing simple and compound sentences into complex structures. Here, we teach the use of polysyndeton, asyndeton, gerunds, infinitives, inverted sentences, loose sentences, period sentences, etc. We analyze the sentence structures of some of the representative authors and require students to model their techniques. These imitation exercises help them when they are assigned full-blown style-modeling essays discussed later in this course description. A source that has proven to be helpful and student-friendly is On Writing Well by William Zinsser. Writing Portfolios Student writings are compiled into an in-class writing portfolio. At the end of the year, students select two pieces of their best work to file in their portfolio. The writing portfolio moves with them to their next teacher. The portfolio is a district-wide ELA requirement that follows the student from seventh through twelfth grade. At the end of the senior year, students are given the portfolio to take home. Vocabulary Vocabulary development is another one of the curriculum power pieces taught in every unit. Our Vocabulary program takes a systemic approach to the teaching and development of vocabulary. Most of the vocabulary comes from the content of the texts; however, literary terms (from the Pre-AP/AP Vertical Teams Guide for English) and SAT vocabulary (from KNOWSYS) are also taught. A variety of strategies are used to develop vocabulary. Some of these include flash cards, Vocabulary Episodes, student-generated vocabulary lists, sentence completion activities, and analogies. Semester I Unit One: Culture Clash & Imperialism/Intro to the Synthesis Question Duration – 6weeks Primary Text- A Passage to India by E.M. Forster Thematic Links: Puritans & Native Americans “My Generation” by The Who Photographs Comparing British and Indian Peoples “Naked Imperialism” Intro by John Bellamy Foster Letter by Joshua Patty ~4~ Cory Smith csmith@kaufmanisd.net 972-932-2811 Cartoons (Luann, B.C., Pearls Before Swine, etc.) Gandhi Quote Heart of Darkness Excerpts In this unit, students explore the issue of culture clash caused by imperialism at the local, national, and global level. Research topics include cultural imperialism, international imperialism, global imperialism, culture clash, economic imperialism, as well as many other topics. Students read A Passage to India as a piece of imperialistic literature and discuss the assertions that E.M. Forster makes concerning the issue of imperialism and the effects it brings with it. In addition, students analyze the stylistic and rhetorical techniques Forster uses to drive his point. Here, students analyze Forster’s use of narrative, style, and point of view. Students reinforce their understanding of culture clash caused by imperialism by reading the Thematic Links. The Thematic Links foster profitable class discussion as well as serve as springboards for reflective journals and quick-write analysis paragraphs. Students complete a timed writing using 2002 AP Released Question 1 (Gabler) and 2004 AP Released Question 2 that I twisted into a synthesis question. They are required to synthesize six of the sources listed in the Thematic Links list. Unit Two: War: Protest, Patriotism, and Peace/The Synthesis Question Duration 6 weeks Outside Reading: Othello – (To be started week two) Thematic Links: from “Hiroshima” by John Hershey “Losses” by Randall Jarrell “Dulce et Decorum est” by Wilfred Owen Queen Elizabeth’s Tilbury Speech Letter to Sarah by Sullivan Ballou Abraham Lincoln’s Second Inaugural Address “War” by Edwin Starr “I Am A Patriot” by Pearl Jam “Fortunate Son” by Creedance Clearwater Revival “Imagine” by John Lennon “Imagine” Video by A Perfect Circle Hiroshima photographs Armed Conflicts 1999-2004 graph Saving Private Ryan movie clip Political cartoons- Oliphant, Herblock, and Levine Presidential Candidate Speeches This unit uncovers the many dimensions of war. Students are exposed to a variety of documents to include letters, political cartoons, photographs, songs, poems, and graphs. Here, students come to a deep understanding of war and the concepts of protest, patriotism, and peace. Socratic seminar and Inner/Outer Circle discussions take center stage as well as Think-Pair-Share activities. In addition, students complete a stylemodeling task in which they write a letter to Sullivan Ballou from Sarah. Here, the ~5~ Cory Smith csmith@kaufmanisd.net 972-932-2811 student must model the style of Sullivan Ballou. Prior to this assignment, students read and analyze the stylistic and rhetorical techniques in Ballou’s letter to Sarah. For this activity, they use a modified version of SOAPSTone . This unit requires students to conduct research on topics such as the Vietnam War, World War II, The Atomic Bomb, Nagasaki, conscientious objector, and the Nuclear Arms Race (to name a few). Students share their research in class discussions and deconstruct their documents using a graphic organizer. A highlight of this unit is an activity I developed called Tone Rocks! Here, students listen to and analyze the song lyrics of “Fortunate Son,” “ War,” “Imagine,” and “I Am A Patriot.” Students use SOAPSTone techniques to annotate, deconstruct, and analyze meaning, purpose, and style. At the end of the activity students complete quick-write analysis paragraphs on tone, diction, imagery, etc. They also identify and discuss the assertions made by the songwriters. This unit includes the analysis of poetry. The poetry selections are thematically linked to the theme of war. Students use the close reading application for poetry, TP-CASTT. Here, students learn to identify the assertions made by poets. Students write quick-write style analysis paragraphs. Additionally, students deconstruct political cartoons and photographs. These selections are also linked to the theme of war. Students identify and discuss the assertions made by cartoonists and photographers. Students analyze these texts using the Cartoon and Photograph Deconstruct sheets. Here too, they complete quick-write analysis paragraphs. Together, with all the documents, students learn that any text has the power to assert a message to an audience-that everything is an argument. The unit ends with a teachermade synthesis question about war in which students must synthesize six of the Thematic Links sources. Students may also use any of the documents from their assigned research. Unit Three: The Power of Media/The Synthesis Question Duration -6 weeks Outside Reading: Othello (To be finished the 3rd week) Thematic Links: Speeches from Presidential Candidates Documents from College Board Sample #1 Synthesis Question as They appear on AP Central (T.V. and U.S. Presidential Elections) “Photography” by Susan Sontag Powerful Photographs (Album compiled from student research) “The Letter that Changed My Life” by Dennis Smith Vietnam Memorial photograph by CORBIS “VJ Day Kiss” photograph Alfred Eisenstaedt This unit is devoted to developing and refining argumentative and synthesis skills. Here, students explore the power of media and media images. Students are assigned to research, locate, and print one powerful photograph from the past or present. They must cite the ~6~ Cory Smith csmith@kaufmanisd.net 972-932-2811 source of the photograph and complete a photograph analysis using the Photograph Deconstruct Helper. The photograph analysis is followed by Think-Pair-Share circuit discussions. Circuit discussions springboard into Socratic seminars about the album of photos compiled by the class. These activities are followed by a timed writing using the 2001 AP Released Question 3 ( Sontag). Each week, in preparation for the synthesis practice question, students are introduced to one of the six documents. Students are given five minutes to briefly read and annotate the source. Then, they are assigned to locate research on topics from those documents such as Ted Koppel, Richard Nixon, CBS, Nightline, Nielsen Ratings, etc. The research findings are discussed in Socratic seminar discussions where students are required to take notes and ask questions. The unit ends with students responding to the AP sample synthesis practice essay about television and U.S. Presidential Elections. Students may synthesize any of the documents from Thematic Links but must use three from the AP documents. Semester II Unit Four: Power, Politics, and Leadership Duration: six weeks Outside Reading: Macbeth by William Shakespeare Thematic Links: “Training for Statesmanship” by George F. Kennan “The World’s 10 Worst Dictators” by David Wallechinsky “Be Ruthless and Win” by Martin Miller From Testaments Betrayed by Milan Kundera “I Have A Dream” speech by Dr. Martin Luther King, Jr. The concepts of power, politics, and leadership are the focal point of this unit. Here, students come to a clear understanding of the terms but also of how power, politics, and leadership function at the local, national, and global level. Students write in reflective journals about their ideas concerning these concepts. Students read the Thematic Links sources and discuss the assertions and concepts in Think-Pair–Share and Socratic seminar. Students will also keep a dialectical journal over Macbeth. The unit ends with an objective test over the key concepts in Macbeth. Additionally, students complete the 2002 AP Released Question 3 (Kundera) and the 2004 AP Released Question 2 (Kennan). This unit is paired with our state exam practice blitz. Therefore, students are also taking benchmark tests in reading and writing. Here, we focus on developing writer’s voice and refining the narrative essay. In addition to the journals and the Kennan and Kundera timed writing, students read “My Name” by Sandra Cisneros and write a narrative exploring their own names. The “My Name” essay is a major writing/imitation exercise that begins with many preliminary activities to include conducting research on the meaning of their name, writing a “My Name” journal, and creating “My Name in A Box.” From these activities, students use the writing process to compose a draft. After the first draft, students are required to give and receive a peer response. The scoring criteria includes focus and coherence, writer’s voice, development, organization, and conventions. These essays are taken from pre-writing to final drafts. After these essays are scored, students revise and refine their drafts in writing workshop. This process is used for a second assignment. Students read N. Scott Momaday’s “The Way to Rainy ~7~ Cory Smith csmith@kaufmanisd.net 972-932-2811 Mountain.” Their task is to write a narrative about their special place and person. Here, they must model the stylistic techniques Momaday uses in his narrative. Close reading, using annotating and SOAPSTone serve as a preliminary step to this assignment. Unit Five: The Argumentative Essay: Re-visited and Refined Rhetorical Analysis: Revisited and Refined Duration: Three Weeks for argument/Three weeks for style Outside Reading: Sir Gawain and the Green Knight Thematic Links: “The Penalty of Death” by H.L. Mencken “ The Unquiet Death of Robert Harris” by Michael Kroll “ Welcome to Cyberbia” by Heidi Pollock “ Cyberspace for All” by Esther Dyson Fahrenheit 451 (movie) Supreme Court/Hazelwood High school AP Released Question Why We Can’t Wait by Martin Luther King “Letter from Birmingham Jail” by Martin Luther King AP Released Questions: 2005 The Onion Q2 1996 Question 2 (Lady Mary Monague) 2004 Question 1 (Lord Chesterfield) 1989 MLK Q2 For the first three weeks of this unit, students work at refining their argumentative essays. Students review the Toulmin and Zinsser methods. I remind them of the ingredients for constructing an argument. I quote Chief Reader David Joliffe and discourage students from writing “examination answers” and encourage them to “enter into conversations with their audience.” We work at refining assertions, reasons, evidence, concession, and conclusions. I encourage them to use their own organic structures using all the strategies that they have learned rather than to use a formulaic approach. Many opportunities for timed writings are given on topics such as the death penalty, censorship, and entertainment. After they write their essays and after their essays are scored, students participate in writing workshops. Here, they must deconstruct their essays using a teacher-made deconstruct graphic organizer. The graphic organizer proves to be a valuable tool for student self–assessment because it helps them identify what is missing from their arguments as well as pin points their weaknesses and strengths. Writing workshops include reading and peer responding to the AP released sample essays, reviewing the scoring guides, and gleaning what they can from the Chief Reader commentary. The three weeks ends with 2003 AP Released Question 1(Gabler). The last three weeks of this unit focuses on refining rhetorical analysis essays. Here, SOAPSTone comes into play once again. Students review the elements of style such as tone, diction, syntax and imagery, but an emphasis is placed on how these elements help to create the irony, understatement, sarcasm, and satire of a piece that students often fail to recognize. Here, we analyze and discuss the techniques Martin Luther King uses to create logos, ethos, and pathos in passages from Why We Can’t Wait and “Letter from ~8~ Cory Smith csmith@kaufmanisd.net 972-932-2811 Birmingham Jail.” Students are reminded to read on the line, between the line, and off the line. They are reminded that analysis must be taken above and beyond the mere identification of techniques. Here, we work at identifying techniques coupled with creating sentences of commentary addressing the effects of those techniques. At this point in the year, students have responded to numerous AP Release essay questions representing works from pre-twentieth century to contemporary authors. Historically, our student have not done well at all on the free response section of the AP exam, the plan is to blitz them with both pre-20th century and contemporary authors to ensure their understanding of authors near and far. Hopefully this will prove to be beneficial and interactive for them. Unit Six: The Power of Language: A Closer Look at Style and Rhetoric (3 weeks) Literature in Film (3 weeks) Duration: Six weeks Completion of Sir Gawain and the Green Knight Passages from AP Released Essay Questions James Baldwin 1995 Question3 Coke Letters 2005 Pink Flamingo 2006 Question 1 Gallapagos 1990 Question 1 Okefenokee Swamp1999 Question 1 Audabon/ Dillard 2003 Question 3 Cripple Nancy Mairs (question number and year unknown) Neil Postman Question 3 Orwell/Huxley Film Unit (Last 3 weeks) Alfred Hitchcock Blade Runner Batman The first three weeks of this unit focuses on refining style analysis by reading and analyzing passages from the AP Released Exams. Here, students read, annotate, and discuss the techniques the writers are using to achieve their purpose. Sometimes students work individually, but most of the time, they are working in Think-Pair-Share groupings of two or three students. This activity fosters interactive negotiating about the writer’s techniques and the effects of those techniques. Long passages or multi-passage selections are divided into manageable pieces since students are given a set time for the activities and since they must present their analysis to the class. These activities are followed by mini-timed writings where students may be asked to construct just an introduction, or conclusion, or a paragraph analyzing a specific element such as the satire of the piece. This three-week unit ends with students responding to the Coke letters from 2005. By the last three weeks of the course, students have already sat for The AP Language and Composition Exam. They are ready to decompress from the rigor. The year ends with a mini-film unit discussing its role in literature. The different techniques used for shot, style, purpose, etc. will all be discussed and viewed. AP Language is conducted during ~9~ Cory Smith csmith@kaufmanisd.net 972-932-2811 the students’ senior year in high school so college is the only thing awaiting them after this point. Students will close the year with a song interpretation where they bring in the lyrics to a song that is school appropriate and analyze and interpret it in front of the class. This has proved to be highly effective in past years. Student Evaluation Student grades are divided into two categories: daily and major work. Daily work is comprised of homework assignment, journals, class work, informal discussion, and research. Major assignments include timed writings using AP released questions, reading comprehension tests using AP released exams, major essays, research papers, SAT vocabulary tests, major class discussion, and presentations. As described in the syllabus, students also participate in peer assessment as well as self-assessment as they work through the writing process. Timed writings are scored using the scoring guides, commentary, and student samples as they appear on AP Central. Daily grades count as 50% of a student’s grade, and major grades count 50% of a student’s grade, as mandated by the school board. ~10~ Cory Smith csmith@kaufmanisd.net 972-932-2811 Teacher Resources Course Texts Borroff, Marie. Sir Gawain and the Green Knight. New York: W.W. Norton & Company, 2001. Conrad, Joseph. Heart of Darkness. New York: Dover, 1990. Forster, E.M. A Passage to India. Florida: Harcourt Brace & Company, 1984. Hacker, Diana. A Pocket Style Manual. 4th ed. Boston: Bedford/St. Martin’s, 2004. Miller, Robert. The Informed Argument. 7th ed. Kentucky: Heinle & Heinle, 2006. Shakespeare, William. Macbeth. Clayton, Delaware: Prestwick House, 2005. Shakespeare, William. Othello. Clayton, Delaware: Prestwick House, 2005. Zinsser, William. On Writing Well. 6th ed. New York: HarperCollins, 2001. Course Supplements Allen, Janet. Words, Words, Words. Maine: Stenhouse Publishers, 1999. Baym, Nina. The Norton Anthology of American Literature. 6th ed. New York: W.W. Norton & Company, 2003. DiYanni, Robert and Hoy, Pat. Frames of Mind. 2nd ed. Boston: Wadsworth, Cengage Learning, 2008. Edwards, Jonathan. “Sinners in the Hands of an Angry God.” Christian Classics Ethereal Library [online database]. Grand Rapids, Mich.: Calvin College. www.ccel.org/e/edwards/sermons/sinners.html. Accessed August 24, 2003. Graff, Gerald and Birkenstein, Cathy. They Say/I Say. New York: W.W. Norton & Company, 2007. Graham, Don. Lone Star Literature. New York: W.W. Norton & Company, 2003. Swovelin, Barbara. Cliffs AP English Language and Composition. 3rd ed. Indianapolis: Wiley, 2006. ~11~ Cory Smith csmith@kaufmanisd.net 972-932-2811 Shea, Renee H., and Lawrence Scanlon. Teaching Nonfiction in AP English. Boston: Bedford/St.Martin’s, 2005. References College Board. AP English Course Description. New York: The College Board, 2005. College Board. The AP Vertical Teams Guide for English. New York: The College Board, 2005. College Board. The Official SAT Study Guide: For the New SAT. New York: The College Board, 2004. College Board. AP English Language and Composition: 2006-2007 Professional Development Workshop Materials. New York: The College Board, 2006. College Board. AP English Language and Composition: Writing Persuasively. New York: The College Board, 2006. College Board. AP English Language and Composition Teacher’s Guide. New York: The College Board. 1998. Erickson, Lynn. Stirring the Head, Heart and Soul: Redefining Curriculum and Instruction. 2nd ed. Thousand Oaks, California: Corwin Press, 2001. Erickson, Lynn. Concept-Based Curriculum and Instruction: Teaching Beyond the Facts. Thousand Oaks, California: Corwin Press, 2001. Online Sources www.collegeboard.org www.timemagazine.com www.newsweekeducation.com www.apcentral.com www.rhetoric.com www.tea.state.tx.us www.politicalcartoons.com http://www.geocities.com/Heartland/Hills/6556 * In addition to the above teacher sources, I developed the course using my notes from AP Summer Institutes from 2008, various AP syllabi from accredited teachers, and AP Summer Reading 2008. ~12~