Stockbridge High School
Instructor: Ms. Rebecca Mitchell
Year: 2014-2015
Email: rmitchell@henry.k12.ga.us (work)
Phone: 770-474-8747, ext. 467
satoriXen@gmail.com (home)
Classroom: 113
Website: rlmitchell.pbworks.com
Course: Advanced Placement Literature and Composition
Understandings: The units in this course will
allow students to understand that:
 Literature provides a mirror to help us
understand ourselves, others, and
society.
 Writing acts as a form of
communication across the ages.
 Literature reflects the human condition.
 Literature deals with universal themes
including man versus man, man versus
nature, man versus society, and man
versus a higher power.
 Literature reflects the social, cultural,
and historical values of civilization.
Essential Questions: Throughout the course,
the following arguable, recurring, and thoughtprovoking questions will guide inquiry and
fashion understanding:
 How does literature help us understand
ourselves, others, and society?
 How does writing act as a
communication tool across the ages?
 How does literature reflect the human
condition?
 How does literature express universal
themes, and how does it reflect the
values of society, culture, and history?
Major Concepts and Content: The Advanced Placement Literature and Composition class
presents the high school senior with an exacting yet exciting college-level course equivalent to an English
or humanities class at the undergraduate university level. The fast-paced, thought-provoking assignments
challenge students, greatly enhancing proficiency in both reading and writing. In order to earn an A or B,
an average student must reserve at least one to two hours every weeknight for such tasks as completing
homework assignments, reviewing notes, reading assigned novels or ancillary materials, writing or revising
compositions, researching, studying vocabulary, etc.
This yearlong class culminates in May with the mandatory AP exam. Passing the AP Exam by
scoring a 3 or higher will earn credit at most universities (check the website). Additionally, a score of 4 or
5 signifies performance in the 3.3-4.0 range for equivalent college courses.
Course Goals: Students will:
 carefully read and critically analyze literature, tracing themes while comparing and contrasting
meanings.
 understand the ways in which writers manipulate language and to what purpose.
 consider a work’s structure, style, and themes, as well as its smaller scale elements such as
figurative language, imagery, symbolism, and tone.
 learn the major literary periods’ defining forms, styles, and viewpoints, employing those
distinctions to identify and explain unfamiliar reading selections.
 consider the social and historical values a work reflects and conveys.
 prepare and present a wide array of presentations demonstrating comprehension of rhetorical
strategies and literary topics such as parallel structure, analysis, counterargument, and parody.
 compose critical literary analyses that integrate expository, analytical, argumentative, and
narrative writing styles.
 revise writing to perfect its stages.
 master the elements of research compositions: integrated quotations; supported and explained
opinions, formatted and cited according to MLA guidelines.
Required Texts and Materials: The teacher will assign each student a copy of DiYanni’s Literature, the class
text, during school’s first six-weeks. The teacher will issue other texts as assigned; however, students may elect to
acquire personal copies of the works in order to annotate or reference them. Also, prospective English majors
should purchase Abrams’ Glossary and Lanham’s Revising Prose. The course outline that begins on page 4 lists each
unit’s possible works from which the teacher will select for each class. Students may purchase works from
Amazon.com or bookstores.
Assigned Text:
DiYanni, Robert. Literature: Reading Fiction, Poetry, and Drama. various eds. Boston: McGraw-Hill,
various dates. Print. (replacement cost – $54.50)
Suggested Supplementary Reference Texts (I may reference or provide excerpts from these in class.):
Abrams, M. H. with Geoffrey Galt Harpham. A Glossary of Literary Terms. 9th ed. Australia: Thompson
Wadsworth, 2009. Print.
Allison, Alexander W., ed., et al. The Norton Anthology of Poetry. 3rd ed. (shorter). New York: W. W.
Norton & Company, 1983. Print.
Foster, Thomas C. How to Read Literature Like a Professor. New York: Harper, 2003. Print.
---. How to Read Novels Like a Professor. New York: Harper, 2008. Print.
Lanham, Richard A. Revising Prose. 3rd ed. New York: Macmillan Publishing Company, 1992. Print.
---. Style: An Anti-Textbook. 2nd ed. Philadelphia: Paul Dry Books, 2007. Print.
Materials:
 Pencils (#2 lead), ink pens (black only for essays and exams), and highlighters
 Loose-leaf notebook paper (assignments on spiral notebook paper will not be graded)
 A three-ring binder with dividers
 Index cards (small and large) and post-it notes as desired
 Flash drive
 Project materials such as poster board, a CD-R, a scrapbook, etc.
 Selected novels as desired
Performance Tasks: Although all assignments in AP English Literature and Composition refine student skills and
comprehension, not all tasks will receive grades. The teacher reserves the right to select and score random
assignments solely at her discretion. Thus, students should complete all work to the best of their ability. Students
will receive grades for a variety of tasks associated with each unit, including, but not limited to, the following:
 AP Writings (timed essays based on past AP prompts)
 College-level essay questions
 Reading quizzes (written or oral, involving identifications of characters, setting, themes, literary devices,
etc.)
 Responses to or analysis of novels, drama, fiction, nonfiction, and poetry
 Expository and persuasive literary analysis papers
 Personal essays
 Graphic organizers, double-entry journals, paragraph responses, questions
 Vocabulary and grammar quizzes and tests
 Socratic seminars
Course Grade:
85%
Assessments:
60%
Research Papers, AP Writings/Essays (may be revised), Unit Tests, Presentations, Socratic
Seminars, and Projects
Practice Work:
40%
Quizzes, Class and Homework, and Participation
Advanced Placement Literature and Composition Standards
AP Lit. L1: Understanding the Communication
Process
AP Lit. L2: Managing Barriers to Listening
AP Lit. L3: Listening for Diverse Purposes
AP Lit. M1: Understanding the Nature of Media
AP Lit. M2: Understanding, Interpreting, Analyzing,
and Evaluating Media
AP Lit. M3: Composing and Producing Media
Communication
AP Lit. R1: Comprehension of Words, Sentences,
and Components of Texts
AP Lit. R2: Using Prior Knowledge, Context, and
Understanding of Language to Comprehend
and Elaborate the Meaning of Texts
AP Lit. R3: Author’s Purpose and Craft
AP Lit. R4: Using Strategies to Comprehend Texts
AP Lit. S1: Understanding the Communication
Process
AP Lit. S2: Speaking in Interpersonal Contexts
AP Lit. S3: Preparing and Delivering Presentations
AP Lit. W1: Rhetorical Analysis and Planning
AP Lit. W2: Generating Content
AP Lit. W3: Drafting
AP Lit. W4: Evaluating and Revising Texts
AP Lit. W5: Editing to Present Technically Sound
Texts
Expectations
The AP Exam: All students enrolled in AP Literature and Composition must take the AP Exam offered in May. The
cost is $89 (students who are eligible for free or reduced lunch receive one free AP Exam and a discounted price on
additional exams). Students who fail to register for or take the exam will have a semester-long book project due in
May that will count as those students’ second semester final exam. Any student who does not take the AP Exam
or complete the book project satisfactorily will be in danger of failing the course for second semester, and
thus, will not graduate with his or her class. In addition, all students will be required to take one three-hour
practice exam per semester. Each semester, students will have three to four opportunities to take the practice exam,
which will count as an assessment (assessment category is 60% of the course grade).
Vocabulary: The most crucial aspect of learning a language is acquiring vocabulary; thus, rather than parrot
definitions, students must know how to use the assigned words and roots. Periodically, students will receive lists of
words and roots that they must master. Vocabulary work should be kept in the course binder and will be evaluated
once a semester. Also, students will take quizzes and tests over vocabulary at intervals (to be determined), and they
should use the assigned vocabulary in their writing.
Writing: Every written assignment in this class should display premium composition skills, without exception.
Composition assignments will include statements, paragraphs, timed writes (essay tests), and formal essays and
papers (narrative, expository, analysis, and argument). Whatever the task, students should write to impress,
implementing the grammar, mechanics, and usage skills that the Daily Grammar Practice program will reinforce.
 Students will begin class Tuesdays through Fridays by accurately completing that week’s DGP sentence,
applying the grammar, usage, and mechanics concepts to their own writing. Students should have binders
in class every day with all DGP weeks accurately finished. Grammar grades count as participation and will
be taken without notice.
 All graded assignments will include specific guidelines and rubrics, provided at the onset of the task.
Please consult these constantly during the writing process. Once work has been graded and returned,
students may submit the revision only if it includes the original and corrects all of the original’s issues and
errors. The teacher will return any revision without the original submission or that fails to address
annotated problems.
 For every unit, students should prepare before class by answering the essential questions to the best of
their ability.
*Quick guide to evaluating paragraphs (use to proofread organization, mechanics, and conventions):
- The first, second, or last sentence contains the main idea and key words from the question or assigned
topic, relates to the thesis.
Each body paragraph should contain:
- one to three explanatory sentences and two to four sentences about specific details.
- details that are colorful, interesting, and appropriate.
- a good closing sentence that refers to the main idea without repeating it.
- no run-ons or sentence fragments.
- no errors in agreement (subject/verb and pronoun/antecedent).
- no punctuation or spelling errors.
- legible handwriting.
* Superior writing will demonstrate the following:
- A wide-ranging vocabulary used appropriately and effectively
- A variety of sentence structures, including appropriate use of subordination and coordination
- Logical organization, enhanced by specific techniques to increase coherence, such as repetition,
transitions, and emphasis
- A balance of generalization and specific, illustrative detail
- An effective use of rhetoric, including controlling tone, establishing and maintaining voice, and
achieving appropriate emphasis through diction and sentence structure
The instructor will evaluate and return all papers and essays to the student. Students should revise all
written work, noting and correcting any deficiencies identified by the instructor.
 The teacher will score timed AP writings on a 9-point scale with either the general scoring guide, or when
available, the scoring guide used on the AP Exam for that specific question. Every unit will include at
least one timed, in-class AP writing, scored in the assessment category. Students may revise these
essays as many times as they desire until the final week of the semester.
Grade equivalents: 9=100, 8=94, 7=88, 6=82, 5=76, 4=70, 3=63, 2=57, 1=50
 Class discussions will include Socratic seminars, in which students should present their own ideas and
listen attentively to others’ ideas. Disrespectful behavior towards anyone will not be tolerated. Students
will earn no credit for responses that do not include textual support or that lack a page number for the
textual support. Students should prepare for these class discussions ahead of time, annotating the page
number that contains the textual support.
 When presenting a written or verbal argument, always consider the rhetorical appeals: pathos, ethos, and
logos.
Research: Students at the AP level must be conscientious and meticulous regarding research and its
documentation. Sources must be recorded using MLA format, and all written assignments requiring citations must
be correct and include a Works Cited page. Students should format all typed documents according to MLA
guidelines. In addition, students are responsible for researching thematic connections and literary criticism outside
of class time for assigned novels. Work that does not include citations and/or a Works Cited page will receive a
zero for plagiarism and may result in disciplinary action.
Reading: Students will read with care and deliberation all assigned materials, completing any assigned tasks (in
particular, students should pay careful attention to each work's context, vocabulary, characters, plot, etc.). The
instructor may quiz students over any assigned reading material without announcement. To facilitate reviews,
students should keep a written record of each work’s characters, themes, motifs, etc. (note cards are ideal for this).
Course Syllabus
Introduction to Advanced Placement Literature and Composition
Two Weeks
Running concurrently with Unit I, this introduction will familiarize students with the AP exam and class
expectations. We will discuss how to dissect writing prompts, expectations for essays and papers, and general class
rules. In addition, students will learn class procedures: how to complete vocabulary homework, prepare for quizzes
and tests, format assignments, etc. Students will also beginning evaluating works of short fiction in order to
understand longer works.
Unit 1: Man versus Society, the Nature of the Individual, and the Search for Identity
Four Weeks
The most pervasive questions for mankind involve the idea of self: Who am I? What values do I hold? What are my
aspirations, desires, dreams, and perceptions? What defines my reality? Authors explore these topics in depth, and
they experiment with point of view, style, tone, and literary devices in order to challenge the readers’ preconceived
notions. This unit will cover how to approach, discuss, evaluate, and use a text in order to know both the text and,
by reflection, oneself.
Essential Questions:
 How do we as individuals discover our own identity?
 What defines society? What does it mean to be an individual within a society?
 How does an individual function in relation to society? What happens to the individual when his views
and aims are in opposition to society?
 What happens when identities clash?
 Both 1984 and Invisible Man depict dystopic societies. Describe the social order or orders presented in each
novel and compare and contrast them. Describe the political situations within the novels. How did the
individuals or groups in power gain control? How does each organization intend to maintain that control?
Which group’s plan or groups’ plans will succeed and why? Why will the other plan or plans fail?
 What is the relationship between language and identity? In what ways does language shape identity?
 What is the significance of names? What do the names of the protagonists of 1984 and Invisible Man convey
and why? Juliet pronounced her view of names in the balcony scene of Shakespeare’s Romeo and Juliet (see
excerpt). How do Romeo and Juliet view names? In Julius Caesar, Cassius divulges his view to Brutus (see
excerpt). Compare and contrast the views presented within each work and discuss the possible reasons for
each character’s stance. Which of the works and/or characters best exemplifies the true importance or
meaning of names?
 What are the similarities and differences of the groups named the Brotherhood within 1984 and Invisible
Man? What significance does the name Brotherhood carry for each group? Why do they share a name?
Suggested Works:
 Invisible Man by Ralph Ellison
 “Not Waving but Drowning” by Stevie
Smith
 1984 by George Orwell
 “Incident” by Countee Cullen
 The Love Song of J. Alfred Prufrock and other
 “We Wear the Mask” by Paul Laurence
poems by T. S. Eliot
Dunbar
 “China’s All-Seeing Eye” from Rolling
 additional poems and short stories
Stone, 29 May 2008
Semester A Research Paper: Students will research individual schools of criticism (Historical, Biographical,
Marxist, Feminist, Psychological, etc.), narrowing their focus by selecting one particular school to use in evaluating
the novels 1984and Invisible Man. After writing a rough draft, students will peer edit papers, making suggestions for
improvement. The class will then have the opportunity to revise and rewrite these papers, and the Literary
Criticism paper will be due during the second nine-week grading period.
Unit 2: The Nature of Tragedy; Classical versus Modern Tragedy / Theatre of the Absurd
Eight Weeks
Throughout history, tragedy has been one of the most popular and powerful literary types; however, the nature and
requirements of tragedy has altered over time. Students will experience a wide variety of tragic works, from modern
stories of heartbreak both fictional and nonfictional, to Shakespearean drama, to drama from Ancient Greece. They
will identify the essential, common elements shared by all tragic works, and they will determine how other mutable
aspects reflect upon the society from which they developed.
Essential Questions:
 What is the nature of tragedy? How does the modern idea of tragedy compare and contrast to the classical?
 How do tragic heroes compare to and differ from tragic figures?
 What is a tragic flaw, and why do only some individuals possess them?
 Are individuals controlled by fate, free will, or some combination of the two?
 What is the Theatre of the Absurd, and what makes tragedy an excellent vehicle for the Theatre of the
Absurd?
Suggested Works:
 Oedipus Rex by Sophocles (review)
 King Lear, Henry IV, Parts I and II, or
Macbeth by William Shakespeare
 The Tragedy of Hamlet, Prince of Denmark by
William Shakespeare
 Death of a Salesman by Arthur Miller



“The Six Elements of Tragedy” by
Aristotle
“Notes for the Modern Tragedy” by
Henrik Ibsen
“Tragedy and the Common Man” by
Arthur Miller





“The Laughing Man” by J.D. Salinger
“On Tragedy” by Aristotle
“Anorexic” by Eavan Boland
Rosencrantz and Guildenstern Are Dead by
Tom Stoppard
additional poems and short stories
Unit 3: Man versus God, Man Supplanting God, and Man versus Man
Six Weeks
From the earliest stages of consciousness, individuals grapple with the idea of a higher power, guidelines for
appropriate behavior, the nature of sin and evil, and mankind’s inherent traits, whether good or evil. What limits
should be placed on scientific advances and for what reasons? Who should decide the need for or scope of these
boundaries? Why? Additionally, what significance do names have? This unit explores these concepts in depth.
Connections: Within the reader, what emotional reaction for, regarding, or against the Creature does his nameless
existence elicit and for what reason? Is this reaction comparable or in opposition to the feelings generated by the
narrator of Invisible Man? Why?
Essential Questions:
 What defines the relationship between a creator and the created being? What responsibilities does each
role possess?
 Does an individual have certain responsibilities towards himself, and, if so, what are they? How are these
determined?
 What is the nature of good? Of evil? Can one exist without the other, or are they actually defined by each
other? Is mankind inherently good or evil?
 What is the relationship between sin and evil?
Suggested Works:
President’s Council on Bioethics
 Frankenstein by Mary Shelley
(Washington D.C. 2002)
 The Rime of the Ancient Mariner by Samuel
 Cat’s Cradle by Kurt Vonnegut
Taylor Coleridge
 Candide by Voltaire
 Heart of Darkness by Joseph Conrad
 additional poems and short stories
 “Human Cloning and Human Dignity:
An Ethical Inquiry,” presented by The
Semester Exam
Semester B Research Project: Students will explore the nature of parody and satire. They will then produce a
written and visual product in any medium (film and screenplay, story book, album with liner notes, etc.) parodying
Frankenstein, integrating characters and situations from the other works that we have covered and including the
elements discussed in class.
Unit 4: Poetry Unit
Six Weeks
Evaluation and Elements – Voice through speaker and tone (diction and syntax); imagery; figurative language;
rhythm and meter; sound effects, including rhyme, onomatopoeia, alliteration, and assonance; structure: Roethke’s
“My Papa’s Waltz; Crane’s “War Is Kind”; Browning’s “My Last Duchess”; Stuart’s “In the Orchard”; Hopkins’s
“Thou are indeed just, Lord”; Reed’s “Naming of Parts”; Jarrell’s “The Death of the Ball Turret Gunner”;
Wordsworth’s “I wandered lonely as a cloud”; Robinson’s “Miniver Cheevy”; Shakespeare’s “That time of year thou
may’st in me behold”; Rossetti’s “Up-Hill”; Frost’s “The Road Not Taken”; Donne’s “The Sun Rising”; Hardy’s “The
Man He Killed”; Yeats’ “An Irish Airman Foresees His Death”; and Byron’s “The Destruction of Sennacherib”
Closed Form – Sonnet: Shelley’s “Ozymandias”; Heaney’s #10 from Glanmore Sonnets; Millay’s “I Being Born a
Woman and Distressed”; select Shakespearean sonnets; Frost’s “Design”; Donne’s “Death Be Not Proud”;
Wordsworth’s “The World Is Too Much with Us”; Keats’ “On First Looking into Chapman’s Homer”; select sonnets
from Spenser’s The Faerie Queen.. Villanelle: Thomas’s “Do not go gentle into that good night”; Roethke’s “The
Waking.” Sestina: Bishop’s “Sestina”; Sidney’s “Ye Goatherd Gods”; Hecht’s “Sestina D’Inverno”; Ashbery’s “The
Painter.” Ottava rima: excerpts from Lord Byron’s Don Juan. Terza rima: Wilbur’s “First Snow in Alsace”; Shelley’s
“Ode to the West Wind”; selections from Dante’s Inferno. Quatrain (ballad stanza): Coleridge’s The Rime of the
Ancient Mariner. Blank verse: excerpts from Milton’s Paradise Lost; Tennyson’s “Ulysses”; Browning’s “Fra Lippo
Lippi”
Viewpoints – Hopkins’ “Pied Beauty” and “The Windhover”; Stevens’ “Thirteen Ways of Looking at a Blackbird”;
Browning’s “Soliloquy of the Spanish Cloister”; Yeats’ “The Second Coming”; Eliot’s “The Hollow Men” and
excerpts from The Waste Land; cummings’ “Buffalo Bill,” Cohen’s “Suzanne”; Plath’s “The Colossus”; Rich’s “Aunt
Jennifer’s Tigers”; Robinson’s “Richard Cory” and Simon’s “Richard Cory”; Hughes’s “Dream Deferred” and “Same in
Blues”
Transcendence – Dickinson’s “A Bird came down the Walk”; Heaney’s “Digging”; Keats’ “Ode on a Grecian Urn”;
Wordsworth’s “Lines. . . Above Tintern Abbey”; Housman’s “To an Athlete Dying Young” and “On Wenlock Edge
the Wood’s in Trouble”
Semester B Research Paper: Students will select one poet each to explore, choosing no fewer than fifteen and no
more than fifty lines of poetry to explicate for their poet. Next, students will research criticism of that poetry and
produce analytical, critical (evaluative) papers that explain a thesis regarding the poetry. Students are encouraged
to produce their own criticism, providing sources that support and explain their own beliefs. The papers will be
due around the semester’s midpoint, and they will be revised after in-class peer editing.
Essential Questions:
 How and why do poets manipulate language? Why are imagery and symbolism vital to poetry?
 How should the student analyze poetry?
 What language is essential for this analysis?
Unit 5: Historical Fiction
Four Weeks
In this genre study, students will explore the values of historical fiction. They will comprehend an author’s aims
and biases, and, through careful research into the applicable historical period, they will compare and contrast the
fictional account with an accurate historical one. In addition, students will evaluate the works studied through
literary criticism.
Essential Questions:
 How does literature teach us about our history?
 How do authors use symbolism to explore historical events?
Suggested Works:

Girl with a Pearl Earring by Tracy Chevalier
 Memoirs of a Geisha by Arthur Golden
 A Lesson Before Dying by Ernest J. Gaines
 For Whom the Bell Tolls by Ernest Hemingway
 A Portrait of the Artist as a Young Man by James
 Tess of the D’Urbervilles by Thomas Hardy
Joyce
 Wide Sargasso Sea by Jean Rhys
 Slaughterhouse-five by Kurt Vonnegut
 other novels as determined by teacher
Unit 6: The Short Story
Four Weeks
A continuation of the introductory unit at the beginning of the school year, this short story unit will delve more
deeply into the issues of interpreting literature. In particular, students will concentrate on understanding tone,
voice, and style. Students will in turn learn the particular forms of fiction and its elements, including point of view,
setting, characterization, plot, structure, theme, irony, and symbol.
Essential Questions:
 How should one actively read?
 What are the ways in which authors reveal purpose?
 How can one recognize and write about tone, voice, and style?
The Feminine Mystique: Chopin’s “The Story of an Hour” (includes reading guide) and “The Storm”; Salinger’s “A
Perfect Day for Bananafish” and “Just Before the War with the Eskimos”; Petronius’s “The Widow of Ephesus”;
Faulkner’s “A Rose for Emily”; Hemingway’s “Hills Like White Elephants”; Jen’s “Who’s Irish?”; Gilman’s “The
Yellow Wallpaper”; Mansfield’s “Bliss”
Lessons Learned: Lawrence’s “The Rocking-Horse Winner”; Joyce’s “Araby” or “The Dead”; Poe’s “The Black Cat”;
Cisneros’s “Barbie-Q”; Smith’s “Times Five”; Satrapi’s “The Veil”; Masilamani’s “Two Kinds of People”; Atwood’s
“Happy Endings”; Faulkner’s “Barn Burning”; Salinger’s For Esmé – With Love and Squalor”; Jackson’s “The
Lottery”
*Students will take the AP Exam during this unit. We will also take a week to review authors and their works.
Class Rules:
 Be prompt. We will follow the school’s lockout policy at all times.
 Be prepared. Have all the necessary materials every day.
 Be respectful. Use polite language, tolerate the opinions of others, avoid touching others or their
belongings, and refrain from grooming in class.
 Be trustworthy. Exhibit personal and academic integrity.
 Be accountable. Know the handbook policies and classroom procedures. Ignorance is never a valid excuse.
Class Policies:
 Students should submit homework in their class folder before the bell rings. Ten points will be deducted
from work submitted during the first five minutes of class. After five minutes, work is one day late.
 When the bell rings to begin class, students should be seated in their assigned seats, working on daily
grammar practice with all relevant materials on the table. This should not involve extraneous
conversation.
 Restroom passes are for emergencies only (two per semester). Use the time between classes wisely.
 Do not interrupt my other classes for any reason.
 Sit in your assigned seat every day, and remain seated during class time. Please clean your desk and the
area around it before you leave class.
 Late work will be penalized one-fourth its value per day late. If work is submitted in excess of three days
late, its value will be assessed on an individual basis; however, the maximum amount of credit possible is
half.
 Per school rules, you should have no food or drink in class.
Make-Up Work:
 According to school policy, you have one make-up day per excused absence. For example, if you have an
excused absence of two days, you have two days to make up that work.
 Unexcused absences result in a grade of zero for all missed work. Please see the Student Handbook for
guidelines. Work due during suspensions may not be made up and results in a grade of zero.
 It is your responsibility to obtain your own make-up work outside of class. Please do not ask for make-up
work during class time. I am available after school by appointment, or you may ask a dependable
classmate.
 An absence the day before a test does not excuse you from taking the test.
 Any graded assignment that is more than three days late may be made up for no more
than half of the original value.
Grading Scale: Grades are determined according to the following scale, used in all Henry County Schools.
A = 90-100
B = 80-89
C = 74-79
D = 70-73
F = 69 and below
Semester grades are cumulative rather than an average of the separate progress report periods. Grades will be
updated to Infinite Campus, the on-line program that allows you to view your grades from home. Please keep all
graded work in your notebook, as I will not change a grade without proof that it is incorrect.
Plagiarism / Cheating Policy: Cheating is unacceptable, and results in a grade of zero. Plagiarism or cheating
includes the following:
 copying work or answers from another student or students
 copying verbatim (word for word) from a book or any source without using quotations and giving credit in
correct MLA format; this also includes substituting synonyms for or rearranging words
 citing sources incorrectly or neglecting to include citations or a Works Cited page
 copying the ideas of another and presenting them as your own
 work completed by anyone else, including parents
 allowing another student to “borrow” work and present it as his or her own
In the event that two or more students submit identical work, each student will receive a zero for the assignment.
AP Literature and Composition
2014-2015
Student Name: _______________________________________________
R. Mitchell
Class Period: _____________
I have read and understand the syllabus that contains the expectations, procedures, and requirements for Ms.
Mitchell’s Advanced Placement Literature and Composition course.

If you complete the student and parent surveys at rlmitchell.pbworks.com, then you need only
sign and date this form (leave the other information blank).
Student Signature: ________________________________________________________
Date: ________________
Student’s Email Address: __________________________________________________________________________________________
Three goals for this class: __________________________________________________________________________________________
______________________________________________________________________________________________________________________
What should I know about you?
______________________________________________________________________________________________________________________
______________________________________________________________________________________________________________________
Parent/Guardian Name: __________________________________________________________________
Relationship to Student: __________________________________________________________________
Parent/Guardian Signature: ________________________________________________________
Date: ________________
Please check the blank(s) before the preferred method(s) of contact and provide the following information.
___ Home phone: ____________________
___ Cell phone: ____________________
___ Work phone: ____________________
___ Other:
____________________
___ Parent/Guardian’s Email address: _______________________________________________________________________
Medical Issues: __________________________________________________________________________