Summer Assignment 2017 - AP English Language & Composition

Hi! Welcome to our class web site's summer assignment page. First, download and print the document below ("AP Lang Summer Assignment 2017"). Read over the document and the information here on this page below. Sign and return the second page of the document to me by Friday, May 19, in room 1115. You must return it in person; please don't send it with a friend. See you soon!


1) RESEARCH THE RHETORICAL SITUATION!



First, buy a composition book (like this, not spiral bound or other) for your quote and other summer journaling. Label/date everything you write! Now, you can start your assignment...

Next, visit the Purdue Online Writing Lab to read/take notes in your composition book/study a few of the entries under "The Rhetorical Situation": 


Treat each of these links as chapters (they're very short!) in a text. Take careful notes in your comp books. Pay special attention to c) "Aristotle's Rhetorical Situation," and be able to define and apply the concepts of logos/pathos/ethos. These notes should be the FIRST entries in your AP Language composition book! (This OWL section contains a few more "chapters" -- "Text," "Author and Audience," "Purposes," "Setting" -- that we'll explore as a class during the year.)

Next, download the rhetorical devices document below. You are going to make 3x5 flashcards (please use actual CARDS) for each term.  39 terms in all.

Here's how:
  • Make a flashcard (model below) for the terms on the Rhetorical Devices List jpeg hand out below). You should have 39 flashcards that include term(s), definition(s), and example(s). You'll have to look these words up -- online is great. BYU has a great web site! In general, look for .edu sites, please.
    • By all means, find a smart, responsible partner or two and divide and conquer the work. However, everyone needs 39 cards!!
    • Feel free to type up the info and "scrapbook" your cards (cut and neatly paste your document on a card -- format your typed document to fit on the card!).
    • Document your sources, even if informally, please. (meaning, for each definition, cite your source).
    • WRITE YOUR NAME ON EVERY CARD!
RHETORICAL DEVICES FLASHCARD MODEL

side one

        #18 anadiplosis / conduplicatio

side two
  • #18 anadiplosis / conduplicatio is the repetition of last word or phrase from the previous line, clause, or sentence at the beginning of the next / repetition of words in adjacent phrases (general word for repetition); literally "to double" in Greek
  • EXAMPLE: "rely on his honor--honor such as his" 
  • source(s):  rhetoric.byu.edu and merriam-webster.com
2) READ In Cold Blood by Truman Capote
                                &
Mountains Beyond Mountains by Tracy Kidder.

and ANNOTATE: See the link below, so that we're in agreement on annotation; both texts must be annotated and annotated thoroughly and well, which will make the next part of the assignment a breeze. Annotations are not random, meaningless scribbles that you return to the books to make. Rather, think of annotations as conversations that you carry on with the texts DURING the reading. This should enhance, not detract from the reading. If you're distracted, you may be annotating too much, or not meaningfully. You may need to read twice. Re-reading is a good thing. 




Read/annotate* In Cold Blood by Truman Capote (1965)


Read/annotate Mountains Beyond Mountains: The Quest of Dr. Paul Farmer, a Man Who Would Cure the World by Tracy Kidder (2004)


*Check out this link so that we're all on the same page with what "annotating" a text means. I'm not asking for chapter notes or a dialectical journal -- but a meaningful "conversation" between you and the texts. This requires that you mark in the text; if you're using library books, use sticky notes. But in an ideal world, you're working with your OWN copy of the books, copies you are free to mark up!


FYI: Speaking of reading, here are some additional titles to consider should you find yourself with time to read this summer. You'll be reading off a list (on which these and more titles appear) ALL year (2016-17) for your independent reading requirement, so this is a great time to get a head start:

Nonfiction:
  • Fast Food Nation by Eric Schlosser
  • Dead Man Walking by Sister Helen Prejean
  • Pilgrim at Tinker Creek by Annie Dillard
  • The Autobiography of Malcolm X
    by Alex Haley and Malcolm X
  • Travels With Charley by John Steinbeck
  • Into the Wild by Jon Krakauer
  • Into Thin Air by Jon Krakauer
  • Walden and Civil Disobedience (both texts)
    by Henry David Thoreau
  • The Spirit Catches You and You Fall Down
    by Anne Fadiman
Fiction:
  • East of Eden and/or Grapes of Wrath by John Steinbeck



3) WRITE:

Keep a "quote journal" for both texts (you can mix and match or dedicate one section of pages to each text). First, divide your page into two columns. Next, return to the text, review your annotations, and copy from your annotated texts into your composition books at least 15* quotes (from each book -- you'll have a total of 30, at least!) -- moments from text that you underlined, highlighted, or otherwise flagged as remarkable. Sometimes quotes are dialogue; more often, they're not. Simply, find moments of fine, powerful, effective writing and reproduce those moments, in your own handwriting, in your comp book (left column).

Then, in the right column, next to each quote, list any/all rhetorical devices and/or literary terms (from the flashcards or your own knowledge of/experience with literary analysis terms) that you find in each quote. Strive for a variety of devices/terms. ALSO, identify and explain Truman Capote and Tracy Kidder using elements of logos, pathos, and ethos!

Example (this is a LONG quote; yours may range in length):

"There is something uneasy in the Los Angeles air this afternoon, some unnatural stillness, some tension. What it means is that tonight a Santa Ana will begin to blow, a hot wind from the northeast whining down through the Cajon and San Gorgonio Passes, blowing up sand storms out along Route 66, drying the hills and the nerves to flash point. For a few days now we will see smoke back in the canyons, and hear sirens in the night. I have neither heard or read that a Santa Ana is due, but I know, and almost everyone I have seen today knows it too. We know it because we feel it. The baby frets. The maid sulks. I rekindle a wanting argument with the telephone company, then cut my losses and lie down, given over to whatever it is in the air. To live with the Santa Ana is to accept, consciously or unconsciously, a deeply mechanistic view of human behavior."


From “The Santa Ana Winds” by Joan Didion

Personification: the wind whines
   Giving the wind a human quality makes it even more threatening.

Cumulative sentence
   She makes her point by accumulating details about what it means that the Santa Ana is beginning to blow.

Two short sentences: "The baby frets. The maid sulks."
    Those simple sentences reduce human behavior to irrefutable evidence. We can't argue with what we see so clearly.

"rekindle"
    Though she's talking about restarting an argument with the phone company, the word makes us think of starting a fire, like the wind does up in the hills.



Example from The Language of Composition (Beford St. Martin’s, 2013)

ĉ
Kerith Mickelson,
May 10, 2017, 8:37 AM
ĉ
Kerith Mickelson,
May 22, 2017, 4:41 PM
ą
Kerith Mickelson,
Aug 2, 2016, 2:56 PM
Comments