Your work should be your OWN. If you talk about the novels with someone, you should be sure that your answers are unique to you. If you reference a literary analysis website, like SparkNotes, you should make sure you have written your own responses to the questions.
Embedded Files
Part 1: The Great Gatsby
Part 1: The Great Gatsby
Acquire a copy of The Great Gatsby. It is in the public domain, so you can read it online. The public library has many copies, and you can purchase it at local book shops, both new and used.
Title: The Great Gatsby
Author: F. Scott Fitzgerald
Published: 1925
Recommendation: Read the article and view the Crash Course BEFORE and AFTER reading The Great Gatsby, so you know what is happening during the book and then are able to remember what you learned when you write your reflection.
Context: What happened in the world during the 1920s?
Read the following article from History.com
View the following Crash Course US History #32 about the 1920s
After reading and viewing the previous two, write a one page (MLA style full page) reflection using the ideas to the right and discuss how understanding these ideas helped you to better understand the novel's purpose.
Flappers
The Great War
Women’s Suffrage
Prohibition
Bootlegger
Racism
Automobiles
Wealth Disparities
Directions: After your reflection (above) in the same document create a page break then write both responses for the literary analysis section.
Literary Analysis
A literary analysis is not merely a summary of a literary work. Instead, it is an argument about the work that expresses a writer's personal perspective, interpretation, judgment, or critical evaluation of the work.
In a 7-10 sentence paragraph discuss whether or not America still has the same social and economic class issues that are explored in The Great Gatsby.
Read Thomas C. Foster's essay on The Great Gatsby from 25 Books that Shaped America. In a paragraph of 7 to 10 sentences, identify Foster's thesis and explain your position on his argument. Do you agree that The Great Gatsby should be included in the twenty-five books that shaped America? Why or why?
MEAL Paragraph explanation & examples, if you are not familiar with this term.
Part 2: Of Mice and Men
Part 2: Of Mice and Men
Acquire a copy of Of Mice and Men. The public library has many copies, or you can purchase it at local book shops, both new and used.
Title: Of Mice and Men
Author: John Steinbeck
Published: 1937
Synthesis: At the very basic level, synthesis refers to combining multiple sources and ideas. As a writer, you will use information from several sources to create new ideas based on your analysis of what you have read.
You may find the information found here and the graphic organizer found here to assist you in synthesizing information.
In AP Language and Composition, students study how texts speak to one another. Of Mice and Men speaks with the provided nonfiction excerpts. Consider what readers can learn by taking into consideration what is described in the two excerpts.
Text 1: Excerpt from “Friendship in an Age of Economics” by Todd May, July 4, 2010:
Text 1: Excerpt from “Friendship in an Age of Economics” by Todd May, July 4, 2010:
…Aristotle thought that there were three types of friendship: those of pleasure, those of usefulness, and true friendship. In friendships of pleasure, “it is not for their character that men love ready-witted people, but because they find them pleasant.” In the latter, “those who love each other for their utility do not love each other for themselves but in virtue of some good which they get from each other.” For him, the first is characteristic of the young, who are focused on momentary enjoyment, while the second is often the province of the old, who need assistance to cope with their frailty. What the rise of recent public rhetoric and practice has accomplished is to cast the first two in economic terms while forgetting about the third.
In our lives, however, few of us have entirely forgotten about the third — true friendship. We may not define it as Aristotle did — friendship among the already virtuous — but we live it in our own way nonetheless. Our close friendships stand as a challenge to the tenor of our times.
Conversely, our times challenge those relationships. This is why we must reflect on friendship; so that it doesn’t slip away from us under the pressure of a dominant economic discourse. We are all, and always, creatures of our time. In the case of friendship, we must push back against that time if we are to sustain what, for many of us, are among the most important elements of our lives. It is those elements that allow us to sit by the bedside of a friend: not because we know it is worth it, but because the question of worth does not even arise.
There is much that might be said about friendships. They allow us to see ourselves from the perspective of another. They open up new interests or deepen current ones. They offer us support during difficult periods in our lives. The aspect of friendship that I would like to focus on is its non-economic character. Although we benefit from our close friendships, these friendships are not a matter of calculable gain and loss. While we draw pleasure from them, they are not a matter solely of consuming pleasure. And while the time we spend with our friends and the favors we do for them are often reciprocated in an informal way, we do not spend that time or offer those favors in view of the reciprocation that might ensue.
Friendships follow a rhythm that is distinct from that of either consumer or entrepreneurial relationships. This is at once their deepest and most fragile characteristic. Consumer pleasures are transient. They engulf us for a short period and then they fade, like a drug. That is why they often need to be renewed periodically. Entrepreneurship, when successful, leads to the victory of personal gain. We cultivate a colleague in the field or a contact outside of it in the hope that it will advance our career or enhance our status. When it does, we feel a sense of personal success. In both cases, there is the enjoyment of what comes to us through the medium of other human beings.
Friendships worthy of the name are different. Their rhythm lies not in what they bring to us, but rather in what we immerse ourselves in. To be a friend is to step into the stream of another’s life. It is, while not neglecting my own life, to take pleasure in another’s pleasure, and to share their pain as partly my own. The borders of my life, while not entirely erased, become less clear than they might be. Rather than the rhythm of pleasure followed by emptiness, or that of investment and then profit, friendships follow a rhythm that is at once subtler and more persistent. This rhythm is subtler because it often (although not always) lacks the mark of a consumed pleasure or a successful investment. But even so, it remains there, part of the ground of our lives that lies both within us and without.
…We might say of friendships that they are a matter not of diversion or of return but of meaning. They render us vulnerable, and in doing so they add dimensions of significance to our lives that can only arise from being, in each case, friends with this or that particular individual, a party to this or that particular life.
It is precisely this non-economic character that is threatened in a society in which each of us is thrown upon his or her resources and offered only the bywords of ownership, shopping, competition, and growth. It is threatened when we are encouraged to look upon those around us as the stuff of our current enjoyment or our future advantage. It is threatened when we are led to believe that friendships without a recognizable gain are, in the economic sense, irrational. Friendships are not without why, perhaps, but they are certainly without that particular why.
Text 2: Excerpt from the opening section of “Of Mice and Men” by John Steinbeck:
Text 2: Excerpt from the opening section of “Of Mice and Men” by John Steinbeck:
“If you don’ want me I can go off in the hills an’ find a cave. I can go away any time.”
“No — look! I was jus’ foolin’, Lennie. ‘Cause I want you to stay with me. Trouble with mice is you always kill ’em.” He paused. “Tell you what I’ll do, Lennie. First chance I get I’ll give you a pup. Maybe you wouldn’t kill it. That’d be better than mice. And you could pet it harder.”
Lennie avoided the bait. He had sensed his advantage. “If you don’t want me, you only jus’ got to say so, and I’ll go off in those hills right there — right up in those hills and live by myself. An’ I won’t get no mice stole from me.”
George said, “I want you to stay with me, Lennie. Jesus Christ, somebody’d shoot you for a coyote if you was by yourself. No, you stay with me. Your Aunt Clara wouldn’t like you running off by yourself, even if she is dead.”
Lennie spoke craftily, “Tell me — like you done before.”
“Tell you what?”
“About the rabbits.”
George snapped, “You ain’t gonna put nothing over on me.”
Lennie pleaded, “Come on, George. Tell me. Please, George. Like you done before.”
“You get a kick outa that, don’t you? Awright, I’ll tell you, and then we’ll eat our supper….”
George’s voice became deeper. He repeated his words rhythmically as though he had said them many times before. “Guys like us, that work on ranches, are the loneliest guys in the world. They got no fambly. They don’t belong no place. They come to a ranch an’ work up a stake and then they go into town and blow their stake, and the first thing you know they’re poundin’ their tail on some other ranch. They ain’t got nothing to look ahead to.”
Lennie was delighted. “That’s it — that’s it. Now tell how it is with us.”
George went on. “With us it ain’t like that. We got a future. We got somebody to talk to that gives a damn about us. We don’t have to sit in no bar room blowin’ in our jack jus’ because we got no place else to go. If them other guys gets in jail they can rot for all anybody gives a damn. But not us.”
Lennie broke in. “But not us! An’ why? Because… because I got you to look after me, and you got me to look after you, and that’s why.” He laughed delightedly. “Go on now, George!”
Directions: In the same document as your Great Gatsby responses create a page break. Title the page Of Mice and Men Synthesis and answer each of the following questions. Each response should be at least three sentences long. A great answer would provide cited textual evidence from one or both of the texts.
Synthesis Questions
Synthesis Questions
1. How would you describe the relationship between George and Lennie in this excerpt (Text 2)?
2. Which of Aristotle’s three kinds of friendships would you say describes theirs? Why?
3. How does the time we live in threaten the third, and most precious, kind of friendship, according to Mr. May? Why is it important to cultivate such friendships now?
4. Discuss this statement in relation to George and Lennie: “They render us vulnerable, and in doing so they add dimensions of significance to our lives that can only arise from being, in each case, friends with this or that particular individual, a party to this or that particular life.” How does their friendship render each vulnerable? How does it add significance (good or bad) to each of their lives?
5. On the ranch in Steinbeck’s novella, which could be described as “a world often ruled by the dollar and what it can buy,” how exactly does “friendship, like love, opens other vistas”? What is the relationship between friendship and dreams?
Writing analysis paragraphs with evidence. Find help here.
Part 3: Important Terms and Concepts
Part 3: Important Terms and Concepts
1. AUTHORITY*
2. AUDIENCE*
3. BACKING
4. ASSERTION
5. MEANS VS. ENDS
6. DEDUCTIVE REASONING
7. INDUCTIVE REASONING
8. ALLITERATION
9. TONE*
10. DICTION
a. Denotation
b. Connotation
c. Colloquial
d. Formal
e. Informal
f. Concrete
g. Abstract
11. DETAIL
a. Mood
b. Imagery
c. Setting
12. FIGURATIVE LANGUAGE
d. Allusion
e. Simile
f. Metaphor
g. Personification
h. Hyperbole
i. Understatement
j. Paradox
k. Verbal Irony
l. Analogy
m. Anecdote
n. Metonymy
o. Synecdoche
13. RHETORICAL MODES/ MODES OF DISCOURSE
a. Exemplification
b. Cause/Effect
c. Description
d. Process Analysis
e. Narration*
f. Comparison/Contrast
g. Exposition
h. Argumentation
i. Repetition
14. POINT OF VIEW
a. First Person
b. Second Person
c. Third Person
d. Subjective*
e. Objective*
15. SYNTAX
a. Anaphora
b. Antithesis
c. Asyndeton
d. Polysyndeton
e. Parallel sentence
f. Periodic sentence
g. Rhetorical question
h. Inverted syntax
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