Don’t tell me the moon is shining; show me the glint of light on broken glass. - Anton Chekhov
Welcome to the FAQ or Frequently Asked Questions about the ENG II.
Using the questions asked by students, I have created a page for students. If you have a question that is NOT answered here, feel free to email me at richard.ehrlich@palmbeachschools.org .
NOTE: Lessons, updates, notes, assignments, etc. will be posted on the GOOGLE CLASSROOM, under the TAB at the top marked CLASSWORK. Students should not rely the STREAM to keep track of class activities. The AGENDA option on the STREAM may also change without due notice. So, again, students should check the CLASSWORK tab each class for lessons, updates, notes, assignments, etc.
THIS IS NOT A CLASS OF SUMMARY! THIS IS A CLASS OF PROVING AN ANALYSIS!
The use and function of characterization
The use of and function of plot and structure
The use of and function of point of view / speaker / narrative
The use of and function of setting
The use of and function of imagery
The use of and function of symbolism
The use of and function of diction
The use of and function of syntax
The ability to compare ideas, concepts, etc.
L.1.1
• Using parallel structure
• Using various types of phrases (noun, verb, adjectival, adverbial, participial, prepositional, absolute) and clauses (independent, dependent; noun, relative, adverbial)
L.1.2
• Using a semi-colon, with our without a conjunctive adverb, to link to or more closely related independent clauses
• Using a colon to introduce a list or quotation
• Using correct grade-level appropriate spelling
L.1.1
• Understanding that grammar and usage is a matter of convention, can change over time, and is sometimes contested
• Consulting references to resolve complex or contested issues of grammar and usage
L.1.2
• Using a hyphen correctly
• Using correct grade-level appropriate spelling
*All FSA Editing Task questions are focused on correct usage, not identification of parts of speech, types of phrases, etc.
**For example Editing Task items, please see the Editing Task Practice assessments in Performance Matters.
L.1.1
• Using correct pronoun case (subjective, objective, possessive)
• Using intensive pronouns (myself, ourselves)
• Correcting inappropriate shifts in pronoun number and person
• Demonstrating a clear connection between pronoun and antecedent
L.1.2
• Using punctuation (commas, parentheses, dashes) to set of nonrestrictive/parenthetical elements
• Using correct grade-level appropriate spelling
L.1.1
• Using various types of phrases and clauses
• Correctly using and punctuating sentence types (simple, compound, complex, and compound-complex)
• Placing clauses and phrases within a sentence
• Recognizing and correcting misplaced and dangling modifiers
L.1.2
• Using commas to separate coordinate adjectives
L.1.1
• Using various types of verbals (gerunds, participles, infinitives)
• Using verbs in active and passive voice
• Using verbs in indicative, imperative, interrogative, conditional, and subjunctive mood
• Recognizing and correcting inappropriate shifts in verb voice and mood
L.1.2
• Using punctuation (comma, ellipsis, dash) to indicate a pause or break
• Using an ellipsis to indicate an omission
• Using correct grade-level appropriate spelling
SUMMARY (or any variation) because a literary analysis essay NEVER summarizes. It is an analysis of the work and the elements used by the writer for a purpose.
DEFINE (or any variation) because a literary analysis essay NEVER defines terms or concepts. The terms or concepts are the tools of the writer. Explain HOW they are being used, not that they exist. NEVER just list terms or concepts either (a common mistake made, especially in introductions).
CLEAR or OBVIOUS (or any variation) because NOTHING is clear nor is ANYTHING obvious. The essay must make everything clear through EVIDENCE and COMMENTARY.
Grade 10 Novels and Lexiles
Achebe Things Fall Apart 890 10th
Adan The Cardboard House 1050 10th
Adlar Aristotle for Everybody 10th
Alvarez Before We Were Free 890 10th
Alvarez How the Garcia Girls Lost Their Accents 950 10th
Alvarez Yo! 10th
Angelou I Know Why the Caged Bird Sings 1070 10th
Arana American Chica 10th
Arnett Avalon 730 10th
Beavan No Impact Man 10th
Bick Ashes 10th
Bissinger Friday Night Lights 1260 10th
Buchan The Thirty-Nine Steps 1000 10th
Camus The Stranger 880 10th
Carlson Cool Salsa: Bilingual Poems on Growing Up Latino in the NP 10th
Casella Thin Space 570 10th
Chopin The Awakening 956 10th
Colton Counting Coup 960 10th
Danticat Breath, Eyes, Memory 10th
Davis We Beat the Street: How a Friendship Led to Success 860 10th
de la Pena The Living 700 10th
Dickens David Copperfield 1070 10th
Duckett I Never Had It Made: The Autobiography of Jackie Robin 1130 10th
Dumas The Count of Monte Cristo 930 10th
Eliot Silas Marner 1330 10th
Flagg Fried Green Tomatoes at the Whistle Stop Café 1000 10th
Flake Pinned 460 10th
Follett Pillars of the Earth 10th
Forster A Room with a View 920 10th
Giles Fake ID 640 10th
Griffin The Orange Houses 10th
Griffin Burning Blue 660 10th
Guterson Snow Falling on Cedars 1080 10th
Hamilton Mythology 1040 10th
Haskins James Van Der Zee: The Picture Talkin' Man 1070 10th
Haskins Lena Horne 10th
Hilton Lost Horizon 1060 10th
Houston Farewell to Manzanar 1040 10th
Hunter Lou in the Limelight 10th
Ibsen A Doll's House NP 10th
Jackson If I Lie 10th
Jimenez Reaching Out 10th
Joyce Dubliners 900 10th
Kincaid Autobiography of My Mother 1160 10th
King Please Ignore Vera Dietz 830 10th
Knowles A Separate Peace 1110 10th
Kwok Girl in Translation 10th
Lister Legend of King Arthur 10th
Llewelyn How Green Was My Valley 1090 10th
Machiavelli The Prince 1510 10th
Marriott Shadows on the Moon 800 10th
Mason In Country 730 10th
Matson NIL 570 10th
McDonald Harlem Hustle 840 10th
Mohr Growing Up Inside the Sanctuary of My Imagination 10th
Moliere Tartuffee 10th
Nelson Fortune's Bones: The Manumission Requiem NP 10th
Nelson The Freedom Business 10th
Nelson A Wreath for Emmett Till NP 10th
Nolan Born Blue 920 10th
Odell The Healing: A Novel 850 10th
Orwell 1984 1090 10th
Orwell Animal Farm 1170 10th
Patterson Coretta Scott King 10th
Pratt Barefoot Mailman 10th
Revis Across the Universe 10th
Rodriguez The Pregnancy Project 970 10th
Rollins Black Troubador: Langston Hughes 10th
Rose Twelve Angry Men 10th
Rostand Cyrano De Bergerac NP 10th
Roy The God of Small Things 840 10th
Shakespeare A Midsummer Night's Dream NP 10th
Shakespeare Macbeth NP 10th
Shakespeare Othello NP 10th
Shakespeare The Tempest NP 10th
Shaw Breaking Beautiful 10th
Shaw Pygmaliion NP 10th
Shephard The Meaning of Matthew 10th
Silko Ceremony 10th
Skloot The Immortal Life of Henrietta Lacks 10th
Smith The Statistical Probability of Love at First Sight 1060 10th
Sophocles Antigone 1090 10th
Stein The Art of Racing in the Rain 10th
Stewart The Crystal Cave 960 10th
Stockett The Help 730 10th
Stowe Uncle Tom's Cabin 1050 10th
Tan The Joy Luck Club 930 10th
Tolkien The Return of the King 920 10th
Vaughn Steel 800 10th
Walls The Glass Castle 1010 10th
Walton Cracked 10th
Watson The Double Helix 10th
White The Once and Future King 1080 10th
Wilson Fences 10th
Williams The Glass Menagerie NP 10th
Williams Waiting 10th
Witners In the Shadow of Blackbirds 800 10th
Woodson Beneath a Meth Moon 730 10th
Wright Black Boy 950 10th
Yancey The 5th Wave 690 10th
Young The Program 660 10th
Zarr Story of a Girl 760 10th
Zusak The Book Thief 730 10th
If asking what should be in each individual paragraph, that is impossible. Each essay would be different.
Each paragraph of the body would be a POINT made from the works themselves and explained using evidence and commentary. Instead, think of this way:
The introduction would introduce the works (titles if you have; often though a title is not provided to you), the genre (novel, poem, etc.), the movement (Contemporary, Modernism, etc. based on the year, which they often provide), and the defensible thesis (the fighting stance you have taken that is shown through the work).
The body would be pieces (evidence, such as quotes from the work or paraphrased examples AND your explanation or commentary on the evidence, connecting to the defensible thesis).
The conclusion or final statement would be a reiteration of the defensible thesis and the major points made in the essay.
THAT is a big question.
There are LOTS of places to learn literary terms, besides just in the classroom. Two of the BEST are Literarydevices.net and Americanrhetoric.com
Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. (CCL2)
Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. (CCL3)
Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme. (CCL3)
Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone). (CCL3)
Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise. (CCL3)
Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature. (CCL3)
Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment (e.g., Auden’s “Musée des Beaux Arts” and Breughel’s Landscape with the Fall of Icarus). (CCL3)
Analyze how an author draws on and transforms source material in a specific work (e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare). (CCL3)
By the end of grade 9, read and comprehend literature, including stories, dramas, and poems, in the grades 9–10 text complexity band proficiently, with scaffolding as needed at the high end of the range.
By the end of grade 10, read and comprehend literature, including stories, dramas, and poems, at the high end of the grades 9-10 text complexity band independently and proficiently. (CCL2)
Strand: Reading Standards for Informational Text
Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. (CCL2)
Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. (CCL2)
Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them. (CCL3)
Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language of a court opinion differs from that of a newspaper). (CCL3)
Analyze in detail how an author’s ideas or claims are developed and refined by particular sentences, paragraphs, or larger portions of a text (e.g., a section or chapter). (CCL3)
Determine an author’s point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose. (CCL3)
Analyze various accounts of a subject told in different mediums (e.g., a person’s life story in both print and multimedia), determining which details are emphasized in each account. (CCL2)
Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning. (CCL3)
Analyze seminal U.S. documents of historical and literary significance (e.g., Washington’s Farewell Address, the Gettysburg Address, Roosevelt’s Four Freedoms speech, King’s “Letter from Birmingham Jail”), including how they address related themes and concepts. (CCL2)
By the end of grade 9, read and comprehend literary nonfiction in the grades 9–10 text complexity band proficiently, with scaffolding as needed at the high end of the range.
By the end of grade 10, read and comprehend literary nonfiction at the high end of the grades 9–10 text complexity band independently and proficiently. (CCL2)
Strand: Writing Standards
Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. (CCL4)
Introduce precise claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that establishes clear relationships among claim(s), counterclaims, reasons, and evidence.
Develop claim(s) and counterclaims fairly, supplying evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level and concerns.
Use words, phrases, and clauses to link the major sections of the text, create cohesion, and clarify the relationships between claim(s) and reasons, between reasons and evidence, and between claim(s) and counterclaims.
Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing.
Provide a concluding statement or section that follows from and supports the argument presented.
Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. (CCL4)
Introduce a topic; organize complex ideas, concepts, and information to make important connections and distinctions; include formatting (e.g., headings), graphics (e.g., figures, tables), and multimedia when useful to aiding comprehension.
Develop the topic with well-chosen, relevant, and sufficient facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience’s knowledge of the topic.
Use appropriate and varied transitions to link the major sections of the text, create cohesion, and clarify the relationships among complex ideas and concepts.
Use precise language and domain-specific vocabulary to manage the complexity of the topic.
Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing.
Provide a concluding statement or section that follows from and supports the information or explanation presented (e.g., articulating implications or the significance of the topic).
Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. (CCL3)
Engage and orient the reader by setting out a problem, situation, or observation, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events.
Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters.
Use a variety of techniques to sequence events so that they build on one another to create a coherent whole.
Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters.
Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative.
Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1–3 above.) (CCL3)
Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. (CCL3)
Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology’s capacity to link to other information and to display information flexibly and dynamically. (CCL3)
Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation. (CCL4)
Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the usefulness of each source in answering the research question; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and following a standard format for citation. (CCL4)
Draw evidence from literary or informational texts to support analysis, reflection, and research. (CCL3)
Apply grades 9–10 Reading standards to literature (e.g., “Analyze how an author draws on and transforms source material in a specific work [e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare]”).
Apply grades 9–10 Reading standards to literary nonfiction (e.g., “Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning”).
Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences. (CCL3)
Strand: Standards for Speaking and Listening
Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. (CCL3)
Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.
Work with peers to set rules for collegial discussions and decision-making (e.g., informal consensus, taking votes on key issues, presentation of alternate views), clear goals and deadlines, and individual roles as needed.
Propel conversations by posing and responding to questions that relate the current discussion to broader themes or larger ideas; actively incorporate others into the discussion; and clarify, verify, or challenge ideas and conclusions.
Respond thoughtfully to diverse perspectives, summarize points of agreement and disagreement, and, when warranted, qualify or justify their own views and understanding and make new connections in light of the evidence and reasoning presented.
Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source. (CCL3)
Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, identifying any fallacious reasoning or exaggerated or distorted evidence. (CCL3)
Present information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task. (CCL3)
Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest. (CCL3)
Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate. (CCL2)
Strand: Language Standards
Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. (CCL3)
Use parallel structure.
Use various types of phrases (noun, verb, adjectival, adverbial, participial, prepositional, absolute) and clauses (independent, dependent; noun, relative, adverbial) to convey specific meanings and add variety and interest to writing or presentations.
Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. CCL2)
Use a semicolon, with or without a conjunctive adverb, to link two or more closely related independent clauses.
Use a colon to introduce a list or quotation.
Spell correctly.
Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening. (CCL3)
Write and edit work so that it conforms to the guidelines in a style manual (e.g., MLA Handbook, Turabian’s Manual for Writers) appropriate for the discipline and writing type.
Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grades 9–10 reading and content, choosing flexibly from a range of strategies. (CCL2)
Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.
Identify and correctly use patterns of word changes that indicate different meanings or parts of speech (e.g., analyze, analysis, analytical; advocate, advocacy).
Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning, its part of speech, or its etymology.
Verify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary).
Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. (CCL3)
Interpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text.
Analyze nuances in the meaning of words with similar denotations.
Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. (CCL2)
You can go on-line and find great resources like Quizlets. Here is one on TYPES OF POETRY.
Click https://quizlet.com/10767614/ap-lit-on-poetry-1-types-of-poems-flash-cards/
Click here for some amazing QUIZLETS at Fiveable.me
You can also make your own QUIZLETS and FLASHCARDS. The process of making them is amazing for your memory.
Feel free to email me good links to Quizlets, websites, etc. so I may add them here to share with others: richard.ehrlich@palmbeachschools.org
Know the difference between a simile and a metaphor. Such basic skills are expected and do change the scores when used improperly.
GR10: #101, #104 - Informative essays
GR10: #102, #103 - Argumentative essays
GR10: #102, #103 - Argumentative essays
GR10: #101, #104 - Informative essays
Students will then be able to log in and access the text(s) assigned to them by any teacher teaching from my.hrw.com
Students login
un: pbxxxxXXXXXXX (pb + school # + Student ID)
un: pbxxxxXXXXXXX (pb + school # + Student ID)
** UPLOADS WILL BE DONE WEEKLY (Mondays) WHEN POSSIBLE TO UPDATE ROSTERS, so please instruct teachers to
expect their students within a week of enrolling in their schools, and if they do not appear or if there are other technical
difficulties, to please call the service desk (PX: 44100) and report this and I will be made aware and respond accordingly.
Click on my links page for linkS TO TOOLS YOU CAN USE.
When referring to the passage, use the word "excerpt" or, better, the word "passage".
Do not confuse "excerpt" with "expert" or "except" or any other word than "excerpt". Again, perhaps just use the word "passage" or, much better, ALWAYS quote and paraphrase from the passage.
Do not just ask the reader to remember or to refer to the passage. GIVE THEM SOMETHING TO WORK WITH.
Let the WORK SPEAK by USING THE WORK!
There are ten grammar units and multiple SAT activities posted for you to complete through KHAN ACADEMY (tile in the portal). By using Khan Academy’s assignments, I hope to facilitate the acquisition of new grade-level skills, and empower you to move on to more challenging concepts. More information will be provided.
For now, these are the UNITS that you should complete.
Parts of speech: the noun
Parts of speech: the verb
Parts of speech: the pronoun
Parts of speech: the modifier
Parts of speech: the preposition and the conjunction
Punctuation: the comma and the apostrophe
Punctuation: the colon, semicolon, and more
Syntax: sentences and clauses
Syntax: conventions of standard English
Usage and Style
There are also nearly thirty SAT / Reading & Writing lessons to complete. More information will be provided.
1
Reading: Science
2
Writing: Argument
3
Writing: Informative
4
Reading: Social science
5
Reading: History
6
Writing: Narrative
7
Reading: Literature
8
Effective language use: Style and tone
9
Effective language use: Precision and concision
10
Grammar: Within-sentence punctuation
11
Effective language use: Syntax
12
Grammar: End-of-sentence punctuation
13
Grammar: Pronoun agreement
14
Grammar: Possessive nouns and pronouns
15
Grammar: Conventional expression
16
Grammar: Noun agreement
17
Grammar: Logical comparison
18
Grammar: Subordination and coordination
19
Grammar: Frequently confused words
20
Grammar: Pronoun clarity
21
Grammar: Subject-verb agreement
22
Grammar: Shifts in verb, tense, and mood
23
Grammar: Sentence boundaries
24
Grammar: Parallel structure
25
Grammar: Nonessential and parenthetical elements
26
Grammar: Possessive determiners
27
Grammar: Items in a series
28
Grammar: Modifier placement
It is not hard to get this points as long as you write a thesis is a defensible claim about an interpretation of literature and that may establish a line of reasoning.
Remember that a defensible thesis can be more than one sentence. But, it should a nuanced sentence or two that is impressive to the reader. It should not just parrot the prompt. It must show an ORIGINAL argument that sets up what the rest of essay.
You must make SURE that the thesis statement does not make an implied message. It is an interpretation of a message.
You must specifically and directly tell a statement of significance that answers the prompt.
The thesis is really about showing an INSIGHT into the theme or message of a literary text.
HINT: If the thesis is something that can be disputed or argued by someone else, you are doing it right!
This is the time to setup the future sparkles to your essay!
Check out this great video on the DEFENSIBLE THESIS: https://youtu.be/TUb4Zq6cqN0?t=648 . NOTE: This link starts you at 10m 48s into the video to focus on the defensible thesis.
As noted earlier, the College Board wants you to PROVE you know a work(s) well. SO, use as many SPECIFIC quotes from the work that help you do that. THIS IS the EVIDENCE (ROW B in the EXAM rubric) of the essay!
Also, show a depth to your thoughts. Make points that make someone go... hmmm? Your opinion is more about interpreting the evidence. This is the COMMENTARY on the EVIDENCE (again, ROW B).
It is about the ROAD TRIP.
Point A is the DEFENSIBLE thesis.
Point B is the CONCLUSION.
How you get from POINT A to POINT B is the real JOURNEY. The journey IS the important part!
What DIRECTIONS you take to do this are guided by the elements noted (character, theme, point of view, details, imagery, etc.) but how you take that journey is up to you.
The essay MUST develop the argument and the meaning. Use the terms to help guide the message.
NOTE: If you find that time is running out and that you can not get to write a full conclusion, try to write a FINAL STATEMENT that reveals the INSIGHTS that your essay PROVED with EVIDENCE.
But, if you do not make it this far, do not panic!!!! Just do your BEST.
In class, we discuss DIDLS, TELS, STAR, TP-CASTT, and other acronyms. These acronyms are to help you KNOW what to examine.
Click here for other MNEMONIC DEVICES to help you with literary analysis. https://1osjhr1kzber15t9781hbik1-wpengine.netdna-ssl.com/wp-content/uploads/2019/04/MnemonicsLitAnalysisAccessibleApril2019.pdf
* Has a defensible thesis statement with a specific analysis or argument.
* Focuses on the text rather than expressing personal, unfounded judgements.
* Shows command over the evidence in their writing.
* ALL claims are supported by textual evidence.
* Imbeds, or blends, the evidence correctly.
* Uses specific textual evidence that clearly connects to each claim.
* Makes strong and clear allusions or connections to other texts.
* Addresses the complexity in the characters, themes, etc.
* Uses devices such as juxtaposition, contrast, diction, symbolism, repetition, etc. to analyze passages.
* Has clear control of the conventions of language (i.e. use of conjunctive adverbs, etc.).
* Avoids clichés, such as... right off the bat/ judge a book by its cover/ in the know /roll with the punches/ light at the end of the tunnel / fish out of water/ in a nutshell / cookie cutter, etc.
There are MANY great resources to help you write the BEST essays that you can. Here is a link to a great packet for writing literary analysis essays: https://www.bucks.edu/media/bcccmedialibrary/pdf/HOWTOWRITEALITERARYANALYSISESSAY_10.15.07_001.pdf
This is a great question and one that has come up in my classes before. To be honest, this is a difficult question since any suggestions on the use of language can be powerful as well as, perhaps to a point, political; but, with respect, here are my thoughts.
Though I completely respect the use of inclusive language and gender neutral language, and try my best to keep this classroom a safe zone for inclusivity, I tend to THINK that you should respect the author's choices when referring to literature and to literary characters, too.
In other words, I would suggest that you use the language, pronouns, nouns, and names that the author uses when referring to literature or literary works.
According to Purdue University Online Writing Lab, the Oxford English Dictionary’s first citation for "a gender-neutral, indefinite they is from about 1375 from the romance of William of Palerne. The use of they as an indefinite pronoun which refers to people in general has been used even longer. They appears in 1382 in Wycliffe’s translation of the Bible." Purdue also noted that in Shakespeare' Much Ado about Nothing, there is a use of they in the line, “To strange sores, strangely they straine the cure”.
Just remember, NEVER define terms on the exam.
Here is a great list of terms you should know at https://blog.prepscholar.com/list-of-literary-devices-techniques . They also have examples of each term with the definitions.
Another great site to review terms is https://literarydevices.net/ . This is my FAVORITE site and many of my class examples come directly from this site. They provide wonderful examples and key ideas. Not sure about a question that I asked in class? Try this site today!
There are many forms of poetry that are examined within the exam: sonnets (Shakespearean/English and Petrarchan/Italian), odes, ballads, lyrics, villanelles, sestinas, epigrams, elegies, etc. Even the limerick (a clean one, of course) is fair game!
Knowing literary movements often will give you an immediate insight to the issues, themes, and favored tools of a literary period. For example, Metaphysical writers often used conceits and wits to explore the human condition.
Though the entire video is very informative, you may want to start watching around 5 minute 19 seconds.
Pay close attention to not only the lecture but also the MAIN FEATURES to look for as well as the NAMES of the WRITERS.
1945+/early 1970s to PRESENT: Contemporary
Reflects the rise of individualism and the voices of MANY individuals to express their own concerns, angst, ideas and issues as well as to connect to their past and to their futures.
AROUND WWII to 1960s VIETNAM ERA = POSTMODERNISM
Reflects the fracturing of the bonds between individuals.
Explores the rise of the countercultural movements of the BEAT GENERATION and the BEAT poets (i.e. Jack Kerouac, Allen GInsberg, Lucien Carr, Gary Snyder, etc.) and the view of disrupting the societal standards or views (i.e. Kurt Vonnegut, William S. Burroughs, Zadie Smith, etc.).
Explores the rise of the HIPPIES and the anti-war/peace and love movements and includes other movements such as the CONFESSIONAL poets who dared expose their inner turmoil (i.e. Adrienne Rich, Sylvia Plath, etc.)
EARLY 1900s to early 1940s = MODERNISM
Reflects the fracturing of societies and the view of organized religion as an illness;
Includes many movements within, including: the Harlem Renaissance (i.e. Langston Hughes, etc.), the Lost Generation (i.e. Ernest Hemingway, etc., the Vicious Circle/Algonquin group (Dorothy Parker, etc.), T.S. Eliot, James Joyce, Gertrude Stein, Ezra Pound, William Carlos Williams, etc.).
1865 to 1900 = REALISM/Victorian literature
Reflects an attempt to capture the texture of everyday life (i.e Henrik Ibsen, Mark Twain, Kate Chopin, etc.).
Movement becomes NATURALISM when the writers turn much darker (I.e. Jack London, Stephen Crane, Franz Kafka, Leo Tolstoy, etc.).
LATE 1700s, EARLY 1800s to CIVIL WAR = ROMANTICISM
Reflects an attempt to gain spiritual understanding through natural elements (i.e Walt Whitman, John Keats, Byron, Percy Shelley, William Blake, Henry David Thoreau, Ralph Waldo Emerson, etc.).
Movement becomes GOTHIC ROMANTICISM when their views turned inward to the soul and, often, to the macabre (i.e. Mary Shelley, Edgar Allen Poe, Nathaniel Hawthorne, etc.).
MID-17th century = Metaphysical, ENLIGHTENMENT
Reflects an attempt to understand the individual human being through religion, logic, spirituality, psychology, use of the conceit, irony, and wit, etc. (i.e John Donne, Andrew Marvell, etc.).
14th to early 17th century = Renaissance
Reflects an attempt to understand the archetypal human being through Humanism, etc. (i.e William Shakespeare, Christopher Marlowe, Niccolo Machiavelli, etc.).
Of course, the AP LIT EXAM is not limited to these time periods.
Also, these are only general summaries from Mr. Ehrlich's head. Feel free to email me corrections or additions at richard.ehrlich@palmbeachschools.org
YOU should do a bit of your own research EACH of these movements and time periods. TIME TO LEARN.
Though we cover this in class, as well as how to determine one stanza from another by using rhyme scheme and meter, I found a great article that you might enjoy as well as an interesting and thorough TED talk: https://blog.prepscholar.com/iambic-pentameter-definition-examples
Like with most literary terms, the best way to learn is to STUDY and to PRACTICE.
Enjambments are poetic lines the move into other lines.
End-stopped lines are poetic lines that end the thought.
Check out the LESSONS (that are posted on our GOOGLE CLASSROOM) and review the resources (YouTube videos, websites, etc.).
Check out this website: https://www.litcharts.com/literary-devices-and-terms/enjambment .
Understanding metaphors is the lifeblood of literary analysis. Like with symbolism and irony and with so many literary elements, metaphor requires argument. It requires interpretation. It requires taking a stand.
Of all the types of metaphor, controlling metaphors are the engine that drives them.
The controlling metaphor provides the CONCEPTION or CONCEPT that is brought to life to better understand the subject or precept. For example, the subject may be "death" but the metaphor may be the "long sleep" (a metonymy) . The metaphor provides an understanding or comparison that is often easier--or so we hope-- to understand.
You MUST be able to identify the metaphor of the work, especially in poetry, that is the MAIN metaphor (controlling metaphor) that is reinforced or elaborated upon using the other metaphors (extended metaphors).
For example, Langston Hughes (reminder: always mention writers by their FIRST AND LAST NAMES, never the first name alone) uses the line "Life for me ain't no crystal stair" as the controlling metaphor but the extended metaphors reinforce the idea through the tacks on the floor, no carpet, no light, etc.
In other words, life is not easy but we must overcome the obstacles and KEEP CLIMBING the stairs DESPITE the discomforts or problems.
Metonymy
Synecdoche
Types of Metaphors