DOCSLIB.ORG

WHS-English 12 AP Literature Summer Reading Assignment 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WHS-English 12 AP Literature Summer Reading Assignment 2018 WHS-English 12 AP Literature Summer Reading Assignment 2018 Congratulations! You are officially an AP Literature student and one ready for a challenging and rewarding year. Our first project together will be, of course, the summer reading assignment. First, you must read the novels required (2 total) by all seniors enrolled in AP Literature & Composition course. After completing a thorough and analytical reading of these texts, you will be required to complete the formal assignments described below. While students may share ideas as they discuss the novels, all work must be an original production by each student. Please keep in mind that these assignments are required in order to remain in good standing in the AP program and are due September 10, 2018. Good luck and let me know if you have any questions. Feel free to email me at any time over the summer with questions or comments. I am available via email at [email protected] Required Readings: 1. Yann Martel’s Life of Pi - can be checked out from a Baltimore County Public library or Woodlawn High School’s English Department (available in the guidance office over the summer or online through the Woodlawn High School’s library system destiny.bcps.org NOTE: do NOT check it out, as everyone can read it and listen to it if nobody checks it out!). Assessments on this book will be given the week we return to school 2. Mortimer J. Adler’s article “How to Mark a Book” – Attached 3. 3 Poems: “The Secret Sits” by Robert Frost (yes, it’s only two lines long), “The Tiger” byWilliam Blake “Some things that fly there be” (#89) by Emily Dickinson (poems can be found online) Suggested Reading (Optional but extremely helpful: Thomas C. Foster’s How to Read Literature like a Professor ALL Assignments Due: September 10, 2018. Assignment 1: Annotate Life of Pi by Yann Martel as you read on post-it notes to be stuck inside the book. Before beginning the book, read Mortimer J. Adler’s article “How to Mark a Book.” See the attached annotation guidelines and rubric for requirements. This will be the first text studied in class; please have the reading and annotations completed prior to the first day of school, as the annotations will be one of your first grades for the course. Annotation Guidelines- Annotating is the act of taking notes within the text (marginal or Post It notes) as you read. It involves marking the text with substantive commentary regarding the author’s content and/or style. Annotations should not be limited to identifying a literary element; annotation must explain the significance of the technique or element and its contribution to the unit’s focus. Suggested areas of focus Characterization Thematic development Literary devices such as symbolism, motifs, foreshadowing Genre conventions such as those for comedy, epic, novel, short story Critical perspectives such as historical, psychoanalytical, feminist, post-colonial At the AP level: diction, detail, syntax, point of view, organization of selected passages How the ending appropriately concludes the work Methods: Students may use any of the following methods: Brackets Highlighting Underlining Overhead Sheets Post Its (As this is not written on the actual passage, it must be detailed and indicate passage to which it is referring). Journals Students may not use: Random pieces of paper Assignment 2: From your reading The Life of Pi (TOTAL LENGTH for all 6 questions: 3-4 pages typed, 12 font, double spaced). 1. What was unique about the setting of the book and how did it enhance or take away from the story? 2. What specific themes did the author emphasize throughout the novel? What do you think he is trying to get across to the reader? 3. Do the characters seem real and believable? Can you relate to their predicaments? To what extent do they remind you of yourself or someone you know? 4. How does Pi change or evolve throughout the course of the story? What events trigger such changes? 5. In what ways do the events in the books reveal evidence of the author's world view? 6. Did certain parts of the book make you uncomfortable? If so, why did you feel that way? Did this lead to a new understanding or awareness of some aspect of your life you might not have thought about before? Assignment#3: Poetry Read and annotate all 3 poems and explore connections you see between the poems and the novel The Life of Pi. For each of the three poems: • Mark up the poem, what is the subject? What is the tone? (author's attitude toward the subject). What mood does it create for the reader? How does the author create the tone (diction, syntax, form, figurative language, etc. ) • How is this poem connected to The Life of Pi? Where and why do you see these connections? Approximately: 200-400 words each NOTE: Plagiarism or watching the movie is not acceptable and will result in a zero for the grade. There are two ways in which one can own a book. The first is HOW TO MARK A BOOK the property right you establish by paying for it, just as you pay for clothes and furniture. But this act of purchase is only the prelude to by Mortimer J. Adler (1902-2001) possession. Full ownership comes only when you have made it a part of yourself, and the best way to make yourself a part of it is by It is ironic that Mortimer Adler, the father of the Great Books writing in it. An illustration may make the point clear. You buy a Program and promoter of Aristotle and the classics, was a high school beefsteak and transfer it from the butcher's icebox to your own. But dropout. He did attend Columbia University, but he did not receive you do not own the beefsteak in the most important sense until you his BA because he refused to take a required swimming test. Adler consume it and get it into your bloodstream. I am arguing that books, did, however, eventually receive a PhD, become an editor for the too, must be absorbed in your bloodstream to do you any good. Encyclopedia Britannica, and write dozens of books on philosophy and education, including How to Read a Book: The Art of Getting a Confusion about what it means to own a book leads people Liberal Education (1940), and The Great Ideas: A Syntopicon of Great to a false reverence for paper, binding, and type—a respect for the Books of the Western World (1952). physical thing—the craft of the printer rather than the genius of the author. They forget that it is possible for a man to acquire the idea, For Mortimer Adler, reading the great books does not mean to possess the beauty, which a great book contains, without staking buying expensive, leather-bound volumes to display behind glass his claim by pasting his bookplate inside the cover. Having a fine doors. Reading means consuming, as you consume a steak, to "get it library doesn't prove that its owner has a mind enriched by books; it into your bloodstream." In "How to Mark a Book," Adler proposes a proves nothing more than that he, his father, or his wife, was rich radical method for reading the classics. "Marking up a book," he enough to buy them. claims, "is not an act of mutilation but of love. Read his essay and see if you agree with his method of paying "your respects to the There are three kinds of book owners. The first has all the author." standard sets and best-sellers—unread, untouched. (This deluded individual owns wood-pulp and ink, not books.) The second has a You know you have to read "between the lines" to get the great many books—a few of them read through, most of them dipped most out of anything. I want to persuade you to do something into, but all of them as clean and shiny as the day they were bought. equally important in the course of your reading. I want to persuade (This person would probably like to make books his own, but is you to "write between the lines." Unless you do, you are not likely to restrained by a false respect for their physical appearance.) The third do the most efficient kind of reading. has a few books or many—every one of them dog-eared and dilapidated, shaken and loosened by continual use, marked and I contend, quite bluntly, that marking up a book is not an act scribbled in from front to back. (This man owns books.) of mutilation but of love. Is it false respect, you may ask, to preserve intact and You shouldn't mark up a book which isn't yours. Librarians unblemished a beautifully printed book, an elegantly bound edition? (or your friends) who lend you books expect you to keep them clean, Of course not. I'd no more scribble all over a first edition of "Paradise and you should. If you decide that I am right about the usefulness of Lost" than I'd give my baby a set of crayons and an original marking books, you will have to buy them. Most of the world's great Rembrandt! I wouldn't mark up a painting or a statue. Its soul, so to books are available today, in reprint editions, at less than a dollar. speak, is inseparable from its body. And the beauty of a rare edition or of a richly manufactured volume is like that of a painting or a activities of any man I know.
Load more

Recommended publications
  • Literary Elements Name Period Date
    Literary Elements Name Period Date Literary elements are what make up the backbone of almost every single story created. A literary element is a broad topic which describes the attributes of a story. These elements are used to create a story in an interesting fashion. Literary elements are divided into many smaller categories. These categories are the better known terms. These include conflict, foreshadowing, climax, irony, theme, motif, etc. Literary elements are often used by famous story writers such as Edgar Allen Poe, Roald Dahl, and many others. Three of the most important elements, that make stories interesting, are foreshadowing, climaxes, and motifs. The first literary element is foreshadowing. Foreshadowing is what helps come up with ideas of what will occur later on. Foreshadowing is widely used in many films such as The Avengers. This occurs when the character Loki states, “No, you have already brought the monster…” This leads to the conclusion that there is someone on board who Loki plans on using. Foreshadowing also appears in the famous story “The Cask of Amontillado.” It is apparent when the character Montressor states, “… and I to your long life.” This makes me think that Fortuanato was not going to be alive for much longer. Foreshadowing also appears in the short story “The Stolen Party.” In which a character tells the main girl, “… because I am her cousin, and I know all her friends, and I don’t know you.” This forms the idea that maybe that girl is right after all. Without foreshadowing, stories would be left bland and boring.
    [Show full text]
  • Creative Nonfiction February 2014 Page 1 of 7 Grade: 11/12
    K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL – ACADEMIC TRACK Grade: 11/12 No. of Hours: 80 hours Subject Title: Creative Nonfiction Pre-requisite: Creative Writing (CW/MP) Subject Description: Focusing on formal elements and writing techniques, including autobiography and blogging, among others, the subject introduces the students to the reading and writing of Creative Nonfiction as a literary form. The subject develops in students skills in reading, and thinking critically and creatively, that will help them to be imaginative readers and writers. PERFORMANCE CONTENT CONTENT STANDARD LEARNING COMPETENCY CODE STANDARD Quarter I 1. Identify dominant literary conventions of A. Introduction to Literary HUMSS_CNF11/12-Ia-1 a particular genre Genres The learner understands The learner clearly and 2. Compare and contrast how the elements 1. Understanding the literary conventions coherently uses a HUMSS_CNF11/12-Ia-2 Conventions of that govern the different chosen element are used in the different genres Traditional Genres conventionally 3. Analyze and interpret the theme and genres. (e.g., narrative HUMSS_CNF11/12-Ia-3 a. Fiction identified with a genre techniques used in a particular text b. Poetry convention of fiction, etc.) for a written output 4. Create samples of the different literary c. Drama elements based on one’s experience HUMSS_CNF11/12-Ib-d-4 d. Other forms (e.g. metaphor to describe an emotion) 2. Identifying Elements of 5. Write a draft of a short piece using any the different Genres of the literary conventions of genre 3. Using Elements as following these pointers: Techniques to develop a. Choosing a topic Themes b.
    [Show full text]
  • Rhetorical Analysis of Film Or TV Shows
    Literary and Film Analysis Analyzing literature and film is a specialized form of rhetorical analysis, which is itself a specialized form of critical analysis and evaluation. Therefore, as background to this document, you may wish to review Chapter 14 “Critical Analysis and Evaluation” and Chapter 15 “Rhetorical Analysis” in Acting on Words, or find out more about those two related forms in another source. “Rhetoric” refers to the art of using language at all levels, from individual words to entire structures. Rhetorical analysis therefore refers to thinking and writing critically about how a piece of writing works. Literary analysis most commonly refers to the analysis of fiction, poetry, plays, or film/TV fiction. We use the term in that sense here, not to express the view that non-fiction lacks literary merit but because fiction and poetry use specialized techniques requiring specialized preparation. Literary analysis looks at how prose fiction, poetry, plays, or films work as specialized rhetoric to express meaning. Literary analysis may also extend its interest to topics and meanings beyond the text in question. Expanded inquiry may involve connections between the works and their authors, readers, historical times and places, and cultures. Inquiry into relationships between literary works and many other fields of knowledge is increasingly common. Two Main Stages of Analysis There are two main stages of critical analysis: 1) breaking your subject down into meaningful parts and relationships and 2) evaluating those according to a standard or standards you deem suitable (logical, practical, ethical, aesthetic, spiritual, etc.). These stages overlap, but it can be helpful to have this basic method in mind to help guide your efforts.
    [Show full text]
  • The Description of Plot Found in Gillian Flynns's Novel
    THE DESCRIPTION OF PLOT FOUND IN GILLIAN FLYNNS’S NOVEL GONE GIRL A PAPER BY NAME : EMRYA GRACELIA A PURBA REG NO :132202091 DIPLOMA-III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF NORTH SUMATERA MEDAN JUNI 2016 UNIVERSITAS SUMATERA UTARA Approved by Supervisor, Drs. Parlindungan Purba, M.Hum NIP. 19630216198903 1 003 Submitted to Faculty of Culture Study, University of Sumatera Utara In partial fulfillment of the requirements for Diploma-III in English Study Program Approved by Head of EnglishDiploma Study Program, Dr. Matius C.A. Sembiring, M.A. NIP. 19521126198112 1 001 Approved by the Diploma III of English Study Program Faculty of Culture Study, University of Sumatra Utara As a Paper for the Diploma-III Examination UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of the requirements for the D-III Examination of the Diploma-III of English Study Program, Faculty of Culture Study, University of Sumatera Utara. The examination is held on May 15th, 2014 Faculty of Culture Study, University of Sumatera Utara Dean, Dr. Budi Agustono, M.S. NIP. 19600805198703 1 001 Board of Examiners/Readers: Signature 1. Dr. Matius C.A. Sembiring, M.A. (Head of ESP) ( …………….. ) 2. Drs.Parlindungan Purba, M.Hum. (Supervisor) ( ...................... ) 3. Drs. Siamir Marulafau , M.Hum (Reader) ( ..................... ) UNIVERSITAS SUMATERA UTARA AUTHOR'S DECLARATION I am, EMRYA GRACELIA A PURBA , declare that I am the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree.
    [Show full text]
  • Theme, Plot, and Conflict
    ENG125: Introduction to Literature Theme, Plot, and Conflict Purpose: Use this resource to learn about how theme, plot, and conflict are different from one another but yet work together in literature. When reading literature, the reader needs to make a distinction between three key elements: Theme Plot Conflict So what are the differences between these elements? Theme The theme is a common idea that is incorporated and repeated throughout a literary work. A theme is often also called “the moral of the story.” The author uses the characters, plot, and other literary devices to build and enhance the theme. The theme weaves through the entire story and is highlighted by symbols, setting and character actions. Some common themes include: Revenge: Hamlet, Star Trek: Wrath of Khan, A Time to Kill Unrequited Love: Romeo and Juliet, Forest Gump The Journey: The Adventures of Huckleberry Finn, Lord of the Rings: Fellowship of the Ring Coming-of-Age: To Kill a Mockingbird, The Perks of Being a Wallflower Pride and Downfall: Macbeth, Downfall (a movie about Hitler’s last days) ENG125: Introduction to Literature Racism: “A Worn Path,” Mississippi Burning Fight Between Good and Evil: “Where are You Going, Where Have You Been,” “A Good Man is Hard to Find,” Superman, The Terminator War is often a theme, though can be represented in different ways: War as futile: All Quiet on the Western Front, Farewell to Arms War as brutal: The Things They Carried, Full Metal Jacket War as glory: Courage Under Fire War as opposing evil: Braveheart, The Dirty Dozen War as tragedy: Schindler’s List, Taking Chance War as survival: The Pianist, Defiance The Effects of War: The Brothers, Sometimes a theme can entwine two different ideas, so that there is a main theme and a minor theme.
    [Show full text]
  • 1. Identify the Literary Element in the Following Passage
    Name: __________________________________________________ Date: ____________ For this activity, you will be asked to continue applying the concepts we've been learning about over the course of the unit in preparation for your short story test. Multiple choice questions on this activity are designed to be very similar to the questions on your upcoming test, while other activities are designed to help you practice. Do your best and work on your own -- remember, you will not have a friend to help you on the test! When everyone finishes, we will review. 1. Identify the literary element in the following passage: "He was a newcomer in the land, and this was his first winter. The trouble with him was that he was not able to imagine. He was quick and ready in the things of life, but only in the things, and notin their meanings. Fifty degrees below zero meant 80 degrees of frost. Such facts told him that it was that it was cold and uncomfortable, and that was all. It did not lead him to consider his weaknesses as a creature affected by temperature ... The dog did not know anything about temperatures. Possibly in its brain there was no understanding of a condition of very cold, such as was in the man’s brain. But the animal sensed the danger. Its fear made it question eagerly every movement of the man as if expecting him to go into camp or to seek shelter somewhere and build a fire. The dog had learned about fire, and it wanted fire. Otherwise, it would dig itself into the snow and find shelter from the cold air." a.
    [Show full text]
  • Our Purpose in Writing Young Adult Literature: Exploration, Evaluation
    AA01_BUCH6791_03_SE_FM.indd01_BUCH6791_03_SE_FM.indd PagePage xixxix 29/04/1329/04/13 10:1010:10 PMPM f-399f-399 //204/PH01336/9780133066791_BUCHER/BUCHER_YOUNG_ADULT_LITERATURE3_SE_9780133066791204/PH01336/9780133066791_BUCHER/BUCHER_YOUNG_ADULT_LITERATURE3_SE_9780133066791 ... Preface ur purpose in writing Young Adult Literature: Exploration, Evaluation and O Appreciation is to open the door for readers to explore young adult literature. To do so, we have tried to establish a foundation of knowledge about young adult literature while providing pathways leading to the literature itself. New to This Edition In addition to the updated popular features from the second edition such as Consid- erations for Selecting Young Adult Literature, Expanding Your Knowledge with the Internet, Connecting Adolescents and Their Literature, From Page to Screen, renamed From Page to Screen with the Common Core, and Collaborating with Other Professionals, the third edition includes a number of new features. Much of the content within chapters has been rearranged to make the book more user-friendly. Throughout the chapters, the discussions and lists of young adult literature have been updated to include literature published since the second edition of this book and literature that reflects some of today’s concerns, such as bullying and cultural diversity, including sexuality. We firmly believe a number of young adult texts are complex and can serve mul- tiple purposes, including encouraging critical thinking. The new Using the Com- mon Core: Developing College and Career Readiness feature is found in selected genre chapters and is designed for teachers and library media specialists. It is influ- enced by the Common Core State Standards for the English language arts. Sample questions about selected young adult literature are included, all of them designed to encourage critical thinking.
    [Show full text]
  • Dialogue Definition Literary Term
    Dialogue Definition Literary Term Apish Meier determine, his mongrels comfits thimblerigged wilily. Unviewed Wadsworth desquamate patiently and ungrammatically, she militated her Breughel debag gallingly. How planimetrical is Cyril when spurting and mystifying Claudio destructs some biopoiesis? From this term pastoral, let stray strands fall. Glossary of Literary TermsAAbstract Used as a noun the term refers to a short. Literary Terms and Plot The darling of events in a. It shall not end until my death. A literary device is drug specific aspect of literature or a helpful work survey we can. Literary Devices Literary Terms not with Examples. Today, dialogue is used in classrooms, community centers, corporations, federal agencies, and other settings to nutrition people, weak in small groups, to litter their perspectives and experiences about difficult issues. Which literary devices are your favorites? Anastrophe is a figure of speech wherein the traditional sentence structure is reversed. In literary definition in relation to a dialogue is not only three deaths in which exciting events. But this is not a thing, she thought, ladling out soup, that one says. First paragraph's define simile and look in some simile examples in literature. Here you decide find the information about the definition of a dialogue its types. You definitions or emphasis of contents within it to go, meaning of tragedy, or at a term. In terms and metaphors are we first book? Study requires one is dialogue definition and terms are utterances may greatly enrich your device. Glossary: An alphabetical listing of difficult, technical, or foreign ship with definitions or translation; usually found between the end of kindergarten book.
    [Show full text]
  • What Is a Narrative Technique in Literature
    1 What Is A Narrative Technique In Literature The narrative text structures are the plot and the setting. Similarly, it is asked, what are literary techniques. A narrative technique known for literary fictional narratives as a literary technique , literary device , or fictional device is any of several specific methods the creator of a narrative uses to convey what he or she wants 1 in other words, a strategy used in the making of a narrative to relay information to the audience and particularly to develop the narrative, usually in order to make it more complete, complex, or interesting. Autobiography a detailed description or account of the storyteller s own life. Literary techniques are specific, deliberate constructions of language which an author uses to convey meaning. Narrative techniques are the methods that writers use to give certain artistic and emotional effects to a story. Not until a writer chooses how to present that story in language does it become a narrative. October 2019 Narrative structure is a literary element generally described as the structural framework that underlies the order and manner in which a narrative is presented to a reader, listener, or viewer. A narrative technique known for literary fictional narratives as a literary technique , literary device , or fictional device is any of several specific methods the creator of a narrative uses to convey what he or she wants 1 in other words, a strategy used in the making of a narrative to relay information to the audience and particularly to develop the narrative, usually in order to make it more complete, complex, or interesting.
    [Show full text]
  • Reading Strategies and Literary Elements
    READING STRATEGIES AND LITERARY ELEMENTS Contents Introduction to Reading Strategies and Literary Elements . 3 Literary Elements Focus Lessons Lesson 1: Elements of Fiction . 7 Lesson 2: Point of View I. 9 Lesson 3: Point of View II . 11 Lesson 4: Dialogue . 13 Lesson 5: Flashback . 15 Lesson 6: Foreshadowing. 17 Lesson 7: Irony. 19 Lesson 8: Style . 21 Lesson 9: Tone . 23 Lesson 10: Hyperbole. 25 Lesson 11: Archetype . 27 Lesson 12: Allusion . 29 Lesson 13: Symbolism . 31 Lesson 14: Figurative Language . 33 Lesson 15: Imagery and Motif. 35 Lesson 16: Mood . 37 Lesson 17: Sound Devices . 39 Lesson 18: Personification. 41 Reading Comprehension Exercises 1–5 . 43 Focus Lessons Answer Key. 77 Exercises Answer Key . .86 Exercises Answer Sheet . .87 This booklet was written by The Princeton Review, the nation’s leader in test preparation. The Princeton Review helps millions of students every year prepare for standardized assessments of all kinds. Through its association with Glencoe/McGraw- Hill, The Princeton Review offers the best way to help students excel on the North Carolina English I End-of-Course Test. The Princeton Review is not affiliated with Princeton University or Educational Testing Service. Grateful acknowledgment is given authors and publishers for permission to reprint the following copyrighted material. Every effort has been made to determine copyright owners. In case of omissions, the Publisher will be pleased to make suitable acknowledgments in future editions. “Nothing Gold Can Stay” by Robert Frost, from The Poetry of Robert Frost, edited by Edward Connery Lathem. Copyright © 1923, 1928, 1930, 1934, 1939, 1947, 1969 by Holt Rinehart and Winston.
    [Show full text]
  • General Guide to Asking Complex Literary Analysis Questions
    Leading Book Discussions With Complexity Intended Audience Parents to use as a guide for asking complex questions about literature Materials • Handout 1: Literary Analysis Wheel—Primary, or • Handout 2: Literary Analysis Wheel Note to Families: The Literary Analysis Wheel is used to guide students through analyzing how an author uses literary techniques to develop meaning within a work. The model allows students to see connections between multiple literary elements (e.g., setting impacts conflict, conflict reveals character motives and values, characterization impacts theme, etc.). Note that there are two versions of the model, the Literary Analysis Wheel—Primary (grades 2–4) and the Literary Analysis Wheel (grades 5 and up). The models differ slightly, as more accelerated elements (such as symbolism and tone) are incorporated into the model for older students. It helps when students have models and frameworks to guide their thinking. The Literary Analysis Wheel can be used to guide students through an analysis of a short story, poem, or novel. First, guide the students to identify elements of the wheel separately (Level 1—Singular Element), and then emphasize a deeper analysis by asking how elements relate to each other (Level 2—Combine Elements). The Literary Analysis Wheel is meant to be interactive. The inner wheel conceptually spins so that its elements interact with each other and the outer wheel. Each element can relate to each other, regardless of its placement on the wheel. Note that although students may write on the wheel, discussion of ideas, especially relationships between combined elements, is encouraged and adds to their complexity of thinking.
    [Show full text]
  • Outline on Literary Elements
    Outline on Literary Elements The literary quality of a fictional book is based not upon its popularity or the ease with which it can be read, but upon the quality of the literary elements found in the book. The following bold-faced terms are ones which should be understood and used in discussing the literary elements. Please note that these elements apply only to fiction books. Character Character can be revealed through the character's actions, speech, and appearance. It also can be revealed by the comments of other characters and of the author. Certain types of characters appear in many stories. Describe the following types if they appear in your book: • The protagonist is the central character (person, animal, or personified object) in the plot's conflict. • The antagonist is the force in conflict with the protagonist. It may be society, nature, or fate, as well as another person. It can also be the protagonist's own self, if he or she has an internal conflict. • A character foil is a character whose traits are in direct contrast to those of the principal character. The foil therefore highlights the traits of the protagonist. The foil is usually a minor character, although if there are two protagonists, they may be foils of each other. • A stereotype is a character who possesses expected traits of a group rather than being an individual. Using stereotypes is usually considered an indication of poor quality, especially in cases such as members of minority groups, people with disabilities, or women. However, stereotypes can be useful in furthering the story quickly and are acceptable in minor roles if they do not provide hurtful portraits of the groups in question.
    [Show full text]