Anita Gilliland

Total Page:16

File Type:pdf, Size:1020Kb

Anita Gilliland May 8, 2017 Dear Prospective Student: Welcome to AP English Language and Composition! Your enrollment in this course indicates your commitment to growth and preparation for college level reading and writing. All universities require a freshmen composition/English course, and your enrollment in this AP class creates an opportunity to prepare and possibly earn the credit while attending high school. Reading and writing occur daily in AP Lang. To prepare for our first unit of learning, you will need to read one fiction book and two selected speeches. The book must be written by an author from the provided list, and the two speeches are listed in this document (see the section below this paragraph for authors and titles). You may find your fiction book at the library, or you may purchase a copy through Amazon.com or Barnes and Noble, among other stores. The speeches are available on the web site http://www.americanrhetoric.com/ in written form, and there may be video or audio recordings. Read One Fiction Book – Authors for Summer Reading 2017 Sherman Alexie, Isabel Allende, Edwidge Danticat, Fyodor Dostoevsky, Louise Erdrich, Ernest Hemingway, Kazuo Ishiguro, Ha Jin, John Irving, Edward P. Jones, Jhumpa Lahiri, Chang-rae Lee, Vladimir Nobokov, Marilynne Robinson, John Updike, John Edgar Wideman Read Both Speeches: “The Perils of Indifference” by Elie Wiesel and “The Struggle for Human Rights” by Eleanor Roosevelt After reading the book and the speeches, please read and complete the attached writing assignments. For immediate help with the assignment, or if you have questions about the course, I am available before and after school in room A106. You are always welcome to stop by or email. If you have questions or concerns between May 25 and August 16, please feel free to contact me via the district e-mail at [email protected]. I am out of town with AP activities in June and then family events in July, which may cause a delayed response, but I will respond in a timely manner. I look forward to seeing you in August! Have a great summer and keep reading! Sincerely, Anita Gilliland Mrs. Anita Gilliland AP English Language and Composition Holt High School Encl. AP English Language and Composition 2017 Summer Reading Assignment 1. Read one fiction book (from the eligible authors) and the speeches by Wiesel and Roosevelt. 2. Complete the following assignments, using the reading selections to collect supporting evidence. A. Reading Notes (annotations) for the Fiction Book: During your reading, please take notes or mark the text (if you own it) to indicate examples of these rhetorical devices: figurative language, narration, description, exposition, conflict, irony, sensory details, cause and effect, compare and contrast, and theme. You must have notes or marked text for the book. a. If you are taking notes, provide quotations directly from the text with MLA parenthetical citations. Do NOT summarize or paraphrase. If you are marking text, underline or highlight and identify the technique in the margins. b. You should have 2-3 examples for at least five of the rhetorical devices (10 minimum). Figurative language examples might be similes, metaphors, hyperboles, or personification. Conflict examples might be internal or external. Irony examples might be situational, dramatic, or verbal. c. Your examples should span the entire text, to indicate a thorough reading and to support a developed essay to be written after August 20. B. Audience Explanation and Summaries for the speeches: a. Write 3-5 sentences explaining the intended audience for each speech. Consider and explain age, education levels, socio-economic levels, gender, nationality, etc. Look for text clues, or find information in the accompanying materials, and then use your own understanding of the text and topic to make an inference. b. Write a one sentence summary for each paragraph of each speech. C. Critical Reading Notes for the speeches ( at least 4 for each speech): While you are reading, take notes or mark the text to identify (and later analyze) these items: evidence such as facts, statistics, anecdotes, expert opinions, examples, laws, government actions, and quotations; main ideas and restatements of ideas; and ethical appeals such as moral, religious, or human conscience references. 3. Bring your notes the second day of school for a special reward. We will use your notes in class during the first three weeks of school to complete activities, write an essay, and create a project. **What if something happens during the summer and you don’t have everything finished by August 16? Should you change your schedule and drop the class? The answer is NO. While unfinished work can create stress, the summer readings should not eliminate your chance to get college credit the following spring, so stay in the class and work hard. Emergencies happen, people make mistakes, and life is unpredictable, but you deserve the chance to succeed and need to persevere when faced with challenges. .
Recommended publications
  • Ethical Engagement
    ETHICAL ENGAGEMENT: CRITICAL STRATEGIES FOR APPROACHING AUTOETHNOGRAPHIC FICTION BY Sandra Cox Copyright 2011 Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Dr. Marta Caminero-Santangelo, Chairperson Dr. Doreen Fowler Dr. Stephanie Fitzgerald Dr. Giselle Anatol Dr. Ann Schofield Date Accepted April 18, 2011 ii The Dissertation Committee for Sandra Cox certifies that this is the approved version of the following dissertation: ETHICAL ENGAGEMENT: CRITICAL STRATEGIES FOR APPROACHING AUTOETHNOGRAPHIC FICTION Committee: Dr. Marta Caminero-Santangelo, Chairperson Dr. Doreen Fowler Dr. Stephanie Fitzgerald Dr. Giselle Anatol Dr. Ann Schofield Date Accepted April 18, 2011 iii Dissertation Abstract: Critics of American literature need ways to ethically interpret ethnic difference, particularly in analyses of texts that memorialize collective experiences wherein that difference is a justification for large-scale atrocity. By examining fictionalized autoethnographies—narratives wherein the author writes to represent his or her own ethnic group as a collective identity in crisis—this dissertation interrogates audiences‘ responses and authors‘ impetus for reading and producing novels that testify to experiences of cultural trauma. The first chapter synthesizes some critical strategies specific to autoethnographic fiction; the final three chapters posit a series of textual applications of those strategies. Each textual application demonstrates that outsider readers and critics can treat testimonial literatures with respect and compassion while still analyzing them critically. In the second chapter, an explication of the representations of African American women‘s experiences with the cultural trauma of slavery is brought to bear upon analyses of Toni Morrison‘s A Mercy (2009) and Alice Walker‘s Now Is the Time to Open Your Heart (2003).
    [Show full text]
  • WUD DLS: Past Speakers List
    WUD DLS: Past Speakers List The Distinguished Lecture Series has been bringing incredible speakers to campus since 1987. Here’s a list of who’s made it to Wisconsin so far. 2009-10 2006-07 2003-04 2000-01 1996-97 Steven Pinker Laurie David Kurt Vonnegut Jeffrey Wigand Jonathan Kozol Dan Ariely Howard Zinn Salman Rushdie R ubin “Hurricane” Adrienne Rich Jeremy Rifkin Joseph Stiglitz James Dale Carter Stanley Crouch Ayaan Hirsi Ali Dinesh D’Souza Elizabeth Wurtzel Alan Keyes Noam Chomsky Bill Marler Sarah Vowell Linda Chavez Judy Shepard Harry Wu D errick Ashong David Suzuki Sylvia Earle Ralph Nadar Sarah Weddington Post-Racial Comedy Stephen Lewis Jared Diamond Afeni Shakur Stephen Gould Tour: Christian Lander Ali Abunimah (spotlight) Arun Gandhi Robert Pinsky Richard Lamm and Elon James White Jello Biafra (spotlight) H arvey Pekar (spotlight) (spotlight) Cornelia Flora L ama Ole Nydahl 1999-00 Michael Shermer 2005-06 (spotlight) 1995-96 V. S. Ramachandran J ohn Esposito Pat Shroeder Vandava Shiva (spotlight) Isabel Allende Jaime Escalante Last Lectures: William George McGovern Angela Davis Cronon, Donald Downs, 2008-09 E.O. Wilson 2002-03 William Kristol Mary LaYoun, Hyuk Yu Brian Greene Sherman Alexie Gloria Steinem Amira Hanania Francis Bok Howard Zinn Dr. Peter Kramer Lani Guinier Shirin Ebadi Laurie Garrett Cornell West F.W. de Klerk Rebecca Walker Ben Karlin Edward Said Ben Stein Daniel Dennett Mark Zupan 1998-99 Rigoberto Menchi John Trudell Chrystia Freeland Frank Luntz Leslie Feinberg Neil deGrasse Tyson Dan Savage (spotlight) Terri McMillan Chuck D. 1994-95 Robin Wright Chai Ling Molly Ivins Ishmeal Beah Dr.
    [Show full text]
  • 3-9. the Violence of Hybridity in Silko and Alexie Cyrus RK
    Journal of American Studies of Turkey 6 (1997) : 3-9. The Violence of Hybridity in Silko and Alexie Cyrus R. K. Patell The Native American novelists Leslie Marmon Silko and Sherman Alexie are two writers who ponder upon the predicament faced by all US minority cultures: how to transform themselves from marginalized cultures into emergent cultures capable of challenging and reforming the mainstream. My conception of cultural emergence here draws upon Raymond Williams’s analysis of the dynamics of modern culture, an analysis that has served as the foundation for minority discourse theory in the 1990s. Williams characterizes culture as a constant struggle for dominance in which a hegemonic mainstream— what Williams calls “the effective dominant culture” (121)—seeks to defuse the challenges posed by both residual and emergent cultural forms. According to Williams, residual culture consists of those practices that are based on the “residue of ... some previous social and cultural institution or formation,” but continue to play a role in the present (122), while emergent culture serves as the site or set of sites where “new meanings and values, new practices, new relationships and kinds of relationships are continually being created” (123). Both residual and emergent cultural forms can only be recognized and indeed conceived in relation to the dominant one: each represents a form of negotiation between the margin and the center over the right to control meanings, values, and practices. Both Silko and Alexie make use of a narrative strategy that has proven to be central to the project of producing emergent literature in late-twentieth-century America.
    [Show full text]
  • Powered by TCPDF (
    Powered by TCPDF (www.tcpdf.org) Magical Realism in Chitra Banerjee Divakaruni’s The Mistress of Spices R. Palani, Assistant Professor, Department of English, Adhiyamaan College of Engineering, Hosur-635 109. Page | 1 Abstract Magical Realism is a genre of fiction in which elements blend with the real world. Magical Realism supposedly began in 1935 with its golden age occurring between 1940 and 1950. The term magical realism described contemporary fiction, usually associated with Latin America, whose narrative blends magical or fantastical elements with reality. Magical Realism is the writing of Spanish and Latin American authors. Two people have been credited for coining the term magical realism, Dudly Fitts and Franz Roh. ********* Author: Mr. K. Muthu Murugan Magical Realism is known for changing the way in which one thinks. Instead of seeing the ordinary and mundane, the magical realism brings a spark of life to the imagination, which turn excites the mind of the readers. Magical Realism is an amalgamation of realism and fantasy. It is also known for showing a different view point on life and the way in which people think or Page | 2 act. It does not use dream motifs, nor does it create false words. Magical Realism is unlike other writing style that try to change or dominate the existing seemed to be forced on people and in turn demand attention and gratification. The extraordinary in magical realism is rarely presented in the form of a dream or a psychological experience because doing so takes the magic out of recognizable material reality and placed it into the little understood world of the imagination.
    [Show full text]
  • Selfhood and Identity in Autobiographical Texts by Native American Authors
    İSTANBUL ÜNİVERSİTESİ Sosyal Bilimler Enstitüsü Batı Dilleri ve Edebiyatları Anabilim Dalı Amerikan Kültürü ve Edebiyatı Bilim Dalı Doktora Tezi Self-Representations of the Misrepresented – Selfhood and Identity in Autobiographical Texts by Native American Authors (Amerikan Yerli Otobiyografilerinde Benlik ve Kimlik: Hatalı Temsil Edilenlerin Kendini Temsili) Defne Türker Demir 2502080286 Tez Danışmanı Prof. Dr. Ayşe Erbora İstanbul, 2012 ÖZ Amerikan Yerli Otobiyografilerinde Benlik ve Kimlik: Hatalı Temsil Edilenlerin Kendini Temsili Defne Türker Demir Amerikan Yerli Yazınını oluşturan metinler, politik amaçlı kimlik açılımları veya kimlik edinim eylemleri olarak özetlenebilir. Yüzyılları kapsayan bir çerçevede farklı biçimler kazanan Amerikan Yerli otobiyografilerinin bütününe bakıldığında; az sayıda istisna dışında, çeşitli kimlik kurguları örnekleyen bu metinlerin benzer yönelimler sergilediği gözlemlenir. Bu yönelimler kültürel örüntüler olup, metinsellik yolu ile kimlik kurgulayan bireylerin içselliklerine dair ipuçlarını kapsar. Amerikan Yerlilerinin otobiyografik metinlerinde Amerikan Yerli kimliği, birlik ve toplumsallık temelleri üzerine kurgulanmaktadır. Bu metinlerin merkezinde, benlik ve toplum arasında birliği sağlama amacı ve buna ait çaba yer alır. Çünkü bireyin bütünselliği için olmazsa olmaz önkoşul, birey ile aile/ toplum/ kabile arasında var olabilecek mesafenin kapatılmasıdır. Kısacası, metinlerde kurgulanan toplumsal bir kimliktir ve bu kimlik Amerikan Yerlilerinin geleneklerinden, tarihlerinden ve topraktan beslenir. Sözü edilen toplumsal yönelimin yanı sıra, Amerikan Yerli yazınında kimlik temsilini özgün kılan bir diğer nokta ise, metin ve yazar arasındaki birbirini besleyen ve üreten ilişkidir. Amerikan Yerli otobiyografilerinde, benlik metin üzerinden kurgulanır ve bu yolla metin, kurgulanan kimliğin temelini oluşturur. Böylelikle kelimenin yaratıcı gücü ile toplumsal kimlik üretilir. Her ne kadar günümüz Amerikan Yerli yazınında sözün yerini yazı almış olsa da, kelimeler sözlü yazına özgü mutlak yaratıcı güçlerini korurlar.
    [Show full text]
  • THROWING BOOKS INSTEAD of SPEARS: the Alexie-Treuer Skirmish Over Market Share
    THROWING BOOKS INSTEAD OF SPEARS: The Alexie-Treuer Skirmish Over Market Share Ezra Whitman Critical Paper and Program Bibliography Submitted in partial fulfillment of the requirements for the MFA (Master of Fine Arts) in Creative Writing, Pacific Lutheran University, August 2011 1 Throwing Books Instead of Spears: The Alexie-Treuer Skirmish Over Market Share Following the 2006 publication of David Treuer’s Native American Fiction: A User’s Manual, Minneapolis-based publication Secrets of the City interviewed Spokane/Coeur D’Alene Indian writer Sherman Alexie. This gave Alexie an opportunity to respond to the User’s Manual’s essay “Indian/Not-Indian Literature” in which the Ojibwe writer points out the tired phrases and flawed prose of Alexie’s fiction. “At one point,” Alexie said in his interview with John Lurie, “when [Treuer’s] major publishing career wasn’t going well, I helped him contact my agent. I’m saying this stuff because this is where he lives and I want the world to know this: He wrote a book to show off for white folks, and we Indians are giggling at him.” Alexie takes the debate out of the classroom into the schoolyard by summoning issues that deal less with literature, and more with who has more successfully navigated the Native American fiction market. Insecurities tucked well beneath this pretentious “World’s Toughest Indian” exterior, Alexie interviews much the way he writes: on the emotive level. He steers clear of the intellectual channels Treuer attempts to open, and at the basis this little scuffle is just that—a mismatch of channels; one that calls upon intellect, the other on emotion.
    [Show full text]
  • SHERMAN ALEXIE Indian Education
    SHERMAN ALEXIE SHERMAN ALEXIE is a poet, fiction writer, and filmmaker known for witty and frank explorations of the lives of contemporary Native Americans. A Spokane/Coeur d'Alene Indian, Alexie was born in 1966 and grew up on the Spokane Indian Reservation in Wellpinit, Washington. He spent two years at Gonzaga University before transferring to Washington State University in Pullman. The same year he graduated, 1991, Alexie published The Business ofFancydancing, a book of poetry that led the New York Times Book Review to call him "one of the major lyric voices of our time." Since then Alexie has published many more books of poetry, including I Would Steal Horses ( 1993) and One Stick Song (2000); the novels Reservation Blues (1995) and Indian Killer (1996); and the story collections The Lone Ranger and Tonto Fistfight in Heaven (1993), The Toughest Indian in the World (2000), and Ten Little Indi­ ans ( 2003). Alexie also wrote and produced Smoke Signals, a film that won awards at the 1998 Sundance Film Festival, and he wrote and directed The Business of Fancydancing (2002), a film about the paths of two young men from the Spokane reservation. Living in Seattle with his wife and children, Alexie occasionally performs as a stand-up comic and holds the record for the most consecutive years as World Heavyweight Poetry Bout Champion. Indian Education Alexie attended the tribal school on the Spokane reservation through the seventh grade, when he decided to seek a better education at an off-reservation :', \ all-white high school. As this year-by-year account of his schooling makes clear, he was not firmly at home in either setting.
    [Show full text]
  • PF Award 2012 Otsuka
    FOR IMMEDIATE RELEASE PRESS CONTACTS: Monday, March 26, 2012 Garland Scott, (202) 675–0342, [email protected] Matt Burriesci (202) 898-9061 [email protected] JULIE OTSUKA RECEIVES 2012 PEN/FAULKNER AWARD FOR FICTION Washington, DC—Julie Otsuka’s The Buddha in the Attic (Knopf) has been selected as the winner of the 2012 PEN/Faulkner Award for Fiction. The announcement was made today by the directors of the PEN/Faulkner Foundation, Susan Richards Shreve and Robert Stone, Co-Chairmen. The judges—Marita Golden, Maureen Howard, and Steve Yarbrough—considered more than 350 novels and short story collections by American authors published in the U.S. during the 2011 calendar year. Submissions came from 93 publishing houses, including small and academic presses. There is no fee for a publisher or writer to submit a book. The honored book, The Buddha in the Attic, is a precise, poetic novel that tells the story of Japanese picture brides brought to California from Japan in the early twentieth century. In a series of eight slim, self-contained chapters, Otsuka crafts a first-person plural voice that has been described as incantatory. “In The Buddha in the Attic Julie Otsuka creates a voice that is hypnotic and irresistible, and renders her story with the power of the most ancient, timeless myths, the legends that crowd our dreams, and the truths we cannot bear. Her skill is awesome and utterly inspiring. The story she tells with the ear of a poet, the touch of an artist, and the wisdom of a very old soul is breathtaking in its scope and intimacy.
    [Show full text]
  • Celebrating Twenty-Five Years of Fine Writers  H
    Celebrating Twenty-Five Years of Fine Writers h Sherman Alexie 3/27 Jon Meacham 9/12 A. S. Byatt 11/12 Belle Boggs 1/16 James Dodson 10/14 Isabel Wilkerson 2/20 Martin Marty 9/13 Lou Berney 11/21 Junot Diaz 10/16 Joseph Bathanti 3/6 Mary Pope Osborne 4/5 VisitingWriters.LR.edu A Note from the Director s a visual artist, photographer, 2013–2014 VisitiNG and filmmaker, I have learned that WRITERS SERIES n our experience with the Visiting Writers Series, luck we foster communication when we STEERING COMMITTEE is not just random chance. It is an act of generosity from bring our stories together. When people who care about making a positive impact on the we take the time to read, to dare Chair SALLY FANJOY culture and emotional well-being of our community. The to be present with our neigh - Series Director RAND BRANDES gifts that we have received have made us feel very lucky bors, and to listen to differing Series Consultant LISA HART Iover the past twenty-five years. We were lucky that when we points of view, we are en - Student Asst. ABIGAIL MCREA presented the initial idea to start the Series to Dr. Robert riched and enlightened. Student Asst. MADISON TURNER Luckey Spuller, then Dean of Lenoir-Rhyne “College,” that We are transformed by fresh thoughts and new TONY ABBOTT he saw its potential and supported it the first year and for Aperspectives. ¶ The Lenoir-Rhyne Visiting Writers MARY HELEN CLINE years to come. We were lucky that subsequent university Series engages a wide spectrum of the community, LAURA COSTELLO Administrations continued to see the value of the Series, promotes civic discourse, creates opportunity for SANDRA DEAL which enabled us to enhance the Series and the cultural and people to come together and to hear new ideas and MIKE DUGAN educational experiences of our students.
    [Show full text]
  • New Approaches Toward Recent Gay Chicano Authors and Their Audience
    Selling a Feeling: New Approaches Toward Recent Gay Chicano Authors and Their Audience Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Douglas Paul William Bush, M.A. Graduate Program in Spanish and Portuguese The Ohio State University 2013 Dissertation Committee: Ignacio Corona, Advisor Frederick Luis Aldama Fernando Unzueta Copyright by Douglas Paul William Bush 2013 Abstract Gay Chicano authors have been criticized for not forming the same type of strong literary identity and community as their Chicana feminist counterparts, a counterpublic that has given voice not only to themselves as authors, but also to countless readers who see themselves reflected in their texts. One of the strengths of the Chicana feminist movement is that they have not only produced their own works, but have made sense of them as well, creating a female-to-female tradition that was previously lacking. Instead of merely reiterating that gay Chicano authors have not formed this community and common identity, this dissertation instead turns the conversation toward the reader. Specifically, I move from how authors make sense of their texts and form community, to how readers may make sense of texts, and finally, to how readers form community. I limit this conversation to three authors in particular—Alex Espinoza, Rigoberto González, and Manuel Muñoz— whom I label the second generation of gay Chicano writers. In González, I combine the cognitive study of empathy and sympathy to examine how he constructs affective planes that pull the reader into feeling for and with the characters that he draws.
    [Show full text]
  • 6Th Grade- the House on Mango Street by Sandra Cisneros 7Th Grade-Schooled by Gordon Kormon 8Th Grade- Sarny by Gary Paulsen
    This summer, students in Grades 6-12 will be required to read the book listed below. Each novel is assigned based on the grade they are coming into for the 2015-2016 academic school year. During the first week of school, the students will be given a reading comprehension Test on their assigned novel by their English/Language Arts teacher. In addition to the novel test, they will also be responsible for an Oral Presentation which will take place during the first week of school as well. These will be the first two grades for the first nine weeks and will count as a Test (40%) and a Project (30%) grade. Students in AP Language & AP Literature: Follow the Summer Project – AP English instructions outlined on the school website. **NOTE: Novels can be purchased at Barnes and Noble Bookstore / bn.com, Amazon.com, etc…** 6th grade- The House on Mango Street by Sandra Cisneros * Bring in your novel to class on the first day of school for class assignment and essay. 7th grade-Schooled by Gordon Kormon * Bring in your novel to class on the first day of school for class assignment and essay. 8th grade- Sarny by Gary Paulsen * Bring in your novel to class on the first day of school for class assignment and essay. English I- Speak by Laurie H. Anderson * Bring in your novel to class on the first day of school for class assignment and essay. English II- Fahrenheit 451 by Ray Bradbury * Bring in your novel to class on the first day of school for class assignment and essay.
    [Show full text]
  • Teaching the Short Story: a Guide to Using Stories from Around the World. INSTITUTION National Council of Teachers of English, Urbana
    DOCUMENT RESUME ED 397 453 CS 215 435 AUTHOR Neumann, Bonnie H., Ed.; McDonnell, Helen M., Ed. TITLE Teaching the Short Story: A Guide to Using Stories from around the World. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-1947-6 PUB DATE 96 NOTE 311p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 19476: $15.95 members, $21.95 nonmembers). PUB 'TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Authors; Higher Education; High Schools; *Literary Criticism; Literary Devices; *Literature Appreciation; Multicultural Education; *Short Stories; *World Literature IDENTIFIERS *Comparative Literature; *Literature in Translation; Response to Literature ABSTRACT An innovative and practical resource for teachers looking to move beyond English and American works, this book explores 175 highly teachable short stories from nearly 50 countries, highlighting the work of recognized authors from practically every continent, authors such as Chinua Achebe, Anita Desai, Nadine Gordimer, Milan Kundera, Isak Dinesen, Octavio Paz, Jorge Amado, and Yukio Mishima. The stories in the book were selected and annotated by experienced teachers, and include information about the author, a synopsis of the story, and comparisons to frequently anthologized stories and readily available literary and artistic works. Also provided are six practical indexes, including those'that help teachers select short stories by title, country of origin, English-languag- source, comparison by themes, or comparison by literary devices. The final index, the cross-reference index, summarizes all the comparative material cited within the book,with the titles of annotated books appearing in capital letters.
    [Show full text]