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A. P. Li terature & Composi ti on ( E7 & E8)

Ms. Mel oni
Emai l : ameloni@ebtbrooklyn.com
Websi te: http://msmeloni.weebly.com

About the Course
AP English Literature and Composition is designed to be a college/university-level course, thus the AP
designation on a transcript rather than H (Honors) or CP (College Prep). This course will provide you
with the intellectual challenges and workload consistent with a typical undergraduate university English
literature/Humanities course. As a culmination of the course, you will take the AP English Literature and
Composition Exam given on Wednesday, May 8
, 2015 at 8:00am (required). A grade of 4 or 5 on this
exam is considered equivalent to a 3.34.0 for comparable courses at the college or university level. A student
who earns a grade of 3 or above on the exam will be granted college credit at most colleges and universities
throughout the United States.
Course Goal s
1. To carefully read and critically analyze imaginative literature.
2. To understand the way writers use language to provide meaning and pleasure.
3. To consider a works structure, style, and themes as well as such smaller scale elements as the use of
figurative language, imagery, symbolism, and tone.
4. To study representative works from various genres and periods (from the sixteenth to the twentieth
century) but to know a few works extremely well.
5. To understand a works complexity, to absorb richness of meaning, and to analyze how meaning is
embodied in literary form.
6. To consider the social and historical values a work reflects and embodies.
7. To write focusing on critical analysis of literature including expository, analytical, and argumentative
essays as well as creative writing to sharpen understanding of writers accomplishments and deepen
appreciation of literary artistry.
8. To become aware of, through speaking, listening, reading, and chiefly writing, the resources of language:
connotation, metaphor, irony, syntax, and tone.

Yearl y Course Requi rements
Conference Paper (3-4 pages) 10%
Conference Paper Response (2-3 pages) 10%
Discussion Presentation/Facilitation & Reflection (2-3 pages) 10%
Grammar Assignments/Reading Journals 10%
Attendance/Participation 10%
5-6 Analytical Papers (4-6 pages, each) 15% each
In-Class Timed Writing 15% each
Culminating Research Paper (12-15 pages) 30% (2
Semester, 6
Marking Period)

Note: Any paper that receives a grade of D or lower must be revised.
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Requi red Course Materi al s
1. A notebook or section of a binder dedicated solely to AP Literature
2. A reading journal (spiral or marble notebook)
3. A folder where you keep all drafts, in-class writing and formal essays that have been returned to you

Anal yti cal Papers
As this is a literature and composition course, you will be expected to use every assignment that involves
writing to practice your best composition skills. Composition assignments will include: statements,
paragraphs, timed writes (essay tests), and formal essays (personal, expository and argumentative). No matter
the kind of writing assigned, your best composition skills should be practiced. We will work with various
composition constructions, Standard Written English, sentence variety, and word choice.
Most top analytical papers (timed and formal essays) offer an interpretation of the text at hand, using specific
details and devices to prove that interpretation, and also lend meaning to the work as a whole, considering
authorial intent/purpose.

Formal Paper Formatti ng
All formal papers (this means any formal, assigned writing that is not done in class) should be typed and
handed in in the following format:
9 Times New Roman (or similar) font
9 Size 12 font
9 Double-spaced
9 Last name/Page # in upper right-hand
corner of page (header)
9 A heading that is left-justified and
includes: your name, my name, class name
(AP Literature), and the date.
9 A unique title (not Poetry Paper or
American Dream Paper)
9 Follow proper MLA in-text citation
9 Have an MLA formatted Works Cited
page (yes, even for papers that only cite
one work).

It should look like the example taken from Purdue Owl
Online Writing Lab to the right, an online resource where
you can also find guidelines for your Works Cited page.

Vocabul ary/Li terary Terms Gl ossary
In addition, you will be keeping a running Whats That Word!? List in the back of your Reading Journal. As
you can tell from the title of this list, this will be the place where you list unfamiliar words you come across in
any assigned or other reading that you do, and then look up for its definition and usage. For every formal
paper that you turn in, you should have at least 5 new words visibly highlighted that you have chosen
from that list and incorporated into your paper in proper usage and context.

Additionally, you should already have access to a document for an extensive Literary Terms Glossary that we
will compile together in a Google Doc using the various poems, short stories, drama and novels that we read
together in class. More extensive directions for formatting are provided in the Google Doc.


Weekl y Grammar Assi gnments
You were instructed to acquire Grammar Girl Presents the Ultimate Writing Guide for Students by Mignon Fogarty
over the summer (hard or electronic copy is fine). You will be referred to various chapters and sections of this
book on a weekly basis. Some of the lessons might be easy, others might clarify mistakes youve been making
your entire life, and others still might be grammatical rules that you never even thought of. The point of these
assignments is to help you build the fluidity and sophistication of your writing throughout the entire year in
the hopes of preparing you for the AP Exam and, more importantly, college writing. We will focus on more or
less one rule a week, and in all writing and discussion done in class or assignments given to be completed at
home, I will expect to see you demonstrate mastery (or your understanding) of a specific grammar rule. By
participating in the vocabulary building exercises and the grammar refining techniques you should start to see
the quality of your writing improve and your ability to accurately express your thoughts and opinions
through writing grow.

Formal Gradi ng
You will receive 1 grade in two formats on every formal writing assignment that you complete, based on the
0-9 AP grading rubric, as well as the traditional letter/number system.
AP Grade 9 8 7 6 5 4 3 2 1 0

Your grade will come from a number of things: the content of your paper (Is your thesis clear and arguable?
Do you support it with well-explained examples and analysis? Is the argument complex?), the style and
sophistication of your writing (Is your tone appropriate for your audience? Do you have an appropriate
balance of academic and colloquial word usage?), and your adherence to the guidelines of standard written
English and proper MLA format citation (Are you following standard grammar/syntax rules? Are you
incorporating fluid and sophisticated transitions in your writing? Are you utilizing new vocabulary terms in
the proper context?).

A C essay
offers a plausible argument that reveals a basic grasp of the text and topic at hand
supports its argument with some reference to and discussion of the text
is adequately organizedthough there may be lapses in structure
is adequately writtenthough there may be errors in spelling, grammar, and punctuation
(mechanical errors) that are distracting

In brief, a C essay satisfies the requirements of a given assignment and demonstrates competence in analyzing
a text.

A B essay
offers a convincing argument that includes moments of insight and originality
supports its argument with significant reference to and discussion of the text
is clearly and purposefully organized
is effectively written, making visible use of precise diction and varied structurethough there may be
occasional lapses and mechanical errors

In brief, a B essay is characterized by its facility in analyzing a text and moments of insightful, original

An A essay
offers a compelling and persuasive argument that reveals depth of understanding and sheds new light
on the text
supports its argument with extensive, if not exhaustive reference to and discussion of the text
is strategically organized in order to bring its argument to a powerful conclusion
is written with sophistication and style and is virtually free of mechanical errors

In brief, an A essay is characterized by its intellectual rigor and illumination of a text with fresh observations
and insights.

Feedback & Revi si on
Because syntax and grammar will play just as crucial of a role as the analytical content of your papers, your
feedback will be two-fold as well. On any given paper that you do, you will have two types of feedback.

Feedback in left-hand margin - Grammar Feedback in right-hand margin - Content
Will be grammar centered. If there is a large amount
of the same type of grammatical error, I will assign
the first instance that I find a number 1 for the first
one. The first time it appears I will tell you what type
of error it is and may refer you to Grammar Girl,
Strunk & White or Perdue Owl Online Writing Lab
to fix it. Any subsequent time that same grammatical
error is found, I will simply write the number 1 again.
When I find a second recurring error, it will be given
the number 2, and so on and so forth.
This will be based off of the content of your paper.
You will find me in dialogue with you throughout
your work in the margins if you have provided me
with a thought-provoking argument. Sometimes I
will praise you, sometimes I will question you, at
times I will urge you to think further, and other times
I will flat-out argue with you. In the academy (as
scholars call it), it is not insulting if someone argues
with your work rather, it means they have found
something valuable enough to disagree with. This is
your aim.

There will be many papers that go through a drafting process, allowing you the opportunity to revise work
for content as you write your drafts and receive feedback from both myself and your peers; you will edit in the
last stages before you turn in your final product.

However, given this feedback and the two-fold grading system, you must always revise a paper that
receives a final grade of 3/D. The revision will be due a full week (7 days) after you receive back the

Late Pol i cy
Lateness, you will discover, is frowned upon. If an assignment is due on a particular date, it is for one (or
many) of a number of important reasons, ranging from my ability to grade the assignment in a timely manner
to your needing to use that work in class. As such, late work will be penalized (and yes, if you are absent and
something is due that day and I do not hear from you beforehand with a legitimate excuse that is later
accompanied by a written note, that work is late).

Late Scenario Grade Drop
Handed in after class on due date Minus 1/3 of a letter grade (A+ to A)
Handed in day after due date Minus 2/3 of a letter grade (A+ to A-)

Handed in 2 days after due date Minus a whole letter grade (A+ to B+)
Handed in 3,4,5, etc. days after Minus another whole letter grade per day
(Day 3: B+ to C+)
(Day 4: C+ to D+)
(Day 5: D+ to F)

As you can tell, assuming you ace your paper, if you are a week late you will fail that paper. If you do not get
an A+ then you will fail much more quickly, considering the deduction rate. Do not be late.

Readi ng Journal s
Your reading journal will be part of the informal writing component of the course and primarily serves the
purpose of providing an outlet for your initial reactions/reflection on a given text. While it will be checked, it
will not be graded with a formal (harsh) writing rubric. You may choose to type these journals and print them
out if they are assigned for homework, but you must also be prepared to do in-class writing, to be kept in a
separate notebook (spiral or marble).

In the same vein as the reading you completed for your summer assignments the authors we study throughout
the year cannot ignore their experiences as they put pen to paper, even though most of the selections in this
course are works of fiction, and it is quite often evident that culture, politics, and values all play a part in an
authors attitude toward the subject. Therefore, as you read, and when you complete the follow-up activities in
your journal, you should reflect on the role of these influences, i.e. culture, politics, and societal values.

Reader Response Journal Assignment:
1. Write a synopsis of the text and your reaction to it.
2. Comment on the authors background in relation to the text: What are the authors dates and
nationality? What relationship does this information have to the text? Essentially, why is this important
to know?
3. Comment on the titles thematic relationship to the text: What is the relationship of the title to the text, if
4. Evaluate the effects of the point of view. From what point of view is it told? What is the significance of
the authors choice of point of view?
5. Evaluate the theme: How does the author develop the theme of the human condition (e.g. humans in an
unsympathetic world)? How do characters struggles and choices in handling those challenges reflect and
advance the theme?

Di scussi on Presentati on & Faci l i tati ons, Conference Papers and Conference Paper
Note: Every 2 Marking Periods you will sign up for one of the following: a Discussion Presentation &
Facilitation, a Conference Paper, OR a Conference Paper Response. You will complete all three assignments
by the end of the year, being that once you complete one type of assignment you may not sign up for it in a
subsequent Marking Period. (For example, if for the first two Marking Periods you sign up for a Conference
Paper Response, you will have to sign up for either a Conference Paper or a Discussion Presentation &
Facilitation for the next sign-up period.)

Discussion Presentation & Facilitations
Each student will be responsible for 20 minutes of class time during which she or he will invent a way to
stimulate, to shape and to facilitate our discussion of one of the assigned poems or short stories. Your goal
should not be to develop your own entirely worked-out interpretive thinking or a thesis about the text; in fact
organizing your 20 minutes in terms of an already determined interpretation may be exactly how not to open

up an interpretive discussion. Your task is to devise a strategy for leading the class in collaborative
interpretation, that is, a facilitated discussion based on close textual attention to details of language and form.

Do not research the writer or reading you are working with. Start with your own response and your own
observations. Make the discussion about something or some things that intrigue you as a reader, and invent
some way to get your colleagues intrigued also. Focus your colleagues conversation with questions and
topics, or perhaps use very brief writing tasks (e.g. 2-3 minutes) to stimulate thought. While it might
sometimes be appropriate for you to spend a few minutes introducing an idea or two, you are not being asked
to summarize or to paraphrase the text, nor are you being asked to lecture to us. Nor are you being asked
merely to solicit opinion: instead, you should be thinking of facilitating interpretive engagement with our
reading, that is, engagement with both what it articulates and how it articulates what it articulates.

You will need to make choices about what to focus our conversation on. You probably will also need to
prepare questions. Hint: for discussion purposes, its useful to avoid yes or no questions. And, as I have
suggested in the previous paragraph, I urge you not to ask for opinion. Feel free to experiment with forms
of class involvement, such as discussion in pairs for a couple of minutes, brief in-class writing, or even role-
playing. Do remember, however, that you only have 20 minutes of class time, and you will probably be
surprised by how quickly 20 minutes fly by when people have things to say.

You might need to reshape, to revise, or to focus your questions or practices as the class discussion proceeds.
Since we cannot always know in advance how humans will respond to our plans for them, you might prepare
some alternative approaches, questions, topics, or activities in case you need them. Your role also involves
keeping track of who wants to speak, calling on those who havent spoken before those who have already
spoken, and trying to ensure that all who want to speak can, but not necessarily at the expense of moving the
conversation forward. Hint: when asking a question or posing a topic, allow a minute or so for your colleagues
to think before assuming that theres no response.

One week after your Discussion Presentation and Facilitation, you must hand in a narrative and analytical
account of your experience: a brief essay of at least 3 pages in which you reflect on your experience of
planning and of facilitating the discussion. What did you plan? How did it occur in practice? What, if any,
adjustments did you make during the actual event? What might you choose to do differently now? What did
you learn about the topic and/or about learning, and/or about yourself as a teacher/learner rom this
experience? Use specific details from the text and discussion in this writing. Your grade for this assignment
will be based on the event, itself, and on your narrative and analytical account of it.

Conference Papers & Conference Paper Responses
During the course of the year each of you will write both a Conference Paper and a Conference Paper
Response on one of the shorter works we read in class (a poem or short story). During one of the sign-up
periods you will sign up for a topic/text (i.e. the American Dream/Langston Hughes I, Too) to write a
Conference Paper on, and sign up for a different topic to write your response on.

When the time comes for us to discuss your chosen topic/text in class, you will read that text ahead of time
and write an interpretive paper about that work (3 to 4 pages), which you will email five days ahead of time
to the person who signed up to write the Conference Paper Response (and CC me) for that particular topic.
That person will then have 5 days to read the work and your interpretation, decide if they agree/disagree and
write a justified response, pointing to specific evidence within the text (2 to 3 pages). On the day that a given
Conference Paper is due, the corresponding partners Response Paper is due as well. Both will be presented in
class (this is mandatory), after which a class discussion will ensue about the text/topic and the initial
interpreter and responders interpretations.

Academi c Cal endar (Uni ts & Assessments)

While most of the works that we will be studying are widely acclaimed and accepted, I am including here an
excerpt from the College Boards official description of the English Literature course, which can be found
online by Google-ing AP Literature course description and scrolling to the last full paragraph on page 50:
In an ongoing effort to recognize the widening cultural horizons of literary works written in English, the AP
English Literature Development Committee will consider and include diverse authors in the representative
reading lists. Issues that might, from a specific cultural viewpoint, be considered controversial, including
references to ethnicities, nationalities, religions, races, dialects, gender or class, are often represented
artistically in works of literature. The Development Committee is committed to careful review of such
potentially controversial material. Still, recognizing the universal value of literary art that probes difficult and
harsh life experiences and so deepens understanding, the committee emphasizes that fair representation of
issues and peoples may occasionally include controversial material. Since AP students have chosen a program
that directly involves them in college-level work, the AP English Literature and Composition Exam depends
on a level of maturity consistent with the age of 12th-grade students who have engaged in thoughtful analysis
of literary texts. The best response to a controversial detail or idea in a literary work might well be a question
about the larger meaning, purpose or overall effect of the detail or idea in context. AP students should have
the maturity, the skill and the will to seek the larger meaning through thoughtful research. Such
thoughtfulness is both fair and owed to the art and to the author.
Below is a tentative schedule for the upcoming 2014-2015 academic school year. You will find the major
works that we will study, as well as supplemental texts, which may be subject to change.

Semester One (Maj or Ameri can Works)

September Who Dreams the Ameri can Dream?
Texts (* indicating texts you are already familiar with from previous study)
Summer Reading:
Death of a Salesman by Arthur Miller
Of Mice and Men by John Steinbeck*
The Glass Menagerie by Tennessee Williams
Our Town by Thornton Wilder
The Great Gatsby by F. Scott Fitzgerald*
Stone Butch Blues by Leslie Feinberg
A Raisin in the Sun by Lorraine Hansberry
Drown by Junot Diaz

Supplemental Texts:
Why read so many different stories that center on the American Dream?
Walt Whitmans I Hear America Singing
Langston Hughes I, Too
Chimamanda Ngozi Adichie TED Talk, Danger of a Single Story
Homer Veteran in a New Field
Tretheweys Again, The Fields
Pattys Charcoal Drive-In
Audre Lordes Sister Outsider (excerpted)
W.E.B. DuBois The Souls of Black Folk (excerpted)

Deborah Appleman (pgs145-52) excerpts from Critical Encounters in High School English

October/November The Troubl e That Stretches Above Us, Longer Than the Sky
Main Text: Song of Solomon by Toni Morrison (American, 20

Supplemental Texts:
Pre-Reading Texts: Myths & Poetry
Icarus Myth & the 3 Fates (Book of Homer- 3 Fates, Illiad) (Myths and Legends of Ancient Greece and Rome
E.M. Berens) (Hesiod Theogony poem about the Fates 905
Icarus by Wendy A. Shaffer
To a Friend Whose Work Has Come to Triumph by Anne Sexton
Bible excerpts (Genesis, stories of Ruth, Hagar, Reba and Pontius Pilate)

Concurrent Sonnet Study Unit:
Matthew Arnolds West London
Sir Philip Sydneys Rich fools there be (Macons greed)
William Shakespeares When in disgrace with fortune
William Shakespeares Sonnet 8
Elizabeth Barrett Brownings XLIV (Ruth in garden)
John Donnes Oh my black soul! Now art thou summoned

Additional Poetry & Essays for During & Post Main Text Study
Langston Hughes poems for Emmett Till Mississippi (1955) and The Money Mississippi Blues (1955)
Paul Laurence Dunbar We Wear the Mask
Morrisons Admiration: James Baldwin Sonnys Blues & excerpts of The Fire Next Time, Everybodys
Protest Novel, Just Above My Head and Notes of a Native Son
James Baldwin, If Black English Isnt a Language, Then Tell Me, What Is?
Countee Cullens Incident
Toni Morrisons The Bluest Eye (excerpts)
Marge Pierceys Barbie Doll
Doves Real Beauty Ad Campaign Sketch Ad
A Girl Like Me by Kiri Davis
Interview with Toni Morrison
Chimamanda Ngozi Adichies We Should All Be Feminists
Dark Girls, directed by D. Channsin Berry

November/December Al l the Unti dy Acti vi ty Conti nues, Awful but Cheerful : Bi shop,
Hi p-Hop and More
Bishop Poetry
The Bight
Filling Station
In the Waiting Room
Crusoe in England
One Art

Sonnet (1979)
Prodigal (w/ Prodigal Son parable)
Questions of Travel
The Imaginary Iceberg
Love Lies Sleeping
Bishop Prose
In Prison
The Country Mouse
To the Botequim & Back

Other Poetry & Articles
And YeahThis is a Love Poem by Nikki Giovanni
Swinging on a Rainbow by Nikki Giovanni
Rooms Are Never Finished by Agha Shahid Ali
Poetry: I by Adrienne Rich
Ghazal by Agha Shahid Ali
Howl: I by Allen Ginsberg
A Beautiful Mind: Black Male Intellectual Identity and Hip-Hop Culture by Toby S. Jenkins
Changes by Tupac Shakur
Love Comes & Goes by Ed O.G.
Wings by Macklemore feat. Ryan Lewis
American Terrorist by Lupe Fiasco

Semester Two (Maj or Bri ti sh Works)
January/February Let Not Li ght See My Bl ack and Deep Desi res
Main Text: Macbeth by William Shakespeare (British, 17

Supplemental Texts: TBD by students

February/March The Second Sex?
Main Texts: Jane Eyre by Charlotte Bronte (British, early 19
century) and Wide Sargasso Sea by Jean Rhys
(British, late 20

Supplemental Texts:
Death Be Not Proud by John Donne
Phenomenal Woman by Maya Angelou
I do not exist by Elizabeth Acevedo

Jane Eyre: Quarterly Review by Elizabeth Rigby
Ideals of Womanhood in Victorian Britain by Lynn Abrams

Feminist Conversation
Excerpts of John Ruskins Of Kings Treasuries and Of Queens Gardens
Excerpt of Virginia Woolfs A Room of Ones Own
Alice Walker In Search of Our Mothers Gardens

Spri ng Break ( 04/03/2015 04/10/2015) But, Oh! The Muffi ns!
Main Text: The Importance of Being Earnest by Oscar Wilde (British, late 19
Supplemental Texts: Reading Packet: Art & Decadence, satire, Victorian ideals, etc.

Apri l Who s That Hi di ng Over There?
Main Text: Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (British, late 19
Supplemental Texts:
Evil by Lance Morrow
Dwelling by Pandora Knight

May AP Exam Test Revi ew (l ast week Apri l , fi rst week May)
Really, by this time, you should know everything you need to, because the English exam is skills based, not
content. Meaning if you can write fluently and clearly under timed conditions, if you have a thorough and
in-depth knowledge of a few major works of literary merit, and you have honed your analytical abilities and
can read thoughtfully and deeply, you will do just fine. These days will be dedicated to practice of multiple-
choice questions, grading one anothers work (so you can have the opportunity to see what works and what
doesnt), and further practice writing under timed conditions.

May/June Student Choi ce

After the AP Exam you will have a few choices as to how we spend the remainder of our school year,
including reading another novel (suggestions made by students and teacher, and then voted on by class),
writing a research paper, or working on a larger creative project that mirrors the work you did to culminate
the Elizabeth Bishop & Hip-Hop unit.