Kings High School Summer Work Portfolio All courses requiring summer work are included in this manual. The assignment and contact information for the teacher is included for each course and appear in the following order:
AP Biology – pg. 2 AP Chemistry – pg. 3 AP English 11: English Language and Composition – pg. 12 AP English 12: English Literature and Composition - pg. 49 AP Government – pg. 54 AP Human Geography – pg. 64 AP Modern European History – pg. 79 AP Music Theory – pg. 83 AP Physics – pg. 98 AP Psychology – pg. 99 AP Spanish – pg. 106 AP Studio Art: Digital Media – pg. 123 AP Studio Art: Drawing – pg. 134 AP US History – pg. 140 Honors English 9 – pg. 145 Honors English 10 – pg. 146 Honors Physics – pg. 149
Kings High School Summer Assignment Summary
Course Name: AP BIology Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected]
Assigned Readings: Chapters 43-47 in textbook (pages 818-924), and answer the “Reviewing the Chapter” questions at the end of each of these chapters.
Other Assignments/Projects:
Project Due Dates/Timeline:Due first day of school - Wed Aug 19, 2015
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?)
Test over this unit on 2nd day back - Thurs Aug 20
Additional Information:
Kings High School Summer Assignment Summary Course Name: AP Chemistry Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected] ***I will also be available for Starbucks chemistry dates if you need to meet me to go over anything from the textbook or packet. (please e-mail me to set up a time for this). Assigned Readings: Read the first 4 chapters of the textbook. Go to the following website to create a username and password, and use the online code below: www.pearsonschool.com/access You will be prompted to enter a code. The code you should enter is below:
SSNAST-JEHAD-UMIAK-GONNA-PATHS-NURSE Other Assignments/Projects: Finally, your first assignment will be to send me an e-mail with information about yourself (interests, hobbies, summer plans, extra-curricular activities, sports you participate in, etc.). This is so that I may get to know you before the beginning of the year. This assignment will be due by Monday, June 8, 2015. Project Due Dates/Timeline: Complete packet and problems. Email me with questions. Packet due 1st day of school. Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?) Exam of chemistry fundamentals upon return. Additional Information:
AP Chemistry Summer Preparation Assignment Welcome to 2015-2016 AP Chemistry! I am very happy to welcome you to advanced placement chemistry even before the new school year has begun. I am really excited about the coming year and I hope you are too. Many people consider AP Chemistry to be one of the hardest AP classes. I believe that if you work hard this class will be a real pleasure and very easy for you. The benefits of passing this class and scoring high in the AP exam make the effort worth it. If you pass the AP exam with a 5 most schools in the country will award you 8 credits of chemistry. That includes the first two college semesters of chemistry and the two laboratory classes that come with it. This is a great time and money saver for college! Even if your college does not accept these credits, you will have gained knowledge of the topics covered and you will breeze through freshman chemistry. The fundamentals in this class are essential to anyone planning on being an engineer, a scientist, a doctor, a nurse, a psychologist, even a chef! If you love science like I do, there is also the bonus of learning how matter works and how our universe can be explained by understanding the interactions between matter and energy. You will also get to perform some neat laboratory experiments at the college level. To succeed in this class it is important to have a solid background in basic high school chemistry. This summer packet along with the designated readings will help you refresh some of the fundamentals needed to succeed in AP Chemistry. As soon as we return from summer break, I will be giving you an examination on these fundamentals to assess your strengths and weaknesses. This test will be based on the information in the packet and the first three chapters in the textbook, and will also be written in AP style format. Your summer packet will be due the first day of school, and you should expect your test the following day. If you don’t remember how to do some of the problems then spend some extra time of them. If you have any questions while working with this packet or the readings, feel free to contact me. My contact information is below. To access your textbook online over the summer (to read the first 4 chapters) go to the following website to create a username and password, and use the online code below: www.pearsonschool.com/access You will be prompted to enter a code. The code you should enter is below:
SSNAST-JEHAD-UMIAK-GONNA-PATHS-NURSE You will also be expecting an e-mail from me during the summer about our class website. It is imperative that when you receive this you respond quickly so that I
know everyone is on the same page. I will be posting helpful websites to use on your journey of chemistry this summer. Finally, your first assignment will be to send me an e-mail with information about yourself (interests, hobbies, summer plans, extra-curricular activities, sports you participate in, etc.). This is so that I may get to know you before the beginning of the year. This assignment will be due by Monday, June 8, 2015. I hope you have a great summer and I look forward to seeing you in August!! ***I will also be available for Starbucks chemistry dates if you need to meet me to go over anything from the textbook or packet. (please e-mail me to set up a time for this). Mrs. Warren
[email protected]
What do I NEED to know? I.
Nomenclature Learning how to name elements, ions, and compounds is the basic language of chemistry. You need to be REALLY GOOD at this! You need to know the name of elements as well as monoatomic and polyatomic ions, their formula, name, and charge. Know the name and symbol of each of the following elements: H S As La
He Cl Se W
Li Ar Br Pt
Be K Kr Au
B Ca Sr Hg
C Sc Y Pb
N Ti Mo Bi
O V Ag Rn
F Cr Cd Ra
Ne Mn Sn U
Na Mg Al Si P Fe Co Ni Cu Zn Sb Te I Xe Ba Pu
You are also responsible for knowing everything on the ion list to memorize. This list is included at the beginning of your packet. II. III. IV. V. VI. VII.
Dimensional Analysis a. See practice problems Classification of Matter a. See practice problems Gases a. See practice problems Chemical Change (Reactions) a. See practice problems Stoichiometry a. See practice problems Atomic Structure a. See practice problems
Practice Problems Please show all of your work on a separate piece of paper. If you do not write all of your work, points will be deducted. Make sure to include UNITS when you need them, and think about significant figures with your answers! This will be due the first day of class along with the first three chapters of your textbook read. 1. Answer the following questions regarding the element Al (Aluminum) a. How many protons are contained within the nucleus? b. How many neutrons are contained within the nucleus? c. How many electrons are contained within a neutral isotope of this element? 2. What is an isotope? 3. Why was it that the vast majority of alpha particles that traveled through the gold foil in Rutherford’s experiment experienced no deflection? 4. Which element from each set is more electronegative? a. F or C b. Al or Cl c. Po or S d. Cs or I e. Ca or Cl f. O or Se g. Zn or K h. C or Pb i. Ga or O 5. Chromium has four naturally occurring isotopes: Chromium – 50 (4.35% at 49.946 amu) Chromium – 52 (83.79% at 51.941 amu) Chromium – 53 (9.50% at 52.941 amu) Chromium – 54 (2.36% at 53.939 amu) Find the average atomic mass of chromium. 6. The blood of an octopus, snail, spider, and oyster is blue. This is because a blue copper compound carries the oxygen in the line blood of these animals. Most other animals, including humans, use the red iron containing hemoglobin compound to transport oxygen in the blood. Copper had two naturally occurring isotopes: Cu – 63 (62.930 amu) and Cu -65 (64.928 amu). Find the percent abundance of each isotope. 7. There are two naturally occurring isotopes of nitrogen: N – 14 and N – 15. Which isotope is the most abundant? Explain your answer.
8. What is the empirical formula for C4H10? 9. What is the empirical formula for C2H4O2? 10. What is the longhand electron configuration for manganese in its ground state? 11. What is the longhand ground state electron configuration of tin? 12. What is the longhand electron configuration for nitrogen in its ground state? 13. What is the noble gas configuration of palladium? 14. What is the noble gas configuration of lead? 15. What is the noble gas configuration of plutonium? 16. Which atom in each set has the larger radius? a. Be or O b. Cu or Br c. F or I d. Sn or Ar e. O or As f. Kr or K g. Ba or Li 17. Draw an orbital diagram for iron in its ground state. 18. Draw an orbital diagram for sulfur in its ground state. 19. Name the following compounds: LiCl AgNO3 Mg(OH)2 NH4Cl K3P CuCl2 Fe2O3 SnCl2 FeO PbO2 ZnCl2 AlCl3
PbSO4 Mg3(PO4)2 Na2CO3 NaHCO3 KCN KMnO4
20. Write the ionic formulas for the following compounds: Sodium Acetate Silver Cyanide Tin (II) Chloride Nickel (II) Chlorite Calcium Hydroxide Lead (II) Nitrate Zinc (II) Sulfite Sodium Chloride Ammonium Sulfate Lithium Fluoride Manganese (II) Hypochlorite Potassium Sulfide Copper (I) Nitrate Aluminum Oxide
21. Name the following covalent compounds: CO SiO2 CO2 N2O H2O CBr4 CCl4 SO2 N2O3 S2Cl2 22. Write the molecular formulas for the following compounds: Xenon hexafluoride Nitrogen tribromide Tetranitrogen tetraoxide Dinitrogen tetrasulfide Boron trifluoride Oxygen difluoride Carbon tetrabromide Dinitrogen pentaoxide Dicarbon tetrafluoride Tetraphosphorus decaoxide 23. Mixed Practice: Write the formulas for the following substances and indicate if they are ionic or molecular. Barium Sulfate Ammonium Chloride Chlorine Monoxide Silicon Tetrachloride Magnesium Fluoride Sodium Peroxide Copper (I) Iodide Potassium Carbonate Hydrobromic Acid Perchloric Acid Lead (II) Acetate Sodium Permanganate Lithium Oxalate Potassium Cyanide Nitrogen Trifluoride Sodium Thiocyanate Nitrous Acid 24. Mixed Practice: Write the name of the following compounds and indicate if molecular or ionic CuSO4 PCl3 Li3N FeI3 (NH4)2Cr2O7 KClO4 P4O10 MnO2 HC2H3O2
25. Calculate the percent composition of each element in CaCO3. 26. How many moles of acetic acid are contained within 24.71 grams of acetic acid? 27. How many grams of NaOH are contained within 0.785 moles of NaOH? 28. Air bags in cars operate according to the reaction below. How many grams of nitrogen gas are produced during the decomposition of 3.25 grams of Na3N? 2 Na3N (s) 6 Na (s) + N2 (g) 29. How many grams of lithium are needed to produce 45.0 grams of lithium nitride, according to the following reaction? 6 Li (s) + N2 (g) 2 Li3N (s) 30. A 24.5 g sample of sodium chloride reacts with 41.3 g of fluorine gas according to the following chemical equation: 2 NaCl (s) + F2 (g) 2 NaF (s) + Cl2 (g) What is the limiting reactant? Justify your answer using mathematics. How many grams of chlorine gas are produced? 31. A 84.1 g sample of phosphorus reacts with 85.0 g of oxygen gas according to the following chemical equation: 4 P (s) + 5 O2 (g) 2 P2O5 Find the limiting reactant. Justify your answer using mathematics. How many grams of P2O5 are produced in theory? If only 123 grams of P2O5 are produced, what is the percentage yield? 32. Calculate the number of molecules in a deep breath of air whose volume is 2.50 L at body temperature 37 degrees Celsius and a pressure of 735 mmHg. 33. A sealed balloon is filled with 1.00 L of helium at 23 degrees Celsius and 760 mmHg. The balloon rises to a point in the atmosphere where the pressure is 220 mmHg and a temperature of -31 degrees Celsius. What volume of the balloon as it ascends to the new pressure and temperature? Dimensional Analysis Problems: Solve these problems using dimensional analysis and using conversion factors. I am sure you can solve these some other ways, but stick to the format we used when we learned metric conversions and dimensional analysis. 34. Mark McGuire hit 70 home runs in the 1998 season. Given that there are 4 bases with 90 feet between each base, how many miles did he run during this particular season just from home runs?
35. How many miles could you drive for $7.90 if the gas mileage of your car is 14.0 km/L of gas and the price of gas is $2.64/gal? (1.61 km = 1 mile; 4 qts = 1 gallon; 1.10 qts = 1 L) 36. If one afternoon Mike decides to dig a hole through the earth to China for a game of ping pong, how many centuries would elapse before he got there if he dug at a rate of 0.400 miles depth per day and the diameter of the earth is 1.2700 x 107m? Chemical Equations: For the following reactions label them as synthesis, decomposition, single replacement, double replacement, or combustion. Write the correct reactants, predict the products, and then write the balanced reaction. For double replacement reactions make sure to use solubility rules. 37. Ammonium sulfate reacts with barium nitrate. 38. Zinc metal is added to a solution of copper (II) chloride. 39. Propane gas (C3H8) is burned in excess oxygen. 40. Solid calcium chlorate is heated strongly decomposing into calcium chloride and oxygen gas. 41. Solid magnesium and nitrogen gas are heated together. 42. Chlorine gas is bubbled through a solution of sodium bromide. 43. Solutions of lead nitrate and calcium iodide are combined. 44. Sulfuric acid is combined with sodium hydroxide. 45. Isopropyl alcohol (C3H7OH) is burned in oxygen.
SUMMER READING 11 AP Language and Composition Tim Hicks,
[email protected], 398-8050 ext.11051
Assigned Readings: Sophie’s World by Jostein Gaarder & Chapters 1 and 2 of Modern Approaches to Argument Packet
Summer Assignment Summary/Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?): Dear AP Language and Composition Student: You have already proven to be an exceptional student in reading and language. I look forward to meeting you in August and working with you in the pursuit of a quality AP Language and Composition Program. No book is ever written in a void. All authors belong to their historical time (some to all time), and the beliefs and philosophies of their times often have an influence on their books. In order for us to have a more fully developed world view, we read Sophie’s World, in which Jostein Gaarder hopes to teach us something about basic Western philosophical arguments and the many critical lenses of literature and thought. I believe that if we have a basic grasp of philosophers' questions, we will also have an understanding of artists' questions, for they are often the same. By improving our view of the history of thought, we will improve our view of literary history by default. This book is our introduction to the world of ideas, the many dances of thesis/antithesis/synthesis surrounding all the important questions. It is a perfect foundation to begin a year filled with great books and engaging ideas. This book can be dense; that is, it can be hard to understand too much of it at one sitting. Give yourself a good four to five weeks* to read and complete this assignment! For the second assignment, you will select one speech from The American Rhetoric list of Top 100 Speeches to complete a rhetorical analysis. It is very similar to literary analysis, but looks at how choice of method and message work together for effect. See Part II for more details. Enjoy your summer reading and have a great summer! Sincerely,
Mr. Hicks
Part I:
Read the novel Sophie’s World and complete the note charts as you go along (remove last pages and handwrite importances). Do not write in 8 point font. Capture the essence/main tenets of each philosophy. Answer the two essay questions listed below – I will grade them using the rubric in the back of the packet.
"Questions" on the novel; read carefully and follow directions. 1.
Choose one philosophy you disagree with and explain your reasoning in an essay. (Note: Choose something still debatable. In other words, it seems futile to disagree with something that has been disproved by science. It may seem easy to "disagree" with an idea from one of the earliest philosophers who preceded modern science, but it would be silly).
2.
Choose one philosophy you agree with and explain your reasoning in an essay.
Part II:
Top 100 Speech Rhetorical Analysis
Step 1: Read and annotate the Two Chapters and read over the Rhetorical Device Packet. Use these as resources/examples to aid you in your own rhetorical analysis of your selected speech.
Step 2:
Select one of the Top 100 speeches (except “I Have a Dream” because of its popularity). http://www.americanrhetoric.com/newtop 100speeches.htm Step 3:
Read, research, and annotate words, phrases, and textual references in the speech.
Step 4:
Research the rhetorical situation and the broader cultural, historical contexts of the speech and explains how the rhetor responded to prevailing public opinions or concerns. o
Identify the rhetor's purpose and message to his or her intended audience.
o o o
Be sure to Distinguish between your personal reaction to the speech and the reactions of its intended audience. Identify the main points and support for those points (e.g., explanation, examples, reasons, research). Analyze the rhetor's use of rhetorical strategies and devices to influence the audience 1. Figurative language (e.g., metaphors, similes) – easy but packed with stored magic. 2. Analogies (or comparisons in general) 3. Emotional Appeals (how does the writer target the audience's emotions?) new connotations? 4. Logical Appeals (how does the writer target the audience's intelligence?) 5. Ethos Appeals: Attempts to establish credibility 6. Use of repetition (if they repeat it often enough, people tend to believe it) 7. Diction (note patterns of words) 8. Standout sentences (that is, sentences designed to grab your attention) 9. Tone (consider how effective sarcasm can be) 10. Cause-effect argumentation (if this happens, then....) 11. Use of historical precedents (this falls under analogies but is worth noting separately)
IMPORTANT:
Be
Transparent in Thinking! For those who tend to score 4's and 5's on their essays, the key to improvement is commentary. In commentary, the writer explains HOW or WHY the given evidence supports or proves his or her point. Commentary explains WHY the analyzed writer chose to use certain rhetorical strategies.
Simply having extended commentary improves most papers. Part III:
Sophie’s World Test (100 points):
Be prepared on the second day of school to take a comprehensive knowledge test on the work. In addition, be prepared to answer essay questions about the text.
Additional Information : To set our sites on thinking, we examine its roots, and build our wings! Essay Scoring Rubric: 9-8 A Excellent use of thoughtfully chosen, apt, and specific concrete details and references to the text
Response to the prompt and/topic or is cogent (convincing), insightful, and perceptive commentary and interpretation-- free of plot summary; ideas are expressed with clarity and skill. Skillfully addresses the “what,” the “how,” and the “why” in the prompt. Well organized with careful development; excellent thesis; logically ordered, strong conclusion; smooth transitions (not “First,… Second, …) Well-written, with pleasing sentence variety, sound sentence structure (fragments, run-ons), precise and fresh diction (word choice). Uses the literary present, third person (if necessary) and few “to be” verbs. Virtually no errors in conventions such as spelling, grammar, usage, and mechanics A 9 essay is above the pack—fresh, sophisticated, marked with stylistic finesse.
7-6
A-/B+ Effectively uses well-chosen and specific concrete details and references to the text Commentary and analysis is thoughtful and convincing, but less insightful and less developed than 9-8. Effectively addresses the “what” and the “how,” but may miss the “why.” Sound organization, intelligent, but less effective thesis, logically ordered, effective conclusion, good use of transitions. Well- written, with some sentence variety; good sentence structure, high-level and varied diction. Uses the literary present and third person (if appropriate) most of the time. Few errors in conventions—spelling, grammar, usage, and mechanics A 7 paper will have more developed analysis and development, and have better control over sentence structure, diction, and conventions. A 6 is a “safe” paper; carefully done, but needs more.
5
4-3
B Contains and uses concrete details and textual references correctly, but it may be superficial, obvious, and/or vague Commentary is generic, but contains some analysis. Writing displays writer’s ideas in an overly generalized fashion. Paper is organized, adequate thesis, but may not address the complexity of the question, logically ordered, adequate conclusion, contains transitions Little sentence variety, but adequate sentence structure, diction is adequate and correct, but may be repetitive or generic. May drift from literary present or slip into inappropriate voice (ex. going from 3rd person to 1st) May have some, but not serious, errors in conventions—spelling, grammar, usage, mechanics A 5 paper meets the assignment, but seems general and mechanical
B-/C Contains some supporting evidence, but it is weak, paraphrase, vague or inaccurate. Analysis and commentary is weak, misguided, and/or inaccurate and unclear. Response paraphrase and plot summary opposed to analysis. Writing does address the topic and conveys the writer’s ideas, but is underdeveloped. Response fails to adequately address the question. Paper shows some sense organization, imprecise thesis or merely a restatement of the question; ideas may drift from or are not connected to the thesis; weak conclusion; may lack transitions and topic sentences. Little sentence variety; sentence structure errors, generic and/or repetitive diction—overuse or misuse of “I” and/or “you” Weak control over conventions—spelling, grammar, usage, mechanics A 3 paper compounds the weakness of a 4: weaker writing skills, less organization, misinterpretations, inadequate development, serious omissions
2-1
C-/D/F Very little, if any, concrete details and textual support; if present, it is unacceptably vague Plot summary and/or paraphrase substitute for commentary and analysis; some attempt to answer the question, but with very little clarity or coherence Lack of control over organization and development; may ramble; thesis is weak or nonexistent; a restatement of the question or absent altogether Little sentence variety; may have distracting errors in sentence structure and diction Weak control and distracting errors in conventions—spelling, grammar, usage, mechanics A 1 paper is unacceptably brief or incoherently long, full of mechanical errors, and/or missed the focus of the topic
0
F
A response that is no more than a reference to the task
Chapter 1 Modern Applications of Ancient Rhetoric Successful students in an advanced course such as Advanced Placement English Language and Composition should be able to perform three tasks: 1. 2. 3.
Analysis. A close examination of texts, with the awareness of a writer's purpose and the techniques the writer uses to achieve it. Argument. A discourse intended to persuade an audience through reasons and/or evidence. Synthesis. A bringing together of several texts, both written and visual, to form a coherent essay.
To do these tasks effectively, you should understand the rhetorical techniques of ancient Greece and Rome, as well as have insight into modern perspectives on rhetoric and argument. This chapter focuses on using ancient rhetorical techniques for analysis. Chapter 2 covers modern approaches to argument and synthesis. In this chapter, you will learn some tools of rhetoric as you analyze a modern piece of persuasive writing, "Letter from Birmingham Jail," by Dr. Martin Luther King, Jr. This powerful essay demonstrates King's masterful application of rhetorical techniques. About "Letter from Birmingham Jail" In April 1963, the civil rights leader and clergyman Dr. Martin Luther King, Jr., was jailed in Birmingham, Alabama, for leading anti-segregation protests. His" Letter from Birmingham Jail," dated April 16, is an open letter to eight white clergymen from Alabama. In it, King responds to a statement by these clergymen that expressed their belief that the battle against segregation should be fought in the courts and not in the streets. The letter was published in The Christian Century on June 12, 1963. For the full text, see http://www.thekingcenter.org/prog/non/Letter.pdf The Five Canons of Rhetoric The basic outline of classical rhetoric is composed of five categories, or "canons": • invention
arrangement style memory delivery
Memory and delivery are concerned primarily with oral or spoken rhetoric and will not be treated in this chapter. Invention, arrangement, and style, however, are relevant to both oral and written rhetoric. You will examine these three canons in depth. Invention Invention is the process of coming up with ideas for speaking or writing. According to Aristotle, the great rhetorician of ancient Greece, under the heading of invention are three "proofs" or appeals: ethos, logos, and pathos. Ethos is the character or credibility of the speaker/writer. Logos is the content of the written or spoken message. Pathos is the emotional appeal to the audience by the speaker or writer. Aristotle calls these proofs "artistic" because they are under the control of the speaker or writer, who creates them in the minds of the audience. Aristotle points out that these three artistic proofs need to work together in balance for the speaker or writer to
achieve maximum persuasive effect. People use their hearts as well as their minds in making decisions, and these three proofs are tools for both analyzing and creating effective arguments. Ethos Ethos is an appeal based on the character or credibility of the speaker/writer. In "Letter from Birmingham Jail," how does King establish his credibility, his character? Instead of beginning the letter with the impersonal "Dear Sir," or "To Whom it May Concern," King opens with "My Dear Fellow Clergymen." The greeting is warm, but it is also more than that. By addressing his audience as fellow clergymen, he is reminding them that they are in fact equals, that they all work in the same profession, and that they all share a common ground. King says he seldom takes the time to respond to criticism, but he makes an exception in this case because these are "men of genuine good will" and their "criticisms are sincerely set forth." The clergymen have accused King of being an outsider coming in to stir up trouble, and King uses the ethos appeal in three ways to respond to this accusation: 1.
He points out that he is acting not as an individual but as president of the Southern Christian Leadership Conference, which has an affiliate organization in Birmingham. The local chapter invited him to "engage in a nonviolent direct-action program if such were deemed necessary."
2.
King says that, like the prophets of the Old Testament and the New Testament, he goes wherever there is injustice. By citing scripture, he is appealing to the religious background and shared values of the clergymen, his audience.
3.
King observes that it no longer makes sense to talk about an "outside agitator," because "We are caught in an inescapable network of mutuality, tied in a single garment of destiny."
These three points establish that King is one of them, not an outsider, and therefore his words should be credible. King goes on to establish his character for his audience by pointing out the four basic steps of his nonviolent campaign. He is trying to convince his readers that he did not take these actions impulsively; but that they were the result of a four-step process. The steps, in King's words are 1.
"collection of facts to determine whether injustice exists"
2.
"negotiation"
3.
"self-purification"
4.
"direct action"
He wants his audience to see him as a person who carefully weighs all options before taking action. As King concludes his letter, he makes further use of ethos. He apologizes for having taken so much of the audience's precious time, ironically noting that he has lots of time in jail. He goes on to beg forgiveness for any overstatement and hopes the letter finds the clergymen "strong in the faith." In his conclusion, he is again establishing that his character is the same as theirs because they share the same profession and have a shared common ground. Logos King's ethos is further established through his use of logical argumentation, logos. In Greek, logos means "word," the content of the argument. King answers each of the clergymen's arguments pragmatically and ethically. To illustrate King's response, it is useful to reduce the clergymen's arguments into a logical structure. Their objections can be restated in the following manner:
"Outsiders" should not be leading local protests (major premise).
King is an "outsider" (minor premise).
Therefore, King should not be protesting (conclusion).
Syllogism Arranged this way, those three statements are an example of a logical syllogism, which is a chain of reasoning moving from general, universal principles to specific instances. While King is establishing his credibility, his ethos, he also responds to the clergymen's argument pragmatically, by countering their minor premise, that King is an outsider. He points out that he was invited by local leaders to assist in the protest and he is president of the Southern Christian Leadership Conference. Therefore he is not an outsider. Next King addresses the major premise ("Outsiders" should not be leading local protests) from an ethical point of view. He states that the Apostle Paul and the Old Testament prophets went wherever there was a need, wherever God sent them. He further writes that all communities in the modern world are interrelated: "Whatever affects one directly affects all indirectly. Never again can we afford to live with the narrow, provincial 'outside agitator' idea." Enthymemes Aristotle states that under logos, or the content of the message, the two most powerful tools are the enthymeme and the example. Everyone knows what an example is, but the enthymeme, while used by all of us every day, is a little-known concept outside the realm of rhetorical studies. The enthyrneme is a shortened syllogism that serves the purpose of a more practical and expedient way to argue. A well-known example of a syllogism turned into an enthymeme is the following:
All people are mortal (major premise).
Aristotle was a person (minor premise).
Therefore Aristotle was mortal (conclusion).
Aristotle's syllogism, restructured as an enthymeme, would be the following: Aristotle was mortal because he was a person. Left out of the enthymeme is the major premise, or the universal principle that All people are mortal. In an argument, the speaker or writer can leave out the universal principle because everyone would agree that all people are mortal. This principle does not need to be stated. It is an assumption shared by everyone. Therefore, enthymemes have great practical value in argumentation. However, an argument might be vulnerable if the audience does not accept the unstated principle that supports the argument. The clergymen's syllogism, containing a major premise, a minor premise, and a conclusion, can be restated as an enthymeme in this way: King should not be leading local protests, because he is an outsider. This enthymeme leaves out the major premise that "outsiders" should not be leading local protests. The clergymen assume that this is a universal principle that supports their argument. King does not accept their unstated principle and thus finds a weakness in their argument. Addressing it effectively, he writes,
"Never again can we afford to live with the narrow, provincial 'outside agitator' idea. Anyone who lives inside the United States can never be considered an outsider anywhere within its bounds." Using Syllogisms and Enthymemes in Arguments Syllogisms are used primarily in a logic course, but are rarely used in real-world argumentation. They are cumbersome and impractical, and, if we had to lay everything out in a syllogistic pattern, we would complete very few arguments. On the other hand, the enthymeme, a kind of shortened syllogism, has great practical value, and writers use them every day. When you analyze arguments, an important step is finding the enthymemes and the unstated principles that support the enthymemes. An argument's vulnerable point is often that unstated principle. An argument's acceptability to an audience hinges on the audience's acceptance of that unstated principle, and a sympathetic audience is willing to accept unstated principles because they hold those principles in common with the speaker or writer. With a neutral or hostile audience, however, the speaker/ writer must work harder to gain the audience's acceptance of unstated principles. Therefore, the writer, like King, must understand the audience's values, beliefs, and priorities in order to use enthymemes successfully. Combining Enthymeme and Logos King next uses logos in the letter to address the issue of breaking the law. King did break the law, a court-ordered injunction against demonstrations, and he writes of this irony: "Since we so diligently urge people to obey the Supreme Court's decision of 1954 outlawing segregation in public schools, it is rather strange and paradoxical to find us consciously breaking laws." This argument is the crux of the letter, and King devotes eight paragraphs to justifying his position. The clergymen's argument runs as follows:
It is always wrong to break the law (major premise).
King broke the law (minor premise).
Therefore, King is wrong (conclusion).
As an enthymeme, this syllogism could be restated as follows: King is wrong because he broke the law. In this instance, King cannot dispute the minor premise that he broke the law. He did break the law, and he admits it. Changing his tactics, he addresses the unstated principle of the clergymen's position that it is always wrong to break the law. King claims that there are just laws and unjust laws and that we have a "legal" and a "moral responsibility to obey just laws" and "a moral responsibility to disobey unjust laws." King next distinguishes between just and unjust laws. He makes three points: ''A just law is a man-made code that squares with the moral law or the law of God. An unjust law is a code that is out of harmony with the moral law." "An unjust law is a code that ... a majority group compels a minority group to obey but does not make binding on itself." ''A law is unjust if it is inflicted on a minority that ... had no part in enacting or devising the law."
Because of the three distinctions that King draws between just and unjust laws, he concludes that the segregation laws, and specifically laws against his public demonstrations, are unjust. King then bolsters his argument by citing both biblical and historical figures who broke unjust laws. For example, the early Christians were fed to the lions or burned as candles for refusing to obey the unjust Roman law that required them to renounce their Christian faith. He also mentions Socrates, the patriots of the Boston Tea Party, and the Germans who disobeyed Hitler as examples of individuals who broke unjust laws. By using both biblical and historical references here, King appeals specifically to the clergymen and more broadly to the general public. He continues to establish his ethos as a traditionalist, not as an "extremist." The clergymen, however, characterize King's "activity in Birmingham as extreme." To turn the clergymen's accusation into an enthymeme, it would read: King is wrong because his actions are those of an extremist. The unstated principle behind this enthymeme is Extremism is wrong. King first responds directly to the accusation that he is an extremist. He points out that his voice is a moderate one in the civil rights movement, between the radical voice of Elijah Muhammad and the conservative voices of older Mrican Americans who have "adjusted to segregation." King states, " ... we need emulate neither the 'do-nothingism' of the complacent nor the hatred and despair of the black nationalists. For there is the more excellent way of love and nonviolent protest." King then addresses the unstated principle supporting the enthymeme: "extremism is wrong." He lists some of the great, often revered extremists of history-Jesus, Amos, the apostle Paul, Martin Luther, Lincoln, and Thomas Jefferson. This is good company to keep if you are an extremist, and he uses the rhetorical technique of identification in aligning himself with such highly respected leaders. Pathos Logos appeals to the intellect. Pathos is an appeal to the emotions of the audience. People tend to follow their hearts more so than they do their minds, and King could have provided a display of emotional fireworks in his discussion of the evils of segregation. Instead, he spoke more from a logical and ethical perspective. Yet he presented this with passion: But when you have seen vicious mobs lynch your mothers and fathers at will and drown your sisters and brothers at whim; when you have seen hate-filled policemen curse, kick, brutalize, and even kill your black brothers and sisters with impunity; when you see the vast majority of your 20 million Negro brothers smothering in an airtight cage of poverty in the midst of an affluent society; when you suddenly find your tongue twisted and your speech stammering as you seek to explain to your six-year-old daughter why she can't go to the public amusement park that has just been advertised on television, and see the tears welling up in her little eyes when she is told that Funtown is closed to colored children, and see the depressing clouds of inferiority begin to form in her little mental sky, and see her begin to distort her little personality by unconsciously developing a bitterness toward white people; when you have to concoct an answer for a five-year-old son who is asking in agonizing pathos: "Daddy, why do white people treat colored people so mean?"; when you take a cross country drive and find it necessary to sleep night after night in the uncomfortable comers of your automobile because no motel will accept you; when you are humiliated day in and day out by nagging signs reading "white" men and "colored"; when your first name becomes "nigger" and your middle name becomes "boy" (however old you are) and your last name becomes "John," and when your wife and mother are never given the respected title of "Mrs."; when you are harried by day and haunted by night by the fact that you are a Negro, living constantly at tip-toe stance, never quite knowing what to expect next, and plagued with inner fears and outer resentments; when you are forever fighting a degenerating sense of "nobodiness"-then you will understand why we find it difficult to wait. King could have filled his letter with emotion-packed examples of civil rights abuse, but he writes the majority of
the letter as a more reasoned and principled argument. In the preceding paragraph, he uses the rhetorical appeal of pathos by piling emotional example upon emotional example in a concentrated way. We will return to this paragraph in our discussion of style. Arrangement Invention, or the process of coming up with ideas to speak or write about, is the first step in forming an argument. Once you know what you are going to say, you must next decide in what order to present your ideas. This process is known as arrangement. King's letter follows nicely the arrangement of the traditional classical oration, a form most commonly associated with the great Roman orator Cicero. These are the parts: Exordium: Introduction. The writer gains the audience's attention. Narratio: Background information. The writer gives the facts of the case. Propositio: The proposition. The writer presents his or her thesis, or main idea. Partitio: The main headings or topics. The writer outlines what will follow. Confirmatio: Arguments supporting the proposition. The writer gives evidence to prop up the thesis or main idea. Refutatio: The anticipation and refutation of counter-arguments. The writer answers in advance any objections that opponents may raise. Peroratio: Conclusion. The writer summarizes the chief arguments, calls for a specific response, and makes a final emotional appeal. In classical oratory, not all parts are used in every speech. Often, the partitio is not stated directly because it is implicit in the document. Let's look at the King letter in terms of its classical structure. Exordium King opens with the exordium, or introduction, "My Dear Fellow Clergymen." As you already know, King uses this introduction to establish his ethos, build common ground, set a warm tone, and gain the acceptance of his ideas by his audience. Narratio The narratio, or background, is next. In this section, King addresses the current situation in Birmingham and attempts to explain why he is writing now. He is responding to an opportunity created by the letter from the clergymen, and he continues to build his ethos, or character, in this section of the letter by pointing out the following: "If I sought to answer all the criticisms that cross my desk, my secretaries would have little time for anything other than such correspondence ... and I would have no time for constructive work. But since I feel that you are men of genuine good will and that your criticisms are sincerely set forth, I want to try to answer your statement in what I hope will be patient and reasonable terms." Even in providing background information, he uses the narratio to convince the clergymen to view him as a patient and reasonable man. Proposito The propositio is King's main idea or thesis. Having gone through the four steps of preparation for nonviolent protest (collection of facts, negotiation, self-purification, direct action), King asserts, "We had no alternative except to prepare for direct action." Confirmatio/Refutatio King combines the confirmatio and refutatio, the main argument and the counterargument, by listing the clergymen's objections to his activities and showing how they are wrong. This is the longest section of the letter
and presents the logos of King's argument. He discusses just and unjust laws, justifies his actions on moral and ethical grounds, and responds to accusations that he is an extremist. Anticipating his audience's arguments and addressing them both demonstrates his perception and deals with their arguments before they have raised them. Peroratio The peroratio is the conclusion. In his conclusion, King expresses confidence in the future because the destinies of black and white people are tied together in striving for the common goal of freedom for all people. Then he adds a personal touch. He comes full circle, starting out with the personal "My Dear Fellow Clergymen" and ending with his hope that the letter finds the clergymen "strong in the faith" and his desire to meet them one day as "fellow clergymen."
Style Invention is the process of coming up with ideas, and arrangement is putting those ideas in order. In using style, a writer must decide how to express those ideas. Stylistic choices can contribute to the writer's ethos, or character, make the content, or logos, of the message more memorable and artistic, and enhance pathos, or the emotional appeal of the writer's message. King was a master of style. One could write a book just on the stylistic choices he made in his writing. In the following discussion of style, we analyze only the passage quoted previously from "Letter from Birmingham Jail" to demonstrate pathos. For our purposes, we focus on two of King's most commonly used tools:
the periodic sentence
figurative language
The Periodic Sentence While King makes use of both short and long sentences in his "Letter from Birmingham Jail," the long passage about the evils of segregation is only one sentence, consisting of 331 words. Commonly used in the ancient world, this is called aperiodic, or very long, sentence that is not grammatically complete until the end ofthe sentence. There are two types of periodic sentence:
one that delays the predicate until the end of the sentence one that delays both the subject and the predicate until the end
This delaying tactic in a periodic sentence builds anticipation, suspense, and excitement as the reader finally reaches the climax upon reading the end of the sentence. King's pathos-packed periodic sentence delays both the subject and the predicate. After the first clause, "But when you have seen vicious mobs lynch your mothers and fathers at will," King then provides a long list of dependent clauses that end with the delayed subject and predicate in the main clause, "then you will understand why we find it difficult to wait." But when you have seen vicious mobs lynch your mothers and fathers at will and drown your sisters and brothers at whim; when you have seen hate-filled policemen curse, kick, brutalize, and even kill your black brothers and sisters with impunity; when you see the vast majority of your 20 million Negro brothers smothering in an airtight cage of poverty in
the midst of an affluent society; when you suddenly find your tongue twisted and your speech stammering as you seek to explain to your six-year-old daughter why she can't go to the public amusement park that has just been advertised on television, and see the tears welling up in her little eyes when she is told that Funtown is closed to colored children, and see the depressing clouds of inferiority begin to form in her little mental sky, and see her begin to distort her little personality by unconsciously developing a bitterness toward white people; when you have to concoct an answer for a five-year-old son who is asking in agonizing pathos: "Daddy, why do white people treat colored people so mean?; when you take a cross country drive and find it necessary to sleep night after night in the uncomfortable corners of your automobile because no motel will accept you; when you are humiliated day in and day out by nagging signs reading "white" men and "colored"; when your first name becomes "nigger" and your middle name becomes "boy" (however old you are) and your last name becomes "John," and when your wife and mother are never given the respected title of "Mrs."; when you are harried by day and haunted by night by the fact that you are a 25 Negro, living constantly at tip-toe stance, never quite knowing what to expect next, and plagued with inner fears and outer resentments; when you are forever fighting a degenerating sense of "nobodiness"-then you will understand why we find it difficult to wait. Figurative Language King uses figurative language throughout his letter, including metaphor, antithesis, alliteration, and anaphora. Metaphor Metaphor can best be described as a comparison between unlike things. Referring again to King's periodic sentence in "Letter from Birmingham Jail," we find the protesters characterized as dwelling in an "airtight cage of poverty," (line 6). Clearly, they are not in literal cages, but the imagery of the cage carries enormous visual power. It equates poverty with imprisonment. Another metaphor from this passage is "ominous clouds of inferiority" that appear "in her little mental sky" (lines 11-12) when a six-year-old child cries upon being told that she cannot attend an amusement park because she is black. The tears and feelings of inferiority are equated with ominous clouds.
Antithesis Antithesis--the juxtaposition of opposites, often in parallel structure-is a powerful device. Note the antithesis in the phrase "harried by day and haunted by night" (line 24) that King uses to describe living as a black person in American society at that time. Note also the antithesis in the phrase "inner fears and outer resentments" (line 26) that King uses to contrast the internal feelings and the external reality of a black person facing racism in America. Alliteration King makes extensive use of alliteration, which is the repetition of initial identical sounds in successive words. Here are two examples of King's alliteration in this passage: " curse, kick, ... and even kill your black brothers ... " (lines 3-4) " tongue twisted and your speech stammering ... " (line 7)
The first example shows alliteration of the k and b sounds, and the second example shows alliteration of the t and s sounds. Anaphora Anaphora is the use of repeated words at the beginnings of phrases, clauses, and sentences. King uses the phrase "when you" nine times to introduce clauses in his periodic sentence. In another pathos-laden passage, King again uses anaphora to highlight his point: I doubt that you would have so warmly commended the police force if you had seen its dogs sinking their teeth into unarmed, nonviolent Negroes. I doubt that you would so quickly commend the policemen if you were to observe their ugly and inhumane treatment of Negroes here in the city jail; if you were to watch them push and curse old Negro women and young Negro girls; if you were to see them slap and kick old Negro men and young boys; if you were to observe them, as they did on two occasions, refuse to give us food because we wanted to sing our grace together. King's stylistic use of the periodic sentence and figurative language enhance the rhetorical impact of his argument that nonviolent protest is the correct course of action in Birmingham. The devices also reveal him as a creative thinker, an excellent writer, and one of the most persuasive figures of the twentieth century. While we have presented these ancient rhetorical tools as a way of analyzing a modern text, they can also be used for composing a modern argument as you make your way through the course in English Language and Composition. Practicing the use of these tools will eventually help you when you take the Advanced Placement English Language and Composition exam. In the next chapter, we will look at modern approaches to making and synthesizing arguments. Chapter One Review Questions 1. What is invention in rhetoric? 2. What is ethos? 3. What is logos? 4. What is pathos? 5. How do ethos, logos, and pathos work together to persuade an audience? 6. What is a syllogism? 7. What is an enthymeme? 8. How do you derive an enthymeme from a syllogism? 9. Why is an enthymeme more useful than a syllogism in analyzing and constructing an argument? 10. What is arrangement, and why is it important in analyzing and constructing arguments? 11. What is style? 12. What effect does style have in communicating an argument to an audience?
Chapter 2 Modern Approaches to Argument In Chapter 1, you examined ancient rhetorical tools and applied them to a modern text. In this chapter, you will encounter a variety of modern approaches to argument. The rhetorical techniques and strategies pre sented in both chapters will provide you with the theoretical background for constructing your own arguments, synthesizing an array of sources to support a position, and analyzing the arguments that others construct. The Rhetorical Triangle The modern rhetorical triangle consists of five elements: • writer
message
purpose
rhetorical context
Traditionally, the rhetorical triangle contains the first three components: writer, audience, and message. Although the communication process is more complicated than can be captured by a graphic illustration, Figure 2-1 shows the process reduced to a simple triangle. The three points of the triangle are writer, audience, and message, and the rhetorical triangle is often connected to the three Aristotelian proofs, or appeals, of ethos (writer), logos (message), and pathos (audience) that you read about in Chapter 1.
Writer The writer must ask the question "What can I do to build my credibility and make the audience trust my message?" In "Letter from Birmingham Jail," which we shall continue to analyze in Chapter 2, Dr. Martin Luther King, Jr., spends considerable time establishing his ethos. You recall that he does so by giving a warm greeting, finding common ground with his "fellow clergymen," and giving his opponents credit as "men of
genuine good will." He also establishes that he is not an "outsider" because of his organizational ties to Birmingham and his calling to fight injustice wherever it exists. Writing Effectively You can build your ethos through the choices you make in terms of tone, style, and dealing with counterarguments.
Audience To have a message accepted by an audience, the writer should try to appeal to their emotions, which is why the audience is often linked with pathos in the rhetorical triangle. Because he was also a clergyman, King understood his primary audience well. He knew what would appeal to their humanity and their consciences. In "Letter from Birmingham Jail," rather than sprinkle pathos throughout the letter, King chooses instead to concentrate the emotional appeal in one long periodic sentence. He makes the audience feel the pain of segregation, as he writes about "vicious lynch mobs," "hate-filled policemen," human beings "smothering in an airtight cage of poverty," the impossibility of explaining segregation to a child, and a list of "inner fears and outer resentments" that culminates in the cry, "then you will understand why we find it difficult to wait." Writing Effectively The writer must ask, "What values and beliefs do I appeal to in the audience? How can I engage both the audience's heart and mind?" The more you know about your audience, the better able you will be to find what will appeal to their emotions. Message In the rhetorical triangle, message is often linked with logos, the content of the communication. People sometimes confuse logos with logic. The logical argument is certainly an important component of logos; however, logos involves the entire content of the message, which goes well beyond the limits of logic. For example, in "Letter from Birmingham Jail" King not only builds his own argument; he also refutes the major and minor premises of the clergymen's arguments, which are sometimes unstated. He points out their inconsistencies and provides evidence to counter their assertions. He writes, "You deplore the demonstrations taking place in Birmingham. But your statement, I am sorry to say, fails to express a similar concern for the conditions that brought about the demonstrations. I am sure that none of you would want to rest content with the superficial kind of social analysis that deals merely with effects and does not grapple with underlying causes." Writing Effectively As you construct and analyze arguments, ask, "What assumptions support the reasoning? What is the evidence?" In Figure 2-1, writer, audience, and message are the three points of an equilateral triangle. The triangle emphasizes the importance of the three elements working equally together, in balance. For example,
If you put too much emphasis on message, you risk forgetting about the audience or establishing yourself insufficiently.
If your emphasis is too much on the emotional appeal to the audience, then the content of your message might suffer, or the audience might not trust you.
If you focus too much on yourself as the writer, then you might be dismissed as an egotist or a blowhard.
Writing Effectively Seek to balance the three major elements of writer, audience, and message. These must work together to achieve the goal of your communication: your purpose. Purpose The purpose of your communication is your rhetorical goal. What are you trying to achieve with your message? In "Letter from Birmingham Jail," King was seeking to persuade the local clergymen of the rightness of his action, and help unite the African-American community. He also wanted the letter to reach out to the white political moderate, who he says "is more devoted to 'order' than to justice; who prefers a negative peace which is the absence of tension to a positive peace which is the presence of justice." King knew his audience would be resistant to his cause, so his purpose had to be clear and strong. The open letter format-which allowed his letter to be read by everyone-shows his purpose to be much larger than he initially suggested: he wanted not just to refute the claims of the clergymen, but also to persuade the community at large that his cause was right. Writing Effectively To identify the purpose of your communication, ask "What is my goal? What do I hope to achieve?" It is important that the goals be clear and specific. Unclear goals lead to unclear communication. Rhetorical Context The background or situation to which a persuasive message is addressed is considered rhetorical context. As the rhetorical situation changes, so should the response. Aristotle refers to the rhetorical context as those proofs that are inartistic or extrinsic because they are not under the control of the writer and do not emerge from the writer's creative efforts. In "Letter from Birmingham Jail," the rhetorical context is the incarceration of King and his followers for breaking the law against public demonstrations. He was arrested on Good Friday, the day commemorating the crucifixion of Jesus Christ. King uses this rhetorical context to his advantage, allowing him to compare himself to Christ as well as to other religious and historical figures who had broken the law or who were considered extremists. Had King not been arrested on that day, he would not have had such a strong rhetorical context for his letter. King wrote: But though I was initially disappointed at being categorized as an extremist, as I continued to think about the matter I gradually gained a measure of satisfaction from the label. Was not Jesus an extremist for love: "Love your enemies, bless them that curse you, do good to them that hate you, and pray for them which despitefully use you, and persecute you." Was not Amos an extremist for justice: "Let justice roll down like waters and righteousness like an ever-flowing stream." Was not Paul an extremist for the Christian gospel: "I bear in my body the marks of the Lord Jesus." Was not Martin Luther an extremist: "Here I stand; I cannot do otherwise, so help me God." And John Bunyan: "I will stay in jail to the end of my days before I make a butchery of my conscience." And Abraham Lincoln: "This nation cannot survive half slave and half free." And Thomas Jefferson: "We hold these truths to be selfevident, that all men are created equal ... " Writing Effectively As a writer, consider how you can best tailor a response to the specific demands of a given situation. How should your response change as the rhetorical context changes?
Informal Logic: The Toulmin Scheme Formal logic is an abstract discipline that deals with absolutes. Everyday life, however, does not operate in the realm of absolutes-it is messier, more complicated. Events in life are often random, so people must make
decisions based on probability rather than absolute certainty. To bridge the gap between the absolute and the practical, philosopher Stephen Toulmin developed a model of informal logic commonly known as the Toulmin scheme. Informal Logic In 1958, Stephen Toulmin published a book titled The Uses of Argument, which has greatly influenced the study of both analyzing and making arguments. Toulmin's scheme was developed for use in the courtroom as a practical tool for persuading judges and juries. The model does not attempt to prove, but it gives good reasons and persuasive arguments. In the Toulmin scheme, there are reasonable arguments on either side. The model consists of the following: claim
grounds
backing
conditions of rebuttal
qualifier
In the Toulmin scheme, an enthymeme provides the claim, the reasons, and the warrant. As you recall from the analysis of the "Letter from Birmingham Jail" in Chapter 1, one of the local clergymen's objections to King's involvement was restated in the following enthymeme: King should not be leading local protests because he is an outsider. Writing Effectively To decide whether the claim in this enthymeme is sound, you need to examine the reasons and the underlying assumptions and decide whether the audience will accept and grant them. Claim In the Toulmin scheme, a claim is a statement of a position, a stand, or what you may have come to know as a thesis statement. A claim is an arguable statement. It is not a statement of the obvious; it presents an issue about which reasonable people might disagree. The claim in the enthymeme above is this: King should not be leading local protests ... Reasons Reasons support claims. An individual claim may have many supporting reasons for an argument. In the previous enthymeme, the stated reason is the following: ... because he is an outsider Warrant The warrant is the unstated assumption that makes the enthymeme work. The audience must accept the warrant in order to find an argument persuasive. The warrant is often the most vulnerable part of an argument because it appeals to the values and beliefs of an audience, which can be difficult to determine. Underlying the enthymeme is the local clergymen's warrant or unstated belief: Outsiders should not be leading local protests. Grounds Claims, reasons, and warrants represent an argument in broad outline, stated in phrases or sentences. Of course, arguments involve much more than this. The grounds provide the actual evidence in support of the reasons.
Grounds include facts, citations from authorities, examples, and statistics. Well-stated grounds make reasons more concrete for an audience. In the statement that prompted Dr. King to write "Letter from Birmingham Jail," the local clergymen provide an example of grounds for their argument when they note that "we are now confronted by a series of demonstrations by some of our negro citizens, directed and led in part by outsiders." Backing Backing supports the warrant. If an audience already accepts the unstated assumption or warrant, then backing is unnecessary. However, if the person making the argument is unclear about the warrant or unfamiliar with the values and beliefs of the audience, then the writer must provide backing to support the warrant. Without it, the argument will not be persuasive to the audience. In their statement of April 12, the Alabama clergymen give backing to support the warrant "Outsiders should not be leading local protests" by asserting that resolving these local problems requires people with "knowledge and experience of the local situation." It is to these statements that King reacts in his response. Conditions of Rebuttal No argument is complete without anticipating the counter-arguments, and the conditions of rebuttal bring up and address those counter-arguments. Rebuttal attacks the reasons and grounds and/or the warrant and backing. In "Letter from Birmingham Jail," King refutes both the local clergymen's reasons (that he is an outsider) and their grounds (that local leaders are already handling the situation in a peaceful and lawful manner). King asserts that he is not an outsider because he has local ties to Birmingham, was invited there by local leaders, and has been called to fight injustice wherever it occurs-"Injustice anywhere is a threat to justice everywhere." In this way he rebuts the clergymen's warrant (outsiders should not be leading local protests) and their backing (outsiders lack sufficient knowledge of local issues). King adds that we are all interrelated, so it no longer makes sense to see the world in terms of insiders and outsiders. Qualifier A qualifier limits a claim. In the real world there are few absolutes or certainties, and this applies to analyzing and making arguments, too. Terms like always and never are problematic because opponents can often find exceptions to such broad statements. To remedy this situation, Toulmin introduced the qualifier, which limits the scope of the claim. In "Letter from Birmingham Jail," one problem with the clergymen's argument is that they present their claims as absolute: they admit no justification for King to lead protests in Birmingham. Because the local clergymen do not limit their claim with a qualifier, King is able to provide numerous reasons why their claims are faulty. Writing Effectively Although both the six-part classical oration format and the Toulmin scheme are effective tools for making arguments, analyzing arguments, and synthesizing sources into arguments, the Toulmin scheme has an added advantage for you as a writer. Since it is based on probability, not formal logic, the Toulmin scheme allows for the possibility of dialogue between opposing views and deeper exploration of issues. A Modern Alternative to Traditional Argument The goal of traditional argument, from Aristotle to the modern day, is to defeat the opponent. This model centers on absolute victory and makes use of military terminology such as "attacking" one's opponent and developing rhetorical "strategy." In the 1960s, psychologist Carl Rogers developed an approach to counseling that in recent years has also influenced methods of argument. The Rogerian Approach to Argument
The goals of Rogerian argument differ from those of the traditional approach in substantive ways. Although traditional argument seeks all-out victory over the opponent, Rogerian argument tries to find mutually acceptable solutions to problems using the following techniques:
seeking common ground
building trust
reducing threat
In the traditional model, when people perceive that they are being attacked, they stop listening and become defensive and hostile. In Rogerian argument, the writer makes every effort to avoid confrontation. The writer does this by giving as much credit as possible to the opponents' counter-arguments, rather than simply dismissing these counter-arguments outright. In this framework, if opponents believe that their arguments are being understood and taken seriously, they will be more open to listening to the writer's position. From the very start of the "Letter from Birmingham Jail," King attempts to build trust, seek common ground, and reduce threat by addressing his "opponents" as "My Dear Fellow Clergymen." He credits the clergymen with being "men of genuine good will," whose arguments "are sincerely set forth." He does not attack their character but instead emphasizes that they all share a common profession and a common goal of ending segregation. Throughout the letter King makes references to biblical and historical figures and philosophers who would be familiar to the clergymen. He accepts some of the points in the clergymen's argument, such as the fact that the demonstrations in Birmingham were unfortunate. Toward the end of the letter, he verbally draws himself closer to his audience by switching pronouns from I and you to we when expressing his hope for the day when they will all sit down together as fellow clergymen. Although King's letter is not totally Rogerian, he makes use of certain elements of the Rogerian approach, and these techniques make his argument more palatable to his audience.
Writing Effectively The advantage of the Rogerian approach to argument is its emphasis on building bridges rather than tearing them down. As a writer you might face a rhetorical situation in which it is important for you to maintain a cordial relationship with your adversary. When this is the case, giving as much credit as you can to your opponent's points of view might be the best path to follow. The Text Says/The Text Does Analysis "The text says/the text does" analysis is a technique for close reading and rhetorical analysis of a text. The method consists of two elements:
summary of the content of the text (what the text says)
description of the construction, organization, and form of the text (what the text does)
We will refer to this method as a says/does analysis. Here is the concluding paragraph from Martin Luther King's "Letter from Birmingham Jail." It is followed by a says statement, then a does statement. I hope this letter finds you strong in the faith. I also hope that circumstances will soon make it possible for me to meet each of you, not as an integrationist or a civil rights leader but as a fellow clergyman and a Christian brother. Let us all hope that the dark clouds of racial prejudice will soon pass away and the deep fog of misunderstanding will be lifted from our fear-drenched communities, and in some not too distant tomorrow the radiant stars of love and brotherhood will shine over our great nation with all their scintillating beauty.
What The Text Says To synthesize an argument in a text is to state the content very briefly. This sentence summarizes the concluding paragraph of "Letter from Birmingham Jail": I hope that we can meet again someday as Christian brothers in a time of racial harmony. What The Text Does The concluding paragraph ties together all of King's previous arguments and reestablishes the personal tone of the opening paragraph. King also uses the double metaphor of raising the "fog of misunderstanding" from "our feardrenched communities" to make his conclusion more vivid and memorable. Says/does analysis is useful for breaking a piece of writing down into a simpler, more understandable form. It enables readers to examine a text in terms of its content as well as its structure. Visual Arguments Visual rhetoric is the incorporation of visual elements into an argument and the rhetorical impact of those images on an audience. Visual rhetoric includes photographs, drawings, graphs, charts, maps, posters, advertisements, Web pages, and cartoons, to name a few. The claim that "a picture is worth a thousand words" has become a cliche, but it is nonetheless true. A visual image can make or amplify a claim just as words can, but visual images can often have a greater impact than words. Because visual images are processed by a different area of the brain than language is, visual images can strengthen an argument, exercise the imagination, and stimulate the brain in ways that words do not. Thus, when visual images are combined with text, together they can have a broader and more profound effect on the audience than words alone can. If a printed edition of Dr. Martin Luther King's "Letter from Birmingham Jail" had included images of intolerance and photographs of King leading demonstrations and being taken to jail, the impact of the document would be quite different, possibly even inflammatory, despite King's moderate tone. Sensitivity to the impact of visual rhetoric is useful in both analyzing and making arguments. You will find examples of visual rhetoric in Chapters 3 through 10 of this book. For instance, Chapter 3, "Photography," integrates a number of photographs with textual information. Chapter 4, "War," illustrates how photographs and bar graphs can be used as writing prompts for constructing and strengthening arguments. Chapter 9, "Food," uses both a painting and a cartoon to highlight the complexities of contemporary issues. Chapter 8, "Genes," provides a purposeful graphic and prompts for making your own visuals to support arguments. These chapters can also guide you in incorporating elements of visual rhetoric into your writing. Chapter 2 Review Questions 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
What is the rhetorical triangle? What is informal logic? How is informal logic used to make an argument? In informal logic, what is a claim? How does a reason support a claim in informal logic? What role does a warrant play in informal logic? What is the goal of Rogerian rhetoric, and how does it differ from the goal of traditional argumentation? What are the features of says/does analysis? What are the components of visual rhetoric? How can visual rhetoric be used to make or enhance an argument?
AP English Language – Hicks
Rhetorical Terms/Devices Figurative language is the generic term for any artful deviation from the ordinary mode of speaking or writing. It is what makes up a writer’s style – how he or she uses language. The general thinking is that we are more likely to be persuaded by rhetoric that is interesting, even artful, rather than mundane. When John F. Kennedy said, “Ask not what your country can do for you, ask what you can do for your country” (an example of anastrophe), it was more interesting – and more persuasive – than the simpler, “Don’t be selfish.” Indeed, politicians and pundits use these devices to achieve their desired effect on the reader or listener nearly every time they speak. The stylistic elements in a piece of writing work to produce a desired effect related to the text’s (and author’s) purpose, and thus reveals the rhetorical situation. In classical rhetoric, figures of speech are divided into two main groups: Schemes — Deviation from the ordinary pattern or arrangement of words (transference of order). Tropes — Deviation from the ordinary and principal meaning of a word (transference of meaning). COMMON SCHEMES — Deviation from the ordinary pattern or arrangement of words (transference of order). Schemes of Construction — Schemes of Balance 1. Parallelism — similarity of structure in a pair or series of related words, phrases, or clauses. This basic principle of grammar and rhetoric demands that equivalent things be set forth in coordinate grammatical structures: nouns with nouns, prepositional phrases with prepositional phrases, adverb clauses with adverb clauses, etc. a. b.
c. d.
“…for the support of this declaration, with a firm reliance on the protection of Divine Providence, we mutually pledge to each other our Lives, our Fortunes, and our sacred Honor” (The Declaration of Independence) "We have seen the state of our Union in the endurance of rescuers, working past exhaustion. We've seen the unfurling of flags, the lighting of candles, the giving of blood, the saying of prayers -- in English, Hebrew, and Arabic." (George W. Bush, 920-01 Address to the Nation on Terrorism) “So Janey waited a bloom time, and a green time and an orange time.” (Zora Neale Hurston, Their Eyes Were Watching God) “It will be long before our larger life interprets itself in such imagination as Hawthorne’s, such wisdom as Emerson’s, such poetry as Longfellow’s, such prophesy as Whittier’s, such grace as Holmes’s, such humor and humanity as Lowell’s.” (William Dean Howells)
2. Isocolon is a scheme of parallel structure that occurs when the parallel elements are similar not only in grammatical structure but also in length (number of words or even number of syllables). This is very effective, but a little goes a long way. a. b.
“His purpose was to impress the ignorant, to perplex the dubious, and to confound the scrupulous.” “An envious heart makes a treacherous ear.” (Zora Neale Hurston, Their Eyes Were Watching God)
3. Antithesis — the juxtaposition of contrasting ideas, often in parallel structure. The contrast may be in words or in ideas or both. When used well, antithesis can be very effective, even witty. a.
b.
c. d.
“ What if I am rich, and another is poor—strong, and he is weak—intelligent, and he is benighted—elevated, and he is depraved? Have we not one Father? Hath not one God created us?” (William Lloyd Garrison, “No Compromise with Slavery”) “Your forefathers crossed the great water and landed on this island. Their numbers were small. They found friends and not enemies. They told us they had fled from their own country for fear of wicked men, and had come here to enjoy their religion. They asked for a small seat. We took pity on them, granted their request; and they sat down amongst us. We gave them corn and meat; they gave us poison in return.” (Red Jacket, 1805) “Though studious, he was popular; though argumentative, he was modest; though inflexible, he was candid; and though metaphysical, yet orthodox.” (Samuel Johnson). It is the best of times, yet the worst of times: we live in unparalleled prosperity, yet have starvation; modern science can perform miracles to save lives, yet we have war; we balance ourselves delicately on the moon, yet destroy the delicate balance on the earth. Young people search for meaning in life, yet are confused, demoralized, frustrated.” (Jesse E. Hobson, article from America)
Schemes of unusual or inverted word order 4. Anastrophe (an-ASS-tra-fee) — the inversion of natural word order, often with the purpose of surprising the reader, gaining attention, or (most often) emphasizing certain words (those at the beginning and the end of the sentence). It is most
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effective if the author rarely writes awkwardly, because when set among well-structured sentences it emphasizes the inverted phrase. a. b. c.
“Ask not what your country can do for you, ask what you can do for your country.” (John F. Kennedy, Inaugural speech) I go, so far as the immediate moment was concerned, away.” (Henry James, The Turn of the Screw) “One ad does not a survey make.” (caption from an ad for Peugot automobiles)
5. Parenthesis — insertion of some verbal unit in a position that interrupts the normal syntactical flow of the sentence, thereby sending the thought off on an important tangent that has pronounced rhetorical effect. Often involves literal parentheses ( ), but not always; there are other ways to insert a comment into a sentence. One might use commas, or dashes, for example. The parenthetical remark, however, is off on a tangent, cut off from the thrust of the sentence and grammatically unrelated to the sentence. a.
b.
c. d.
“Those two spots are among the darkest of our whole civilization—pardon me, our whole culture (an important distinction, I’ve heard), which might sound like a hoax, or a contradiction, but that (by contradiction, I mean) is how the world moves: not like an arrow, but a boomerang.” (Ralph Ellison, Invisible Man) “And they went further and further from her, being attached to her by a thin thread (since they had lunched with her) which would stretch and stretch, get thinner and thinner as they walked across London; as if one’s friends were attached to one’s body, after lunching with them, by a thin thread, which (as she dozed there) became hazy with the sound of bells, striking the hour or ringing to service, as a single spider’s thread is blotted with rain-drops, and burdened, sags down. So she slept.”—Virginia Woolf, Mrs. Dalloway “He said he supervised ten editors––another euphemism––in his department, which clears 90% of NBC’s entertainment programming…” (Joan Barthel, in Life magazine, August 1969) “There is even, and it is the achievement of this book, a curious sense of happiness running through its paragraphs.” (Norman Mailer, book review)
Schemes of Omission 6. Ellipsis - deliberate omission of a word or of words that are readily implied by the context and must be supplied by the reader or listener. While this can make clear, economical sentences, if the understood words are grammatically incompatible, the resulting sentence may be awkward. a.
b. c.
“So singularly clear was the water that when it was only twenty or thirty feet deep the bottom seemed floating on the air! Yes, where it was even eighty feet deep. Every little pebble was distinct, every speckled trout, every hand’s breadth of sand.” (Mark Twain, Roughing It) “And he to England shall along with you.” (Shakespeare, Hamlet III,iii) "Twenty-two years old, weak, hot, frightened, not daring to acknowledge the fact that he didn't know who or what he was…with no past, no language, no tribe, no source, no address book, no comb, no pencil, no clock, no pocket handkerchief, no rug, no bed, no can opener, no faded postcard, no soap, no key, no tobacco pouch, no soiled underwear and nothing nothing nothing to do…he was sure of one thing only: the unchecked monstrosity of his hands." (Toni Morrison, Sula)
7. Asyndeton ( a SIN da ton) — deliberate omission of conjunctions between a series of words, phrases, or clauses. The effects of this device are to emphasize each clause and to produce a punctuated rhythm in the sentence. a. b. c.
“I came, I saw, I conquered.” (Julius Caesar) "Dogs, undistinguishable in mire. Horses, scarcely better--splashed to their very blinkers. Foot passengers, jostling one another's umbrellas, in a general infection of ill temper . . .." (Charles Dickens, Bleak House) “...that we shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe to assure the survival and the success of liberty. “ (John F. Kennedy)
8. Polysyndeton — deliberate use of many conjunctions (does not involve omission, but is grouped with its opposite, asyndeton)). The effect of polysyndeton is to speed up or add a frenetic quality to the rhythm of the sentence. a.
b.
c.
“I said, ‘Who killed him?’ and he said, ‘I don’t know who killed him but he’s dead all right,’ and it was dark and there was water standing in the street and no lights and windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was all right only she was full of water.” (Ernest Hemingway, “After the Storm”) “On and on she went, across Piccadilly, and up Regent Street, ahead of him, her cloak, her gloves, her shoulders combining with the fringes and the laces and the feather boas in the windows to make the spirit of finery and whimsy which dwindled out of the shops on to the pavement, as the light of a lamp goes wavering at night over hedges in the darkness.” (Virginia Woolf, Mrs. Dalloway) "We lived and laughed and loved and left." (James Joyce, Finnegans Wake)
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Schemes of Repetition 9. Alliteration — repetition of initial or medial consonants in two or more adjacent words. Used sparingly, alliteration provides emphasis. Overused, it sounds silly. a. b. c. d.
"Somewhere at this very moment a child is being born in America. Let it be our cause to give that child a happy home, a healthy family, and a hopeful future." (Bill Clinton, 1992 DNC Acceptance Address) “It was the meanest moment of eternity”. (Zora Neale Hurston, Their Eyes Were Watching God) "Guinness is good for you." (advertisement) "My style is public negotiations for parity, rather than private negotiations for position." (Jesse Jackson)
10. Assonance - the repetition of similar vowel sounds, preceded and followed by different consonants, in the stressed syllables of adjacent words. “Whales in the wake like capes and Alps/ Quaked the sick sea and snouted deep.” (Dylan Thomas, “Ballad of the Long Legged Bait”) b. “Refresh your zest for living.” (advertisement for French Line Ships) c. "Strips of tinfoil winking like people." (Sylvia Plath) d. "The gloves didn't fit. If it doesn't fit, you must acquit." (Johnny Cochran, O.J.Simpson trial) a.
11. Anaphora — repetition of the same word or groups of words at the beginnings of successive phrases. This device produces a strong emotional effect, especially in speech. It also establishes a marked change in rhythm. a.
b. c.
"We shall not flag or fail. We shall go on to the end. We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our island . . . we shall never surrender." (Winston Churchill, 1940) “Why should white people be running all the stores in our community? Why should white people be running the banks of our community? Why should the economy of our community be in the hands of the white man? Why?” (Malcolm X) "Yesterday, the Japanese government also launched an attack against Malaya. Last night, Japanese forces attacked Hong Kong. Last night, Japanese forces attacked Guam. Last night, Japanese forces attacked the Philippine Islands. Last night, the Japanese attacked Wake Island. And this morning, the Japanese attacked Midway Island." (Franklin Roosevelt, Pearl Harbor Address)
12. Epistrophe — repetition of the same word or group of words at the ends of successive phrases. Like anaphora, epistrophe produces a strong rhythm and emphasis. a. b. c. d.
“But to all of those who would be tempted by weakness, let us leave no doubt that we will be as strong as we need to be for as long as we need to be.” (Richard Nixon, First Inaugural Address) "...and that government of the people, by the people, for the people shall not perish from the earth." (Abraham Lincoln, Gettysburg Address) “As long as the white man sent you to Korea, you bled. He sent you to Germany, you bled. He sent you to the South Pacific to fight the Japanese, you bled.” (Speech by Malcolm X) “In a cake, nothing tastes like real butter, nothing moistens like real butter, nothing enriches like real butter, nothing satisfies like real butter.” (Caption from a Pillsbury ad)
13. Epanalepsis (eh-puh-nuh-LEAP-siss) — repetition of the same word or words at both beginning and ending of a phrase, clause, or sentence. Like other schemes of repetition, epanalepsis often produces or expresses strong emotion. a. b. c.
Blood hath bought blood, and blows have answer’d blows:/ Strength match’d with strength, and power confronted power. (William Shakespeare, King John) “Nothing is worse than doing nothing.” "A minimum wage that is not a livable wage can never be a minimum wage." (Ralph Nader)
14. Anadiplosis (an-uh-dih-PLO-sis) — repetition of the last word of one clause at the beginning of the following clause. a. b. c.
d.
“The crime was common, common be the pain”. (Alexander Pope, “Eloise to Abelard” “Aboard my ship, excellent performance is standard. Standard performance is sub-standard. Sub-standard performance is not permitted to exist.” (Captain Queeg, Herman Wouk’s The Caine Mutiny) "Somehow, with the benefit of little formal education, my grandparents recognized the inexorable downward spiral of conduct outside the guardrails: If you lie, you will cheat; if you cheat, you will steal; if you steal, you will kill." (Justice Clarence Thomas, 1993 Mercer Law School Address) "They call for you: The general who became a slave; the slave who became a gladiator; the gladiator who defied an Emperor. Striking story." (line delivered by Joaquin Phoenix, from the movie Gladiator)
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15. Climax — arrangement of words, phrases, or clauses in an order of increasing importance. a. “More than that, we rejoice in our sufferings, knowing that suffering produces endurance, endurance produces character, and character produces hope, and hope does not disappoint us, because God’s love has been poured into our hearts through the Holy Spirit which has been given to use.” (St. Paul, Romans) b. "And from the crew of Apollo 8, we close with good night, good luck, a merry Christmas, and God bless all of you, all of you on the good earth." (Frank Borman, astronaut) c. “Miss America was not so much interested in serving herself as she was eager to serve her family, her community, and her nation.” 16. Antimetabole (an-tee-meh-TA-boe-lee) — repetition of words, in successive clauses, in reverse grammatical order. a. “One should eat to live, not live to eat.” (Moliere, L’Avare) b. “Ask not what your country can do for you; ask what you can do for your country.” (John F. Kennedy, Inaugural Address) c. “The Negro needs the white man to free him from his fears. The white man needs the Negro to free him from his guilt.” (Martin Luther King, Jr., from a speech delivered in 1966) d. "The absence of evidence is not the evidence of absence." (Carl Sagan) 17. Chiasmus (ki-AS-mus) – (the “criss-cross”) — reversal of grammatical structures in successive phrases or clauses. Chiasmus is similar to antimetabole in that it too involves a reversal of grammatical structures in successive phrases or clauses, but it is unlike antimetabole in that it does not involve a repetition of words. Both chiasmus and antimetabole can be used to reinforce antithesis. a. “Exalts his enemies, his friends destroys.” (John Dryden, “Absalom and Achitophel”) b. “It is boring to eat; to sleep is fulfilling.” 18. Polyptoton (po-lyp-TO-ton) — repetition of words derived from the same root. a. “But in this desert country they may see the land being rendered useless by overuse.” (Joseph Wood Krutch, The Voice of the Desert) b. “We would like to contain the uncontainable future in a glass.” (Loren Eiseley, from an article in Harper’s, March 1964) c. “With eager feeding food doth choke the feeder.” (Shakespeare's Richard II 2.1.37) d. “Let me assert my firm belief that the only thing we have to fear is fear itself.” (Franklin Roosevelt, First Inaugural Address, March 1933) COMMON TROPES — Deviation from the ordinary and principal meaning of a word (transference of meaning). 19. Metaphor - implied comparison between two things of unlike nature a. “The symbol of all our aspirations, one of the student leaders called her: the fruit of our struggle.” (John Simpson, “Tianamen Square”) b. “A breeze blew through the room, blue curtains in at one end and out the other…twisting them up toward the frosted wedding-cake of a ceiling, and then rippled over the wine-colored rug, making a shadow on it…. –F. Scott Fitzgerald, The Great Gatsby c. "With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood." (Martin Luther King, I Have a Dream) 20. Simile - explicit comparison between two things of unlike nature, usually using “like” or “as” a. “The night is bleeding like a cut.” (Bono) b. “Ah my!” said Eustacia, with a laugh which unclosed her lips so that the sun shone into her mouth as into a tulip and lent it a similar scarlet fire.” (Thomas Hardy, The Return of the Native) 21. Synecdoche (sih-NECK-duh-kee) — figure of speech in which a part stands for the whole a. “I have nothing to offer but blood, toil, tears, and sweat.” (Winston Churchill, 1940) b. “In Europe, we gave the cold shoulder to De Gaulle, and now he gives the warm hand to Mao Tse-tung.” (Richard Nixon, 1960) c. “Give us this day our daily bread.” (Matthew, 6:11) 22. Metonymy (me-TON-y-my) – substitution of some attributive or suggestive word for what is actually meant. a. The British crown has been plagued by scandal. b. There is no word from the Pentagon on the new rumors from Afghanistan. c. The pen is mightier than the sword.
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23. Antanaclasis (AN-ta-na-CLA-sis) – repetition of a word or phrase whose meaning changes in the second instance. These are often “puns” as well. a. “Your argument is sound, nothing but sound.” (Benjamin Franklin) b. “If we don’t hang together, we’ll hang separately.” (Benjamin Franklin) c. "If you aren't fired with enthusiasm, you will be fired with enthusiasm." (Vince Lombardi) 24. Personification — investing abstractions or inanimate objects with human qualities a. b.
“The night comes crawling in on all fours.” (David Lowery) "Once again, the heart of America is heavy. The spirit of America weeps for a tragedy that denies the very meaning of our land." (Lyndon Baines Johnson)
25. Hyperbole — the use of exaggerated terms for the purpose of emphasis or heightened effect. a. b.
“It rained for four years, eleven months, and two days.” (Gabriel Garcia Marquez, One Hundred Years of Solitude) “We walked along a road in Cumberland and stooped, because the sky hung so low.” (Thomas Wolfe, Look Homeward, Angel)
26. Litotes (LI-tuh-tees OR lie-TOE-tees) — deliberate use of understatement a. “Last week I saw a woman flayed, and you will hardly believe how much it altered her appearance for the worse.” (Jonathan Swift, A Tale of a Tub) b. “It isn’t very serious. I have this tiny little tumor on the brain.” (Catcher in the Rye) c. “For four generations we’ve been making medicines as if people’s lives depended on them.” (Ad for Eli Lilly Drug Company 27. Rhetorical question - asking a question, not for the purpose of eliciting an answer but to assert or deny an answer implicitly a. b. c.
“Isn’t it interesting that this person to whom you set on your knees in your most private sessions at night and you pray, doesn’t even look like you?” (Malcolm X) “Can anyone look at our reduced standing in the world today and say, ‘Let's have four more years of this’? (Ronald Reagan, 1980 RNC Acceptance Address) "Sir, at long last, have you left no sense of decency?" (Joseph Welch, The Army-McCarthy Hearings)
*28. Irony — use of a word in such a way as to convey a meaning opposite to the literal meaning of the word a. “This plan means that one generation pays for another. Now that’s just dandy.” (Huey P. Long) b. “By Spring, if God was good, all the proud privileges of trench lice, mustard gas, spattered brains, punctured lungs, ripped guts, asphyxiation, mud and gangrene might be his.” (Thomas Wolfe, Look Homeward Angel) (1) verbal irony – when the words literally state the opposite of the writer’s (or speaker’s) meaning (2) situational irony – when events turn out the opposite of what was expected; when what the characters and readers think ought to happen is not what does happen (3) dramatic irony – when facts or events are unknown to a character in a play or piece of fiction but known to the reader, audience, or other characters in the work. 29. Onomatapoeia — use of words whose sound echoes the sense a. “Snap, crackle, pop!” (Rice Krispies commercial) b. “…From the clamor and the clangor of the bells!” (Edgar Allan Poe, “The Bells”) 30. Oxymoron — the joining of two terms which are ordinarily contradictory a. “The unheard sounds came through, each melodic line existed of itself, stood out clearly from all the rest, said its piece, and waiting patiently for the other voices to speak.” --Ralph Ellison, Invisible Man b. “cruel kindness”; “visible darkness” 31. Paradox — an apparently contradictory statement that nevertheless contains a measure of truth a. b. c.
“And yet, it was a strangely satisfying experience for an invisible man to hear the silence of sound.” (Ralph Ellison, Invisible Man) “Art is a form of lying in order to tell the truth.” (Pablo Picasso) “Whoever loses his life, shall find it.” (Matthew, 16:25)
Other Literary Analysis Terms useful for the AP English Language Test *32. allegory – The device of using character and/or story elements symbolically to represent an abstraction in addition to the literal meaning. In some allegories, for example, an author may intend the characters to personify an abstraction like hope
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or freedom. The allegorical meaning usually deals with moral truth or a generalization about human existence. Example: Orwell’s Animal Farm is an allegory on the brutality and dishonesty of the Soviet communist system. 33. allusion – A direct or indirect reference to something which is presumably commonly known, such as an event, book, myth, place, or work of art. Allusions can be historical, literary, religious, topical, or mythical. There are many more possibilities, and a work may simultaneously use multiple layers of allusion. Example: He was destined to fail; he always flew too close to the sun. (An allusion to the Greek myth Icarus.) 34. analogy – A similarity or comparison between two different things or the relationship between them. An analogy can explain something unfamiliar by associating it with or pointing out its similarity to something more familiar. Analogies can also make writing more vivid, imaginative, or intellectually engaging. Example: Getting politicians to agree is like herding cats.” (Beware the logical fallacy of the false or weak analogy, in which the two things being compared are so dissimilar the comparison makes little sense or becomes absurd. Example: Voting against affirmative action is like voting for slavery.) 35. antecedent – The word, phrase, or clause referred to by a pronoun. The AP language exam occasionally asks for the antecedent of a given pronoun in a long, complex sentence or in a group of sentences. A question from the 2001 AP test as an example follows: “But it is the grandeur of all truth which can occupy a very high place in human interests that it is never absolutely novel to the meanest of minds; it exists eternally, by way of germ of latent principle, in the lowest as in the highest, needing to be developed but never to be planted.” The antecedent of “it” (bolded) is...? [answer: “all truth”] 36. aphorism – A terse statement of known authorship which expresses a general truth or a moral principle. (If the authorship is unknown, the statement is generally considered to be a folk proverb.) An aphorism can be a memorable summation of the author’s point. “A lie told often enough becomes the truth.” ~ Vladimir Lenin (Note: For vocabulary assignment you may use aphorisms that are not your own work.) 37. atmosphere – The emotional nod created by the entirety of a literary work, established partly by the setting and partly by the author’s choice of objects that are described. Even such elements as a description of the weather can contribute to the atmosphere. Frequently atmosphere foreshadows events. Perhaps it can create a mood. 38. caricature – A verbal description, the purpose of which is to exaggerate or distort, for comic effect or ridicule, a person’s distinctive physical features or other characteristics. 39. clause – A grammatical unit that contains both a subject and a verb. An independent, or main, clause expresses a complete thought and can stand alone as a sentence. A dependent, or subordinate clause, cannot stand alone as a sentence and must be accompanied by an independent clause. The point that you want to consider is the question of what or why the author subordinates one element, and you should also become aware of making effective use of subordination in your own writing. 40. colloquial/colloquialism – The use of slang or informalities in speech or writing. Not generally acceptable for formal writing, colloquialisms give a work a conversational, familiar tone. Colloquial expressions in writing include local or regional dialects. *41. conceit – A fanciful expression, usually in the form of an extended metaphor or surprising analogy between seemingly dissimilar objects, usually used in poetry. A conceit displays intellectual cleverness as a result of the unusual comparison being made, as in Shakespeare’s Sonnet 18: Shall I compare thee to a summer’s day?/Thou art more lovely and more temperate.” *42. diction — Related to style, diction refers to the writer’s word choices, especially with regard to their correctness, clearness, or effectiveness. For the AP exam, you should be able to describe an author’s diction (for example, formal or informal, ornate or plain) and understand the ways in which diction can complement the author’s purpose. Diction, combined with syntax, figurative language, literary devices, etc., creates an author’s style. Denotation — The strict, literal, dictionary definition of a word, devoid of any emotion, attitude, or color. (Example: the denotation of a knife would be a utensil used to cut) Connotation — The non-literal, associative meaning of a word; the implied, suggested meaning. Connotations may involve ideas, emotions, or attitudes (the connotation of a knife might be fear, violence, anger, foreboding, etc.) (Note: You do not have to provide examples of diction for the vocabulary assignment, but please provide examples of words known to have a connotation different than their denotation, and explain).
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*43. ethos — In writing and speaking, a persuasive appeal to the audience based on the credibility, good character, etc., of the speaker/writer. 44. euphemism – From the Greek for “good speech,” euphemisms are a more agreeable or less offensive substitute for a generally unpleasant word or concept. The euphemism may be used to adhere to standards of social or political correctness or to add humor or ironic understatement. Saying “earthly remains” rather than “corpse” is an example of euphemism. *45. extended metaphor – A metaphor developed at great length, occurring frequently in or throughout a work. *46. generic conventions – This term describes traditions for each genre. These conventions help to define each genre; for example, they differentiate an essay and journalistic writing or an autobiography and political writing. On the AP language exam, try to distinguish the unique features of a writer’s work from those dictated by convention for that genre. *47. homily – This term literally means “sermon,” but more informally, it can include any serious talk, speech, or lecture involving moral or spiritual advice. (One could say, “The President delivered a homily to the American people last night.”) *48. Imagery — The sensory details or figurative language used to describe, arouse emotion, or represent abstractions. On a physical level, imagery uses terms related to the five senses: visual, auditory, tactile, gustatory, and olfactory. On a broader and deeper level, however, one image can represent more than one thing. For example, a rose may present visual imagery while also representing the color in a woman’s cheeks and/or symbolizing some degree of perfection. An author may use complex imagery while simultaneously employing other figures of speech, especially metaphor and simile. In addition, this term can apply to the total of all the images in a work. On the AP language exam, pay attention to how an author creates imagery and to the effect of this imagery. *49. Inference/infer – To draw a reasonable conclusion from the information presented. When a multiple choice question asks for an inference to be drawn from a passage, the most direct, most reasonable inference is the safest answer choice. If an inference is implausible, it’s unlikely to be the correct answer.. *50. invective – An emotionally violent, verbal denunciation or attack using strong, abusive language. (For example, in Henry IV, Part I, Prince Hal calls the large character of Falstaff “this sanguine coward, this bedpresser, this horseback breaker, this huge hill of flesh.” *51. logos — In writing and speaking, a persuasive appeal to the audience based on logic and reason. 52. loose sentence/non-periodic sentence – A type of sentence in which the main idea (independent clause) comes first, followed by dependent grammatical units such as phrases and clauses. If a period were placed at the end of the independent clause, the clause would be a complete sentence. A work containing many loose sentences often seems informal, relaxed, or conversational. Generally, loose sentences create loose style. The opposite of a loose sentence is the periodic sentence. Example: I arrived at the San Diego airport after a long, bumpy ride and multiple delays. Could stop at: I arrived at the San Diego airport *53. mood – The prevailing atmosphere or emotional aura of a work. Setting, tone, and events can affect the mood. Mood is similar to tone and atmosphere. *54. narrative – The telling of a story or an account of an event or series of events. In political speech, also used to suggest the “story-line” a politician wants people to hear: “The President tried to push a narrative that he was raising taxes to help people.” *55. parody – A work that closely imitates the style or content of another with the specific aim of comic effect and/or ridicule. It exploits peculiarities of an author’s expression (propensity to use too many parentheses, certain favorite words, etc.). Well-written parody offers enlightenment about the original, but poorly written parody offers only ineffectual imitation. Usually an audience must grasp literary allusion and understand the work being parodied in order to fully appreciate the nuances of the newer work. Occasionally, however, parodies take on a life of their own and don’t require knowledge of the original. *56. pathos — In writing and speaking, a persuasive appeal to the audience based on emotion. 57. pedantic – An adjective that describes words, phrases, or general tone that is overly scholarly, academic, or bookish (language that might be described as “show-offy”; using big words for the sake of using big words).
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AP English Language – Hicks
*58. prose – One of the major divisions of genre, prose refers to fiction and nonfiction, including all its forms. In prose the printer determines the length of the line; in poetry, the poet determines the length of the line. 59. point of view – In literature, the perspective from which a story is told. There are two general divisions of point of view, and many subdivisions within those. (1) first person narrator tells the story with the first person pronoun, “I,” and is a character in the story. This narrator can be the protagonist, a secondary character, or an observing character. (2) third person narrator relates the events with the third person pronouns, “he,” “she,” and “it.” There are two main subdivisions to be aware of: a. third person omniscient, in which the narrator, with godlike knowledge, presents the thoughts and actions of any or all characters. b. third person limited omniscient, in which the narrator presents the feelings and thoughts of only one character, presenting only the actions of all the remaining characters. In addition, be aware that the term point of view carries an additional meaning. When you are asked to analyze the author’s point of view, the appropriate point for you to address is the author’s attitude. (Note: For vocabulary assignment, write three sentences demonstrating different points of view, and identify the point of view). *60. repetition – The duplication, either exact or approximate, of any element of language, such as a sound, word, phrase, clause, sentence, or grammatical pattern. *61. rhetoric – From the Greek for “orator,” this term describes the principles governing the art of writing effectively, eloquently, and persuasively. *62. rhetorical modes – This flexible term describes the variety, the conventions, and the purposes of the major kinds of writing. The four most common rhetorical modes (often referred to as “modes of discourse”) are as follows: (1) The purpose of exposition (or expository writing) is to explain and analyze information by presenting an idea, relevant evidence, and appropriate discussion. The AP language exam essay questions are frequently expository topics. (2) The purpose of argumentation is to prove the validity of an idea, or point of view, by presenting sound reasoning, discussion, and argument that thoroughly convince the reader. Persuasive writing is a type of argumentation having an additional aim of urging some form of action. (3) The purpose of description is to recreate, invent, or visually present a person, place, event or action so that the reader can picture that being described. Sometimes an author engages all five senses in description; good descriptive writing can be sensuous and picturesque. Descriptive writing may be straightforward and objective or highly emotional and subjective. (4) The purpose of narration is to tell a story or narrate an event or series of events. This writing mode frequently uses the tools of descriptive writing. 63. sarcasm – From the Greek meaning “to tear flesh,” sarcasm involves bitter, caustic language that is meant to hurt or ridicule someone or something. It may use irony as a device, but not all ironic statements are sarcastic (that is, intended to ridicule). When well done, sarcasm can be witty and insightful; when poorly done, it is simply cruel. *64. satire – A work that targets human vices and follies or social institutions and conventions for reform or ridicule. Regardless of whether or not the work aims to reform human behavior, satire is best seen as a style of writing rather than a purpose for writing. It can be recognized by the many devices used effectively by the satirist: irony, wit, parody, caricature, hyperbole, understatement, and sarcasm. The effects of satire are varied, depending on the writer’s goal, but good satire, often humorous, is thought provoking and insightful about the human condition. *65. semantics – The branch of linguistics that studies the meaning of words, their historical and psychological development, their connotations, and their relation to one another. *66. style – The consideration of style has two purposes: (1) An evaluation of the sum of the choices an author makes in blending diction, syntax, figurative language, and other literary devices. Some authors’ styles are so idiosyncratic that we can quickly recognize works by the same author. We can analyze and describe an author’s personal style and make judgments on how appropriate it is to the author’s purpose. Styles can be called flowery, explicit, succinct, rambling, bombastic, commonplace, incisive, laconic, etc. (2) Classification of authors to a group and comparison of an author to similar authors. By means of such classification and comparison, we can see how an author’s style reflects and helps to define a historical period, such as the Renaissance or the Victorian period, or a literary movement, such as the romantic, transcendental, or realist movements.
8
AP English Language – Hicks
67. subject complement – The word (with any accompanying phrases) or clause that follows a linking verb and complements, or completes, the subject of the sentence by either (1) renaming it (the predicate nominative) or (2) describing it (the predicate adjective). These are defined below: (1) the predicate nominative – a noun, group of nouns, or noun clause that renames the subject. It, like the predicate adjective, follows a linking verb and is located in the predicate of the sentence. Example: Julia Roberts is a movie star. movie star = predicate nominative, as it renames the subject, Julia Roberts (2) the predicate adjective -- an adjective, a group of adjectives, or adjective clause that follows a linking verb. It is in the predicate of the sentence, and modifies, or describes, the subject. Example: Warren remained optimistic. optimistic = predicate adjective, as it modifies the subject, Warren. 68. subordinate clause – Like all clauses, this word group contains both a subject and a verb (plus any accompanying phrases or modifiers), but unlike the independent clause, the subordinate clause cannot stand alone; it does not express a complete thought. Also called a dependent clause, the subordinate clause depends on a main clause (or independent clause) to complete its meaning. Easily recognized key words and phrases usually begin these clauses. For example: although, because, unless, if, even though, since, as soon as, while, who, when, where, how and that. Example: Yellowstone is a national park in the West that is known for its geysers. italicized phrase = subordinate clause 69. syllogism – From the Greek for “reckoning together,” a syllogism (or syllogistic reasoning or syllogistic logic) is a deductive system of formal logic that presents two premises (the first one called “major” and the second called “minor”) that inevitably lead to a sound conclusion. A frequently cited example proceeds as follows: major premise: All men are mortal. minor premise: Socrates is a man. conclusion: Therefore, Socrates is a mortal. A syllogism’s conclusion is valid only if each of the two premises is valid. Syllogisms may also present the specific idea first (“Socrates”) and the general second (“all men”). *70. symbol/symbolism – Generally, anything that represents itself and stands for something else. Usually a symbol is something concrete -- such as an object, action, character, or scene – that represents something more abstract. However, symbols and symbolism can be much more complex. One system classifies symbols into three categories: (1) natural symbols are objects and occurrences from nature to symbolize ideas commonly associated with them (dawn symbolizing hope or a new beginning, a rose symbolizing love, a tree symbolizing knowledge). (2) conventional symbols are those that have been invested with meaning by a group (religious symbols such as a cross or Star of David; national symbols, such as a flag or an eagle; or group symbols, such as a skull and crossbones for pirates or the scale of justice for lawyers). (3) literary symbols are sometimes also conventional in the sense that they are found in a variety of works and are more generally recognized. However, a work’s symbols may be more complicated. On the AP exam, try to determine what abstraction an object is a symbol for and to what extent it is successful in representing that abstraction. 71. syntax – The way an author chooses to join words into phrases, clauses, and sentences. Syntax is similar to diction, but you can differentiate them by thinking of syntax as groups of words, while diction refers to the individual words. In the multiple-choice section of the AP exam, expect to be asked some questions about how an author manipulates syntax. In the essay section, you will need to analyze how syntax produces effects. (Note: For vocabulary assignment, write three sentences using different syntax for effect, and explain the effect). *72. theme – The central idea or message of a work, the insight it offers into life. Usually theme is unstated in fictional works, but in nonfiction, the theme may be directly state, especially in expository or argumentative writing. *73. thesis – In expository writing, the thesis statement is the sentence or group of sentences that directly expresses the author’s opinion, purpose, meaning, or position. Expository writing is usually judged by analyzing how accurately, effectively, and thoroughly a writer has proven the thesis. *74. tone – Similar to mood, tone describes the author’s attitude toward his material, the audience, or both. Tone is easier to determine in spoken language than in written language. Considering how a work would sound if it were read aloud can help in identifying an author’s tone. Some words describing tone are playful, serious, businesslike, sarcastic, humorous, formal, ornate, sardonic, somber, etc.
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AP English Language – Hicks
75. transition – A word or phrase that links different ideas. Used especially, although not exclusively, in expository and argumentative writing, transitions effectively signal a shift from one idea to another. A few commonly used transitional words or phrases are furthermore, consequently, nevertheless, for example, in addition, likewise, similarly, on the contrary, etc. More sophisticated writers use more subtle means of transition. *76. understatement – The ironic minimalizing of fact, understatement presents something as less significant than it is. The effect can frequently be humorous and emphatic. Understatement is the opposite of hyperbole. Example: Jonathan Swift’s A Tale of a Tub: “Last week I saw a woman flayed, and you will hardly believe how much it altered her person for the worse.” *77. wit -- On modern usage, intellectually amusing language that surprises and delights. A witty statement is humorous, while suggesting the speaker’s verbal power in creating ingenious and perceptive remarks. Wit usually uses terse language that makes a pointed statement. Historically, wit originally meant basic understanding. Its meaning evolved to include speed of understanding, and finally, it grew to mean quick perception including creative fancy and a quick tongue to articulate an answer that demanded the same quick perception.
10
Sophie’s Chart
Name:______________________________
Keep track of the history of philosophy with this chart Philosopher / Movement
Myths
Natural Philosophers
Democritus
Fate
Socrates / Athens
Main Ideas
Quotations to Remember
Connections
Philosopher / Movement
Plato
Aristotle
Hellenism
Two Cultures / Religion
Middle Ages
Main Ideas
Quotations to Remember
Connections
Philosopher / Movement
Renaissance
Baroque
Descartes
Spinoza
Locke
Main Ideas
Quotations to Remember
Connections
Philosopher / Movement
Hume
Berkeley
Enlightenment
Kant
Romanticism
Main Ideas
Quotations to Remember
Connections
Philosopher / Movement
Hegel
Kierkegaard
Marx
Darwin
Main Ideas
Quotations to Remember
Connections
Philosopher / Movement
Freud
Existentialism
Main Ideas
Quotations to Remember
Connections
Kings High School Summer Assignment Summary Course Name: AP ENGLISH LIT- Please see assignment sheet at the bottom of the page. Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected] Assigned Readings: How to Read Literature like a Professor- Thomas Foster Macbeth- Shakespeare Assignments/Projects: Please refer to the summer assignment info sheet. SPARK NOTES VERSION OF WHAT’S DUE ON THE FIRST DAY OF SCHOOL 1- An annotated (5 chapters) HTRLLAP using whatever system works for you and a completed reading of Macbeth. 2- 20 quotes (min of 5 from each) with detailed explanations for 10 of them. 3- Two 2-3 page (double spaced, typed, MLA formatting (when/if you directly cite something), 12 pt. font, Times New Roman, standard margins) papers proving two of Foster’s literature chapters. (At least one chapter/paper on Macbeth, the other piece of literature is up to you but it must be on the NOVEL LIST BELOW or preapproved by me.)
Project Due Dates/Timeline: All assignments are due on the first day of school. Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?) -You need to have the book annotated according to the summer assignment sheet. (Pick five of the 15 chapters listed.) The rubric is below: 50 40 30 20 0 The text is extensively highlighted/marked or underlined with many margin notes in addition to comments and notations. The annotations demonstrate that the student has carefully read and considered the text’s meaning. The margin notes serve as an abbreviated outline of what the text says and what the reader thinks about it.
The text is highlighted/marked or underlined with numerous margin notes compared to the most carefully considered readings. Comments or notations are present. The annotations which are there demonstrate that the student has carefully read and considered the text’s meaning.
The text is highlighted/marked or underlined with some margin notes, markings, or comments. The annotations demonstrate a less thorough reading of the work than the top two ratings.
The text is minimally highlighted/ marked or or underlined and/or the student uses occasional comments. There are virtually no margin notes; consequently, it is impossible to determine how thorough the reading of the text has been.
0: The text is unmarked.
The essays and quotes will be evaluated using the following AP rubric
9-8 Superior papers are specific in their references, cogent in their definitions, and free of plot or poem summary that is not relevant to the question. These essays need not be without flaws, but they demonstrate the writer's ability to discuss a literary work with insight and understanding and to control a wide range of the elements of effective composition. At all times they stay focused on the prompt, providing specific support--mostly through direct quotations--and connecting scholarly commentary to the overall meaning.
7-6 These papers are less thorough, less perceptive or less specific than 9-8 papers. They are wellwritten but with less maturity and control. While they demonstrate the writer's ability to analyze a literary work, they reveal a more limited understanding and less stylistic maturity than do the papers in the 9-8 range.
5 Safe and "plastic," superficiality characterizes these essays. Discussion of meaning may be formulaic, mechanical; or inadequately related to the chosen details. Typically, these essays reveal simplistic thinking and/or immature writing. They usually demonstrate inconsistent control over the elements of composition and. are not as well conceived, organized, or developed as the upper-half papers. However, the writing is sufficient to convey the writer's ideas, stays mostly focused on the prompt, and contains at least some effort to produce analysis, direct or indirect.
4-3 Discussion is likely to be unpersuasive, perfunctory, underdeveloped or misguided. The meaning they deduce may be inaccurate or insubstantial and not clearly related to the question. Part of the question may be omitted altogether. The writing may convey the writer's ideas, but it reveals weak control over such elements as diction, organization,' syntax or grammar. Typically, these essays contain significant misinterpretations of the question or the work they discuss; they may also contain little, if any, supporting evidence, and practice paraphrase and plot summary at the expense of analysis.
2-1 These essays compound the weakness of essays in the 4-3 range and are frequently unacceptably brief. They are poorly written on several counts, including many distracting errors in grammar and mechanics. Although the writer may have made some effort to answer the question, the views presented have little clarity or coherence.
SUMMER ASSSIGNMENT BELOW!
2015 AP Summer Assignment- Easy as 1, 2, 3 PART ONE- BOOKS, BOOKS, BOOKS/PLAYS, PLAYS, PLAYS You have to read something of course! (Well actually two somethings.) -We will also spend the first week or so discussing the “somethings” and taking a test on Macbeth. Be ready! A. The first “something” is How to Read Literature like a Professor (HTRLLAP) by Thomas Foster. -We will use this book as a reference during the year. Foster has a very quirky writing style and great insight to what’s important in reading. There are several websites online with chapter summaries, questions, details, etc. Use them, abuse them, but read the book. ***PLEASE make sure to get the 2014 edition with the red cover. B. As you read, I want you to pick 5 chapters from the CHAPTER LIST BELOW and write all up in them!. Use whatever works for you. I use post-its, highlighters, underlining, margin comments, notes on the first page of each chapter, and end notes on the last page of each chapter. “But Snyder, whyyyyy do we have to do that?” “Because the AP folks love a good quote, so do I, and because that will force you to make connections to what you are reading.” C. CHAPTER LIST BELOW i. ii. iii. iv. v. vi. vii. viii. ix. x. xi. xii. xiii. xiv. xv.
1- Quest 2-Communion 3-Vampires 5- Shakespeare 6–Bible 7-Hanseldee and Greteldum 10-Don’t stand next to the Hero 11-Violence 12-Politics 14-Christ Figure 15-Flights 18- Baptism 19-Geography Matters 21- Marked for Greatness 22-Blind for a Reason FAIR WARNING- ******THIS WILL BE FOR A GRADE!!!!! YOU MUST show that you have interacted with the text. Just underlining/highlighting will NOT be enough! This means there MUST be writing in your book. During the first week of school I will collect your book and see what you had to say. I want you to write what you think, feel, disagree with, agree with, aha moments, quotes that crack you up, quotes that make you mad, etc. I want you to get used to commenting/making connections with things you read. Don’t be afraid to write in your books; it’s great practice for college. B.
The second “something” is Macbeth by, of course, my boy Bill. This play has very few websites associated with it (that’s a little thing we call sarcasm and understatement). Again, use, abuse, but read it!!! http://www.pathguy.com/macbeth.htm (This one has some great stuff.) This “something” you are just going to read. More connections to this one later. PART TWO- QUOTES, QUOTES, QUOTES A. As you are reading your assignments, pay attention to specific quotes. You will need to collect your top 20 from both of the selected texts. That means that you could have 12 from one and 8 from another, or 10 and 10, or 5 and 15. You need a minimum of 5 from each text. (I’ll leave all the
possible combinations to those of you taking the AP math courses.) My point is that you need quotes, and you need some from each one. B. Type up your 20 quotes with the page numbers and in which “something” they appear. Then pick 10 of those quotes and explain WHY you liked them, hated them, disagreed with them, agreed with them, why they made you laugh, why they made you cry, etc. (Again, you should make sure that you have some from each text to discuss.) I’m giving you a little flexibility here as far as length. One sentence is CLEARLY not enough but a half a page is probably too much. Some quotes will naturally have longer explanations, others will have shorter ones. Use common sense here AP kids!! You should have a decent mix of both. PART THREE- ANALYZE, ANALYZE, ANALYZE (Should I say synthesize? Hee, hee) A. There are 27 chapters in How to Read Literature like a Professor. You can stop reading at the end of page 261. As you are reading, figure out which chapters you like the most and/or can apply the most. You will eventually need to pick two chapters. You may pick from the CHAPTER LIST BELOW in part one or use any of the other chapters. B. For each of these chapters write a two/three page “essay” for each book chapter explaining (synthesizing) how it applies to Macbeth and one of the choices on the list below. That means 4 pages minimum- 6 pages maximum on the first day of school. (AHHH, more math!!!) Please make sure you indicate which chapters and play(s)/book(s) you have picked. Yes, you should type these up st nd as two separate papers. No 1 or 2 person in your essays! C. All the books and plays are ones you should/could have read during your time at good ‘ole KHS. I have also read these, so no fibbing or making things up! Be specific with the details, make connections, and, most importantly, prove that the points in the chapters you select actually apply to the works you select. AT LEAST ONE of your chapters/papers MUST apply to Macbeth. The other chapter/paper MUST be on one of the works from the NOVEL LIST BELOW. (Please ask if you have other ideas for literature. If it’s a piece of literary merit, and I have read it, I will probably say yes. Fair warning- I will say no to Harry Potter or novels by Nicholas Sparks as these are not classic pieces of literature. Sorry. ) This is a traditional paper: double spaced, typed, MLA formatting (when/if you directly cite something), 12 pt. font, Times New Roman, standard margins, etc. NOVEL LIST BELOW: th
9 - Great Expectations, Romeo & Juliet, Of Mice and Men, The Merchant of Venice, Cyrano de Bergerac th
10 - Fahrenheit 451, Mockingbird, Huckleberry Finn, A Lesson before Dying, Antigone, Julius Caesar th
11 -The Crucible, The Great Gatsby, Hamlet, Into the Wild OTHER IMPORTANT INFORMATION! -My email address is
[email protected] . I’ll check it at least once a week throughout the summer. PLEASE email with questions. Don’t freak out, use your best judgment, and just go with it. SPARK NOTES VERSION OF WHAT’S DUE ON THE FIRST DAY OF SCHOOL 4- An annotated (5 chapters) HTRLLAP using whatever system works for you and a completed reading of Macbeth. 5- 20 quotes (min of 5 from each) with detailed explanations for 10 of them. 6- Two 2-3 page (double spaced, typed, MLA formatting (when/if you directly cite something), 12 pt. font, Times New Roman, standard margins) papers proving two of Foster’s literature chapters. (At least one chapter/paper on Macbeth, the other piece of literature is up to you but it must be on the NOVEL LIST BELOW or preapproved by me.)
Kings High School Summer Assignment Summary
Course Name: AP American Government and Politics
Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected]
Assigned Readings: The first article is entitled “As the World Burns”. It can be found
online at http://www.newyorker.com/magazine/2010/10/11/as-the-world-burns . The second article is entitled “Can the Republicans be Saved From Obsolescence?” It can be found online at http://www.nytimes.com/2013/02/17/magazine/can-the-republicans-be-saved-fromobsolescence.html . The book Hardball by Chris Mathews.
Other Assignments/Projects: A Constitution Packet will be due Friday, August 28, 2015.
Project Due Dates/Timeline: The articles and book requirements are due the first day of school August 19, 2015.
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?) See attached form
Additional Information:
Summer Assignments for AP Government 2015-2016 Directions: There are 3 TOTAL assignments that need to be completed. The book and the reading political article assignments need to be ready for the first day of class.
Rationale: The purpose of A.P. U.S. Government and Politics is to prepare you to be engaged citizens in this democracy. It is important that you understand the structure of the United States government as well be able to apply the concepts of government to historical and contemporary examples. In preparation for the fall, the activities below will enhance your knowledge of government and politics.
Questions or Concerns: If you have questions, you may email me during the summer at
[email protected]. I will not check my school email everyday but I will check it at least once a week so be patient for a reply. *Assignment #1: Reading Articles pertaining to Political Science. (100 Points total: 50 points for each summary) DUE DATE: Wednesday, August 19, 2015. In an effort to help you understand the complexity of the modern political process, you will read and respond to two articles. The first article is entitled “As the World Burns”. It can be found online at http://www.newyorker.com/magazine/2010/10/11/as-the-world-burns . The article is about the failed attempt to pass climate change legislation in 2010. In a 2-3 page double spaced size 12 font essay, discuss how the modern legislative process really works. Focus on why Congress was unable to pass climate change legislation. Also, consider how the legislative process described in the article differs from what you were taught about the legislative process (i.e. “I am just a bill” from School House Rock). The second article is entitled “Can the Republicans be Saved From Obsolescence?” It can be found online at http://www.nytimes.com/2013/02/17/magazine/can-the-republicans-be-savedfrom-obsolescence.html . The article is about the challenges facing the Republican Party as we move forward in an ever increasingly technological
world. In a 2-3 page double spaced size 12 font essay, describe the challenges facing the Republican Party and what they can do to address these problems.
Assignment #2: Hardball : How Politics Is Played Told By One Who Knows The Game (be sure to get the updated and revised edition 1999; you may get the hardback, paperback or check it out from the public library. If you decide to order a copy, I would choose Amazon and buy a used copy.) (100 Points total) DUE DATE: Wednesday, August 19,
2015. Do not attempt to complete this assignment a day or two before school starts because you will not be successful. What needs to be completed for this assignment: 1) Pick eight of the chapter titles and find the situation in that particular chapter that BEST captures the essence of the title. You must summarize the situation in a few sentences of your own words and be sure to include the page(s) where you find the situation. 2) Answer the following questions: a. Even though the 2016 Presidential election is still more than a year and a half away, early frontrunners include Republicans Ted Cruz, Chris Christie and Jeb Bush and Democrats Hillary Clinton and Bernie Sanders. If you were hired as campaign manager for one of the above potential candidates, what advice from Hardball would you give them and why? b. Are Mathews political maxims consistent? Give specific lessons from the book and how they could be interpreted to be in conflict. How could these maxims be harmonized? c. Although Hardball is relatively current, much has changed since Matthews first wrote his opus. Is the book still relevant in today’s internet/social mediadriven world? Which pieces of advice stand up the best in today’s world? Which stand up the least? d. 2016 is an election year. Continued control of the House of Representatives and the Senate for Republicans is at stake. How could both parties use Matthews’ advice from Hardball to maintain or increase their majorities?
*Assignment #3: Constitution Packet (DUE DATE: Friday, August 28, 2015) Directions: The purpose of this assignment is to familiarize students before the school year begins with the basic features of the United States Constitution. Your understanding of the Constitution is critical for doing well in this class as well as on the AP test. The Constitution is the foundation upon which all material this year will be based upon. Read the United States Constitution and complete the following questions in your own words. You will not receive full credit for your answers if they are not in your own words. Your ability to break down the meaning of the Constitution will only enhance your understanding of it. An excellent online source to use is available at: www.constitutioncenter.org/Constitution. This site is interactive and allows you to highlight the actual text and then receive an interpretation of the meaning. Additionally, you may use other websites or print materials (i.e. books) to complete the assignment.
PART 1: Basics of the Constitution (80 points) 1. Read through a copy of the U.S. Constitution. In your own words, own handwriting, and on your own, complete the worksheet. The first one is done for you in italics. You may also type it, if you can find the link for this on the Kings Website. 2. WHAT I CANNOT READ WILL BE MARKED WRONG! PART 1: Basics of the Constitution
Article 1: Label the section and Paragraph
QUESTION
ANSWER
Section 2, Paragraph 2
Min. age to be Representative Min. citizenship to be a Representative Residency requirement for Representatives Term length for Representatives Head of House is called? Who is the current one?
25 yrs old
How were members of the House originally elected? Min. age to be a Senator Min. citizenship to be a Senator Residency requirement for a Senator Term length for Senators Who (position and name of current one) is the President of the Senate? How were members of the Senate originally elected? What are the 2 expressed powers of the Vice-President? Impeachment Power
Try those impeached
Bills for revenue originate here and WHY
Explain VETO power: who has it and how does it work?
Explain 5 expressed powers/duties of Congress. You may not use the Necessary and Proper Clause.
Explain the Necessary and Proper Clause and why it was needed What power is given to Congress in the area of war? Explain 5 restrictions on the powers of Congress
Identify 3 powers prohibited to the States
Article 2: Label the section and Paragraph
QUESTION
Another name for the Chief Executive? Who is the current one? Min. age to be President Citizenship requirement for President
ANSWER
Residency requirement for President What power is given to the President in the area of war? Who officially elects the President? Explain how this works.
Explain 4 powers/duties of the President
QUESTION Article 3: Label the section and Paragraph Main power of this branch What are the eligibility requirements for the Judiciary? Head court is called: Who creates lower courts?
How many Justices are on the Supreme Court? Who is the current Chief Justice? Term Length for Supreme Court
ANSWER
Define Original Jurisdiction and who has it. Define Appellate Jurisdiction and who has it. Define treason
Article IV: Label the section and Paragraph
QUESTION
ANSWER
Main idea of Article IV Explain Full faith and credit
Explain Extradition and how it works How do new states become part of the Union? Protection of the States
Article V: Label the section and Paragraph
QUESTION
ANSWER
What is the main idea of this Article? What is one way to amend the Constitution?
What is a second way to amend the Constitution?
Article VI: Label the section and Paragraph
QUESTION
ANSWER
Article VII: Label the section and Paragraph
What is the main idea of this Article? What does supremacy mean in this context? Why is there a clause about a religious test? QUESTION
ANSWER
What is the main idea of this Article? What does Ratification mean?
Amendments N/A
N/A
N/A
N/A
N/A
How many states were required for ratification? Which state ratified first? Which state enabled the Constitution to go into effect? Which state ratified last? QUESTION ANSWER What are the first 10 Amendments called as a collective group? Main idea of Amendment 1
Which Amendments deal with the right of the accused? Main idea of Amendment 9 Main idea of Amendment 10
N/A
3 Parts of Amendment 14
PART TWO: ODDS AND ENDS OF THE Constitution (20 points) Directions: Your Assignment is to complete the sentences below with the correct answers regarding checks and balances and the difference between majority and super majority. I. Checks and Balances: Look at the first three articles of the Constitution and identify one of each type of checks and balances. Indicate where each power is listed in the Constitution with its Article.
a. A power that the executive branch has over the legislative branch: __________________________________________ This is found in article: ______ b. A power that the executive branch holds over the judicial branch: ______________________________________ This is found in article: ____________ c. A power that the legislative branch holds over the executive branch: __________________________________ This is found in article: ______________ d. A power that the legislative branch holds over the judicial branch: ______________________________ This is found in article: ________________ e. A power that the judicial branch holds over the executive branch: __________________________ This is found in article: ______________________ f. A power that the judicial branch holds over the legislative branch: ___________________________________________ This is found in article: ________ II: Majority and Supermajority The Constitution requires a simple majority for some actions and a supermajority for others. A simple majority means more than half, while supermajority requirements can involve a 2/3 majority or a ¾ majority. Most elections in the United States require a plurality, or the most votes, but not necessarily a majority. 2. a. What bodies have the ability to override a presidential veto?_________________ b. What margin is required to override a presidential veto? ____________________ c. Where in the Constitution is the veto power described? ______________________
3. a. What body has the power to ratify treaties? ______________________ b. What margin is required to ratify treaties? _______________________ c. Where in the Constitution is the ratification power described? _________________ 4. To impeach means “to bring charges against” or “to indict.” a. What body has the power to impeach the president? ______________________ b. What vote is required to impeach? _____________________________ 5. a. What body has the power to convict the president of charges brought against him in the impeachment process and thereby remove him from the presidency? ________________________ b. What vote is required to convict and remove a president? ____________________ c. Where in the Constitution is the impeachment power described? _______________ 6. a. What body has the power to accept or reject a president’s nominations to the Supreme Court? ______________________ b. What margin is required to elevate a president’s nominee to a seat on the Court? ____________ c. Where in the Constitution are judicial nominations described? _________________ 7. a. If no candidate for the presidency wins a simple majority of the total number of electoral votes, what body has the power to choose the president? __________________________________ b. What margin is required to choose the president? ______________________
Kings High School Summer Assignment Summary Course Name: AP Human Geography Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected] Assigned Readings: Provided article along with two articles of students choice.
Other Assignments/Projects:
Key Terms, Map activities, written reflection
Project Due Dates/Timeline: Due first day of school
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?)
In order to be successful over the summer and be prepared for the upcoming school year, it is very important that you are organized and remain on task. The key terms will be used as a key term test over the first unit of instruction. The map activities will be tested on throughout the school year. Additional Information: Additional information can be found at
kingsgeography.wordpress.com
AP Human Geography Summer Assignment Objective: This assignment is a way to prepare you for many different aspects of AP Human Geography. You will be held accountable for this assignment, it will be the first grade of the quarter. Failure to complete the summer assignment may result in being dismissed from the course. If you have questions please contact Mr. Fread at
[email protected] or visit https://kingsgeography.wordpress.com/ I.
AP Human Geography Notebook Your first task is to acquire a three ring binder for your summer assignments. The following assignments need to be collected in your notebook and will be checked for completion on the first day of class.
II.
Vocabulary Words: Must be hand written The first section of your binder should be for vocabulary words. It is imperative to increase your vocabulary in Human Geography. A list of vocabulary words from the first unit is provided. Define the word and make sure it is a geographical definition.
III.
Maps: Absolute and Relative Location The second section of your binder will be for maps. One of the foundational skills in AP Human Geography is to understand the organization of countries of the world and how they form regions. Using the list and maps provided, identify each region on the continental maps, along with each country within the region. Make sure each map is legible and correct. Worldatlas.com is a great reference for this assignment
IV.
Why Geography? The third section of your binder is Why Geography. Read the provided article, Why Geography? Highlight the main points that help answer the question – Why Geography? Type a 3 paragraph essay that explains your response to that question.
V.
The Issues The final section of your binder is for your reflection on two issues that we will discuss more in depth during the school year. Research two of the following topics using reputable sources such as CNN, New York Times, Newsweek, Time, BBC News Network. Wikipedia is not a reputable source for this assignment. For each reflection focus on Who, What, When, Where, and Why/Significant. Be sure to site your sources. Issues to Choose From Modern Industrialization in the United States China’s One Child Policy Alternative Energy Sources Modern Infectious Disease Globalization of Culture
AP Human Geography Summer Assignment Unit One Vocabulary Words Agricultural Density Arithmetic Density Cartogram Cartography Crude Birth Rate Crude Death Rate Culture Demographic Transition Dependency Ratio Diffusion Distribution Doubling Time Eccumene Epidemiology Famine Formal Region Geographic Information System GIScience Global Positioning System Human Geography Infant Mortality Rate International Date Line Latitude Location Longitude Map Map Scale Meridian Natural Increase Rate Nodal Region Non-renewable Resource Pandemic Parallels Perceptual Region Pestilence Physiological Density Place Population Clusters Population Pyramid Projection Region Remote Sensing Renewable Resource Sex Ratio Site Situation Sustainability Toponym Total Fertility Rate Zero Population Growth
AP Human Geography Summer Assignment
World Regions for Map Section New England U.S.A
The Midwest U.S.A
Northwest U.S.A
Southeast U.S.A
Europe
Southwest U.S.A
The Middle East
Canada
Central America
South America
The Balkans
North Africa
Southeast Asia
European Union
Sub-Saharan Africa
The Caribbean
Asia
African Horn
AP Human Geography Summer Assignment
AP Human Geography Summer Assignment North America
AP Human Geography Summer Assignment
AP Human Geography Summer Assignment
AP Human Geography Summer Assignment
AP Human Geography Summer Assignment
AP Human Geography Summer Assignment
AP Human Geography Summer Assignment
AP Human Geography Summer Assignment
AP Human Geography Summer Assignment
AP Human Geography Summer Assignment
Kings High School Summer Assignment Summary
Course Name: Modern European History AP Teacher’s School E-mail Address:
[email protected] (or other preferred contact information should students have questions). This e-mail address will be checked frequently by the teacher. If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
Assigned Reading: The Prince by Nicolo Machiavelli *(A book review, short answer response test will be given over the readings during the first week of school.) Other Assignments/Projects: Completion of 97 Kagan Terms/Vocabulary
Project Due Dates/Timeline: * All work is to be completed by the first day of the 2015-20016 school year, assessment for the Kagan Terms will be via a series of three matching quizzes
Modern European AP “Kagan Terms” Donald Kagan: Ph.D. Ohio State University, currently Sterling Professor of Classics and History at Yale University. Professor Kagan compiled this list of terms and views the knowledge of them as crucial to answering and responding to Western European history questions ranging from the 14th century to present day. Define each andthe approximate time frame in which each is applicable. Roto Romana Unam Sanctum Curia Sacrosancta Execreablis Pragmatic Sanction of Bourges Popolo grosso Signoria Podesta Condottieri Humnaitas Alcabala Colloquies Adages Conquistadors Hacienda Peninsulares Creoles Encomienda Repartimiento Schleithem Schmalkaldie articles Stadholder Corvee Raison d’etat Fronde Ad Sacram Sedem Audiencias Corregidores Asiento Philosophes Tabula rasa Gabelle Cahiers Journees Assignat Emigres Sans-coulottes
Thermidor Law of 22 Prairal Strum and Drang Junta Llaneros Miguel Hidalgo Gendarme Chartism Bobbies Laissez-faire Zollverien Voix Des Femmes Carbonari Transformiso Kliendeutch Zemstovs Reichstag Suffragettes Zionism Bolsheviks Mensheviks Soviet Duma Kulturkampf Entente Cordial Italia Irrendenta Cheka Comintern Cartel des Gauches Dail Eireann Kreditanstalt Croix de feu Schutzstaffel Kristallnacht Gosplan Kulaks Lebensraum Anchluss Blitzkeig Luftwaffe Judenrein Comecon SEATO Solidarity Glasnost Perestroika Taille
Epicycles Sabbats Millets Zimmis Junkers Boyars Streltsy Szlacta Banalities Robot (in relation to Hapsburg lands) Higglers Design Qualities
* These terms are to defined in full handwritten and ready for submission on the first day of class 20142015 * You must also read the book: The Prince by Nicolo Machiavelli. A book review and test will be completed during the first two weeks of the 2015-2016 concerning the summer reading.
Kings High School Summer Assignment Summary
Course Name: AP Music Theory, Hope Milthaler Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected] Assigned Readings: No reading required
Other Assignments/Projects: Please complete packet that encompasses a) comprehensive list of music theory terms, b) free response that includes labeling and drawing notation, staff information, and keys, and c) a dictation log of rhythmic and melodic practice. Websites are provided in the packet and will be emailed to all students who provide director with their email address to provide easy access to links. All information should be easily accessible online.
Project Due Dates/Timeline: Students must bring completed packet to the first day of class in August ready to turn in before the test for a grade. (Please read carefully and note that you are to also bring your 2 inch binder with properly labeled tabs, notebook and staff paper).
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?) Students should be comfortable enough with the terms with black dots beside them to take a matching test over the terms on the first day of school. They should also be comfortable drawing and labeling things included in the free response, and be ready to attempt some simple beginning dictation (both rhythmic and melodic). To aid in this preparation, an actual copy of the matching portion of the test accompanies the study packet. Students will be permitted to use their prep packet for a portion of the test time! They will also receive a small grade for bringing in their binders with staff paper and proper tabs ready to go.
Additional Information: If at any time you are hung up on a term or concept, or are having trouble navigating a site, please contact me at my email listed above. I will check my email intermittently to see if you have any questions. Best wishes and I’m looking forward to a great year! –Mrs. M
Kings High School Summer Assignment Summary
Course Name: AP Physics Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected] Assigned Readings: Please email me to get at the above address in order to get your summer assignments.
Other Assignments/Projects:
Project Due Dates/Timeline:
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?)
Additional Information:
Kings High School Summer Assignment Summary
Course Name: AP Psychology Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected]
Assigned Readings: n/a
Other Assignments/Projects: Attached is a complete list of summer vocabulary that will be due on the first day of school next year. All terms are to be listed with the term underlined, individually numbered, and defined. Please skip a line between each definition. All terms MUST be hand-written on college-ruled notebook paper. All definitions should be in the context of how they relate to Psychology. The length of definitions should be an average of two to three sentences. You should not have any definitions that only contain three or four words. There are several Psychology specific websites that you can use to research the terms, just be sure to use credible sites! You may also use reference books. Project Due Dates/Timeline: *You will have a series of vocabulary quizzes covering the terms when you return in August. ***VOCABULARY WILL BE DUE ON THE FIRST DAY OF SCHOOL!!!
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?)
Additional Information:
AP Psychology Summer Assignment Mrs. Hennessey Vocabulary Assignment: Attached is a complete list of summer vocabulary that will be due on the first day of school next year. All terms are to be listed with the term underlined, individually numbered, and defined. Please skip a line between each definition. All terms MUST be hand-written on college-ruled notebook paper. All definitions should be in the context of how they relate to Psychology. The length of definitions should be an average of two to three sentences. You should not have any definitions that only contain three or four words. There are several Psychology specific websites that you can use to research the terms, just be sure to use credible sites! You may also use reference books. If you have any questions you can email me at
[email protected] *You will have a series of vocabulary quizzes covering the terms when you return in August. ***VOCABULARY WILL BE DUE ON THE FIRST DAY OF SCHOOL!!!
AP Psychology Vocabulary List: 1. Aaron Beck’s view of depression 2. absolute threshold 3. achievement vs. aptitude tests 4. action vs. rest potential 5. acuity-vision 6. Ainsworth Strange Situation (Paradigm) 7. Albert Ellis- Rational Emotive Therapy (RET) 8. Alfred Adler- inferiority complex 9. altruism 10. amnesia (antegrade & retrograde) 11. arousal 12. Asch’s conformity study (line segments) 13. attribution theory 14. authoritative vs. authoritarian parenting 15. aversive conditions 16. bell curve (normal distribution) 17. Benjamin Whorf’s theory of linguistic relativism (determinism) 18. binocular disparity 19. brainstorming 20. Broca’s aphasia 21. Carl Rogers: person (client) centered therapy 22. chunking 23. classical conditioning (distinguish it from operant conditioning) 24. Clever Hans experiment 25. cognitive dissonance 26. color blindness: types 27. control group 28. correlation coefficients 29. cortexes of the brain 30. cross cultural studies 31. cross sectional studies 32. David McClelland’s achievement motivation studies 33. deinstitutionalization 34. dendrite 35. depression 36. descriptive vs. inferential studies 37. developmental psychology 38. Diagnostic Statistical Manual of Mental Disorders 39. difference threshold 40. displacement 41. dissociative disorders 42. Down’s syndrome 43. Ebbinhaus’ research on memory 44. echoic memory 45. electroconvulsive shock therapy 46. Elizabeth Loftus’ research on eyewitness testimony 47. endocrine organs and hormones they secrete 48. endorphins
49. episodic memory 50. equity theory of relationships 51. Erik Erikson’s stages of psychological development 52. escape vs. avoidance learning 53. false consensus effect 54. feature analysis 55. feral children 56. fetal alcohol syndrome 57. figure-ground phenomenon 58. foot-in-the-door phenomenon 59. formal operations 60. fovea 61. free association 62. Freudian dream analysis: two levels of interpretation 63. Freud’s stage of psychosexual development 64. functional fixedness 65. fundamental attribution error 66. ganglia 67. Gate Control Theory of Pain 68. genotype & phenotype 69. Gestalt theory 70. glial cells 71. habituation vs. sensory adaptation 72. Hans Seyle’s General Adaptation Response 73. Hawthorne Effect 74. heuristics 75. hierarchy of needs (Maslow) 76. hindsight bias 77. histogram 78. homeostasis 79. Howard Gardner’s view of multiple intelligence 80. hypnosis (theories of) 81. hypothalamus 82. id, ego, super ego 83. IDEAL (strategy for solving problems) 84. identification vs. internalization (Freudian terms) 85. illusory correlation 86. imaging techniques: PET, CAT, MRI, FMRI 87. imprinting 88. independent/dependent variables 89. induced motion 90. inductive vs. deductive reasoning 91. industrial (organizational) psychology 92. in-group and out-group bias 93. inner ear- vestibular sense 94. instinct 95. instrumental- operant conditioning 96. intelligence quotient (I.Q.) 97. interference (proactive vs. retroactive) 98. James-Lang theory of emotions 99. John Garcia’s ideas on the limits of conditioning
100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110. 111. 112. 113. 114. 115. 116. 117. 118. 119. 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150.
Karen Horney’s views on development Kohlberg’s stages of moral reasoning Kubler Ross’ stages of dying learning curve limbic system: structures and function linkage analysis lithium (bi-polar disorders) longitudinal study Martin Seligman’s “learned helplessness” measures of central tendency: mean, median, and mode measures of variability: range and standard deviation memory: (sensory, short-term, long-term) mental age mental set metacognition method of loci milieu therapy Minnesota Multiphasic Personality Inventory (MMPI) misinformation effect modeling monocular vs. binocular depth cues motion aftereffect motion parallax myelin sheath narcissism nature vs. nurture controversy nervous system: major parts neuron: three basic parts normative social influence obesity (role of the hypothalamus) Obsessive Compulsive Disorders (OCD) occipital lobe Oedipal conflict optic disc optic nerve pancreas paradoxical sleep: why is REM called this? paresis perceptual constancy perceptual set phenylketonuria (PKU) phi phenomenon phonemes vs. morphemes photoreceptors Piaget’s stages of cognitive development pineal gland pitch pituitary gland plasticity positive reinforcement post traumatic stress disorder
151. 152. 153. 154. 155. 156. 157. 158. 159. 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. 171. 172. 173. 174. 175. 176. 177. 178. 179. 180. 181. 182. 183. 184. 185. 186. 187. 188. 189. 190. 191. 192. 193. 194. 195. 196. 197. 198. 199. 200. 201.
projective tests: TAT & Rorshach prosocial behavior prototype reality principle (function of ego) recessive vs. dominant genes reliability vs. validity in testing REM sleep repression reticular formation: related to sleep, arousal, attention retinal disparity rods and cones (structures and differences) sample schema schizophrenia selective attention self-efficacy self-fulfilling prophecy self-serving bias semantic memory serial position effect sexual identity vs. gender identity and gender typing shaping signal detection theory sleep disorders- insomnia, narcolepsy, sleep apnea, night terrors sleeper effect social cognitive theory social exchange theory social facilitation social loafing social trap stages of learning (acquisition, extinction, spontaneous recovery, etc.) Stanley Milgram’s experiment with obedience Stanley Schachter’s Two Factor Theory stereotype stimulus generalization systematic desensitization Tay-Sachs disease testable hypothesis thalamus Thorndike Law of Effect thyroid gland Tourette’s Syndrome transduction vestibular sense Weber’s law Wernicke’s aphasia Wilder Penfield’s research on the brain Wilhelm Wundt William James Yerkes/Dodson Arousal Law Zajonic’s “Mere Exposure Effect”
202. 203. 204. 205. 206. 207. 208. 209. 210.
Zimbardo’s prison experiment androgyny catharsis haptic memory algorithm vs. heuristic conductive and nerve deafness intrinsic vs. extrinsic motivation Flynn effect agonist vs. antagonist chemicals
Kings High School Summer Assignment Summary
Course Name: AP Spanish Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected] [email protected] (513) 494-4045 (google voice number- used for assignments or any general questions)
Assigned Readings: See packet
Other Assignments/Projects: See packet
Project Due Dates/Timeline: Presentational writing (Essay) – June 30th Interpersonal Writing, Presentational Speaking (e-mails and speaking assignment) – July 31st Reading assignments, multiple choice – 1st day of school
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?) Presentational writing, speaking and interpersonal writing will be assessed based on the AP scale as an introduction to how your AP work will be graded (much like the AP test). Multiple choice will be assessed based on correct answers. Reading summaries will be assessed based on completion
Additional Information: Contact me with any questions!!!!
Queridos estudiantes de español AP,
Bienvenidos a mi clase. Es mi placer enseñar este curso. Aquí tienen el primer de muchos regalos que les daré: las tareas del verano. ¡Olé! Háganlas con cuidado. Mándenmelas por e-mail de acuerdo con las fechas indicadas con cada tarea. Deben estar trabajando por todo el verano, no solamente durante la semana final antes de que empiece la escuela. Además de estas tareas, recomiendo que busquen oportunidades de usar el español durante el verano: escuchando música (la mega 97.7), viendo televisión o películas, leyendo libros o periódicos, y conversando con los hispanohablantes. Si quieren sugerencias, pregúntenme. Prepárense a comunicarse sólo en español en esta clase, porque no se permite el inglés. Diviértanse y descánsense este verano. ¡Nos vemos en agosto!
Atentamente,
[email protected] 398-8050 ext. 11075
FECHAS LÍMITES IMPORTANTES: EL 30 DE JUNIO – Presentational writing EL 31 DE JULIO – Informal writing, Speaking EL PRIMER DIA DE ESCUELA – Lecturas y preguntas, Comprensión auditiva, lecturas individuales
AP Spanish Summer assignments: informal writing FECHA LÍMITE:
El 31 DE JULIO
Escríbele a tu profesora 2 mensajes de correo electrónico (
[email protected]) sobre los temas que siguen. Tus mensajes deben incluir un saludo y una despedida al estilo de una carta típica. 1. Presentarte: Tu profesora no te conoce. Preséntate a ella y dile un poco acerca de ti mismo. Descríbete y menciona tus intereses y pasatiempos. Incluye información sobre tu familia. Explícale por qué tomas esta clase. Incluye una pregunta para la profesora
2.
Una respuesta a esta correspondencia: Vas a escribir una respuesta a un mensaje electrónico. Tu respuesta debe incluir un saludo y una despedida, y debe responder a todas las preguntas y peticiones del mensaje. En tu respuesta, debes pedir más información sobre algo mencionado en el mensaje. Debes responder de una manera formal. Introducción: Este mensaje es del Sr. Pedro Martínez, administrador del campamento de verano “Al aire libre” en Aguadilla, Puerto Rico. Has recibido el mensaje porque te gustaría trabajar allí el verano próximo. De: Pedro Martinez Asunto: Oportunidad de empleo Estimado(a) señor/señorita: Acabamos de recibir su solicitud en la que indica que le gustaría trabajar de consejero(a) en nuestro campamento este verano. Tenemos unos cuantos candidatos excelentes. Antes de escoger entre los candidatos, les pedimos a todos que nos manden más información. Hemos recibido un gran número de solicitudes y el proceso de selección va a ser muy competitivo. Debe mandarnos una carta en la que incluya: -Su experiencia de trabajo -Las cualidades que lo hacen un buen candidato -cualquier otra cosa que lo(la) distinga de los otros candidatos No deje de enviarnos las preguntas que tenga sobre el campamento, el proceso o cualquier otro asunto. Esperamos su respuesta antes del fin de julio. Le saluda cordialmente, Pedro Martínez, Administrador
Español AP Tareas del verano Presentational Writing LA FECHA LÍMITE: EL 30 DE JUNIO La siguiente pregunta se basa en las fuentes 1-3. Primero, lee el material. Después, organiza tus ideas. Debes utilizar información de cada fuente para apoyar tus ideas. Debes referirte a todas las fuente, identificándolas apropiadamente. El ensayo debe tener una extensión mínima de 200 palabras y no debe ser un mero resumen de las fuentes.
Pregunta: ¿Cuál ha sido el impacto de la tecnología en el mundo actual? _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________
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Español AP Tareas del verano Lecturas LA FECHA LÍMITE: EL PRIMER DÍA DE ESCUELA Lee los pasajes siguientes con cuidado y contesta las preguntas correspondientes de acuerdo con la lectura.
Viernes 11 de noviembre de 2005 | Publicado en edición impresa El concurso Rincón Gaucho en la Escuela, de LA NACION, Cargill y el Ministerio de Educación
La Argentina, contada por los chicos Juan Antonio Montaño, de San Juan, y Mercedes Soler, de Chubut, obtuvieron los dos primeros premios del certamen No son relatos aislados. Son historias que sostienen la identidad de los argentinos, en la mirada y la pluma de niños y adolescentes de todo el país. Esos relatos fueron premiados ayer en La Rural, al entregarse las distinciones del Concurso Rincón Gaucho en la Escuela, convocado por LA NACION con el apoyo de la empresa Cargill y el Ministerio de Educación de la Nación. Entre 1500 trabajos, realizados por chicos de todo el país, resultaron ganadores los alumnos Juan Antonio Montaño (13 años), de 7° año de la Escuela Onofre Illanes, de La Ciénaga, en Jáchal, San Juan, en la categoría de educación general básica (EGB), y Mercedes Constanza Soler (17 años), de la Escuela Agrotécnica N° 733, de Gaiman, Chubut, en polimodal. Recibieron el segundo premio, en cada categoría, Martín Mascareño, de la Escuela N° 442 de Colonia Acaraguá, de Alba Posse, Misiones, y Rita Griselda Nieva, de la Escuela Agrotécnica Amaicha del Valle, de Tucumán. La tercera distinción, en cada área, correspondió a Carolina Belén Sandoval, de la Escuela N° 4369, del paraje Bella Vista de Chicoana, Salta, y María Laura Bolontrade, del Instituto Baigorria de la localidad cordobesa de Italó. Los premios comprenden viajes a Puerto Madryn, Cataratas del Iguazú y Bariloche y donaciones para sus escuelas de 10.000, 7500 y 5000 pesos. Además, cada establecimiento recibió una biblioteca con 200 libros. También se entregaron 20 menciones, diez por cada nivel educativo. Y tanto los 26 chicos como los maestros que los acompañaron se fueron del acto con mochilas y portafolios repletos de libros.
Experiencia singular Para los chicos, la experiencia fue emocionante. Los jurados -Analía H. Testa, Fernando Sánchez Zinny, Oche Califa, Margarita Eggers Lan y Félix Sammartino- ponderaron historias diversas y llenas de riqueza, que habían sido preseleccionadas por un jurado. Margarita Eggers Lan, coordinadora de la Campaña Nacional de Lectura y jurado del concurso, destacó que convocatorias como el Rincón Gaucho reafirman la pasión por la lectura. "Estos relatos -dijo- son el reflejo de la vida de los que sostienen el territorio en toda su extensión. Leer estos textos significó conectarnos con la realidad de los lugares más alejados y solitarios, tomar conciencia de sus problemáticas y conocer la lucha de los chicos por preservar la historia." Eggers Lan dijo que en sus historias los chicos contaron lo que significó la pérdida del ferrocarril (que aisló a decenas de poblaciones en la década del 90), los oficios sacrificados del interior, las dificultades que traen las inundaciones o las sequías, entre otros temas que incluyen los mitos, las leyendas y los personajes que dan identidad a los lugares.
Por LA NACION, el secretario de Redacción Carlos Reymundo Roberts puso de relieve que el concurso reflejó "el espíritu de LA NACION, un diario con vocación nacional: esta fiesta expresa el país grande". Celebró que el diario sea "una ventana para que estos relatos lleguen a muchísima gente". El director de Relaciones Ins-titucionales de Cargill, Hugo Krajnc, destacó que el concurso de este año dio un salto en la calidad y en la cantidad de las historias y expresó su satisfacción porque participaron escuelas rurales de todo el país. También habló el narrador y humorista Luis Landriscina, quien reflexionó que "se educa con el ejemplo y se instruye con la inteligencia". Defendió la labor del maestro, "a quien se le exige hoy que haga en cuatro horas lo que los padres no hacemos en 20. Y pretendemos que también sea asistente social y componedor conyugal". El secretario del Consejo Federal de Educación, Domingo de Cara -un mendocino que fue durante muchos años maestro rural en su provincia-, afirmó que "la educación tiene que ser la gran empresa nacional", al referirse al proyecto de financiamiento educativo que impulsa la cartera conducida por Daniel Filmus. Los trabajos premiados serán reunidos en un libro que el Ministerio de Educación distribuirá en todas las escuelas rurales. Se incluirán los textos distinguidos este año y los del año pasado. La convocatoria fue la ocasión adecuada para rendir un homenaje a la memoria de Félix Coluccio.
Español AP Tareas del verano Presentational Speaking LA FECHA LÍMITE: EL 31 DE JULIO Vas a dar una presentación sobre tus opinions de un tema. Necesitas preparar un discurso en el que presentas una opinión y la apoyas. Debes tener una introducción y conclusión e información que apoya tu tesis. Necesitas hablar por 2 minutos. Cuando estás listo, llama mi número de Google Voice (513-494-4045) y deja tu mensaje. Antes de empezar tu presentación, es necesario que digas tu nombre primero.
Tema: ¿Debemos tener que asistir a la escuela durante todo el año? Explica tu punto de vista.
Español AP Tareas del verano Comprensión auditiva LA FECHA LÍMITE: EL PRIMER DÍA DE ESCUELA Necesitas hacer actividades para mejorar tu abilidad de escuchar. Necesitas encontrar unas maneras de oír la lengua española y escribe un resumen de un párrafo de lo que has hecho. La duración total de tus experiencias de escuchar deben igualar 2 horas o más. Unas opciones son: -mirar una película en español (subtítulos en español, claro) -escuchar la radio 97.7 -mirar videos de noticias en estos sitios web (u otros) www.cnnespañol.com http://www.bbc.co.uk/mundo www.univision.com
Español AP Tareas del verano Lecturas individuales LA FECHA LÍMITE: EL PRIMER DÍA DE ESCUELA Necesitas hacer actividades para mejorar tu abilidad de leer. Necesitas encontrar unos artículos de periódicos y escribe un párrafo de resumen sobre lo que has leído para cada artículo (3 párrafos en total para esta sección). Unas opciones son: www.cnnespañol.com http://www.bbc.co.uk/mundo www.univision.com elpais.com www.lanacion.com/ar
Kings High School Summer Assignment Summary
Course Name: AP Digital Media Arts- 2:D Design Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected] Assigned Readings: none
Other Assignments/Projects: Sketchbook Assignment
Project Due Dates/Timeline:
Weekly Summer Requirement- 1 photo assignment, 1 required sketchbook assignment, 1 optional sketchbook assignment.
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?) Put the 110 photos on a flash drive, hard drive formatted for Mac, or burn onto a CD-R and bring your sketchbook and photos to class the first day. The summer assignment is the first two project grades of the 9 weeks.
Additional Information:
Summer Assignment 2015 AP DIGITAL MEDIA ARTS ACADEMY II-‐ 2:D Design Mrs. Shields-‐
[email protected] “Change through Creativity” Calendar May 28-‐ Last Day of School 14-‐15 August 19-‐ First Day of School 15-‐16 Week 1 June 1-‐ June 7 Week 2 June 8-‐ June 14 Week 3 June 15-‐ June 21 Week 4 June 22-‐ June 28 Week 5 June 29-‐ July 5 Week 6 July 6-‐ July 12
Week 7 July 13-‐ July 19 Week 8 July 20-‐ July 26 Week 9 July 27-‐ Aug 2 Week 10 Aug 3-‐ Aug 9 Week 11 Aug 10-‐ Aug 16
Purpose Your sketchbook is a process-‐oriented tool for thumbnailing, drawing, doodling, writing, documenting, etc. Every page does not need to be perfect and is more about learning, creativity, and exploration. Before you begin, look into the life Dan Eldon and the sketchbooks he began at the age of 15 to get a vision for your summer. Watch the short videos at http://www.youtube.com/watch?v=vKF6KkXjrF4 http://www.youtube.com/watch?v=duUTHCyzY8I View his sketchbooks at http://www.daneldon.org/journals/index.html Think of your sketchbook as an extension of your personality as well as a place to continue improving your artistic skills. In it you should draw, paint, write, collage, attach copies of articles from the Internet or magazines, and paste up pictures or scraps of paper or whatever you find interesting. Your sketchbook should make you look harder at things, use your imagination, and explore ideas and techniques that interest, challenge, and stimulate you. You will find that practice does indeed pay off and your confidence in your abilities will increase proportionally to the amount of effort and care you put into your work. Take a camera and your sketchbook with you wherever you go this summer, and don’t forget a pencil! Your sketchbook is a work in progress; you will bring it to class everyday and work on it at least once a week for the rest of the year. The sketchbook will also be used for required research and planning for class projects. Weekly Summer Requirement-‐ 1 photo assignment, 1 required sketchbook assignment, 1 optional sketchbook assignment. The first week is about preparing your sketchbook, so both sketchbook assignments are required. The following weeks, you will need to pick one assignment from the list of required assignments and one from the list of optional assignments. You will also complete one photography assignment. The theme for each week focuses on a different principle or element of design. You’ll need to take many more photos than that in order to find those 10 strong images each week. Put the 110 photos on Google Drive, a flash drive, hard drive formatted for Mac, or burn onto a CD-‐R and bring your sketchbook and photos to class the first day.
Supplies Needed-‐ You should be able to do most work in your sketchbook using materials you have around your house already: photographs, ink pens, markers, sharpies, pencils, chalk, scissors, duct tape, stamps, stickers, clippings you collect and things you find, scraps and trash. You can even make your own paint by using concentrated coffee, tea, kool-‐aid packets; etc. Other materials you might collect include: Glue sticks Double sided tape Blue Painters tape (for borders that can be pulled off later, like when using gesso) Exacto Knife-‐ allows you to cut into the center of pages Soft Drawing pencils (4b, 6b, ebony etc.) Cheap tray of watercolors Paint Markers Colored pencils (Prismacolors are by far the best, but expensive) Acrylic Paint-‐ when you need paint that is opaque Gesso-‐ if you want a thicker “canvas” to paint on, prime your paper with this Paint Brushes-‐ Harder ones for acrylics, soft for watercolors EVERY SKETCHBOOK ASSIGNMENT SHOULD REFLECT AT LEAST 1 HOUR WORTH OF WORK AT THE MINIMUM!!! YOU SHOULD ALSO SPEND AT LEAST 1 HOUR A WEEK ON PHOTOGRAPHY!!!! First Week Required Sketchbook Assignments: Week 1-‐ Make It Yours-‐ Part I http://www.waynejiang.com/sketchbooks/ https://www.flickr.com/photos/dannygregory/sets/72157634829961929/ https://www.pinterest.com/kellyashields/dma-‐sketchbooks/ Look at the sketchbooks of Wayne Jiang and collected by Danny Gregory as well as the DMA Sketchbook Pinterest Board. A blank white, perfect sketchbook can be very intimidating. You may feel like you don’t want to mess it up, and that is exactly what will keep you from being creative and using the sketchbook the way you should. Think of this as creative destruction dedicated to perfectionists everywhere. In order to be valuable, the sketchbook has to hold some personal meaning for you. I want you to prepare at least 25 pages, skipping around throughout the book, in a variety of creative ways. Ways like paint washes on the pages, collaging, writing, cutting holes in some of the pages, and creating patterns. This is just to alter the pages before you begin any sketchbook assignments/observational drawing. If you are stuck, use the optional list below to prepare pages in your sketchbook using your own individual flare. When using water media or cutting into a page, be sure to protect the other pages by inserting a rigid surface under the page you are working on. Be sure to let the page dry before you move on or close the book. A hairdryer can speed up the process. Each page can now be “used” and hopefully the white page syndrome of the sketchbook will fall by the wayside. Remember you are not creating finished works, but creating interesting surfaces to draw onto later. The process should not take very long and the pages should not be overwhelming. The goal is to have cool surfaces for the basis of later sketchbook assignments. This is an OPTIONAL list of ideas of ways to prepare the pages: 1. Cover the page with writing about your first day and summer. 2. Collage random pieces of paper on the page. 3. Pour, spill, drip, spit, and fling your coffee on the page. 4. Doodle on the page with a pen. 5. Cut strips of colored paper and glue to the surface.
6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32.
Create a two-‐color gradient wash on the page. Collage text on the page and wash over the page to subdue the texture. Scribble on the page with pencil or chalk; blend with a paper towel to create a value. Create a one-‐color wash on the page. Poke, cut or hole-‐punch holes in the page. Draw a childlike drawing on the page with crayon and paint over it. Create a repetitive pattern on the page using a geometric shape. Eat some colorful candy and lick the page. Cover the page using only office supplies. Find a simple object and cover the page with simple contour drawings of it. Using muted colors paint a page. Create a texture on the page with paint by lifting paint with a towel. Give your book to someone and have them treat the surface of a page Tear a page out and re-‐collage onto another page. Find a leaf outside. Represent the leaf in some way on the page. Add a page extension thereby creating a centerfold page. Create a pop-‐up image. Alter the pages by cutting; be sure to protect the other pages. Make handprints or fingerprints. Trace your hand and the hands of 10 of your friends. Dip something in paint and throw it or drop it on the page. Staple a page repeatedly Document your dinner.. Literally use your food to make marks Drip something, then fold the paper in half and unfold Sew on the page. Cover the page with random strips of newspaper Take rubbings of cool textures with with pencil or crayon. Draw on the edges of the sketchbook while it is closed.
Week 1-‐ Make It Yours-‐ Part II Design the Cover-‐ Front and Back The subject of your cover is up to you. Colleges often want to see your sketchbook in your portfolio, so make sure the cover is something you are proud of and reflects you as an artist. The textured surface of the sketchbook will be a challenge, find a creative solution. Use materials that will not rub away or fall off. 10 Required Sketchbook Assignments (complete all in any order) 1. Fill the inside of the front cover with illustrated quotations that are meaningful to you; a “page of good thoughts”. These can be song lyrics, passages from books, famous speeches, etc. Be thoughtful about the materials and colors you use to write the words. If you find the quote on paper or something 2-‐D that you can collage onto the surface, you may do so. Think about how the way you write the text relates to the meaning of the quote. Let the text become a work of art. Fill the page! You can add sketches and doodles among the text. 2. Create or find an envelope that will fit on the inside back cover. You will use this to hold things you find, work that inspires you, and stuff you think you might use someday. Attach it to the inside back cover of your sketchbook securely. Collage the surface of the envelope with images you find in magazines, books, and other printed material and fill it with at least 10 things that inspire you. 3. Print out a photograph the size of a page in your sketchbook or draw or paint an image on paper in any medium. Cut your pictures into at least 50 equal squares. Rearrange the squares into a new
design in your sketchbook that is the same shape as the original image (reassemble the grid). Glue them to a page in your sketchbook. 4. Find the lyrics to a song that causes some sort of emotional response in you every time you hear it. Recreate that emotion in a work of art. Illustrate the nature and feeling of the song while you feature the text of the lyrics. Materials are up to you but you must include the lyrics. 5. Use old photos of you and your family (or print out copies), Polaroid’s, negatives, etc., to create a page that speaks about your past. The statement that you make about your past is your choice, but be sure to communicate that statement clearly. Materials are up to you, add words if necessary. 6. “I hate that!” What makes you angry and why? What injustice do you feel passionate about? What big world problems have you personally had to face or live through? What would you change if you could? What automatically gets you fired up? Create a work of art in your sketchbook that reflects your answers to those questions. Even better, create this page when you are really angry. Materials are up to you. 7. Study the paper cuts of Henri Matisse. Cut images of your choice out of cut colored paper and glue into your sketchbook. The subject is your choice, but the image should be more simplified and graphic in nature. 8. Where is Waldo? Take one sketchbook page and fill it in with miniature doodles of everything that relates to you and your life… food, art, sports, music, gum, family pets, school, coffee, (okay, that’s me) … etc and endless… The page must be filled, no blank space and all items are reduced to the same or nearly same size. 9. Take a page from the notebook for another class and attach it to a page of your sketchbook. Create a drawing in color over the note. Subject and materials are up to you, but you must use color. 10. Draw a blind contour drawing of your hand holding something. Pick a point on your hand to starts. When your eye slowly begins to move, so should your hand holding the pencil. At no time should you look at your hand as it draws. Try drawing the entire contour of the object without lifting your pencil form the paper. (This drawing isn’t supposed to look “good.”) Blind contour drawing is an excellent way to train the eye to draw what it really sees rather than what it thinks it sees. List of Optional Sketchbook Assignments (choose 10) 1. Find an old drawing you created as a little child and attach it to a page in your sketchbook. Draw on top of it turn it into a work of art that speaks to your growth as an artist. 2. Create a mixed media collage and then draw a figure over the collage. Make sure the media does not overwhelm the drawing. Focus on strong weighted line, value, and contrast to pop the image. Draw from life. 3. My Bad Habits-‐ Fill a page with drawings that illustrate the things you do that drive you or others crazy. 4. Sketch 5 line drawings of different objects, one on top of each other, each in a different color. Draw from life. 5. Set up a still life of a breakfast setting. Example: bowl, spoon, cereal, eggs, bacon, etc. Draw in color, work large, go off the page and focus on composition. 6. Create a trompe-‐l'œil still life (yeah, look it up) using candy. Peppermint, bubblegum, suckers, etc.. Work in color, create a strong composition, and focus on trying so realistic that you trick the viewer into thinking the candy is real. 7. Create a shaded drawing of the distorted reflection you see in a shiny object. 8. Draw your favorite fast food with the wrapper included, and product showing.
9. Create a shaded drawing of a close up of 3-‐5 pieces of popped popcorn. 10. Sketch your computer from an angle you do not usually view it, cords and all. 11. Sketch a magnifying glass and what it is magnifying as well as the space around it that is unmagnified 12. Draw something transparent, like eyeglasses, drinking glass, vase, etc. Try to use a drawing technique that describes that transparent quality. 13. Find the messiest drawer in your house. Remove the drawer and draw from a bird’s eye view. Enlarge the objects and go off the page. Create a focal point with one object. 14. Draw a chair. Repeat the drawing all over the pager to create an interesting composition. Use contour line. When you are done use a sharpie marker to fill in some shapes creating a strong design using positive and negative space. 15. Draw a picture of your choice. Fold your picture into a fan. Cut little shapes out of the fan (like cutting snowflakes). Open the picture up and glue into your sketchbook, decide what is necessary to make the drawing into a work of art. 16. Set up your favorite board game from childhood in mid-‐game. Draw a close-‐up of the various pieces from a game, the board, box, etc. 17. Make contour drawings of insects, like a bug collection... (or dead flies off the window sill) 18. Sketch a series of pencil drawing of the skeletons of small animal or birds. 19. Draw a bubble in full color. 20. Sketch five different views of the same object. 21. Draw a collection of cans from the pantry or shampoo bottles from the shower. 22. Draw something that you think is not pretty. 23. Draw 3 objects that are unlikely to be together. 24. Draw yourself in a mirror using a strong light on one side or angle of your face. Focusing on the shapes of the shadows of your facial features-‐ excellent shading practice. 25. Let your mother or father decide what you draw. 26. Create a fully shaded drawing of a pile of dishes sitting in the sink. 27. Create a full value drawing of an object of your choice in pen or marker. Draw only letters of the alphabet or even words to create dark values by overlapping letters and using larger sizes.. For lighter values, the letters will be farther apart and maybe smaller. Think pointillism but with letters instead of dots. 28. Illustrate your favorite poem as if it was a page in a book. 29. Draw a large jar filled up with something (candy, toys, rock, shells etc) 30. Draw an object melting, making observations from life. 31. Draw the letters of a word into the shape of the object it describes, such as the letters in the word apple in the shape of an apple. Now use a drawing of the object to create the letters to create the word, ex. Small apples spelling out the word apple. (It is different, think about it…) 32. Create a drawing of the interior of your bathroom. Focus on angles and lines. Use contour line (look it up) and focus on composition. 33. Crumple a brown lunch bag and make a full value pencil drawing of it. 34. Draw studies of your hands. Try a variety of positions and overlap them. 35. Make 5-‐7 gesture drawings (look it up) of people, things, or animals in motion. 36. Draw several studies of your eyes, nose, and mouth in a variety of positions and poses. Use a mirror. 37. Draw the inside of a mechanical object. 38. Sit outside and study the forms, shapes, lines and textures and colors of trees. 39. Draw animals from life (if you can't see them live, use a reference book.) 40. Draw a plant with as much detail as possible using line contour and line variation. 41. White on white. Arrange several white eggs in white fabric and create a realistic, fully shaded pencil drawing. 42. Arrange a still life of your favorite childhood toys and draw them with shading.
43. Draw bottles and cans. Have the cans crunched up for lots of detail and contrast to the bottles' smoothness. 44. Create a drawing of the messiest section of your room. Think about composition and balance. Make sure you have a focal point. Use contour line. 45. Use a brush and coffee to create a simplistic painting of the shadows of a figure. (Do not work too wet or the paper will wrinkle). Once dry, come back in and emphasize line, shape and value with a dark contrasting media. Push darkness in the back in an exaggerated way to push the figure forward. Be expressive and work from life. 46. Ask your favorite person to model for you. Draw their portrait from life. 47. Using color (no black) and light (white) create a Impressionist style landscape drawing or painting-‐ remembering to optically mix colors. Draw a landscape from observation. Remember to show foreground, middle ground, and background. 48. Sketch a set of keys and a couple other items from your pocket or purse. 49. Transform an object from a realistic view to a Cubist representation (using several different view points within the same frame) in a progression of 4 steps. 50. Try several studies of DRAPERY-‐ a shirt over a chair, a sheet around a banister, clothing hung from hooks or chair backs, etc., create lots of wrinkles; focusing on shapes of folds and creases and the shadows that are created by them. 51. Advanced drapery-‐ Draw a full color still life with one to three pieces of patterned cloth in it. Show color and patterns. 52. Design a tattoo for someone particular-‐ a celebrity; teacher; parent: etc. 53. Draw your greatest fear; your biggest hope; or your dream for your future. 54. Draw yourself in a mood. In a mirror, exaggerate your expression and focus on the changes that expression creates in your features. 55. Illustrate words such as up, upside down, apart, crazy, sane... so that the way the word is illustrated reflects the words meaning. 56. Use the values and colors of found images (from magazines, newspapers, worksheets, etc.) that you cut up to create a paper mosaic. Your work will be even more meaningful if the found objects you use relate to the message or story that you tell with the image you create. For instance, you could use images of technology to create a mosaic of a stressed out businessman crumpled over and about to snap under the strain of his life. 57. Write your name various ways... In white, illegibly, backward, etc. Experiment. Work against your better judgment. 58. Press leaves and other found things. Attach them all to one page in your sketchbook. 59. Write one word over and over. 60. In the 80’s, everyone had sticker books. Collect stickers and place them on one page in your sketchbook. Stickers from fruit, Kroger’s checkout, the doctor, stamps, etc. 61. Trace the things in your pockets, let them overlap 62. Cover the page with things that are all the same color 63. Ask a friend to start a drawing and you finish it 64. Draw with glue. 65. Document a boring event in detail 66. Attach a photo of yourself and deface it 67. Draw with abnormal tools like fork, comb, twist ties, dipped in paint 68. If you were forced to hold a sign on the side of the rode, what would you want it to say? 69. Draw with the pen in your mouth 70. Create a negative space painting or drawing.
11 Photography Assignments For the AP 2-‐Design Exam, you will be asked submit a portfolio that demonstrates mastery of 2-‐D Design through any two-‐dimensional medium or process, including, but not limited to, graphic design,
digital imaging, photography, collage, fabric design, weaving, illustration, painting, and printmaking. Your work must demonstrate that you are thoughtfully applying the principles & elements of design while composing your art. With that in mind, your summer assignment in photography is to take at least 110 strong photographs that you will be able to use when your return to school. They’re so many more interesting photographic opportunities for you in the summer than available during a school day at KHS. A list of ideas is included to help you think creatively if you aren’t sure what to shoot. Each week you will have a different theme based on the principles and elements of design to guide the photos you take. You should look for the principles and elements of design in your photography, but the subject is up to you. Elements of Design 1. Line-‐ is a mark on a surface that describes a shape or outline. It can create texture and can be thick and thin. Types of line can include actual, implied, vertical, horizontal, diagonal and contour lines. All lines have direction -‐ Horizontal, Vertical or Oblique. Horizontal suggests calmness, stability and tranquility. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action 10 photos that feature line as the subject. 2. Shape/ Form & Space-‐ Shape is a 2-‐dimensional line with no form or thickness. Shapes are flat and can be grouped into two categories, geometric and organic. Form is a 3-‐dimensional object having volume and thickness. It is the illusion of a 3-‐D effect that can be implied with the use of light and shading techniques. Form can be viewed from many angles. Space is the emptiness or area between, around, above, below, or contained within objects. Shapes and forms are defined by the space around and within them, just as spaces are defined by the shapes and forms around and within them. 10 photos that show variety or repetition of geometric, organic, and freeform shapes & forms. 3. Value-‐ is the degree of light and dark in a design. It is the contrast between black and white and all the tones in between. Value can be used with color as well as black and white. Contrast is the extreme changes between values. 10 photos that would be strong black and white images, featuring black to white with shades of grey. 4. Texture-‐ is about surface quality either tactile or visual. Texture can be real or implied by different uses of media. It is the degree of roughness or smoothness in objects. 10 photos that feature different textures. –rough, smooth, etc. 5. Color-‐ refers to specific hues and has 3 properties, Chroma, Intensity and Value. The color wheel is a way of showing the chromatic scale in a circle using all the colors made with the primary triad. Complimentary pairs can produce dull and neutral color. Black and white can be added to produce tints (add white), shades (add black) and tones (add gray). 10 photos where color is the emphasis and a color scheme is apparent. Principles of Design The principles of design are the recipe for a good work of art. The principles combine the elements to create an aesthetic placement of things that will produce a good design.
6. Emphasis / Dominance-‐ Center of interest is an area that first attracts attention in a composition. This area is more important when compared to the other objects or elements in a composition. This can be by contrast of values, more colors, and placement in the format. 10 photos that use the elements to attract the viewers attention to the center of interest that is located according to the Rule of Thirds, 7. Balance -‐ is a feeling of visual equality in shape, form, value, color, etc. Balance can be symmetrical or evenly balanced or asymmetrical and un-‐evenly balanced. Objects, values, colors, textures, shapes, forms, etc., can be used in creating a balance in a composition. 10 photos that feature asymmetric or symmetrical balance. 8. Unity/ Harmony vs Variety-‐ Unity brings together a composition with similar units. If your composition was using wavy lines and organic shapes you would stay with those types of lines and not put in just one geometric shape. Variety is the use of several elements of design to hold the viewer’s attention and to guide the viewer’s eye through the artwork 10 photos that either have a unifying or repeating element, or show a variety of different elements. 9. Contrast -‐ offers some change in value creating a visual discord in a composition. Contrast shows the difference between shapes and can be used as a background to bring objects out and forward in a design. It can also be used to create an area of emphasis. 10 photos that feature a strong difference – black/ white, rough/ smooth, bright/dull. 10. Movement Rhythm/ Repetition/ Pattern – Movement is a visual flow through the composition. It can be the suggestion of motion in a design as you move from object to object by way of placement and position. Directional movement can be created with a value pattern. It is with the placement of dark and light areas that you can move your attention through the format. Rhythm is a movement in which some elements recurs regularly. Like a dance it will have a flow of objects that will seem to be like the beat of music. 10 photos that feature pattern or repetition that move the viewers eye throughout the composition. 11. Figure/ Ground relationships-‐ The relationship between figure and ground is one of the most important relationships in design. In simplest terms the figure is what you notice and the ground is everything else. The figure always defines the ground and the ground defines the figure. They are inseparable -‐-‐ you can not have one without the other. 10 Photos that feature interesting positive and negative shapes. Photography ideas. Use portraiture to communicate emotion. Find a model willing to get into character for your photos. Consider how lighting, props, setting, and costume reinforce the emotion. Unusual perspective-‐ get the camera into a position that is not a typical way that we view things. Photograph collections for repetition. For example, piles of pillows, groups of shoes, fruit in the produce departments, etc. Fabrics are great ways to focus on pattern. Photograph something so close-‐up it becomes an abstraction.
Photograph the unfamiliar, such as the inner workings of a machine, insects, etc, Man made vs. natural in the same image. Mess with scale. Make object that are less than an inch tall seem big. Negative Space; look at the air around the object for interesting shapes. Extreme light source, light your photos yourself if nature isn’t cooperating. Reflective surfaces offer great distorted images. One of these things are not like the other. Look for repetition where one thing isn’t cooperating. The figure is an extremely expressive image. Take advantage of the poses of athletes, dancers, gymnasts, skaters, etc. Emotions-‐ if you can cause the viewer to respond emotionally to your image, you have a strong image. Photograph buildings and man-‐made structures with character-‐ bridges-‐ the interior of old churches or old theaters. Take a fieldtrip to the zoo. Get out of town-‐ Take your camera on vacation and get photos of things you wouldn’t see around here. Go hunt for beautiful landscapes Shadows-‐ Best early morning, late evening, when the sun is low in the sky. Interactions-‐ two or more people interacting with each other. People watching-‐ go where people are and be a photojournalist. Record events as they occur in photos. Unusual light and shadow-‐ place the light from different angles than "normal" –For example, in a portrait, lighting from under the chin, behind the head, etc. A single object of choice photographed from several views with significantly different light sources in each view. Focus on the mood that a specific environment creates already and reinforce that mood with the staging of your composition. You notice how lonely it seems looking down a particular hallway. How do you position your model and select what you will focus on to make it even more of a lonely place? Go Vintage-‐ Stacks of shoes, Old hats, Spools of thread, goodwill finds. Celebrate the past. Photograph object suspended in colored dish detergent or fill bottles with colored water lighted from behind. Shoot photos looking from an interior space to an exterior space (ie: a doorway)
Explore metallic surfaces. How do you shoot without getting the camera in the photo? Or do you want to do that deliberately? Look down! Forest floor, parking lot gravel, grass blades. What are you missing under your feet? Can the contents of a trash-‐can be beautiful? Textures and patterns can be great resources for layered Photoshop images and designs. Use proportion to reinforce depth or create a surreal image by manipulating the scale of objects in an image.
Kings High School Summer Assignment Summary
Course Name: AP STUDIO ART: DRAWING Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected]
Assigned Readings: n/a
Other Assignments/Projects: 3 projects 15 sketches in a sketchbook (see handout for details)
Project Due Dates/Timeline:
ALL SUMMER WORK DUE THE FIRST DAY OF SCHOOL
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?)
A general grading rubric will be used for projects and sketchbook assignments will be issued credit for completion.
Additional Information:
SUMMER ASSIGNMENTS
AP STUDIO ART: DRAWING Mrs. Guilfoyle
[email protected]
SUMMER ASSIGNMENTS: You will complete 3 projects over the summer as your AP Studio Art class preparation and create a minimum of 15 pages in your sketchbook. Your summer assignment involves a time commitment of about 5 hours a week. They are vital to the development of your AP Portfolio. For more details about AP Studio Art Requirements please see: (or google: ‘AP Drawing portfolio examples’ ) http://www.collegeboard.com/student/testing/ap/sub_studioart.html?studioart http://www.collegeboard.com/ap/studioart/rubrics00/studio_breadth_drawing.html
Part 1: Three Complete Projects (choose 3 from the following four categories) These assignments will be due the first day of class. You will receive a major grade for your summer work with each piece being worth 100 points. It is your choice as to which three assignments you complete from the list below. Pieces should be between 8”x 10” and 18x24” in size. You will be required to create THREE COMPLETE PROJECTS: one graphite pencil shading composition one colored pencil composition one ink/pen or design marker composition These pieces are work for the “Breadth” section of your AP portfolio. You will need 12 strong Breadth pieces in your portfolio. The Breadth section of the Drawing portfolio MUST include observational drawing. Choice #1 - PORTRAIT: CONCEPTS for DRAWING: All pencil and colored pencil drawings must use a 10 point value scale with a wide range of strong darks and lights. Strong lighting can be used to achieve this dramatic effect.
Self-portrait with at least 5 distinct changes in expression. Draw the person using an arrangement of drawings on one page that range from the whole body to blow-ups of small details. Draw from unusual angles, so that significant changes in form take place due to foreshortening. Experiment with Lighting: hold a flashlight to create dramatic shading- great contrasts in light or dark. Integrate a particular person’s face into a pattern or design. Graph sections of the portrait and color or shade only certain sections.
Draw a portrait using only directional (all strokes going in the same direction.) or vertical strokes. See the work of Renaissance artists like Michelangelo or Leonardo DaVinci. Use the portrait to make a comment on society by including appropriate background or other figures.
Choice #2 - STILL LIFE CHOICES:
TOOLS & HARDWARE. Make a rendering of tools and hardware. Arrange the objects to create an engaging composition. Stress the mechanical and artificial qualities of the objects. Add lighting to create maximum contrast and high shine areas. Explore the smallest detail of each object. LIQUID AS DESIGN. Taking Motivation from any liquid form, create a composition, which demonstrates the scientific characteristics of liquid; flowing, dripping, puddles, pouring. Be sure to make the liquid element dominate the composition. Do not allow containers or other items to crowd the setting. SHINING STILL LIFE, with emphasis on REFLECTION. Choose five to seven objects, of which at least two of them have a highly polished surface. The relationship among objects should be a serious consideration in this drawing. The surface treatment of each object will appear stronger if the objects chosen have different surface textures. BOTTLE & CONTAINERS, with emphasis on Value. Group several different sizes and heights of bottles and containers on a shelf or counter top. Draw them as a congregation of people. Give each one of them equal amounts of attention. Convey volume by using a complete range of tonal changes from deep-deep black up to the pure whiteness of the paper. Place one or two of them in front of the others to give a sense of space.
Choice # 3 - LANDSCAPE/ VEGETATION/ NATURE CHOICES:
DRAWING OF VEGETATION. This drawing should make a close investigation of the structure of vegetation. Color variation is an important element to stress. Placement on the page and rendering are also principles to be employed. POTTED PLANT or GARDEN PLANT: Make a detailed drawing of a plant (living or artificial). Grade the tonal differences between the leaves, which are above or on top of others. Make it obvious that some parts of the plant are in shadows created by those parts which are receiving more direct light. This drawing must touch three edges of the page. LANDSCAPE SERIES- Same Spot-Different Time. Check out Claude Monet’s haystacks at: http://www.puc-rio.br/wm/paint/auth/monet/haystacks/ Why did Monet literally paint the same haystacks over and over again? He even begged the farmer who badly wanted to use the hay, not to move them. To under understand the beauty of color, reflection, and light, get up early and examine the colors of one outdoor object. It can be a shed, a compost pile, some bushes, Examine that same thing three hours later, then three hours later. Something that appeared
black in the morning then can look purple, then blue, then gold. These changes can occur all in the same day, depending upon weather and seasonal conditions. Create series of at least three drawings of the same scene at different times of the day depicting the actual colors that moment. Choice # 4 - ARCHITECTURE/ INTERIOR & EXTERIOR DESIGN/ PERSPECTIVE:
STREET SCENE: This drawing should contain at least 8-10 buildings in a receding perspective. The illusion of moving back into space is the goal of this assignment. Use one or two point perspective variables as guidelines to realistically align the buildings on the page. This drawing must be done on site. INTERIOR SPACE. Place yourself in the corner of an interior space. Create a composition which is made up of the things you find within the limited area of a room or hallway. Demonstrate the principles of balance and spatial movement within this area
Part 2 - SKETCHBOOK: Work in a personal sketchbook/visual journal/altered book. This portion of the sketchbook will be graded on the depth and quality of thinking. You may use any media or mixed media of your choice. You are encouraged to explore media, techniques and approaches you have not used before. You will need to create a minimum of 15 pages in your sketchbook during our summer break. You will need to create one page dedicated to each of the following words: (first 10 sketches you will submit)
Discarded Dream Trapped Wounded Gratitude Beauty Escape Stressed Joy Love
You will need to create a completed thought process in sketches and words to illustrate what these words mean to you. The remainder of the required pages (5 remaining) will be dedicated to you exploring ideas for you concentration. (You will need 12 strong Concentration pieces in your portfolio in May).
Sketchbook: Spend time ever day working in your sketchbook. Make it fun! Design the cover and allow for any and all spontaneous art activity. Use this book to sketch, paint, doodle, collage, collect objects and take pictures to generate visual ideas and/or write journal entries, make critical and informed decisions about your progress and jot down your reflections on the outcome. Make sketches of your ideas, which may be further developed into formal drawings. Most of all draw, draw, draw from life! Sketchbook practice is an ongoing process that informs your decision making and helps you develop ideas for future art works. Look at http://www.studentartguide.com/articles/art-sketchbook-ideas For 20 creative sketchbook examples to inspire high school fine art students. Concentration Section Possibilities: A concentration is a body of related work based on an individual’s interest in a particular idea expressed visually. It focuses on a process of investigation, growth, and discovery. The concentration should be unified by an underlying idea that has visual coherence. Each work should flow from the idea attempted or tested in the work presented before. Students should:
Explore a personal, central interest as intensively as possible
Be free to work with any idea in any medium
Focus on a process of personal investigation, growth, and discovery
Show the development of a visual language appropriate for your subject
Perhaps start by referencing the work of a professional or historically important artist, or a historical period. Think about what art you like to view. This might lead to a concentration idea.
Evaluators are interested in the work presented and in visual evidence that the student has thought out and pursued a personal, particular project or way of working and thinking. Inventiveness and risk taking are prized by the evaluators. Twelve pieces are expected for the concentration portion of the AP portfolio. A short written portion is included to describe your concentration. Questions to address in the writing: What is the central idea of your concentration?
How does your work in your concentration demonstrate the exploration of your idea? (refer to specific slides as examples)
A concentration could be:
A group of independent works that share a single theme
Subject matter as the basis – showing development of a visual language appropriate for that theme
Sequential work, like a series of studies followed by more complete works
Sometimes a concentration grows out of a teacher assignment, leading the student to more in-depth investigation. Examples of Sample Concentration Topics:
A series of representational interpretations of nature that evolve into abstraction
An exploration of pattern and design found in nature that evolve into abstraction
A series of expressive landscapes based on personal experience of a particular place
Abstractions developed from cells and other microscopic images
A series of self-portraits with a specific theme
Interpretive self-portraiture and figure studies that emphasize exaggeration and distortion
A personal or family history communicated through content and style of still-life images
A project that explores interior or exterior architectural space, emphasizing principles of perspective, structure, ambiance created by light, etc…
A figurative project combining animal and human subjects – drawings, studies, and completed works
An interpretive study of literary characters in which mixed media, color and form are explored
The use of multiple images to create compositions that reflect narrative or psychological events
A series of self-portraits exploring one’s relationship to the past, present, and future
Investigations of self through self-portraiture
Portraits of friends expressing the personality of each person using symbolism
Series of close-up drawings of familiar objects using extreme points of view
Investigation of the importance of family using historical objects as metaphor
Modern interpretations of familiar fairy tales, incorporating social issues
Visual statements of social issues that are important to a teenager
Investigation of the metaphor of window in personal art work
Kings High School Summer Assignment Summary
Course Name: AP American History Mr. Stevens
[email protected] [email protected]
Assigned Readings: See Attachment for Information
Other Assignments/Projects: See Attachment for Information
Project Due Dates/Timeline: All assignments are due the first day of class!
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?) Work will be assessed as school homework and will be averaged into the students first quarter grade.
Additional Information:
APUSH Summer Work _________________________________________________________________________________ Chapters One, Two, Three and Four thematic questions Directions: Answers should be typed (double spaced), numbered in correct order of questions; and be in paragraph format (with important facts, words, phrases underlined within the paragraphs) 1.
Explain how and why people moved within the Americas (before European contact) and to and within the Americas (after contact and colonization). Important points to consider in your answer include: development of societies in different regions due to resources (or lack of resources); examples of how different cultural regions adapted to their environment; role that the cultivation and harvesting of maze played in the development of certain cultural regions; specific examples of social diversification in different regions of North America.
2.
Explain how imperial competition and the exchange of commodities across both sides of the Atlantic Ocean influenced the origins and patterns of development of North American societies in the colonial period. Important points to consider in your answer include: Role of the Columbian Exchange; influence of Spanish and Portuguese exploration in the Americas; introduction of new crops and livestock by the Spanish on Native American culture; Role that new crops from the Americas to Europe contributed to European population growth; shift from an European economic system based upon feudalism to capitalism as a result of exploration.
3.
Compare the cultural values and attitudes of different European, African American, and native peoples in the colonial period and explain how contact affected intergroup relationships and conflicts. Important points to consider are: relationship among Native Americans, Africans and Europeans; relationship between the Spanish/Portuguese and the Native Americans; notion of “white superiority” towards Native Americans and Africans; examples of how Native Americans attempted to maintain their political and cultural autonomy in the face of European challenges.
4.
Explain how free and forced migration to and within different parts of North America caused regional development, cultural diversity and blending, and political and social conflicts through the nineteenth century. Important points to consider are: English colonization patterns/characteristics; role of tobacco; role of slave labor along the Atlantic coast and the West Indies.
5.
Explain the development of labor systems such as slavery, indentured servitude, and free labor from the colonial period through the end of the eighteenth century. Important points to consider are: Encomienda System, Black Legend; role of slave labor in developing the economies along the Atlantic coast and West Indies.
6.
Explain how the introduction of new plants, animals, and technologies altered the natural environment of North America and affected interactions among various groups in the colonial period. Important points to consider are: role new crops and livestock played in the development of different living arrangements and patterns of living in various regions on North America…permanent settlements, huntergatherer, semi-permanent settlements; competition over resources between Europeans rivals led to conflict within and between North American colonial possessions and American Indians.
7.
Analyze the factors behind competition, cooperation, and conflict among different societies and social groups in North America during the colonial period. Important points to consider: how European attempts to change American Indian beliefs and world-views led to American Indian resistance and conflict; role American Indians played in the rivalry between various European rivals; environmental and geographical variations, including climate and natural resources, contributed to regional differences in the British colonies.
8.
Analyze how competing conceptions of national identity were expressed in the development of political institutions an cultural values during the late colonial period. Important points to consider: British strengthening of its imperial control over the colonies; how the British attempted to integrate its colonies into a coherent, hierarchical imperial structure and pursue mercantilist economic aims; attempts of colonial resistance and conflicts with American Indians.
9.
Explain how patterns of exchanging commodities, peoples, diseases, and ideas around the “Atlantic World” developed after European contact and shaped North American colonial-era societies. Important points to consider: how European nations competed in North America for new sources of labor and producing and acquiring commodities that were valued in Europe; the increasing political, economic, and cultural exchanges within the “Atlantic World” had a profound impact on the development of colonial societies in North America; the growth of an Atlantic economy including the African slave trade and shipment of products from the Americas, created a shared labor market and a wide exchange of New World and European goods.
10.
Explain how conceptions of group identity and autonomy emerged out of cultural interactions between colonizing groups, Africans and American Indians in the Colonia area? Important points to consider: how the British view of not intermarrying with either native peoples or Africans led to the development of a rigid racial hierarchy; British colonizers embraced social and economic goals, cultural assumptions different from the Spanish, French and Dutch.
Vocabulary Directions: Define each of the following words or phrases as it relates to the historical context of Exploration through Colonization. Please do not just google search the definition as it might give you a generic definition not related to the prescribed time range identified above. All words/phrases are to be numbered, listed and defined. All answers should be typed (double spaced). 1. Incas, Aztecs, 2. nation-states, 3. Cahokia, 4. three-sister farming, 5. caravel, 6. Columbian exchange, 7. Treaty of Tordesillas, 8. encomienda, 9. mestizos, 10. conquistadores, 11. Pope’s Rebellion, 12. Black Legend, 13. Ferdinand of Aragon, 14. Isabella of Castile, 15. Francisco Coronado, 16. Francisco Pizarro, 17. Bartolome de Las Casas, 18. Hernan Cortes, 19. Giovanni Caboto, 20. Robert de La Salle, 21. Father Junipero Serra, 22. Ferdinand Magellan, 23. Marco Polo, 24. Vasco Da Gama, 25. Balboa, 26. Juan Ponce de Leon, 27. Protestant Reformation, 28. Roanoke Island, 29. Spanish Armada, 30. primogeniture, 31. joint-stock company, 32, Virginia Company, 33. charter, 34. Jamestown, 35. First AngloPowhatan War, 36. House of Burgesses, 37. Act of Toloration, 38. Barbados slave codes, 39. Iroquois Confederacy, 40. Henry VIII, 41. Elizabeth I, 42. Sir Francis Drake, 43. Sir Walter Raleigh, 44. James I, 45. Captain John Smith, 46. Powhatan, 47. Pocahontas,48. Lord DeLa War, 49. John Rolfe, 50. Lord Baltimore, 51. James Oglethorpe, 52. Royal Colony, 53. Georgia Colony, 54. Calvinism, 55. predestination, 56. conversion, 57. Puritans, 58. Separatists, 59. Mayflower Compact, 60. Massachusetts Bay Colony, 61. antinomianism, 62. Fundamental Orders, 63. Pequot War, 64. King Philip’s War, 65. New England Confederation, 66. Dominion of New England, 67. Naviational Laws, 68. salutary neglect, 69. patroonships, 70. Quakers, 71. blue laws, 72. Martin Luther, 73. John Calvin, 74. William Bradford, 75. John Winthrop, 76. Anne Hutchinson, 77. Roger Williams, 78. Massasoit, 79. Metacom (King Philip), 80. Sir Edmund Adros, 81. Henry Hudson, 82. Peter Stuyvesant, 83. Duke of York, 84. William Penn, 85. indentured servants, 86. headright system, 87. Bacon’s Rebellion, 88. middle passage, 89. slave codes, 90. Congregational Church, 91. jeremiad, 92. Half-Way Covenant, 93. Salem witch trials, 94. William Berkeley, 95. Nathanial Bacon (95 words total)
Kings High School Summer Assignment Summary 2015 Course Name: Honors English 9 Teacher’s School E-mail Address: Mrs. Darby Atchison,
[email protected] Mr. Ryan Weber,
[email protected] Assigned Readings: (CHOOSE 2 OF THE FOLLOWING 3 NOVELS) The Sword in the Stone by T.H. White The Bean Trees by Barbara Kingsolver The Hobbit by J.R.R. Tolkien *
*
You will need to purchase these books for your use. You’ll be reading them over the summer AND bringing them to school with you in August. The Barnes and Noble bookstore on Fields Ertel Road has been notified that we will be using these books; they should have copies in stock for you to purchase. Please make sure that you have a complete and unabridged version of the novels. The Sword in the Stone is Book One of T.H. White’s longer work, The Once and Future King. You may buy The Once and Future King and read only the first section (available online or locally at Barnes and Noble) Please make sure that you buy an unabridged version.
Other Assignments/Projects: * Read both novels as assigned, taking careful notes as you read. * You should mark your novels with margin notes or take your notes on paper. This is a good habit to develop early on. It will improve your comprehension and allow you to quickly navigate your novels for information. These notes are for your benefit and will not be collected or graded. * Please be aware of and take notes on the following literary elements as you read: Characterization: Behaviors and/or direct quotations that clearly reveal personality traits. Symbolism: Items or events in the story that might seem to take on symbolic importance. Themes: Messages the author might be trying to communicate to the reader. Setting: The impact of settings and/or social conditions on the characters and events. Philosophies: The ideas about society and government that the characters explore. Project Due Dates/Timeline: * You will take an objective test on the two novels on the second day of school. * We will then spend two to three weeks discussing the novels, with additional projects to follow. Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?): * Read the books carefully, not just for completion but for understanding. You will need to demonstrate comprehension of and proficiency with the texts. Your notes will help you. * Remember, this is your first assignment for the year, and it will likely set the tone for the entire year. Please make it an effort of which you can be proud.
Kings High School Summer Assignment Summary Course Name: English 10 Honors Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected] Assigned Readings: ● The Kite Runner OR The Joy Luck Club ● Nonfiction work of the student’s choice thematically connected to the novel
Other Assignments/Projects: ● Reading log tracking the development of two big ideas in both books (40 entries total) ● Two 1-1 & ½ page, double spaced responses explaining what the books are saying about one of the big ideas analyzed in the reading log ● Socratic Seminar discussion to take place when students return to school in the fall
Project Due Dates/Timeline: The reading logs and written work will be collected on the first day back to school, August 18th. The Socratic Seminar date is TBD, but will occur the week students return.
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?) Reading logs will be assessed out of 20 points (1 point per entry weighted by ½) and will be assessed based on the entries’ relevance to the thematic topic and their demonstration of the development of an idea across the course of the books. The written responses will each be graded out of five points. Two points will be earned based on the strength of the claim about the author’s position on the thematic topic (0= no claim, 1= weak claim, 2= strong claim), and the additional three points will reflect the strength of the evidence given in support of the claim. Additional Information: Turning the assignment in late will result in a significant point deduction. This is generally 50%, but the deduction can be waived based on the student’s circumstances. If the assignment has not been completed by the end of the week, the student will be required to serve after school or lunch detentions during which they must work towards completing the project.
Kings High School Summer Assignment Summary
Course Name:
Honors Physics
Teacher’s School E-mail Address (or other preferred contact information should students have questions). If students have questions concerning assignments, please contact the teacher via school e-mail or contact the building principal:
[email protected] Assigned Readings:
Other Assignments/Projects:
Summer Science & Math Review Packet
Project Due Dates/Timeline:
Students should bring their summer review packet to class the first day of school as these will be collected.
Summary of how projects/summer work will be assessed (i.e. what do I need to do as a student in order to be successful for both the summer and when I return to school?)
A test will be given over these concepts the first week of school in Honors Physics.
Additional Information:
Honors Physics Math/Science Review – Summer Assignment This assignment is to help you review all of the prerequisite knowledge expected of you. Use this to review valuable mathematical skills and as a means to assess whether you are correctly placed in Honor Physics. The study of physics, Honors Physics in particular, requires an exceptional proficiency in geometry, algebra, and trigonometry. In addition to the science concepts, physics often seems like a course in applied mathematics (WORD PROBLEMS -LOTS OF THEM!). It is VERY important that this assignment be completed by you. Copying someone’s answers is not acceptable; asking for help is acceptable. If you have forgotten how to do something, then use your resources. (HINT: teachers, the internet, friends, etc.) Colleges want students who can find their own information and so do employers. This assignment requires the use of mathematical techniques that are considered routine in Honors Physics. This includes a thorough knowledge of the metric system along with the use of scientific notation, significant figures, and dimensional analysis. The ability to algebraically manipulate physics formulae is another key area of math application. It is my hope that combined with your previous math and science knowledge; this assignment is merely a review and a means to brush up on your skills before we begin our actual course work. A test will be given over these concepts the first week of school in Honors Physics. If you have any questions, please feel free to contact me because I do periodically check my school email during the summer.
See you in the fall! Mrs. Contratto
Name ______________________________________________ Date _______________ Period _____
Math/Science Review
Honors Physics
**What if you don’t know the conversion factors or formula? Colleges want students who can find their own information and so do employers.
Part 1: Metrics, Scientific Notation & Dimensional Analysis Science uses the KMS system (SI: System International). KMS stands for kilogram, meter, and second. These are the units of choice of physics. The equations in physics depend on unit agreement. So you must convert to KMS in most problems to arrive at the correct answer. Convert each of the following. 1. 3072 g =
________________ kg
4. 2.16 mm = ________________ m
2. 925 nm =
________________ m
5. 25.0 g = ________________ g
3. 8.8 x10-8m =
________________ mm
6. 6.23 x 10-7m = ________________ nm
7. Perform all operations with a calculator and write your answers with the correct number of significant figures:
a.
(
-
(
)
(
b.
c.
)
)( -
)( (
)
(
)(
(
-
)
-
)
-
)
= _____________ = _____________ = _____________
Unit Conversion/Dimensional Analysis Problems Solve each of the following using dimensional analysis and remember to show all of your work! YOU MUST SHOW ALL UNITS! 8. The largest diamond ever found had a size of 3106 carats. One carat is equivalent to a mass of 0.200 g. Use the fact that 1.0 kg has a weight of 2.205 lbs. under certain conditions, and determine the weight of this diamond in pounds.
9. Vesna Vulovic survived the longest fall on record without a parachute when her plane exploded and she fell 6 miles, 551 yards. What is this distance in meters?
10. Bicyclists in the Tour de France reach speeds 34.0 miles per hour (mi/h) on flat sections of the road. What is the speed in (a) kilometers per hour (km/h) and (b) meters per second (m/s)?
11. Azelastine hydrochloride is an antihistamine nasal spray. A standard size container holds one fluid ounce (oz) of the liquid. You are searching for this medication in a European drugstore and are asked how many milliliters (mL) there are in one fluid ounce. Using the following conversion factors, determine the number of milliliters in a volume of one fluid ounce: 1 gallon (gal) = 128 oz., 3.785 x 10-3 cubic meters (m3) = 1.0 gal, and 1 mL = 1.0 x 10-6 m3.
12. The mass of the parasitic wasp Caraphractus cintus can be as small as 5.0 x 10-6 kg. What is this mass in (a) grams (g), (b) milligrams (mg), and (c) micrograms (g)?
Part 2: Significant Figures 13. Determine the number of significant figures in each of the following measurements. 1000 m
_____
1,000, 000 mg
_____
5120. km
_____
302 kg
_____
0.00231 m
_____
0.120 Pa
_____
12.25 m3
_____
3.040 x 10-2 s
_____
100.0 oC
_____
14. Determine how many decimal places the solution will have. DO NOT SOLVE. _____ 95.32 km + 102.5 km + 77 km
_____ 4050 m – 2.06 m
_____ 11.840 L – 5.0 L
_____ 93.20 kg + 10.975 kg
_____ 0.005070 cm + 6.900 cm + 2000.860 cm
_____ 1.00 m3 - 0.00250 m3
15. Using scientific notation, express the speed of light 299 792 458 m/s with: a. 3 significant digits ________________ b. 2 significant digits ________________ 16. Determine how many significant figures should be written for the final answer. DO NOT SOLVE. _____ 1275 kg
120 L
_____ (518 cm) (21.3 cm)
_____ (450.1 m) (1.040 x 10-2 m) (6.00 m)
_____ 1070 m
_____ 91.23 m
_____ (121.20 cm) (23 cm)
11.470 m
10.970 m
Part 3: Algebra 17. The following are ordinary physics problems. Place the answer in scientific notation when appropriate and simplify the units (Scientific notation is used when it takes less time to write than the ordinary number does. As an example 200 is easier to write than 2.00 x 102, but 2.00 x 108 is easier to write than 200,000,000). Do your best to cancel units, and attempt to show the simplified units in the final answer.
18. Often problems are done with variables only. Solve for the variable indicated. Don’t let the different letters confuse you. Manipulate them algebraically as though they were numbers.
Part 4: Geometry & Trigonometry 19. You are driving into St. Louis, Missouri, and in the distance you see the famous Gateway-to-theWest arch. This monument rises to a height of 192 m. You estimate your line of sight with the top of the arch to be 2.0o above the horizontal. Approximately how far (in kilometers) are you from the base of the arch? DRAW A PICTURE!
20. The drawing shows a person looking at a building on top of which an antenna is mounted. The horizontal distance between the person’s eyes and the building is 85.0 m. In part a the person is looking at the base of the antenna, and his line of sight makes an angle of 35.0o with the horizontal. In part b the person is looking at the top of the antenna, and his line of sight makes an angle of 38.0o with the horizontal. How tall is the antenna?
21. The gondola ski lift at Keystone, Colorado, is 2830 m long. On average, the ski lift rises 14.6o above the horizontal. How high is the top of the ski lift relative to the base? DRAW A PICTURE!
22. A highway is to be built between two towns, one of which lies 35.0 km south and 72.0 km west of the other. What is the shortest length of highway that can be built between the two towns, and at what angle would this highway be directed with respect to due west? (Hint: Label axis N,S,E,W)
23. The two hot-air balloons in the diagram are 48.2 m and 61.0 m above the ground. A person in the left balloon observes that the right balloon is 13.3o above the horizontal. What is the horizontal distance x between the two balloons?
24. The drawing shows sodium and chloride ions positioned at the corners of a cube that is part of the crystal structure of sodium chloride ( common table salt). The edge of the cube is 0.281 nm in length. Find the distance (in nanometers) between the sodium ion located at one corner of the cube and the chloride ion located on the diagonal at the opposite corner.
25. What is the value of the angle in the drawing that accompanies problem 24.
26. The silhouette of a Christmas tree is an isosceles triangle. The angle at the top of the triangle is 30.0o, and the base measures 2.00 m across. How tall is the tree? DRAW A PICTURE!
27. The depth of the ocean is sometimes measured in fathoms (1 fathom = 6 feet). Distance on the surface of the ocean is sometimes measured in nautical miles (1 nautical mile = 6076 feet). The water beneath a surface rectangle 1.20 nautical miles by 2.60 nautical miles has a depth of 16.0 fathoms. Find the volume of water (in cubic meters) beneath this rectangle. DRAW A PICTURE!
28. Line B touches the circle at a single point. Line A extends through the center of the circle. a. What is line B in relation to the circle? _________________ b. What is line A in relation to the circle? _________________ c. How large is the angle between lines A and B?_____________
29. What is angle C? ____________
30. What is angle ? _____________
31. The radius of a circle is 5.5 cm.
a. What is the circumference in meters? ________________
b. What is its area in square meters?
________________
32. What is the area of the space enclosed between the plotted line on the graph and the x and y axis at the right?
33. How large is ? _______________
34. Calculate the area of the following shapes. 6m 22m 12m
16m
6m 12m
15m
Area = ____________________
Area = ____________________
Calculate the following unknowns and remember to write all answers with correct units. All triangles are right triangles. 35.
x = __________ y = __________ = 30.0o
36.
dx = __________ dy = __________ = 60.0o
37.
c = __________ = __________
4.9 m
38.
x = __________ y = __________ = 17.0o
39.
x = __________ y
y = __________ z = __________ z 40.
x = __________ y = __________ z = __________
z y