*Below is a very detailed list of everything (concepts, skills, terms, analysis, etc.) you will need to master to succeed in AP LIT and to pass the Exam with a 5. Look through this doc to see if there are any new literary terms or concepts you will have to learn. Add the terms to your list.
ap_lit__literary_analysis_and_exam_focus__1_.pdf | |
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Literary Criticism
Create a list of 50 Lit. Terms min. from the list of 225 or so that you don't know. You must include the term, it's definition, and an example of how it's used in context.
Create a Biblical Allusions Dictionary with 30 allusions/references/phrases min. (see list).
Write Original Poem or Short Story Using 20 min. or your 30 Biblical Allusions
Create a Biblical Allusions Dictionary with 30 allusions/references/phrases min. (see list).
Write Original Poem or Short Story Using 20 min. or your 30 Biblical Allusions
- Write an original story or poem using a min. of 20 Biblical allusions. You may work with a partner from any period. Don't just list the allusions like ingredients. They must have a deeper meaning in the context of your story/poem. This is in place of a test so show me that you understand the allusion and its meaning/connotation. Underline each allusion and number it. At the end of the story/poem, include a numbered list of the allusions and their meanings in the context of your work. You don't have to use the exact words or phrases. Be creative! Your references must stay true to the meaning found in the bible.
- Show me that you understand the allusion and its meaning/connotation.
- Minimum word count: 500 for the story/Poem length is up to you, but it needs to be good and thoughtful..
- Underline each allusion and number it.
- At the end of the story/poem, include a numbered list of the allusions and their meanings in the context of your work.
ap_lit_terms_group_review.pdf | |
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Sample lyrics using allusions:
when_the_man_comes_around | |
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File Type: | when the man comes around |
For "Living in the Borderlands means...," download the borderlands doc and the 2 pdf documents to help you analyze poetry (tpcastrev and literary analysis of poetry). Bring all documents to class Tuesday.
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Follow the directions below to create your autobigraphical poems. Feel free to include a visual or sing it!
We will share a portion in class.
We will share a portion in class.
autobiographical_poem.pdf | |
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Autobiographical Poem | |
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wifwig__1_.pdf | |
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my_name_cisneros__1_.pdf | |
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Literary Criticism Units: Begin by completing all the activities in Chapters 1 and 2 of the Jago text (partners ok).
Some of the poems we will discuss in class are not found in your text. These additional poems can be found in the file below. Bring them to class everyday along with your textbook. There are also additional questions for "Yellow Wallpaper," "Young Goodman Brown," Trifles, and "Where are You Going, Where Have you Been?" You will answer those questions in addition to the book questions. If questions are repeated, just ignore.
Some of the poems we will discuss in class are not found in your text. These additional poems can be found in the file below. Bring them to class everyday along with your textbook. There are also additional questions for "Yellow Wallpaper," "Young Goodman Brown," Trifles, and "Where are You Going, Where Have you Been?" You will answer those questions in addition to the book questions. If questions are repeated, just ignore.
Additional Poems | |
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evenmorepoems.pdf | |
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3_formalist_stories.pdf | |
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elementsoffiction6-4-10.pdf | |
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Questions for "The Jilting of Granny Weatherall" and "Guests of a Nation" on "3 formalist stories" pdf above (Don't do "I Stand Here Ironing")
Questions for "Story of an Hour" click here public.wsu.edu/~campbelld/amlit/storyhour.htm
The 3 Formalist stories are on pdfs below.
Answer the Formalist Questions and the questions for each story above (partners ok=1 response per partnership). Feel free to annotate on the stories. You may turn your annotations in as part of the assignment.
Questions for "Story of an Hour" click here public.wsu.edu/~campbelld/amlit/storyhour.htm
The 3 Formalist stories are on pdfs below.
Answer the Formalist Questions and the questions for each story above (partners ok=1 response per partnership). Feel free to annotate on the stories. You may turn your annotations in as part of the assignment.
kate_chopin_the_story_of_an_hour.pdf | |
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guestsofanation.pdf | |
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jilting_of_granny_weatherall.pdf | |
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Historical/Bio/Social/Feminist/Marxist Stories below. Answer book questions/link questions and the specific criticism questions for each: "Yellow Wallpaper"=Bio and Fem, "Lesson"=Marxist, "Where are you going..."=Social/Cultural. See text for "Where are you Going, Where have you been?" and Trifles. See William Blake bio info. and his poetry.
the_lesson.pdf | |
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gilman_yellow_wallpaper.pdf | |
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ADDITIONAL LITERARY QUESTIONS BELOW ARE TO HELP YOU WITH THE HISTORICAL STORIES AND "YGB."
YOU DO NOT HAVE TO ANSWER THEM. THESE ARE TO HELP YOU UNDERSTAND THE STORIES.
***I MIGHT USE THEM FOR QUIZ QUESTIONS.
YOU DO NOT HAVE TO ANSWER THEM. THESE ARE TO HELP YOU UNDERSTAND THE STORIES.
***I MIGHT USE THEM FOR QUIZ QUESTIONS.
Additional Literary Questions | |
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Archetypal: see section way below for archeypes list and "Livvie." "Young Goodman Brown" is in your text.
Answer the questions after each story and use archetypes to explain the psychological and mythic questions.
Answer the questions after each story and use archetypes to explain the psychological and mythic questions.
Combining ALL Approaches. Read "Araby" below and see text for "To His Coy Mistress."
araby.pdf | |
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arabyjamesjoyce.pdf | |
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oedipus_cycle.pdf | |
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a_raisin_in_the_sun_full_text.pdf | |
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miller_deathofasalesman.pdf | |
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critical_theory_essential_questions_ho_2.pdf | |
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shiloh.docx | |
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New Criticism/Formalism:
Read "The Jilting of Granny Weatherall,"Guests of a Nation," and "I Stand Here Ironing." Answer questions in the book following each story, answer as many of the formalist and structuralist questions from chapter 33 you can, and respond to the questions above from the 3 formalist stories pdf. Use evidence from the text whenever possible.
Criticism emphasizes explication, or "close reading," of "the work itself." It rejects old historicism's attention to biographical and sociological matters. Instead, the objective determination as to "how a piece works" can be found through close focus and analysis, rather than through extraneous and erudite special knowledge. It has long been the pervasive and standard approach to literature in college and high school curricula.
New Criticism, incorporating Formalism, examines the relationships between a text's ideas and its form, between what a text says and the way it says it. New Critics "may find tension, irony, or paradox in this relation, but they usually resolve it into unity and coherence of meaning" (Biddle 100). New Criticism attempts to be a science of literature, with a technical vocabulary, some of which we all had to learn in junior high school English classes (third-person, denoument, etc.). Working with patterns of sound, imagery, narrative structure, point of view, and other techniques discernible on close reading of the text, they seek to determine the function and appropriateness of these to the self-contained work.
New Critics, especially American ones in the 1940s and 1950s, attacked the standard notion of "expressive realism," the romantic fallacy that literature is the efflux of a noble soul, that for example love pours out onto the page in 14 iambic pentameter lines rhyming ABABCD etc. The goal then is not the pursuit of sincerity or authenticity, but subtlety, unity, and integrity--and these are properties of the text, not the author. The work is not the author's; it was detached at birth. The author's intentions are "neither available nor desirable" (nor even to be taken at face value when supposedly found in direct statements by authors). Meaning exists on the page. Thus, New Critics insist that the meaning of a text is intrinsic and should not be confused with the author's intentions nor the work's affective dimension (its impressionistic effects on the reader). The "intentional fallacy" is when one confuses the meaning of a work with the author's purported intention (expressed in letters, diaries, interviews, for example). The "affective fallacy" is the erroneous practice of interpreting texts according to the psychological or emotional responses of readers, confusing the text with its results.
To do New Critical reading, ask yourself, "How does this piece work?" Look for complexities in the text: paradoxes, ironies, ambiguities. Find a unifying idea or theme which resolves these tensions.
Works Consulted
Abrams, M.H. "New Criticism." A Glossary of Literary Terms. 7th ed. Fort Worth: Harcourt Brace College Publishers, 1999. 180-182.
Biddle, Arthur W., and Toby Fulwiler. Reading, Writing, and the Study of Literature. NY: Random House, 1989.
Lynn, Steven. Texts and Contexts: Writing About Literature with Critical Theory. 2nd ed. NY: Longman, 1998.
Murfin, Ross, and Supryia M. Ray. The Bedford Glossary of Critical and Literary Terms. Boston: Bedford Books, 1997.
Links
http://jco.usfca.edu/works/wgoing/text.html
http://www1.assumption.edu/users/ady/hhgateway/gateway/approaches.html
http://public.wsu.edu/~delahoyd/crit.intro.html
FEMINIST/HISTORICAL/BIO./MARXIST CRITICISM:
Research William Blake's life, values, philosophy, political and religious views. Below are are some links to get you started. Apply this info. to his poems.
For homework, read Trifles, "Yellow Wallpaper," "The Lesson," and "Where Are You Going, Where Have You Been?" Answer the book questions, apply the appropriate perspective to the story (Marxist, feminist, historical, and biographical). See the "additional questions" below for more questions about the stories. Is the story or play criticizing some aspect of society? Explain.
Read "The Jilting of Granny Weatherall,"Guests of a Nation," and "I Stand Here Ironing." Answer questions in the book following each story, answer as many of the formalist and structuralist questions from chapter 33 you can, and respond to the questions above from the 3 formalist stories pdf. Use evidence from the text whenever possible.
Criticism emphasizes explication, or "close reading," of "the work itself." It rejects old historicism's attention to biographical and sociological matters. Instead, the objective determination as to "how a piece works" can be found through close focus and analysis, rather than through extraneous and erudite special knowledge. It has long been the pervasive and standard approach to literature in college and high school curricula.
New Criticism, incorporating Formalism, examines the relationships between a text's ideas and its form, between what a text says and the way it says it. New Critics "may find tension, irony, or paradox in this relation, but they usually resolve it into unity and coherence of meaning" (Biddle 100). New Criticism attempts to be a science of literature, with a technical vocabulary, some of which we all had to learn in junior high school English classes (third-person, denoument, etc.). Working with patterns of sound, imagery, narrative structure, point of view, and other techniques discernible on close reading of the text, they seek to determine the function and appropriateness of these to the self-contained work.
New Critics, especially American ones in the 1940s and 1950s, attacked the standard notion of "expressive realism," the romantic fallacy that literature is the efflux of a noble soul, that for example love pours out onto the page in 14 iambic pentameter lines rhyming ABABCD etc. The goal then is not the pursuit of sincerity or authenticity, but subtlety, unity, and integrity--and these are properties of the text, not the author. The work is not the author's; it was detached at birth. The author's intentions are "neither available nor desirable" (nor even to be taken at face value when supposedly found in direct statements by authors). Meaning exists on the page. Thus, New Critics insist that the meaning of a text is intrinsic and should not be confused with the author's intentions nor the work's affective dimension (its impressionistic effects on the reader). The "intentional fallacy" is when one confuses the meaning of a work with the author's purported intention (expressed in letters, diaries, interviews, for example). The "affective fallacy" is the erroneous practice of interpreting texts according to the psychological or emotional responses of readers, confusing the text with its results.
To do New Critical reading, ask yourself, "How does this piece work?" Look for complexities in the text: paradoxes, ironies, ambiguities. Find a unifying idea or theme which resolves these tensions.
Works Consulted
Abrams, M.H. "New Criticism." A Glossary of Literary Terms. 7th ed. Fort Worth: Harcourt Brace College Publishers, 1999. 180-182.
Biddle, Arthur W., and Toby Fulwiler. Reading, Writing, and the Study of Literature. NY: Random House, 1989.
Lynn, Steven. Texts and Contexts: Writing About Literature with Critical Theory. 2nd ed. NY: Longman, 1998.
Murfin, Ross, and Supryia M. Ray. The Bedford Glossary of Critical and Literary Terms. Boston: Bedford Books, 1997.
Links
http://jco.usfca.edu/works/wgoing/text.html
http://www1.assumption.edu/users/ady/hhgateway/gateway/approaches.html
http://public.wsu.edu/~delahoyd/crit.intro.html
FEMINIST/HISTORICAL/BIO./MARXIST CRITICISM:
Research William Blake's life, values, philosophy, political and religious views. Below are are some links to get you started. Apply this info. to his poems.
For homework, read Trifles, "Yellow Wallpaper," "The Lesson," and "Where Are You Going, Where Have You Been?" Answer the book questions, apply the appropriate perspective to the story (Marxist, feminist, historical, and biographical). See the "additional questions" below for more questions about the stories. Is the story or play criticizing some aspect of society? Explain.
william_blake_poems.pdf | |
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william_blake.pdf | |
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http://www.theosociety.org/pasadena/forum/f28n10p608_the-theosophy-of-william-blake.htm
http://www.poetryfoundation.org/bio/william-blake
http://www.biography.com/people/william-blake-9214491
Two poems by Adrienne Rich below:
http://www.poetryfoundation.org/bio/william-blake
http://www.biography.com/people/william-blake-9214491
Two poems by Adrienne Rich below:
Adrienne Rich | |
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Here's an article discussing Biographical criticism with Guillermo Del Toro's Films
http://io9.com/the-theme-that-ties-all-of-guillermo-del-toros-movies-t-1737615770
http://io9.com/the-theme-that-ties-all-of-guillermo-del-toros-movies-t-1737615770
Barbie
Barbie's got a new body in 2016! NEWS ARTICLE NEWS ARTICLE 2 REAL LIFE BARBIE AND KEN SPEND $320,000 to look like their favorite dolls click and see photo below Every day a new plastic surgery promise emerges: scooped-out backs, rear-end lifts, sculpted kneecaps. If it’s possible, it’s suddenly necessary. But what exactly would you have to go through to get the 'perfect' Barbie body? In the latest issue of O Magazine, model Katie Halchishick becomes the human diagram. Posing for photographer Matthew Rolston, her glamorous, Marilyn Monroe-type features are surgically outlined according to Barbie's proportions. Here’s a breakdown of what she'd need done to be the kind of doll women aspire to: a brow lift, a jaw line shave, rhinoplasty, a cheek and neck reduction, a chin implant, scooped-out shoulders, a breast lift, liposuction on her arms, and tummy tuck, which would also have to be sculpted as if it were lined in whale-bone from the inside. And that’s just the half of her. |
Halchishick doesn’t actually need or want any of these procedures. She’s proving a point: just because our distorted image of how a body should be is medically attainable, that doesn’t mean it should be attained.
And if you doubt that anyone actually wants to look like Barbie, meet Cindy Jackson, a 55-year-old woman who’s had 52 cosmetic surgeries to look like her plastic idol."This is the way I should look,” Jackson toldGood Morning America. "It's evolution. It's medical progress." There's also 10-in-one-day record-holder Heidi Montag, and a revolving door of on-screen personalities who look more like each other and less like human beings by the day.
Not everyone would call that progress. “The number one wish for all teenage girls is to be thinner,” said Halchishick, a former Ford Model who now mentors high school students about body image issues. “They think what makes a girl beautiful is skinny with big boobs, perfect hair, perfect make-up.”
Last year a total of 13.1 million body parts were surgically altered. Five percent of patients were under the age of 20.
Halchishick, who co-founded the website Healthy is the New Skinny, doesn’t place all the blame on surgery or a pint-sized rubber and plastic doll. She believes change has to start in schools, as well as in the fashion industry. “Girls want to know how to lose weight so badly, and the schools don’t want to talk about it, because they’re worried they’ll develop a complex,” she told The Gloss in March. “There need to be models to show [girls] to wish for more.” She now heads up her own modeling agency for women with natural figures. She’s also campaigned to get plus-sized designers into New York Fashion Week. But her spread in O magazine, the first nude pictorial they’ve ever featured, has been the most buzz-worthy.
Accompanied by an essay by writer Amy Bloom, the photograph is intended to make women rethink their body image ideals. But it hasn't had that effect on everyone. When one 15-year-old girl saw this photo of Halchishick, her first thought was of her own imperfection, according to a blogger for Healthy is the New Skinny. “I thought if a girl as pretty as that has to change so much to be perfect, it made me wonder how much more I’d have to change.”
And if you doubt that anyone actually wants to look like Barbie, meet Cindy Jackson, a 55-year-old woman who’s had 52 cosmetic surgeries to look like her plastic idol."This is the way I should look,” Jackson toldGood Morning America. "It's evolution. It's medical progress." There's also 10-in-one-day record-holder Heidi Montag, and a revolving door of on-screen personalities who look more like each other and less like human beings by the day.
Not everyone would call that progress. “The number one wish for all teenage girls is to be thinner,” said Halchishick, a former Ford Model who now mentors high school students about body image issues. “They think what makes a girl beautiful is skinny with big boobs, perfect hair, perfect make-up.”
Last year a total of 13.1 million body parts were surgically altered. Five percent of patients were under the age of 20.
Halchishick, who co-founded the website Healthy is the New Skinny, doesn’t place all the blame on surgery or a pint-sized rubber and plastic doll. She believes change has to start in schools, as well as in the fashion industry. “Girls want to know how to lose weight so badly, and the schools don’t want to talk about it, because they’re worried they’ll develop a complex,” she told The Gloss in March. “There need to be models to show [girls] to wish for more.” She now heads up her own modeling agency for women with natural figures. She’s also campaigned to get plus-sized designers into New York Fashion Week. But her spread in O magazine, the first nude pictorial they’ve ever featured, has been the most buzz-worthy.
Accompanied by an essay by writer Amy Bloom, the photograph is intended to make women rethink their body image ideals. But it hasn't had that effect on everyone. When one 15-year-old girl saw this photo of Halchishick, her first thought was of her own imperfection, according to a blogger for Healthy is the New Skinny. “I thought if a girl as pretty as that has to change so much to be perfect, it made me wonder how much more I’d have to change.”
"Livvie"
livvie.pdf | |
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livvie_full_text_story_and_questions.pdf | |
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Livvie | |
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Livvie Sample Analysis | |
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Archetypal/Mythic/Psychological Criticism:
For homework, read "Young Goodman Brown" and "Livvie" (see "full text" doc above for the story and the questions) and analyze the archetypes used in the story. Refer to lists for meaning and explain each symbol, character, color, #, etc. in context. Complete the "YGB" and "Livvie" book questions and complete the YGB test in the additional questions doc you used for the last unit. For both stories, identify symbols, images, and patterns. Explain the archetypes, themes, conflicts, and characters. Biblical? Mythic? Archetype? All? Cite evidence from the text or annotate pages clearly with explanations. At the end, put it all together a summary paragraph explaining the meaning of each story using archetype, mythic, and psychological criticism.
Watch the Hero's Call https://www.youtube.com/watch?v=Hhk4N9A0oCA
***SEE HERO'S JOURNEY FOR STAR WARS PDF BELOW.
SEE ALL ARCHETYPES BELOW AND PICK UP THE PACKET IN CLASS!
For homework, read "Young Goodman Brown" and "Livvie" (see "full text" doc above for the story and the questions) and analyze the archetypes used in the story. Refer to lists for meaning and explain each symbol, character, color, #, etc. in context. Complete the "YGB" and "Livvie" book questions and complete the YGB test in the additional questions doc you used for the last unit. For both stories, identify symbols, images, and patterns. Explain the archetypes, themes, conflicts, and characters. Biblical? Mythic? Archetype? All? Cite evidence from the text or annotate pages clearly with explanations. At the end, put it all together a summary paragraph explaining the meaning of each story using archetype, mythic, and psychological criticism.
Watch the Hero's Call https://www.youtube.com/watch?v=Hhk4N9A0oCA
***SEE HERO'S JOURNEY FOR STAR WARS PDF BELOW.
SEE ALL ARCHETYPES BELOW AND PICK UP THE PACKET IN CLASS!
|
everything_on_archetypes.pdf | |
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Archetypes 1 | |
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Archetypes 2 | |
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File Type: | ppt |
Archetypal Symbols 1 | |
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Archetypal Symbols 2 | |
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oedipus_the_king_as_archetype.doc | |
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oedipus_articles.pdf | |
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***FINAL GROUP PRACTICE-PUTTING IT ALL TOGETHER:
Literary Analysis/All criticisms: Fiction (see doc below) for "Araby."
Literary Analysis/All criticisms: Poetry (see doc below) for "To His Coy Mistress" and take the multiple-choice test.
Apply all Literary Approaches to any song.
Literary Analysis/All criticisms: Fiction (see doc below) for "Araby."
Literary Analysis/All criticisms: Poetry (see doc below) for "To His Coy Mistress" and take the multiple-choice test.
Apply all Literary Approaches to any song.
Literary Analysis: Poetry | |
File Size: | 41 kb |
File Type: | doc |
Literary Analysis: Fiction | |
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File Type: | doc |
***3 Extra Credit Films Due at the end of the Criticism Unit
Death of a Salesman/Raisin in the Sun GROUP PROJECT:
2019 GROUP DIRECTIONS:
Each group is to collaborate (DO NOT DIVIDE AND CONQUER) to complete an insightful and comprehensive analysis. (Don’t give one member character and another element-each member must complete all of the work.)
Your grade will be based on the AP 9pt. scale so focus on analysis, not summary. All groups must use quotations and cite them with page numbers or Act #s whenever possible. If you use outside sources, you must cite those with parenthetical citations.
You will be presenting your findings to the class in a creative way (skit, film, modern version, musical, puppet show, fashion show, blog, facebook page, etc-Don’t just rely on Powerpoint). You must also make your work available to the rest of the class via website, email, or handouts.
Each member will complete an anonymous group evaluation after the presentation. This evaluation may be used to impact your grade negatively. (SEE BELOW)
***All groups must refer to the LITERARY ANALYSIS: DRAMA handout, your literary terms list, and “Thinking on paper about…(your element)” to complete the project.
Character Analysis section: (Answer all of the questions about your character in the guides below and the 13 questions from "Thinking on paper about... your character in the Literary Analysis: Drama.
Elements: See you Lit. terms the Lit. Analysis for Drama and "Thinking on paper about..." for your elements.
See the text for help annotating and analyzing. Use evidence/quotes and analysis/commentary. How does the character function in the work? Why did the author create this character? Think Theme.
Excellent
Complete presentation of what makes characters tick:
How do your elements and characters bring out the theme seeds?
Theme Seeds: Visions of America and Views of The American Dream Dreams, Hopes, and Plans Lies, Betrayal, Deceit Success and Sacrifice Respect and Reputation Appearance vs Reality The Danger of Pride Ethics and Morality Family Dynamics and Love Group vs Individual Dignity in the midst of suffering Others?
2019 GROUP DIRECTIONS:
Each group is to collaborate (DO NOT DIVIDE AND CONQUER) to complete an insightful and comprehensive analysis. (Don’t give one member character and another element-each member must complete all of the work.)
Your grade will be based on the AP 9pt. scale so focus on analysis, not summary. All groups must use quotations and cite them with page numbers or Act #s whenever possible. If you use outside sources, you must cite those with parenthetical citations.
You will be presenting your findings to the class in a creative way (skit, film, modern version, musical, puppet show, fashion show, blog, facebook page, etc-Don’t just rely on Powerpoint). You must also make your work available to the rest of the class via website, email, or handouts.
Each member will complete an anonymous group evaluation after the presentation. This evaluation may be used to impact your grade negatively. (SEE BELOW)
***All groups must refer to the LITERARY ANALYSIS: DRAMA handout, your literary terms list, and “Thinking on paper about…(your element)” to complete the project.
Character Analysis section: (Answer all of the questions about your character in the guides below and the 13 questions from "Thinking on paper about... your character in the Literary Analysis: Drama.
Elements: See you Lit. terms the Lit. Analysis for Drama and "Thinking on paper about..." for your elements.
See the text for help annotating and analyzing. Use evidence/quotes and analysis/commentary. How does the character function in the work? Why did the author create this character? Think Theme.
Excellent
Complete presentation of what makes characters tick:
- through physical traits - what the character looks like, how he/she dresses, how he moves
- psychological/personality traits
- motivation
- behavior /actions
- relationships with other characters in the story, how others see/react to him/her
- weaknesses/strengths
- moral constitution - often a character will agonize over right and wrong
- protagonist/antagonist - does the story revolve around this character’s actions?
How do your elements and characters bring out the theme seeds?
Theme Seeds: Visions of America and Views of The American Dream Dreams, Hopes, and Plans Lies, Betrayal, Deceit Success and Sacrifice Respect and Reputation Appearance vs Reality The Danger of Pride Ethics and Morality Family Dynamics and Love Group vs Individual Dignity in the midst of suffering Others?
salesman2015.pdf | |
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Literary Analysis: Drama | |
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deathsalesman.pdf | |
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Salesman Teachers Guide | |
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raisinsun.pdf | |
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Rasin Teachers Guide | |
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group_evaluation_sheet.doc | |
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studying_for_open_question.pdf | |
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ap_free_response_chart.pdf | |
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ap20essay20visual20guide.pdf | |
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