AP LANGUAGE & COMPOSITION SUMMER WORK

Dear AP Language and Composition Students:

Welcome to AP Language and Composition! I am excited to have the opportunity to teach this course and look forward to the year. As you may be aware, AP Language and Composition is a writing-intensive course which focuses on the rhetorical devices authors use to convey a message. Throughout the year, we will be analyzing writings mainly from the non-fiction category. These works will include essays, columns, memoirs, books, and visual media, as well as some fiction. This course engages students in becoming skilled readers of prose written in a variety of periods, disciplines, and rhetorical contexts, and in becoming skilled writers composing for a variety of purposes and audiences. Both your writing and your reading should make you aware of the interactions among a writer’s purpose, audience expectations, and subjects as well as how the generic conventions and the resources of language contribute to effectiveness in writing. Much of the class discussion will focus on the author’s technique, meaning, and expression of philosophical ideas. Students should expect this course to act in a similar fashion to an introductory college writing course that focuses on exposition, argument, and rhetorical analysis.

A successful student in this course will: Be willing to read widely, share ideas in discussion, and labor over written work to achieve the best

possible product. Gradually learn many terms relating to rhetoric and be willing to analyze many tools of rhetoric in order

to understand how language becomes effective. Be willing to argue and debate, be willing to listen closely to others, and be willing to establish and

work toward personal goals in writing including the use of images to support meaning. Keep an organized binder of class work and an organized portfolio of all finished written work for

evaluation and use in future assignments. Review all the standards of good English usage in preparation for the AP Exam in May. Enter into the great conversations and debates of our time as a responsible participant who can engage

the questions and contribute to the dialogue.

I am looking forward to our class and know you are all up to the challenge. I hope that you will think of this class not just as potential college credit and a great addition to your transcript, but as an opportunity to learn to analyze the world around you and become a more engaged and thoughtful citizen.

The rest of this packet will outline my expectations for your summer assignments, which are designed to get you working with non-fiction texts and current events and establish a ground base for our class. I am always available through email at damiller@uei-schools.org – if you have any questions about the course or the summer assignments, feel free to contact me. Have an excellent and enriching summer! This packet will also be uploaded to our class website, www.millerucw.weebly.com. To join the class Remind messaging, which will give you access to announcements, homework reminders, and messaging, text @2ged4b to 81010. This is the best way to reach me directly over the summer.

Sincerely,

Mrs. Dara Miller

SUMMER READING PORTFOLIO

Overview:Please read this entire packet through carefully. You will have the option of choosing from a variety of texts for reading over the summer. Each of you will read Thank You for Arguing: What Aristotle, Lincoln, and Homer Simpson can Teach Us About the Art of Persuasion by Jay Heinrichs, and then will choose ONE more text from the list, for TWO summer reading texts total. While reading, you will complete a reading portfolio based on the assignments listed below. These assignments will serve as the foundation for our course and will help us get a solid start in August. Written assignments should be typed and should conform to MLA formatting standards. Your portfolio should reflect quality work and should be either neatly organized in a binder or folder OR submitted electronically via Google Docs.

If students desire extra credit, they will have the option of choosing ONE more additional text for extra credit, but this option is not required. If students choose to complete an extra credit option, all accompanying work must be completed for credit. No incomplete assignments will be accepted for extra credit.

You should read this Thank You for Arguing BEFORE reading your book of choice – I will expect your written assignments dealing with your book of choice to reflect what you have learned from this text.

Your summer reading portfolio will be due by the end of the FIRST WEEK of school.You will have a persuasive project based on your book of choice within the first two weeks of school.

PORTFOLIO REQUIREMENTS

COMPONENT 1: Thank You for Arguing Persuasion in Action Project (40 points)

You have read Heinrichs’ analysis of the art of persuasion, which Heinrichs defines as “the basic difference between an argument and a fight: an argument, done skillfully, gets people to want to do what you want. You fight to win; you argue to achieve agreement” (17). The purpose behind the AP Language and Composition course is to introduce you to the art of entering and sustaining The Conversation. Notice the title case in that phrase as well as the demonstrative article. “The Conversation” suggests the global arena of shared thought that guides our actions as a society.

To get your feet wet as a participant in The Conversation, you will attempt some of Heinrich’s suggestions and record your experiences. Your project should reflect a thorough understanding of the book as a whole.

PROJECT INSTRUCTIONS:1. Choose two “TRY THIS” side notes from the book (each from different chapters, please). Document your choices

in MLA format.2. Create a REAL, LIVE situation that imitates each TRY THIS situation. You may have to change the role to fit

your circumstances. Carry out the experiment with a friend, your family, or even a stranger.3. Follow Heinrich’s protocol to report your efforts at manipulating the situation.

a. In an introductory paragraph, describe the situation and the rhetorical technique you used.b. In a dialogue format, record what you and your audience said.c. In a final paragraph, reflect on the effectiveness of your trial. If you were successful, uncover why the

technique worked. If you were unsuccessful, hypothesize what went wrong and what would have been a better route.

OPTION: This project may be done as a video essay. All the components will stay the same. You can re-enact your experiment if you can’t get the actual experience on camera. Export the file to some format that can be downloaded and played at school. Note: This is not an “easier” option. Please don’t attempt unless you have mad technology skills.

COMPONENT 2: Book of Choice Vocabulary Analysis (20 points)

Top Five Words:Select five examples of interesting diction in the text. For each word:

1. Write the sentence, complete with page number citation in MLA format. Underline the word you selected.2. Define the word. Some words have multiple definitions. Be sure to write down the definition that applies to the

sentence you have selected.3. Discuss in a well-developed paragraph how the use of this word (in the context of the text) impacts the reader in a

specific way. Pay particular attention to words with a specific connotation.

COMPONENT 3: Book of Choice Sentence Analysis (20 points)

Top Five Sentences:Select five sentences from your text that fascinate you. You should choose these sentences because something about the way they are written strikes you – these should not necessarily be major points unless you want to comment on the way they are presented.

1. Write the sentence, complete with page number citation in MLA format2. Discuss why you chose this sentence in a well-developed paragraph. Is the sentence pattern unusual? Is there an

especially vivid verb that or image that completely captures the intent of the sent? Your discussion should specifically focus on how connection between the words and the structure of the sentence makes it effective.

COMPONENT 4: Reflection (20 points)

Write a 1-2 page reflection discussing how what you learned from reading Thank You for Arguing helped you to make sense of the persuasive techniques used throughout the other texts you read for your portfolio. Your essay should have a thesis statement and be written in formal academic English; be specific and use examples from your reading.

TOTAL POINTS FOR SUMMER PORTFOLIO: 100

TEXTS FOR SUMMER READING

BOOK 1: EVERYONE READS

Heinrichs, Jay. Thank You for Arguing: What Aristotle, Lincoln, and Homer Simpson can Teach Us About the Art of Persuasion. NY: Three Rivers Press, 2013. ISBN: 0385347758

NOTE: There is an older edition of this available as well as a newer (and more expensive) edition coming out in July. Please obtain this version.

Description from Amazon: Thank You for Arguing is your master class in the art of persuasion, taught by professors ranging from Bart Simpson to Winston Churchill. The time-tested secrets the book discloses include Cicero’s three-step strategy for moving an audience to action as well as Honest Abe’s Shameless Trick of lowering an audience’s expectations by pretending to be unpolished. But it’s also replete with contemporary techniques such as politicians’ use of “code” language to appeal to specific groups and an eye-opening assortment of popular-culture dodges, including:The Eddie Haskell PloyEminem’s Rules of DecorumThe Belushi ParadigmStalin’s Timing SecretThe Yoda Technique 

Whether you’re an inveterate lover of language books or just want to win a lot more anger-free arguments on the page, at the podium, or over a beer, Thank You for Arguing is for you. Written by one of today’s most popular online language mavens, it’s warm, witty, erudite, and truly enlightening. It not only teaches you how to recognize paralipsis and chiasmus when you hear them, but also how to wield such handy and persuasive weapons the next time you really, really want to get your own way.

BOOK 2: INDIVIDUAL CHOICE (Select one)

You will be responsible for obtaining your own copy of whatever book you choose. I recommend you buy your book, but many titles may be available through your local library.

You may see detailed descriptions of these books on our public Amazon wish list. I have divided the choices into topics and selected each to supplement the major units and themes of the course. Feel free to email me and ask for suggestions if you’re having trouble deciding.

Online book list address: http://a.co/1TWmLiH

Race/Black Identity in America:

1. Just Mercy by Bryan Stevenson2. The Other Wes Moore: One Name, Two Fates by Wes Moore3. The Short and Tragic Life of Robert Peace by Jeff Hobbs4. Welcome to Braggsville by T. Geronimo Johnson5. How to Be Black by Baratunde Thurston

Gender:

1. Enlightened Sexism: The Seductive Message that Feminism’s Work is Done by Susan J. Douglas [also titled The Rise of Enlightened Sexism: How Pop Culture Took Us from Girl Power to Girls Gone Wild] by Susan J. Douglas

2. Boys Adrift: The Five Factors Driving the Growing Epidemic of Unmotivated Boys and Underachieving Young Men by Leonard Sax

3. Bad Feminist by Roxane Gay4. The Beauty Myth by Naomi Wolf5. Invisible Man, Got the Whole World Watching: A Young Black Man’s Education by Mychal Denzel

Smith

Social Psychology/Economics:1. Mistakes Were Made (But Not By Me): Why We Justify Foolish Beliefs, Bad Decisions, and Hurtful

Acts by Carol Tavris and Elliot Aronson2. Outliers by Malcolm Gladwell3. The World is Flat 3.0: A Brief History of the Twenty-first Century by Thomas L. Friedman4. So You’ve Been Publicly Shamed by Jon Ronson5. The American Way of Poverty: How the Other Half Still Lives by Sasha Abramsky

READ THIS BEFORE YOU START YOUR SUMMER READING

Please read the following essay carefully and take it to heart. Annotation will be a big part of our class this year and you need to figure out a way (if you don’t have one already) to make each text you read your own. Annotation should help you make an understanding of the text and should prepare you to easily contribute to class discussion. Figure out a system that works for you and stick to it.

Happy reading!~Mrs. Miller

How to Mark a BookBy Mortimer J. Adler, Ph.D.

You know you have to read "between the lines" to get the most out of anything. I want to persuade you to do something equally important in the course of your reading. I want to persuade you to write between the lines. Unless you do, you are not likely to do the most efficient kind of reading.

I contend, quite bluntly, that marking up a book is not an act of mutilation but of love. You shouldn't mark up a book which isn't yours.

Librarians (or your friends) who lend you books expect you to keep them clean, and you should. If you decide that I am right about the usefulness of marking books, you will have to buy them. Most of the world's great books are available today, in reprint editions.

There are two ways in which one can own a book. The first is the property right you establish by paying for it, just as you pay for clothes and furniture. But this act of purchase is only the prelude to possession. Full ownership comes only when you have made it a part of yourself, and the best way to make yourself a part of it is by writing in it. An illustration may make the point clear. You buy a beefsteak and transfer it from the butcher's icebox to your own. But you do not own the beefsteak in the most important sense until you consume it and get it into your bloodstream. I am arguing that books, too, must be absorbed in your blood stream to do you any good.

Confusion about what it means to "own" a book leads people to a false reverence for paper, binding, and type -- a respect for the physical thing -- the craft of the printer rather than the genius of the author. They forget that it is possible for a man to acquire the idea, to possess the beauty, which a great book contains, without staking his claim by pasting his bookplate inside the cover. Having a fine library doesn't prove that its owner has a mind enriched by books; it proves nothing more than that he, his father, or his wife, was rich enough to buy them.

There are three kinds of book owners. The first has all the standard sets and best sellers -- unread, untouched. (This deluded individual owns woodpulp and ink, not books.) The second has a great many books -- a few of them read through, most of them dipped into, but all of them as clean and shiny as the day they were bought. (This person would probably like to make books his own, but is restrained by a false respect for their physical appearance.) The third has a few books or many -- every one of them dog-eared and dilapidated, shaken and loosened by continual use, marked and scribbled in from front to back. (This man owns books.)

Is it false respect, you may ask, to preserve intact and unblemished a beautifully printed book, an elegantly bound edition? Of course not. I'd no more scribble all over a first edition of 'Paradise Lost' than I'd give my baby a set of crayons and an original Rembrandt. I wouldn't mark up a painting or a statue. Its soul, so to speak, is inseparable from its body. And the beauty of a rare edition or of a richly manufactured volume is like that of a painting or a statue.

But the soul of a book "can" be separate from its body. A book is more like the score of a piece of music than it is like a painting. No great musician confuses a symphony with the printed sheets of music. Arturo Toscanini reveres Brahms, but Toscanini's score of the G minor Symphony is so thoroughly marked up that no one but the maestro himself can read it. The reason why a great conductor makes notations on his musical scores -- marks them up again and again each time he returns to study them--is the reason why you should mark your books. If your respect for magnificent binding or typography gets in the way, buy yourself a cheap edition and pay your respects to the author.

Why is marking up a book indispensable to reading? First, it keeps you awake. (And I don't mean merely conscious; I mean awake.) In the second place; reading, if it is active, is thinking, and thinking tends to express itself in words, spoken or written. The marked book is usually the thought-through book. Finally, writing helps you remember the thoughts you had, or the thoughts the author expressed. Let me develop these three points.

If reading is to accomplish anything more than passing time, it must be active. You can't let your eyes glide across the lines of a book and come up with an understanding of what you have read. Now an ordinary piece of light fiction, like, say, "Gone With the Wind," doesn't require the most active kind of reading. The books you read for pleasure can be read in a state of relaxation, and nothing is lost. But a great book, rich in ideas and beauty, a book that raises and tries to answer great fundamental questions, demands the most active reading of which you are capable. You don't absorb the ideas of John Dewey the way you absorb the crooning of Mr. Vallee. You have to reach for them. That you cannot do while you're asleep.

If, when you've finished reading a book, the pages are filled with your notes, you know that you read actively. The most famous "active" reader of great books I know is President Hutchins, of the University of Chicago. He also has the hardest schedule of business activities of any man I know. He invariably reads with a pencil, and sometimes, when he picks up a book and pencil in the evening, he finds himself, instead of making intelligent notes, drawing what he calls 'caviar factories' on the margins. When that happens, he puts the book down. He knows he's too tired to read, and he's just wasting time.

But, you may ask, why is writing necessary? Well, the physical act of writing, with your own hand, brings words and sentences more sharply before your mind and preserves them better in your memory. To set down your reaction to important words and sentences you have read, and the questions they have raised in your mind, is to preserve those reactions and sharpen those questions.

Even if you wrote on a scratch pad, and threw the paper away when you had finished writing, your grasp of the book would be surer. But you don't have to throw the paper away. The margins (top as bottom, and well as side), the end-papers, the very space between the lines, are all available. They aren't sacred. And, best of all, your marks and notes become an integral part of the book and stay there forever. You can pick up the book the following week or year, and there are all your points of agreement, disagreement, doubt, and inquiry. It's like resuming an interrupted conversation with the advantage of being able to pick up where you left off.

And that is exactly what reading a book should be: a conversation between you and the author. Presumably he knows more about the subject than you do; naturally, you'll have the proper humility as you approach him. But don't let anybody tell you that a reader is supposed to be solely on the receiving end. Understanding is a two-way operation; learning doesn't consist in being an empty receptacle. The learner has to question himself and question the teacher. He even has to argue with the teacher, once he understands what the teacher is saying. And marking a book is literally an expression of differences, or agreements of opinion, with the author.

There are all kinds of devices for marking a book intelligently and fruitfully. Here's the way I do it:

Underlining (or highlighting): of major points, of important or forceful statements.

Vertical lines at the margin: to emphasize a statement already underlined. Star, asterisk, or other doo-dad at the margin: to be used sparingly, to emphasize the ten or twenty

most important statements in the book. (You may want to fold the bottom comer of each page on which you use such marks. It won't hurt the sturdy paper on which most modern books are printed, and you will be able take the book off the shelf at any time and, by opening it at the folded-corner page, refresh your recollection of the book.)

Numbers in the margin: to indicate the sequence of points the author makes in developing a single argument.

Numbers of other pages in the margin: to indicate where else in the book the author made points relevant to the point marked; to tie up the ideas in a book, which, though they may be separated by many pages, belong together.

Circling or highlighting of key words or phrases. Writing in the margin, or at the top or bottom of the page, for the sake of: recording questions (and

perhaps answers) which a passage raised in your mind; reducing a complicated discussion to a simple statement; recording the sequence of major points right through the books. I use the end-papers at the back of the book to make a personal index of the author's points in the order of their appearance.

The front end-papers are to me the most important. Some people reserve them for a fancy bookplate. I reserve them for fancy thinking. After I have finished reading the book and making my personal index on the back end-papers, I turn to the front and try to outline the book, not page by page or point by point (I've already done that at the back), but as an integrated structure, with a basic unity and an order of parts. This outline is, to me, the measure of my understanding of the work.

If you're a die-hard anti-book-marker, you may object that the margins, the space between the lines, and the end-papers don't give you room enough. All right. How about using a scratch pad slightly smaller than the page-size of the book -- so that the edges of the sheets won't protrude? Make your index, outlines and even your notes on the pad, and then insert these sheets permanently inside the front and back covers of the book.

Or, you may say that this business of marking books is going to slow up your reading. It probably will. That's one of the reasons for doing it. Most of us have been taken in by the notion that speed of reading is a measure of our intelligence. There is no such thing as the right speed for intelligent reading. Some things should be read quickly and effortlessly and some should be read slowly and even laboriously. The sign of intelligence in reading is the ability to read different things differently according to their worth. In the case of good books, the point is not to see how many of them you can get through, but rather how many can get through you -- how many you can make your own. A few friends are better than a thousand acquaintances. If this be your aim, as it should be, you will not be impatient if it takes more time and effort to read a great book than it does a newspaper.

You may have one final objection to marking books. You can't lend them to your friends because nobody else can read them without being distracted by your notes. Furthermore, you won't want to lend them because a marked copy is kind of an intellectual diary, and lending it is almost like giving your mind away.

If your friend wishes to read your Plutarch's Lives, Shakespeare, or The Federalist Papers, tell him gently but firmly, to buy a copy. You will lend him your car or your coat -- but your books are as much a part of you as your head or your heart.

SAMPLE PROJECT FOR COMPONENT 1

Pattern your responses for the project after this example:

Heinrichs really puts an emphasis on moving to the future during a dispute, instead of remaining in the past or staying in the present. He suggests saying phrases like “what do you want done” and “how will this affect us” to keep both the conversation and your opponent looking ahead (Heinrichs 30). Recently, I used this in a dispute with my dad about letting me begin to drive the car by myself. I received my license earlier in the week and my dad just needed to buy the car insurance, which unfortunately came at a pricey cost. Unsure about the benefits of letting me drive solo, my dad hesitated to purchase the insurance right away. In the argument, I stayed in the future tense, that way he could see how everything would work out in the end. Rather than lingering on past experiences, I decided to tell him how my independent driving affects the future:

Me: Dad, I need to talk to you about driving. And insurance. It has been a goal of mine to begin to be able to drive myself to school and other places surrounding our house, like the Y and the grocery store. Do you think you could sign me onto the insurance plan soon?

Dad: (laughs) Well, I have goals too, you know. I just don’t know about this. Give me a few good reasons why.

Me: Well, for one thing, school is located very close to us, just a little ways down the road. You wouldn’t have to worry about me going far and getting lost or in a wreck. Also, in the future I will be able to build confidence on the road by being able to drive around here, and that confidence will lead to me becoming more independent. I know you and mom both hate driving me and Stewart around a lot these days. I can even go to the store for mom when she needs stuff and I can go get things for you too!

Dad: Okay, just text me tomorrow to remind me.

By keeping the argument in the future tense, my dad saw the results of buying my insurance and allowing me to drive unaccompanied. I believe this discussion went smoothly for the most part, and followed my predetermined idea to keep it centered in the future. The pictures produced in his mind of me becoming independent and helping more around the house both put positive images in his head and overall won him over. This technique works very well because by starting with the end in mind, the opponent really sees your idea clearly and how that idea affects the future.

MLA in a Nutshell

Description of the situation

and explanation of the persuasive technique use,

including parenthetical

citation.

Dialogue that records the experience.

Reflection on the

effectiveness of the

experiment.

Formatting: A running header with your last name and page number should appear on every page, including the

first. The header should be ½ inch from the top of the page and right justified. The first page of your paper must contain (in this order) your name, your teacher’s name, the name of

the course, and the date. (See the sample first page). Every page after the first only uses the running header to identify you.

The title of your paper is centered on the line after the date. All copy must be double-spaced. The top, bottom, left, and right margins must be set at 1 inch. New paragraphs must be indented 5 spaces. All in-text citations must appear in parentheses (author’s name and page number). If the citation

appears at the end of the sentence, it will appear before the period. For more help, visit the Online Writing Lab at: http://owl.english.purdue.edu/owl/