MAUS: Analysis of One Page



AP English Language and Composition

Summer Assignment

2013

Summer Assignment:

1. Carefully read the school-wide read: The Fault in Our Stars by John Green and complete The Fault in Our Stars Summer Review Chart.

2. Carefully read ONE of the four contemporary non-fiction books and thoughtfully complete a well-written Introduction to Analyzing Arguments assignment.

*Be prepared for a test on the readings (The Fault in Our Stars and your non-fiction book) when you return. Your non-fiction books are not carried in mass quantities in most stores, so we ordered a few at the Barnes and Noble by Main Place. Plus, we have about 30 books for checkout from Ms. Pruden (starting on May 30). Please obtain your copy early! Books from which to choose:

✓ Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong by James W. Loewen

✓ The Overachievers by Alexandra Robbins

✓ Nickel and Dimed: On (Not) Getting by in America by Barbra Ehrenreich

✓ Fast Food Nation by Eric Schlosser

3.Study your Rhetorical Strategies Glossary (Be ready for a test) and 4. Complete the Rhetorical Strategies: In Application chart.

|On the day you return to school, you will hand your instructor: |

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|_____ Completed and typed Introduction to Analyzing Arguments assignment for your non-fiction book. |

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|_____Completed and typed Rhetorical Strategies: In Application chart for your non-fiction book |

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|_____ Completed and typed The Fault in Our Stars Close Reading Summer Review Chart |

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|(Note: These are all individual assignments and not “partner work.” All assignments should be saved and submitted to once the |

|school year begins. Your teacher will give you directions on Day 1 for turning in work online.) |

Contact Information: Ms. Pruden and Mrs. Statler are here to help you. Your first assignment is to sign up for the AP Summer Class on . Please use an e-mail address that you will check at least weekly this summer since you will receive e-mail updates. You should not create a new account; you just need to enroll in the new class.

Class ID: 6496067

Password: summer

Your first assignment for the course is to enroll in the class on by June 7 (Friday). If you do this, you will receive extra credit next year and you will help create your ethos as a scholar. If you miss the deadline of the 7th, you will miss the extra credit, but you will still be receiving the occasional update, clarification, or occasional extra credit assignment that will be e-mailed to you throughout the summer. We have divided the roster for the summer to make questions for us more manageable. We ask that if your last name begins with the letter A-L, please e-mail Ms. Pruden at Suzanne.pruden@sausd.us if you have a question. If your last name begins with the letter M-Z, please e-mail Mrs. Statler at Monique.statler@sausd.us.

Guidelines:

✓ Do your own work! We, of course, are looking to see your original insights. No act of plagiarism will be tolerated, so it is best not to show your paper to any other student. There have been cases when a student claims he just “showed” his paper to another student and did not know that student would copy his ideas and words. Giving your paper to another student is as bad as copying from another student, so please do not engage in this risky behavior. Anyone caught plagiarizing another source or another person will earn a zero and a Saturday school at the very least. Anyone caught showing his or her work to be plagiarized will earn a zero and a Saturday school at the least. Though you will turn in a hard copy of your work on the first day of school, your work will be submitted to during the first week of school.

✓ Type! Type your work. You will be submitting three files to (one per assignment) when you return, so save your work.

✓ Be creative and correct! Not only will we be looking at your amazing analysis and insights, but we will also be assessing your writing ability. Proofread what you type and use grammar and spell check carefully. These take a long time for us to grade, so we want to be reading your best work.

The Fault in Our Stars

Summer Reading Review

Since we will be working with this book at the beginning of the year, please use this assignment to keep track of your thoughts and analyses. You will turn in your completed assignment to your English teacher on the first day of school. A copy of this chart is available online on the Godinez homepage if you would like to type your responses. This is an individual assignment. Please do your own work.

|Author: |Publishing Year: |

|Themes: A theme is a message; it is a comment by the author about society, people’s |Evidence for one theme: Write and cite a line from the book that |

|behavior, or the human condition. A theme is a complete idea. It is a sentence; it |supports one of your themes. After you have done that, highlight or |

|is not just a word. After reading the novel, what two themes could you find? |circle the theme you have selected. |

|_____________________________________ |“_________________________________ |

|_____________________________________ |_________________________________ |

| |_________________________________ |

| |_________________________________ |

|_____________________________________ |_________________________________” |

|_____________________________________ |( ). |

|Figurative Language: Figurative language refers to similes, metaphors, |Figurative Language Analysis: Using your quoted example of figurative |

|personification, or hyperbole that should not be taken literally. Please quote your |language from the left-hand side of this box, analyze (look at |

|favorite example of figurative language and write if it is a simile, metaphor, |something closely in a methodical way) the language used. What effect|

|personification, or hyperbole. |does this type of figurative language have on characterization or |

|“________________________________________ |theme? (Please answer using complete sentences.) |

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|__________________________________” ( ). | |

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|Type of Figurative Language: ___________ | |

|Symbolism: Symbolism occurs when an object stands for something else: doves for |Allusion: An allusion is a reference to an actual work of literature, |

|peace or hearts to represent love are two basic examples of everyday symbolism. In |a historic event, a well-known person, or a piece of popular culture. |

|literature, symbols might be more complex. Select an example from the book that you |Select one allusion from the novel and discuss how it enhanced your |

|believe represents something else. Discuss the symbol, what you think it represents,|understanding of the story. (Please answer using complete sentences.) |

|and why you found it important. (Please answer using complete sentences.) | |

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|Why do you think An Imperial Affliction is important to Hazel? (Please answer using |How does the title of the book, The Fault in Our Stars, connect to its|

|complete sentences.) |contents, the story, or the characters? (Please answer using complete|

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|Characterization: Discuss your thoughts on the two major characters. Some questions to consider: Which characters stayed static (the same) or became |

|dynamic (changed)? Explain. Who is the protagonist? Why? Antagonist? Why? Which one was most relatable to you? Explain. (Please answer using complete |

|sentences.) |

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|Response: Share your thoughts about the characters, their stories, your reactions, and more. Feel free to add another page to this paper. (Please answer |

|using complete sentences.) |

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|One question derived from the reading you would like to discuss when we return: |One comment about the reading you would like to share when we return: |

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The Fault in Our Stars

Summer Reading Review Examples

These examples and models are from the first two chapters of the novel and should help you with four of the boxes from the summer reading chart. You are expected to have your own answers.

|Figurative Language: Figurative language refers to similes, metaphors, |Figurative Language Analysis: Using your quoted example of figurative |

|personification, or hyperbole that should not be taken literally. Please |language from the left-hand side of this box, analyze (look at something |

|quote your favorite example of figurative language and write if it is a |closely in a methodical way) the language used. What effect does this type |

|simile, metaphor, personification, or hyperbole. |of figurative language have on characterization or theme? (Please answer |

| |using complete sentences.) |

|“I am on a roller coaster that only goes up, my friend (Green 11). | |

| |The character of Augustus appreciates metaphors, and here is saying that his |

|Type of Figurative Language: Metaphor |life is a roller coaster and only consists of climbs with no falls. At this |

| |early point in the novel, Augustus is afraid to be vulnerable and show his |

| |actual fears. There is a sense of irony when he says that his life is only |

| |positive as he is in a cancer support group. |

|Symbolism: Symbolism occurs when an object stands for something else: |Allusion: An allusion is a reference to an actual work of literature, a |

|doves for peace or hearts to represent love are two basic examples of |historic event, a well-known person, or a piece of popular culture. Select |

|everyday symbolism. In literature, symbols might be more complex. Select |one allusion from the novel and discuss how it enhanced your understanding of|

|an example from the book that you believe represents something else. |the story. (Please answer using complete sentences.) |

|Discuss the symbol, what you think it represents, and why you found it |Hazel discusses the cancer support group and mentions that the leader, |

|important. (Please answer using complete sentences.) |Patrick, “is waiting, as we all do, for the sword of Damocles to give him the|

| |relief that he escaped” (Green 4). This is an allusion because it is a |

|Augustus’ unlit cigarette= Augustus taking control of his health |reference to a Greek legend. In the legend, Damocles flattered his king in |

| |the hopes that Damocles would be given more power, so to teach Damocles a |

|The cigarette is a purposeful symbol of control for Augustus, a character |lesson, the king and Damocles switched places for the day. At dinner, |

|who likes symbols and metaphors. Smoking cigarettes is known to cause |Damocles saw a sword dangerously hanging by a single thread over his head. |

|cancer; Augustus, who has had cancer, carries cigarettes but does not |The king wanted to teach Damocles that it was hazardous to be in power and |

|smoke them. He feels this puts him in symbolic control over cancer, a |that people are often under a threat, are uncertain, and are constantly aware|

|control that he desperately wants. Augustus first explains this to Hazel |of mortality (Block). Hazel’s use of the allusion shows readers that she is |

|by asserting, “You put the killing thing between your teeth, but you do |intelligent, is aware that living with cancer is living under a constant |

|not give it the power to do its killing” (Green 20). |threat of imminent death, and reveals her dark sense of humor that she thinks|

| |that Patrick’s current life is not great and that death might have been a |

| |relief for him, as it is for some people who suffer. |

| |Note: If you look up the allusion, please provide the MLA citation from where|

| |you looked. |

| |Block, Melissa, and Daniel Mendelsohn. "Sword of Damocles' Reference |

| |Sometimes Misused." NPR. N.p., 19 Aug. 2011. Web. 25 May 2013. |

✓ Other Works by John Green: Looking for Alaska, An Abundance of Katherines, Paper Towns, Let it Snow: Three Holiday Romances (with Maureen Johnson and Lauren Myracle), Will Grayson, Will Grayson (with David Levithan)

Introduction to Analyzing Arguments: A Step-by-Step Start

We are looking to see a multi-paged assignment (not one full essay; this is a series of essay-type responses) that clearly states the central argument in the book, provides effective textual examples (properly MLA-cited, of course) for each answer, and explores the very nature of your non-fiction book. Please make sure your responses for each number are in paragraph(s) form, are word-processed, and are articulate. As you compose each written response, please number your answers, but it is not necessary to re-type the question. We should be able to tell which question you are answering without referring back to the prompts because your answers are clear.

Logos/Logic: Use cited and embedded textual evidence and plenty of your own prose for each question.

1. What is the topic? Be as specific as you can as you summarize the issue, but don’t forget about style. Being logical does not mean that you can’t showcase a sophisticated prose style. In this response, tell us what the book is about, major characters, events, and more. Remember, you are establishing your ethos right here.

2. What is the main claim/thesis/overall, main message? The claim is a statement of what the argument is about, or what listeners (or readers) are expected to accept.  Therefore, any effective argument will present a clear and unambiguous claim. Claims should be debatable and tend to be controversial. The author is not just writing a story; this is an argument. Please state the argument and provide cited textual evidence.

3. Is there reliable evidence to support the claim? Facts, statistics, surveys, polls, studies, testimonies, anecdotes, and interviews are all examples of ways a person can provide evidence for support. Discuss some of the evidence (again, use textual support) and comment on its usefulness and credibility.

4. What do these details tell you about the writer’s assumptions about the knowledge and experience of the readers? Explain the intended audience and the writer’s assumptions about that audience.

Ethos/Credibility—Why should we listen to this author?

5. Is the author well informed? How do you know? Give examples and comment on them.

6. Does the piece offer different sides of the argument (counter-arguments)? Explain, provide examples, and comment on them. (Note: in the past, students have mentioned that they could not find these. They are there…in each book. When does the author show the other side of his or her argument?)

7. How does the author portray himself as a credible individual? Look at if he/she introduces himself/herself, establishes authority, and establishes a connection with the reader and the subject. Provide examples and commentary on the establishment of credibility.

Pathos/Feelings/Passion—Why should we care? What is the significance?

8. Describe the tone and why it is used. Provide two words that describe the tone and provide examples and commentary about the effectiveness and purpose of the tone.

9. Describe the diction and discuss its effect and purpose. Diction is the writer’s choices of words. How would you describe the diction? (Example: Is it scholarly and elevated? Informal and casual? These are just examples. There are thousands of ways to describe diction.) You are not limited to the previous suggestions; please use other more appropriate descriptors for the diction in your book. Please discuss a quotation, and focus on individual words and phrases that were chosen. Comment on the purpose and effect of the diction in your quotation.

10. Big picture. Does the author say how the issues affect him/her and society? Please explain with support and commentary.

11. How does the author help you feel connected to the issue? What techniques does he/she use as a writer? Explain and give examples.

Evaluation

12. What is the purpose of the argument, do you think?

13. Overall, is the argument sound? Does the author make logical claims and prove them well? Sum up and discuss.

14. Did the author convince you of his or her point of view on any issues? It is possible to hear a good argument and still not be fully persuaded to change. Discuss what you will take away from this argument and how much your point of view was supported, enlightened, or changed.

15. How do you feel now that you have read this book? What is your reaction and overall evaluation of the book?

16. Reflection. What moment from the book stands out to you now? This is the section, story, point of the book that you will most remember.

Citation

17. Because you have used plenty of parenthetically cited quotations in your assignment, you will need a work cited page attached to the end. Please refer to your Godinez Writing Handbook, your notes from sophomore year, or a proper MLA website for examples of a correct MLA 2009 work cited.

Here is an excerpt (not a complete answer) from a response for #7. This does the job and would earn a B. To earn an A, you would need to really go above minimum expectations. This is the year to push yourself!

Alexandra Robbins portrays herself as a credible individual because "as a journalist, she views her role as that of an observer, not a participant" (5). She also establishes her authority as a former Whitman student who has witnessed first-hand accounts of what it is like to be an overachiever. She shows herself as more knowledgeable than another writer because she is both a journalist and a former high school overachiever. Robbins is credible because she does not interfere with the ideals of the overachievers and because she is a journalist, she has the access of interviewing professionals who have access to statistics and anecdotes to help her attain and showcase her knowledge on the subject. For example, Robbins interviewed a college guidance counselor named Vera who conveys Julie as "not a great student who isn't getting into a top college" (5). This comment about a wonderful student epitomizes the argument that it is not enough (to some) to have perfect grades while balancing a normal life. Robbins’ interviews add assurance to her stance and establish a connection that readers can relate to because it persuades the reader to sympathize with the overachievers. The author is able to communicate with both professionals and the high-schoolers, so her credibility helps the audience gain multiple perspectives of the issue of an overachiever culture.

The above excerpt is meant to show you that the writer properly wove quotations, gave a thoughtful response, maintained an academic writing style, and showed himself/herself as a student interested in the world. To reiterate, that is just an except from a response to one question.

Tips:

1. Do not wait until the last minute. That is when you may feel the pressure to partake in unsavory practices like not reading the book or plagiarizing.

2. Refer to the writer by the full name once and then by the last name only every other time. You wouldn’t write about Shakespeare by calling him William, give these writers the same respect.

3. Give a thoughtful response for each question.

4. Send a polite e-mail with your name clearly on it to Ms. Pruden (A-L last names) or Mrs. Statler (M-Z) if you have a question.

5. Take notes in your book or using a Thinking Map, so you will remember information for the test, for this assignment, and for yourself.

6. Analyze; do not praise. Tell me how the simile supports an author’s message – not that the author is a good writer for using a simile.

7. Eliminate “I think,” “I believe,” “In my opinion” phrases. These are hedge phrases that unconfident writers hide behind.

8. Proofread! Nothing ruins your ethos more than errors.

Rhetorical Strategies Glossary

Rhetorical strategies are techniques writers use to create a particular effect. All writers use some type of rhetorical strategies to help them express ideas and evoke responses in their readers. (This handout should be placed in your AP English Language Binder for the year!)

Directions: Make sure you review these terms and think carefully about their use in your choice book so that you will be ready to take a test on them, can apply them throughout the year, and can appreciate their aesthetics and function for a lifetime.

|Device |Definition |Function |Example |

| |A similarity or comparison between two |to make a pointed comparison, |“Pupils are more…oysters than sausages. The |

| |different things or the relationship |often a very powerful comparison; |job of teaching is not to stuff them and then|

|Analogy |between them. An analogy can explain |to make writing more vivid, |seal them up, but to help them open and |

| |something unfamiliar by associating it |imaginative, or intellectually |reveal the riches within.” – Sydney J. Harris|

| |with or pointing out its similarity to |engaging | |

| |something more familiar. | | |

| |A figure of speech using implied |to make a pointed comparison, |Metaphor: The sunrise blossomed into a |

|Metaphor/simile |comparison of seemingly unlike things or|often a very powerful comparison; |beautiful morning with a fragrance that |

| |the substitution of one for the other, |to make writing more vivid, |stimulated the senses of those who saw it. |

| |suggesting some similarity. |imaginative, thought provoking, |Simile: The Northern Lights glimmered across |

| | |and meaningful |the midnight sky like a princess’ shimmering |

| | | |tiara. |

| |A figure of speech using deliberate |to provoke a response, to cast |My sister wears so much makeup that she broke|

|Hyperbole |exaggeration or overstatement. |something in a strong light; |a chisel trying to get it off last night. |

| |Hyperboles often have a comic effect; |often, hyperbole produces irony | |

| |however, a serious effect is also | | |

| |possible. | | |

| |The ironic minimizing of fact, |to spark the reader’s imagination,|Jonathan Swift’s A Tale of a Tub: “Last week |

|Understatement |understatement presents something as |or make a pointed observation |I saw a woman flayed, and you will hardly |

| |less significant than it is. The effect | |believe how much it altered her person for |

| |can frequently be humorous and emphatic.| |the worse.” |

| |Understatement is the opposite of | | |

| |hyperbole. | | |

| |The sensory details of figurative |to illustrate an idea, a feeling, |“The shivering increased as he pulled in and |

| |language used to describe, arouse |or the particular qualities of |he could see the blue back of the fish in the|

|Imagery |emotion, or represent abstractions. On a|something; to produce a feeling or|water and the gold of his sides before he |

| |physical level, imagery uses terms |an idea; on the AP exam, pay |swung him over the side and into the boat. He|

| |related to the five senses. On a broader|attention to how an author creates|lay in the stern in the sun, compact and |

| |and deeper level, one image can |imagery and to the effect of this |bullet shaped, his big, unintelligent eyes |

| |represent more than one thing. |imagery |staring as he thumped his life out against |

| | | |the planking of the boat with the quick |

| | | |shivering strokes of his neat, fast-moving |

| | | |tail. The old man hit him on the head for |

| | | |kindness and kicked him, his body still |

| | | |shuddering, under the shade of the stern.” – |

| | | |Hemingway’s The Old Man and the Sea |

| |The repetition of sounds, especially |to create a memorable phrase; to |The first time the ship comes across sperm |

|Alliteration |initial consonant sounds in two or more |reinforce meaning, unify ideas, |whales, the type of whale they are hunting in|

| |neighboring words. |supply a musical sound, and/or |Moby Dick, Ishmael says, “Neither of those |

| | |echo the sense of the passage |can feel stranger and stronger emotions than |

| | | |the man does, who for the first time finds |

| | | |himself pulling into the charmed, churned |

| | | |circle of the hunted sperm whale.” |

| |A direct or indirect reference to |to lend authority to an idea, to |"I violated the Noah rule: predicting rain |

|Allusion |something which is presumably commonly |make an association with something|doesn't count; building arks does." –Warren |

| |known, such as an event, book, myth, |the reader knows |Buffet |

| |place, or work of art. Allusions can be | | |

| |historical, literary, religious, | | |

| |topical, or mythical. | | |

| |One of the devices of repetition in |to create a memorable, powerful |“"It's the hope of slaves sitting around a |

|Anaphora |which the same expression (word or |effect, to reinforce an idea |fire singing freedom songs; the hope of |

| |words) is repeated at the beginning of | |immigrants setting out for distant shores; |

| |two or more lines, clauses, or | |the hope of a young naval lieutenant bravely |

| |sentences. | |patrolling the Mekong Delta; the hope of a |

| | | |millworker's son who dares to defy the odds; |

| | | |the hope of a skinny kid with a funny name |

| | | |who believes that America has a place for |

| | | |him, too." - Barack Obama |

| |The duplication, either exact or |to create a memorable, powerful |“Beyond the traits that fit into an |

|Repetition |approximate, of any element of language,|effect, to reinforce an idea |intellectually defensible definition of nerd,|

| |such as a sound, word, phrase, clause, | |there's a nerd tone, a nerd aesthetic. You |

| |sentence, or grammatical pattern. | |know it when you see it: the |

| | | |indestructible-looking but nonetheless |

| | | |largely destroyed glasses, the pair of |

| | | |pleated shorts that exposes thigh, the |

| | | |childlike laugh, the intense |

| | | |self-seriousness. […]What is the history of |

| | | |the nerd? What are the different nerd |

| | | |subcultures like? […] I will take a serious |

| | | |approach to a subject usually treated |

| | | |lightly, which is a nerdy thing to do.” |

| | | |–American Nerd: The Story of My People |

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| |Also referred to as parallel |to create a memorable, powerful |"Our transportation crisis will be solved by |

|Parallelism |construction or parallel structure, it |effect, to reinforce an idea; to |a bigger plane or a wider road, mental |

| |refers to the grammatical or rhetorical |act as an organizing force to |illness with a pill, poverty with a law, |

| |framing of words, phrases, sentences, or|attract the reader’s attention, |slums with a bulldozer, urban conflict with a|

| |paragraphs to give structural |add emphasis and organization, or |gas, racism with a goodwill gesture."- |

| |similarity. This can involve, but is not|simply provide a musical rhythm. |Phillip Slater |

| |limited to, repetition of a grammatical | | |

| |element such as a preposition or verbal | | |

| |phrase. | | |

|Tone |Similar to mood, tone describes the |to communicate an attitude towards|The idea that people construct, or shape, |

| |author’s attitude toward his material |the subject |their experience is an axiom, or fundamental |

| | | |principle, of social psychology. This line |

| | | |has a matter-of-fact tone. |

| |The non-literal, associative meaning of |to cast the subject in a |Kitten is defined as “a baby cat,” but its |

|Connotations |a word; the implied, suggested meaning. |particular light, to imply |connotation is of softness, warmth, and |

| |Connotations may involve ideas, | |playfulness.  |

| |emotions, or attitudes | | |

| |A figure of speech that directly |To add familiarity or intensity |“Milton!  Thou shouldst be living in this |

|Apostrophe |addresses an absent or imaginary person | |hour; 
England hath need of thee.”     |

| |or a personified abstraction, such as | |-William Wordsworth |

| |liberty or love. It is an address to | | |

| |someone or something that cannot answer.| | |

| |Related to style, diction refers to the |Helps create an author’s style; |Elevated diction: “Thus it is that when we |

| |writer’s word choices, especially with |for the AP exam, you should be |walk in the valley of two-fold solitude, we |

|Diction |regard to their correctness, clearness, |able to describe an author’s |know little of the tender affections that |

| |or effectiveness |diction (for example, formal or |grow out of endearing words and actions and |

| | |informal, ornate or plain) and |championship.”     |

| | |understand the ways in which |—Helen Keller |

| | |diction can complement the |Formal diction: “The two ideas are |

| | |author’s purpose |irreconcilable, completely and utterly |

| | | |inverse, obverse and contradictory!”     |

| | | |—F. Scott Fitzgerald |

| |The contrast between what is stated |to convey complexity; used to |In Julius Caesar, Marc Antony’s reference to |

|Irony |explicitly and what is really meant. The|create poignancy or humor |Brutus being an honorable man is an example |

| |difference between what appears to be | |of verbal irony. Marc Antony notes all of the|

| |and what actually is true. | |good deeds Julius Caesar did for his people |

| | | |while, more than once, he asks the rhetorical|

| | | |question, “Did this in Caesar seem |

| | | |ambitious?” Antony uses this rhetorical |

| | | |question to try to convince his audience that|

| | | |Caesar is not ambitious, presenting Brutus as|

| | | |a dishonorable man because of his claim that |

| | | |Caesar was ambitious. |

|Paradox |A statement that appears to be |to point out an apparent |“It was the best of times, it was |

| |self-contradictory or opposed to common |contradiction |the worst of times....” – Charles Dickens |

| |sense but upon closer inspection | | |

| |contains some degree of truth or | | |

| |validity | | |

|Anecdote |A short narrative dealing with |to provide a concrete example or |“I remember there came into our neighborhood |

| |particulars of an interesting episode or|humanize an abstract concept |one of this class who was in search of a |

| |event. The term most frequently refers | |school to teach, and the question arose while|

| |to an incident in the life of a person. | |he was there as to the shape of the earth and|

| | | |how he would teach the children concerning |

| | | |the subject.  He explained his position in |

| | | |the matter by saying that he was prepared to |

| | | |teach that the earth was either flat or |

| | | |round, according to the preference of a |

| | | |majority of his patrons.”  —Booker T. |

| | | |Washington Up From Slavery |

| |A figure of speech in which the name of |To carry a more potent emotional |Metonymy: one thing is represented by another|

|Metonymy/ synecdoche |one object is substituted for that of |impact |thing that is commonly physically associated |

| |another closely associated with it/a | |with it (but is not necessarily a part of |

| |substitution of a part for a whole | |it), i.e., referring to a monarch as “the |

| | | |crown” or the President as “The White House.”|

| | | |Synecdoche: To refer to a boat as a “sail”; |

| | | |to refer to a car as “wheels”; to refer to |

| | | |the violins, violas, etc. in an orchestra as |

| | | |“the strings.” |

|Satire |A work that targets human vices and |To ridicule and inspire reform; |George Orwell's Animal Farm is a political |

| |follies or social institutions and |good satire, often humorous, is |satire, with talking animals who plot to rule|

| |conventions for reform or ridicule. |thought provoking and insightful |the world. Upon defeating Farmer Jones, they |

| | |about the human condition |break out into an era of totalitarianism. |

|Sarcasm |Sarcasm involves bitter, caustic |to ridicule or criticize; when |(Oddly enough, sarcastic remarks are often |

| |language that is meant to hurt or |done well, sarcasm can be witty |used between friends, perhaps as a somewhat |

| |ridicule someone or something |and insightful; when poorly done, |perverse demonstration of the strength of the|

| | |it’s simply cruel |bond--only a good friend could say this |

| | | |without hurting the other's feelings, or at |

| | | |least without excessively damaging the |

| | | |relationship, since feelings are often hurt |

| | | |in spite of a close relationship. If you drop|

| | | |your lunch tray and a stranger says, "Well, |

| | | |that was really intelligent," that's sarcasm.|

| | | |If your girlfriend or boyfriend says it, |

| | | |that's love--I think.) |

|Invective |An emotionally violent, verbal |to ridicule, chastise, or convey |Shakespeare describes Falstaff in Henry iv as|

| |denunciation or attack using strong, |contempt |a “sanguine coward, this bedpresser, this |

| |abusive language | |horseback breaker, this huge hill of flesh.” |

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|Parody |A work that closely imitates the style |to offer enlightenment about the |[pic][pic] |

| |or content of another with the specific |original | |

| |aim of comic effect and/or ridicule. As | | |

| |comedy, parody distorts or exaggerates | | |

| |distinctive features of the original. As| |The second image is a parody of the first. |

| |ridicule, it mimics the work by | | |

| |repeating and borrowing words, phrases, | | |

| |or characteristics in order to | | |

| |illuminate weaknesses in the original. | | |

|Personification |A figure of speech in which the author |to make the abstractions, animals,|“The wind stood up and gave a shout. He |

| |presents or describes concepts, animals,|or objects appear more vivid to |whistled on his two fingers.” “The Wind,” |

| |or inanimate objects by endowing them |the reader |James Stephens |

| |with human attributes or emotions | | |

|Style |An evaluation of the sum of the choices |To help convey an author’s purpose;| A science teacher might ask a student to |

| |an author makes in blending diction, |we can analyze and describe an |write briefly and to the point, to say what |

| |syntax, figurative language, and other |author’s personal style and make |he/she means clearly and avoid embellishment. |

| |literary devices. |judgments on how appropriate it is |This is a different style than might be asked |

| | |to the author’s purpose. |of him/her in English class. |

|Symbol/symbolism |Anything that represents itself and |To draw attention to an |The sea in The Old Man and the Sea may be seen|

| |stands for something else; usually a |abstraction; on the AP exam, try to|as a symbol for life. |

| |symbol is something concrete-such as an |determine what abstraction an | |

| |object, action, character, or scene-that |object is a symbol for and to what | |

| |represents something more abstract. |extent it is successful in | |

| | |representing that abstraction. | |

|Syntax |The way an author chooses to join words |To produce a specific effect |Just as every writer uses some type of |

| |into phrases, and sentences. | |diction, every writer uses some type of |

| | | |syntax. And, as with diction, the more unusual|

| | | |it is, the more significant it probably is. |

| | | |Since syntax is one of the most difficult |

| | | |things to analyze and write about, we’re going|

| | | |to deal with it in much more depth throughout |

| | | |the year, but look for the length of |

| | | |sentences, the placement and content of |

| | | |clauses, the balance of sentences, etc. |

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| |The author’s construction of an argument |To move the reader through their |“He has plundered our seas, ravaged our |

|Pathos |through appeals to emotion, whether it be|emotion to support their stance |Coasts, burnt our towns, and destroyed the |

| |fear, pity, or outrage through strong | |lives of our people.” |

| |imagery, loaded language, striking | |—Declaration of Independence |

| |detail, etc. | | |

|Ethos |The author’s attempts to gain the trust |To gain the reader’s trust; to |As ambassador to Saudi Arabia, I have a unique|

| |of the reader, by building the |establish the text as credible, |understanding of Arab perceptions of America. |

| |credibility of themselves or their |unbiased, and trustworthy. | |

| |argument, through references to their own| | |

| |training/ experience or the citation of | | |

| |credible sources with training/ | | |

| |experience in the field. | | |

|Logos |The use of facts, statistics, evidence, |To build a case and support the |In fact, two in every six deaths in North |

| |etc. in constructing an argument. The |stance of the work; to illustrate |America is smoking related. Every year, |

| |organization of the argument is also part|the author’s argument with tangible|smoking kills more than 376,000 men and |

| |of the argument’s logos. |support. |242,000 women. |

Rhetorical Strategies: In Application

Directions: Find a passage from your non-fiction book that illustrates each of the rhetorical strategies listed here (defined in the glossary). Then, think carefully about how the use of that technique in your selected passage helps the author make an effective argument that achieves his/her purpose. Next, provide a thoughtful analysis articulating that concept in the “Analysis” column. Questions are provided in the analysis box to help guide your insights, but don’t feel compelled to answer every single question if they don’t seem to apply (but do not ignore them and merely summarize). Just make sure there is thoughtful analysis of each quotation, explaining how the rhetorical strategy helps the writer make his claims. NOTE: THIS HANDOUT IS FOR NOTETAKING ONLY SINCE THE REAL ASSIGNMENT WILL BE TYPED AND SUBMITTED TO . We expect this to be your own work. Be original.

|Rhetorical Strategy |Passage with MLA Parenthetical Citation |Analysis: Your analysis should (at the very least) answer these |

| | |questions, but please feel free to go above and beyond the minimal |

| | |analysis. |

|Imagery | |What type of imagery is this? What are the images? Why are they |

| | |effective? |

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|Anecdote | |How do these stories help strengthen the author’s argument? What are |

| | |their functions? |

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|Anaphora (please underline the | |Is repetition being used here for emphasis? What is being emphasized? |

|repetition in the anaphora) | |What does the repetition do for the reading experience/ rhythm/purpose?|

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|Parallelism (underline the parallel | |Explain where you see the syntactical similarities (quote the phrases |

|structure) | |that are parallel). What do these sentences/ phrases focus on? How does|

| | |the parallelism create emphasis and what is being emphasized? |

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|Diction. Find a quotation that | |Make sure you have identified what type of diction is being used. Which|

|represents a particular kind of diction.| |words are especially effective? Why? (What are they associated with? |

|What type of diction is being | |Are they emotionally charged? How?) |

|represented? ________ | | |

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|Analogy | |Is the author making an extended comparison? What is being compared to |

| | |what? Why does the point of comparison make an especially effective |

| | |connection? |

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| |Passage |Analysis: Your analysis should (at the very least) answer these |

|Rhetorical Strategy | |questions, but please feel free to go above and beyond the minimal |

| | |analysis. |

|Connotation/ Denotation | |Which words have positive or negative connotation? Underline these |

| | |words. What are other words that could be used that would change the |

| | |tone, even though they mean the same thing? |

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|Pathos | |What does the author use to persuade the reader on the level of their |

| | |emotion/ compassion for the subject? Consider the emotions of fear, |

| | |pity, anger, etc. |

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|Ethos | |How does the author establish the credibility of himself/herself as a |

| | |writer or of his/her argument as a whole? What credentials does s/he |

| | |hold? Does s/he cite credible sources to help strengthen the points? |

| | |Where and why would the intended audience be impressed/ feel trust? |

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|Logos | |What is the evidence that the author uses to build his argument? |

| | |Consider evidence, examples, studies, statistics, organization, etc. |

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In AP English Language, we really value your insights and originality. Please let us see the real you. Do not share your work or use other’s ideas as your own.

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