Preface: What is Pre-AP?

Pre-AP is a registered College Board trademark. It encompasses strategies, activities, and curriculum alignment aimed at preparing students for the rigorous challenges in an AP English course and for success on one of the two the AP English exams.

Pre-AP is based on the following two important premises. The first is the expectation that all students can perform well at rigorous academic levels. This expectation should be reflected in curriculum and instruction throughout the school such that all students are consistently being challenged to expand their knowledge and skills to the next level.

The second important premise of Pre-AP is the belief that we can prepare every student for higher intellectual engagement by starting the development of skills and acquisition of knowledge as early as possible. Addressed effectively, the middle and high school years can provide a powerful opportunity to help all students acquire the knowledge, concepts, and skills needed to engage in a higher level of learning.

One of the most appealing aspects of Pre-AP as opposed to other curriculum models is that each school can mold its Pre-AP program to fit its local needs while at the same time giving teachers and administrators a rigorous goal through the AP exam. This particular PreAP workshop is designed with Chinese teachers and students in mind. It aims to take into consideration the special needs for second language learners.

Pre-AP versus Vertical Teams

Oftentimes people are confused about the differences between Pre-AP and Vertical Teams. Vertical Teams are part of the Pre-AP program. Vertical Teams are comprised of groups of teachers who work to align curriculum around the skills and content needed for success on the AP exams. They work to ensure that each grade level represented by the team has appropriate age and skill level material that will build from year to year. Pre-AP programs include this vertical articulation, but also give teachers strategies and activities that are effective in preparing students for success on AP exams.

For this Pre-AP workshop participants will engage in both Vertical Team Alignment activities and will also practice strategies and activities that promote critical thinking and skill development.

Special Considerations for Chinese Teachers and Students

One of the biggest challenges on the AP English exam for second language learners of any language is attaining language fluency. Proficiency in a second language takes time and practice. For these students a strong Pre-AP program is more important than it is for native English speakers. Teachers in the Pre-AP years can offer students opportunities to speak, listen, read, and write in English. They

can also start to build some cultural literacy about western customs that will help unlock complicated texts they will encounter on the AP English exam.

One advantage Chinese students have over other second language learners is a strong foundation in English grammar. If Pre-AP teachers develop lessons that apply that knowledge to speaking, listening, and writing activities students will develop language fluency more quickly. This workshop will offer some models of how to extend grammar instruction to help students become more proficient in English. Pre-AP teachers are encouraged to develop other lessons based on these models.

Vocabulary acquisition is another area in which Pre-AP teachers can help build language fluency. As with grammar instruction, it is important that students be engaged in activities that allow them to speak, listen, and write.

In conclusion, the Pre-AP English teacher is critical in providing opportunities for students to develop language skills. This is true for native speakers, but even more important for second language learners.

Section I Overview of the AP English Language and Literature Exams

The College Board offers two exams in English, the English Language and the English Literature Exams. For Chinese teachers beginning a Pre-AP Vertical Team, the AP English Language and Composition Exam should be the basis of the initial alignment. The AP English Literature Exam requires more knowledge of western history and culture and will provide an additional challenge for Chinese students. As the PreAP Vertical Team becomes more entrenched in the school culture, teachers might consider adding the AP Literature and Composition Exam. The following chart outlines the similarities and differences in the two exams. The Pre-AP Vertical Team can get ideas for genres and skill development from the chart.

Comparison of AP Literature and Composition and AP Language and Composition CoursesAP English LiteratureAP English Language

GenresFiction: novels, plays, poetryGenresNon-fiction: speeches, essays, editorials, visuals, letters, memoirs, biographies

Students Must KnowLiterary Elements for All Genres: figurative language, symbols, irony, characterization, setting, plot structure, point of view, tone, themeSpecific to Poetry (Prosody): Rhythm and basic meters, sound devices, images, stanza forms, repetition Specific to Prose (including drama): rhetorical strategies, syntax, diction, speaker, audience, purposeStudents Must KnowRhetorical Purposes: relationship among speaker/audience/messageRhetorical Strategies to Achieve Purpose: diction, imagery, syntax, structure, irony, satire, details, omissions, tropes, and schemes, Specific to Satire: direct and indirectSpecific to Argument: appeals, fallacies, Toulmin, RogerianSpecific to Synthesis: blending sources, attribution, reading visual images

Exam StructureMultiple Choice: Either four or five passages balanced among poetry and prose, pre and post 20th century works. Students have one hour to read the passages and answer approximately 55 questions. 45% of total score.

Essays: 2 hours 65% of total score1 on a poem(s) Usually the poem is not commonly taught. Students must make their own meanings. In some years students have been asked to compare and contrast two poems. In such cases the poems may be more familiar.1 on prose A short snippet for a play, short story, or novel. This essay task has the most direct connection to the Language exam.1 on a novel or play of students choice Students choose a longer work to apply to the given prompt.Exam StructureMultiple Choice: Approximately four passages. While in recent years the multiple choice has had more post 19th century prose than pre 20th century, that could shift. Students should read both modern and older texts. They should also be prepared for a few writing convention questions. Approximately 54-55 questions. One hour. 45% of total score.Essays: 2 hours and 15 minutes- 65% of total score1 Synthesis Essay Students are given 15 extra minutes to read the 5 to 7 sources related to the topic in the prompt. After the 15 minutes of reading time, students have two hours to write three essays. The synthesis essay can ask students to form an opinion (argument) or evaluate the sources. In either case they must embed the opinions of others with theirs. They must also cite their references to the sources.1 or 2 argument essays1 or 2 analysis essaysIn recent years students have written one synthesis, analysis, and argument. The test development committee can, however, decide to have students write two arguments or two analyses. The synthesis question is the only guarantee.

Representative Authors

The following author suggestions are taken from the AP English Language Course Description Guide. The full Course Description Guide can be found on AP Central ( http://apcentral.collegeboard.com/apc/Controller.jpf). The guide make is clear that the list in merely a suggestion and that other authors can be used.

For the purposes of this workshop the list is offered to start a conversation on texts that might be used in a Pre-AP Vertical Team curriculum. Since the test contains text selections from Pre-20th century, it is important to expose students to some early writings. Many of these are available on the internet and do not have copyright issues. Students also need Post-20th century texts. These might be more difficult to acquire as many are copyrighted.

Pre-20th Century

Joseph Addison, Matthew Arnold, Francis Bacon, James Boswell, Thomas Carlyle, Samuel Taylor Coleridge, Jean de Crvecoeur, Charles Darwin, Thomas De Quincey, Frederick Douglass, Ralph Waldo Emerson, Benjamin Franklin, Margaret Fuller, Edward Gibbon, Charlotte Perkins Gilman, William Hazlitt, Thomas Hobbes, Harriet Jacobs (Linda Brent), Thomas Jefferson, Samuel Johnson, Charles Lamb, John Locke,Thomas Macaulay, Niccol Machiavelli, John Stuart Mill, John Milton, Michel de Montaigne, Thomas More, Thomas Paine, Francis Parkman, Walter Pater, Samuel Pepys, John Ruskin, George Bernard Shaw, Richard Steele, Jonathan Swift, Henry David Thoreau, Alexis de Tocqueville, Oscar Wilde, Mary Wollstonecraft

20th Century to the PresentEdward Abbey, Diane Ackerman, James Agee, Paula Gunn Allen, Roger Angell, Natalie Angier, Gloria Anzalda, Hannah Arendt, Michael Arlen, Margaret Atwood, James Baldwin, Dave Barry, Melba Patillo Beals, Simone de Beauvoir, Lerone Bennett Jr., Wendell Berry, Sven Birkerts, Susan Bordo, Jacob Bronowski, David Brooks, William F. Buckley, Judith Butler, Rachel Carson, G. K. Chesterton, Winston Churchill, Kenneth Clark, Judith Ortiz Cofer, Jill Ker Conway, Arlene Croce, Richard Dawkins, Vine Deloria Jr., Daniel Dennett, Jared Diamond, Joan Didion, Annie Dillard, Maureen Dowd, Elizabeth Drew, W. E. B. Du Bois, Leon Edel, Gretel Ehrlich, Loren Eiseley, Richard Ellmann, Nora Ephron, Niall Ferguson, TimothyFerris, M. F. K. Fisher, Frances Fitzgerald, Janet Flanner (Gent), Tim Flannery, Shelby Foote, Richard Fortey, John Hope Franklin, Antonia Fraser, Thomas L. Friedman, Paul Fussell, John Kenneth Galbraith, Mavis Gallant, Henry Louis Gates Jr., Atul Gawande, Ellen Goodman, Nadine Gordimer, Stephen Jay Gould, Stephanie Elizondo Griest, David Halberstam, Elizabeth Hardwick, Elva Trevino Hart, Chris Hedges, John Hersey, Christopher Hitchens, Edward Hoagland, Richard Holmes, bell hooks, Zora Neale Hurston, Pauline Kael, Evelyn Fox Keller, Helen Keller, George Kennan, Jamaica Kincaid, Martin Luther King Jr., Barbara Kingsolver, Maxine Hong Kingston, Naomi Klein, Paul Krugman, Alex Kuczynski, Lewis H. Lapham, T. E. Lawrence, Aldo Leopold, Gerda Lerner, Andy Logan, Philip Lopate, Barry Lopez, Norman Mailer, Nancy Mairs, Peter Matthiessen, Mary McCarthy, Frank McCourt, Bill McKibben, John McPhee, Margaret Mead, H. L. Mencken, Jessica Mitford, N. Scott Momaday, Jan Morris, John Muir, Donald M. Murray, V. S. Naipaul, Geoffrey Nunberg, Joyce Carol Oates, Barack Obama, Tillie Olsen, Susan Orlean, George Orwell, Cynthia Ozick, Steven Pinker, Francine Prose, DavidQuammen, Arnold Rampersad, Ishmael Reed, Rick Reilly, David Remnick, Adrienne Rich, Mordecai Richler, Richard Rodriguez, Sharman Apt Russell, Carl Sagan, Edward Said, Scott Russell Sanders, George Santayana, Simon Schama, Arthur M. Schlesinger, David Sedaris, Richard Selzer, Leslie Marmon Silko, Barbara Smith, Red Smith, Susan Sontag, Shelby Steele, Lincoln Steffens, Ronald Takaki, Paul Theroux, Lewis Thomas, George Trevelyan, Calvin Trillin, Barbara Tuchman, Cynthia Tucker, Laurel Thatcher Ulrich, John Updike, Gore Vidal, Alice Walker,Jonathan Weiner, Eudora Welty, Cornel West, E. B. White, George Will, TerryTempest Williams, Garry Wills, E. O. Wilson, Edmund Wilson, Tom Wolfe, Virginia Woolf, Richard Wright, Malcolm X, Anzia Yezierska

Vertical Alignment of Reading Selections:

The following chart contains authors for the Representative list above as well as Amy Tan and Amy Chua. Those works and authors listed as Foundational would be the most easily accessible for students, the Intermediate texts more challenging, and Advanced the most difficult.

Members of a Pre-AP Vertical Team should decide on works that are appropriate for each grade level and then teach them using the strategies found in this workshop. Foundational Authors and Texts1. Ben Franklin Autobiography and collections of his proverbs1. Amy Tan - The Opposite of Fate1. Barbara Kingslover Any of her short stories or essays from High Tide in Tucson

Intermediate Authors and Texts1. Amy Chua The Battle Hymn of the Tiger Mother1. Maxine Hong Kingston China Men and Woman Warrior1. Barbara Kingslover The Bean Trees1. Amy Tan The Joy Luck Club1. Jamaica Kincaid Girl1. Martin Luther King- I Have a Dream1. Zora Neale Hurston How It Feels to Be Colored Me

Advanced Authors and Texts1. Amy Tan The Bonesetters Daughter1. Jamaica Kincaid On First Seeing England1. Francis Bacon Of Studies1. Martin Luther King A Letter from Birmingham Jail1. James Baldwin If Black English Isnt English Then Tell Me What Is1. George Orwell Shooting an Elephant1. Abraham Lincolns 1st and 2nd Inaugural Addresses

Section 2: Close Reading

While the following reading standards are from the PSAT and SAT exams, they are useful for Pre-AP programs. If Pre-AP Vertical Teams align to these standards, they will be preparing students for the AP exam.

Examine the standards and place a plus sign (+) by those that are currently strong in your curriculum and a negative sign (-) by those that need attention.

Critical Reading Standards from the PSAT and SAT

1. Determining the Meaning of WordsUnderstanding of vocabulary and sentence structure Student determines the meaning of a word in a sentence or a section of text by using context clues, knowledge of the meaning of words, knowledge of root words and affixes, and understanding of how the different parts of a sentence fit together.

1. Authors CraftUnderstanding of an authors use of language and devices Student understands an authors purpose in a text. Student recognizes that authors use word choice, literary devices and rhetorical devices to achieve certain effects.

1. Reasoning and InferencingUse of reasoning and critical thinking to extend or elaborate on a text Student uses reasoning to connect ideas within a text or across short texts and to draw conclusions about a text or texts. Student makes inferences and recognizes implications in a text.

1. Organization and IdeasUnderstanding of ideas and recognition of a texts organization Student understands, connects and compares ideas within a text or across short texts. Student understands how a text is organized and recognizes the functions of different parts of a text

1. Understanding Literary Elements (This standard applies more to the AP Literature Exam than to the English Language Exam.)Use of knowledge of literary elements Student uses understanding of setting, plot,characterization, theme and narrative perspective (point of view) when analyzing a literary text.

Critical Reading Activity 1: Levels of Questions

If we want students to improve their thinking skills, we must teach them to ask interesting questions that will lead to critical thinking. This requires that teachers refrain from doing the thinking for them. It is more important to teach the students to ASK questions than it is for the students to answer questions we ask them. Furthermore, teaching them to ask questions helps them approach a text from their point of interest. This will encourage deeper critical thinking.

Below is an essay prompt from the AP Literature Exam. It emphasizes the need for students to have the skill of questioning.

2004 AP Essay Prompt Critic Roland Barthes has said, Literature is the question minus the answer. Choose a novel or play and, considering Barthes observation, write an essay in which you analyze a central question the work raises and the extent to which it offers any answers. Explain how the authors treatment of this question affects your understanding of the work as a whole. Avoid mere plot summary.

The following strategy called Levels of Questions provides students with a system to form good questions.

Level One Questions: These questions can be answered definitely with facts found in the text or by information readily available in outside sources.Example: Name the feuding families in Romeo and Juliet.Example: Where in Italy is Verona located?Example: What is an apothecary?

Notice that level one questions have one correct answer and lend themselves to matching, multiple choice, or fill-in[-the-blank tests. They are important because they require the student to read the work and provide support for levels two and three questions. Students do need to be attentive to details.

Level Two Questions: The answers to these questions are implied rather than stated directly in the text. Asking these types of questions requires students to draw inferences based on specific information they can cite to back up their conclusions.Example: What is Romeos concept of love at the start of the play?Example: Is Friar Lawrence or the Nurse more to blame for the tragedy?Example: How do you explain Tybalts anger toward Romeo?

Level Three Questions: These questions are more abstract. They go outside the text and present issues for discussion that bring in the students; frame of reference.Example: Are girls Juliets age ready to be married?Example: Is love at first sight really love?Example: Should parents arrange marriages for their children?

Notice that while level three questions will probably promote the most discussion, they may not necessarily require that the students have carefully read the text.Levels of Questions Practice: Visual Image

The following picture was taken during the 1930s Dust Bowl in the southwestern United States. Farmers lost their crops and were forced to move their families. Most went westward to California. As they migrated they would often form camps. This picture is of a mother, Florence Owen Thompson, who stopped at one of these camps on her way to California. Write three questions, a level one, two and three. We will use these questions as a basis of a discussion.

http://www.loc.gov/pictures/item/fsa1998021539/PP/

Levels of Questions Practice: Lou Gehrigs Farewell Speech

Lou Gehrig was one of Americas greatest baseball players. He, unfortunately, contracted a fatal motor neuron disease and died at age 37. He was known not only for his baseball ability, but also for his kindness and humility. He delivered the following retirement speech in Yankee stadium.

The following exercise models instruction that will help students develop fluency in English and will prepare them for the AP English Exam. You will engage in reading, listening, discussing, and writing activities.

Read Gehrigs speech, annotating the parts that you find interesting and also the parts that you find confusing. After you finish, we will listen to a delivery of the speech. You will then write three questions, a level one, two and three.

Lou Gehrigs Farewell Speech Full text version of the Farewell Speech"Fans, for the past two weeks you have been reading about the bad break I got. Yet today I consider myself the luckiest man on the face of this earth. I have been in ballparks for seventeen years and have never received anything but kindness and encouragement from you fans.

Look at these grand men. Which of you wouldn't consider it the highlight of his career just to associate with them for even one day? Sure, I'm lucky. Who wouldn't consider it an honor to have known Jacob Ruppert? Also, the builder of baseball's greatest empire, Ed Barrow? To have spent six years with that wonderful little fellow, Miller Huggins? Then to have spent the next nine years with that outstanding leader, that smart student of psychology, the best manager in baseball today, Joe McCarthy? Sure, I'm lucky.

"When the New York Giants, a team you would give your right arm to beat, and vice versa, sends you a gift - that's something. When everybody down to the groundskeepers and those boys in white coats remember you with trophies - that's something. When you have a wonderful mother-in-law who takes sides with you in squabbles with her own daughter - that's something. When you have a father and a mother who work all their lives so you can have an education and build your body - it's a blessing. When you have a wife who has been a tower of strength and shown more courage than you dreamed existed - that's the finest I know.

"So I close in saying that I might have been given a bad break, but I've got an awful lot to live for."

http://www.lougehrig.com/about/speech.htm

Related Writing Activity:

Brainstorming: In groups of 3-4 people discuss the main ideas/themes that the picture of the Migrant Mother and Lou Gehrigs Farewell Speech raise. These ideas should be universal and be level 3 thinking. Each group should write one idea from each work to share with the large group.

Individually, choose one idea and write a personal response to it. For instance, from the Migrant Mother, we might formulate an idea that The responsibilities of motherhood help women perserve through adversity. Your response to that idea should reflect your opinions and experiences. This type of personal writing will help students develop the skills to write the more structured academic essays required on the AP exam.

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John MengCollege Essay Eat! my father silently hissed at me, There is absolutely no reason to feel guilty; besides, you might even develop a taste for it. I struggled to hold back my rage.Not...funnydadHe chose wisely to end the brief exchange, jumping back into the not-so-funny table humor that engulfed the rest of my relatives. It was a scheme to lower my defenses. Out of the corner of my eye, I saw that he had already adjusted his gaze to the center of my plate in eager anticipation. Gulp There was no way out. Cornered against an unbreakable standard of etiquette and a father who might just have had a little too much to drink, I finally decided to gather whatever confidence that remained, take the risk and dive head-first into the ominous future.My hands were quivering uncontrollably and yet I began to meticulously position the chopsticks in their positions. Uncles, laughing, became silent; aunts, gossiping, became still; fathers, anticipating, became motionless. After staring at his cold plate for 10 minutes, was this Americanized boy really going to experience gritty Chinese culture? I cautiously raised the piece of meat towards my mouth; time slowed down for sure. Are you out of your mind?! Think of the consequences. What would people say? pleaded a voice inside my head.Life cannot be lived without risk! Think of the success! Be polite to your relatives! persuaded another. It was true. My uncle treated me to this dinner. I would be insane to anger relatives. Shutting my eyes, I crossed the point of no return and swallowed the piece of meat. On that fateful day, Ia law-abiding citizen who has never robbed a bank, committed fraud, or participated in money launderingviolated one of civilizations most sacred pillars of humanity; I ate a part of mans best friend. Opening my eyes, I watched my family cheer and felt my confidence skyrocket. I succeeded? I succeeded! I had become an epic hero for my derring-do. Victory was surely mine.Wrong. I nearly vomited 5 minutes later. My stomach quarantined me to the bathroom for the evening. After arriving home and recounting the incident, my friends made fun of me for 2 slow weeks. I learned the hard way. Risks do not always have a happy ending. And yet what better way could I have learned it? Success without failure, is that even possible? Maybe it wasnt the best ideaphysically, morally, and sociallyto have eaten that fateful piece, however, in taking that risk, mans best friend did become my friend. He taught me the necessity of taking risks and the humility that often comes attached. I have no regrets. Gulp Maybe this topic wasnt the best ideawho knows, you might just be a member of PETA. Brushing aside crushed fairy-tales, I embrace the possibility of a happy ending. This is a risk I must take.

A Gift to My Second MotherlandMichelle Ren - 2005I come from the famous northeastern city of China - Harbin, also known as the Little Paris of the East. Every year, tens of thousands of people from all over the world rush to my hometown to see the International Harbin Ice and Snow Festival. At forty below zero, Harbin is actually further north than the notoriously cold Vladivostok of Russia. As a result, mythological ice and snow sculptures lit with bright neon lights last from early December until late March. It was during one of these festivals that I got to perform in public for the first time in my life at the age of five. I was one of the twenty amateur artists invited to participate alongside the greatest of Chinese sculptors. As a crowd gathered around me, I tipped my toes, barely reaching the canvas, and scrupulously painted my peony blossom for the awing audience in a freezing world of gleaming snow. Little did I know that twelve years later I would be proudly painting the same national flower in front an American audience.When I just turned three, my mom sent me to study Chinese calligraphy and brush painting under a stringent master. As I carried my stack of rice paper and roll of thick brushes on the bumpy bus ride to the citys art academy and back home every weekend, I slowly mastered the precise control of brush strokes and the aesthetic sense of color choice. Before long I was competing on a national level and winning awards and receiving recognition. I was most proud to receive my marble seal on my ninth birthday. After I carefully stamped my seal on my finished work, I always stood back and squinted at the painting with my right hand supporting my chin, admiring at the beautiful crimson mark of the seal while imitating my teacher at the same time. Every day after practice, I carefully wiped my precious seal with a favorite handkerchief and waxed its surfaces until every corner shone under the dim light. It was a pleasure to paint - I loved how the colors blend together perfectly and the unique use of empty space. At the same time, I was glad to give people a different view at lifes simplicity through my paintings, thus offering them another way to seek inner peace as well as harmony with nature. To me, Chinese brush painting was not only an art; it was part of my culture, and thus my identity. When we moved to America, I stuffed every single art supply I could possibly find into my jam-packed backpack, secretly hoping that the more I took with me, the more memories of China I would keep. Before my English was good enough to communicate with my peers, I turned to Chinese brush painting for consolation. My artistic talent slowly became well known among the Chinese American society of Louisville as family friends and neighbors admired my paintings hanging on the walls of our apartment. One day I received an invitation to perform at the Asia Institute, Inc. for the Asian-Pacific Heritage Americans celebration. I was overjoyed at the news and immediately started preparing for the performance. On the day of the celebration, the lively decorated auditorium was filled with hundreds of people of various nationalities. During the first part, accomplished musicians captured the audiences attention as they played the violin, banjo, Er-Hu, piano, flute, and sitar. When my name was announced, I slowly walked up the steps toward the center of the stage, where my supplies were already set up. The entire auditorium was deadly silent. I felt all seven hundred eyes on my silky Qi Pao. I picked up the brush and dipped its tip into the thick paint. My hands were trembling. A million thoughts were running through my mind. What if I spilled the ink? What if I messed up the petals? Just as I was starting to have second thoughts, the music of the legendary romance between Liang Shanbo and Zhu Yingtai (the Chinese version of Romeo and Juliet) started playing in the background. Having listened to the music almost every time I practiced brush painting, I quickly snapped back to my usual artistic trance. My brush strokes easily picked up the rhythm of the music. They raced as though they were the lovers chasing after each other in an endless field, relaxed when the sad Zhu Yingtai thought about her lover for the last time before committing suicide, and finally ended with a dab in the center of the flower when the souls of the two star-crossed lovers flew out of their tombs as a couple of beautiful butterflies, finally able to stay together for eternity. The painting, now two vivacious peonies, was finished and I turned around to face the mesmerized audience whose eyes were still transfixed on my artwork. Next came the roaring clapping that lasted several minutes. I smiled and waved to my parents, who were now beaming with pride. I went up the stage as a hesitant little girl who was intimidated by the language and cultural barriers. But I came down the stairs with pride in my own culture. Years later, when I learned that an American eagerly asked for my painting, I also realized that I had delivered part of my culture to my second motherland.

Migrant Mother SourcesThe following websites provide details about Florence Owens Thompson, the mother photographed by Dorthea Lange.

http://www.tampabay.com/features/visualarts/depressions-migrant-mother-remains-a-powerful-image/493338http://www.hulu.com/watch/71328http://imagespublicdomain.wordpress.com/2009/06/02/who-was-dorothea-langes-migrant-mother/http://www.yale.edu/ynhti/curriculum/units/2006/3/06.03.10.x.html#jhttp://web.archive.org/web/20020602103656/http://www.newtimes-slo.com/archives/cov_stories_2002/cov_01172002.htmlhttp://www.cnn.com/2008/LIVING/12/02/dustbowl.photo/index.html?_s=PM:LIVING#cnnSTCText2001 AP Language Argumentative Essay Prompt:

Seminar Purposes: 1. To generate ideas for later exploration 1. To practice reflective and critical thinking1. To refine conversation skills (conference)1. To improve listening skills1. To focus on textual evidence

Guidelines:1. Everyone should speak at least once.1. No one person or persons should dominate. If you have spoken three times, wait at least five minutes before talking.1. Please address your peers by surnames.1. Grades are determined by student and teacher.1. Your grade is based on a healthy balance among 1) listening to others 2) speaking 3) questioning and clarifying points made by others 4) familiarity with the text 4) ability to draw parallels and make connections.1. Be aware of people who are trying to jump in, but are having a difficult time.1. Ask thoughtful questions that clarify and expand ideas.1. Be willing to qualify or abandon your initial opinions if you are persuaded by others that you need to do so.1. When drawing parallels and making connections refer to the text.1. Be comfortable with silence.1. Make eye contact with your peers, not the teacher.1. The teacher will act as facilitator not as the authority.1. Remember, this is a discovery and critical thinking activity. Most comments are welcome. Evaluation of those comments is encouraged.1. Linear thinkers need to be comfortable with ambiguity. Answers and direction come later.1. Its fine to return to a previous topic in the conversation. Just acknowledge that you would like to shift the discussion or to return to a point that Mr. Jones made earlier.1. Seminars raise more questions than they answer. Refinement of thought comes through other activities.

Student Observation SheetSocratic Discussions(Outer Circle)

Please record statements made during the discussion in the appropriate column.

General Comments Textually Supported Questions

Any silence? Why?

Please rate the following components of the discussion on a scale of 1-5, with 5 being the highest. Briefly defend your ranking.

Participation1 2 3 4 5Content 1 2 3 4 5

Listening 1 2 3 4 5Cooperation1 2 3 4 5

Overall1 2 3 4 5

On the back, write a paragraph analyzing the discussion you just witnessed.

Seminar Evaluation

Name: __________________Work Discussed: _________________

Level 1:____ Contributes to the Discussion____ Listens Actively____ Is Considerate

Level 2:____ Does Not Digress Unproductively____ Is Neither Impulsive Nor Overly Hesitant

Level 3:Extends and Expands Discussion by:

____ Questioning____ Involving Others in a Meaningful Way____ Offering Analogies____ Alluding to Previously Shared Readings____ Clarifying the Contribution of Others____ Comprehending and Contributing at the Universal Level____ Examining Critically and Logically the Ideas of Others

Grade: ____

A. What were the main points made during the discussion? Which if any were confusing or unclear?

B. What did I hear that I already knew or thought?

C. What interesting new point(s) did I hear? Who made it (them)?

SOAPStones: A Device to Unlock Meaning in Texts

S = Subject: What is the topic of the piece?

O = Occasion: What called the creator of the piece to put pen to paper? What was the immediate cause? Is there a later occasion that gives the piece a different or larger meaning?

A = Audience: To whom is the piece intended? Can there be more than one?

P = Purpose: What is the creators message to the audience. What does s/he hope to accomplish? Purpose and theme are closely related.

S = Speaker: What conclusions can you draw about the speaker?

Tone = Creators Attitude to the Subject? The Audience? The Occasion?

SOAPSTONE

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Jolliffes Rhetorical Framework DiagramExigenceAudiencePurposeLogosEthosPathos

Organization / Structure / FormRhetorical SituationDictionSyntax Figurative LanguageAppeals

Imagery

Imagery

Surface Features

Point of View or Focalization Beyond 1st and 3rd Person TermsTermHow to RecognizePossible Impact on Theme and Tone (Other possibilities exist)Examples

1st Person SubjectiveParticipant in the story; uses I or We; narrates during or close to the time of action; therefore, present tense predominatesMay intensify action and suspense, but might be unreliable as s/he has not had time to reflect on the conflict.

1st Person ObjectiveParticipant in the story; uses I or We.; narrates the story after the action has concluded; therefore, past tense predominatesMay lose some of the excitement associated with a 1st person subjective narrative, but the narrator often gains some reliability over subjective narrators

3rd Person OmniscientNonparticipant; Knows thoughts of all characters; can move locations within seconds; has God-like abilities; usually summarizes not in the diction and syntax of the characters, but of the narratorReliable speaker knows thoughts of characters; therefore, knows motivations and agendas; Less opportunity or need for reader to draw inferences; can slow narrative pace; can distant the readers from the characters.

3rd Person Limited OmniscientNonparticipant;Knows thoughts of one character; reports dialogue and actions of remaining characters but not their thoughts.Reliable speaker, but less so than a 3rd person omniscient; reader distance is lessened for the chosen character.

3rd Person ObjectiveNonparticipant; observes the action or retells a it from accounts of others Cannot report thoughts so loses some reliability associated with omniscient narrators; more objective than a 1st person narrator, but often not as passionate; style may be journalistic

Direct DiscourseIdentified by quotation marks; reproduces actual speechAllows reader to draw inferences about characters; supports or refutes narrative commentary; often quickens the narrative pace

Indirect DiscourseGrammatical structure of reported speech; narrator reports what was said, not how it was said.Interposes the narrators voice with the characters; a good place to analyze tone

Free Indirect Discourse3rd person narrator, but a stylistic departure from pure 3rd person omniscient or limited omniscient narrators. Instead of reporting thoughts of characters solely in the style of the narrator, the narrator reports the thoughts in the style of the character. Mixes in to the 3rd person narrative a degree of intimacy found in a first person narration or stream of conscious monologue. Passages of free indirect discourse are good spots to look for tone and theme.

Stream of Conscious or Interior MonologueCan be either a 1st or 3rd person narrator, but the characters thoughts are replicated using 1st person pronouns; resembles natural thought patterns that do not follow spoken or written syntax; often dependent on symbols and motifs. If the overall point of view is 3rd person, the stream of conscious portions resemble a 1st person narrative; reflects the order or chaos of the characters state of mind; demands more involvement of the reader in discerning characters traits and motivation