Name: Period: Period: FOSHAY LEARNING CENTER/ USC NEIGHBORHOOD ACADEMIC INITIATIVE AP ENGLISH LITERATURE and COMPOSITION COURSE INTRUCTOR: Jacqueline Jean Barrios, NBCT B.A. English 2001 (Emphasis in Creative Writing, Multicultual Literature) (UC Berkeley) M.A. Education 2002 (UC Berkeley) M.A. English 2014 (UC Irvine) PhD English current (UCLA) COURSE DESCRIPTION: This course is designed to help you develop the reading, writing, speaking, listening and analytical skills necessary for success in college. It is also designed to prepare you for the SAT and the AP English Literature Examination (which you will be taking at the end of your senior year) through consistent critical reading and fluency in comprehending and interpreting challenging texts. You have enrolled in an advanced literature course where you will critically read, analyze, and interpret select American, British and World novels, plays, and poetry. Your success in this class depends upon your ability to read and think critically and produce in depth oral and written responses as this course is reading, writing and discussion intensive. Writing assignments, though varied, will primarily be modeled on the essay portion of the AP English Literature exam. Other writing assignments may be used to support analysis and understanding of literature. Discussion, both large and small group formats, will also play a large role in this course. An ongoing exploration of how literature create and express meaning will permeate our work. OVERALL COURSE OBJECTIVES: 1. To meet and exceed the California State standards at grade level. 2. To prepare scholars for success in college. 3. To build necessary reading and writing skills for passing the AP English Literature Examination. 4. To build develop vocabulary and usage skills tested on the verbal section of the SAT. 5. To familiarize scholars with the major texts, genres, movements in literature. 6. To promote scholar’s awareness of and appreciation for the relevancy and power of the written word. ASSIGNMENTS/ASSESSMENTS/PROCEDURES: In this class, you will demonstrate evidence of your learning primarily the following assignments: written essays and various genres of writing in multiple discursive forms: reflective, narrative, descriptive, expository and persuasive; participation in discussion; oral presentations; individual and group projects, performances, portfolios, and other individual or group activities as you respond in both print and non-‐‑print modes to print and non-‐‑print texts. -‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑ Reading We will read study a collection of works from various historical periods and across genres, including novels, plays, short stories and poems. For all ajor works (novels and plays), students will complete Literary Notes and a Major Works Data Sheet (see template near the end of this document). Students are expected to complete all assigned reading and be prepared for class discussion. During the course of the year, we will engage in-‐‑depth analytical reading, also known as close reading. Students are expected to annotate/ write margin notes and/or keep separate notes as they read, paying careful attention to details, such as rhetorical features, structure, themes, motifs, style (diction, imagery, tone, figurative language), and the social and historical contexts and values expressed in the texts. Writing Writing Instruction During our year together, we will discuss the features of effective writing. A wide variety of writing instruction will be provided, including discussion and handouts on logical patterns of organization; instruction on balancing general analysis with specific, concrete support; and effective use of rhetoric. We will also cover the essentials of MLA format in detail, including parenthetical citation, use of quotations and the Works Cited page. These concepts will be reenforced through lessons and discussion throughout the year. -‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑ (AP) English Literature and Composition Syllabus.Barrios.Last printed 8/16/2015 9:46:00 PM
1
Name: Period: Period:
Goals: • CONTENT: Write literary analysis essays that present a clear and original thesis about a text or texts while FULLY ANSWERING THE PROMPT-‐‑-‐‑supporting thesis by marshalling evidence, analyzing literary devices, comparing and contrasting, recognizing incongruities in a text, etc. • ORGANIZATION: Develop theses statements and use them to sustain and effectively prove a specific perspectives. • STYLE: Employ various sentence variation strategies, specifically appositive phrases, participial phrases, adjective clauses, and parallelism, as a way to vary sentence structure to have a better understanding of purposeful syntax. Use precise language in describing author’s language and effect of these stylistic choices on the reader. • Mechanics, Usage, Grammar (MUGS): Properly using commas with coordinating conjunctions, subordination, and nonessential elements; semicolons, colons, and dashes; maintain pronoun antecedent agreement and subject verb agreement; recognize passive and active voice, properly write and format a paper and bibliography according to MLA style. • GENRES: Identify various modes for writing, including persuasion, expository, narrative, descriptive. • EVALUATION/REVISION: Learn how to understand and use the AP rubric to help guide and revise writing. Writing to Understand Students will have opportunities to demonstrate their understanding of the works and activate their prior knowledge. These assginments will typically be informal, such as think papers, dialectical journals, and brief collaborative exercises completed in class. Timed Writing Students will write a timed essay for each core unit as we progress toward the AP exam. The vast majority will be past AP English Literature prompts: poetry, prose, and open. Some instructor designed prompts will also be included. For example, after concluding our study of Hamlet, you will be given an exam where you are given three prompts and will select only one as the basis for your composition. AP prompts will be graded on the 9 point scale. You will be given a generic 9 point rubric at the start of the year; I will discuss and explain the rubric in-‐‑depth; I will also provide the specific rubric for the specific prompt when available. We will frequently examine sample student essays and engage in mock scoring sessions. Formal Critical/Analytical Papers: Writing to Explain (Expository) and Writing to Evaluate Students will write three to four typed, revised critical/analytical student-‐‑generated and inquiry-‐‑based essays (3-‐‑5 pages) and one major typed, revised analytical research paper (6-‐‑8 pages). The basis of these papers are the “dense questions” formulated by students based on comparing and contrasting two or more texts, print and non-‐‑print, along stylistic and thematic parallels. The majority of college level writing is driven by a critical examination of texts froma variety of disciplines, and demand that students can formulate original and persuasive arguments regarding the works they are studying. As a result, the key to successful papers for this course is a clearly articulated position that the writer sustains throughout the paper supported by specific evidence from the text(s). (See attached assignment, “Mini-‐‑Dissertation Papers.” Students will receive a detailed handout with specific instructions, including a scoring rubric specific to the essay. A rough draft will be required; we may complete in-‐‑class peer review of essays. Students will engage in conversations with the teacher, writing mentors and their peers to receive feedback on their work, either through conferencing or written feedback regardng their essays to accompany scored rubrics that indicate successful elements and areas for improvement . In addition to the critical thinking skills evidenced by essays, the final research paper will include multiple outside sources and literary criticism, and MLA format, including parenthetical citation, use of quotations and the Works Cited page, required. Students will submit a formal abstract and research “dense question” for approval and must complete an MLA outline as part of the process. Proceedures for the rough draft, peer review, and evaluation of the paper are the same as for the critical/analytical essays. Revision of graded essays and research papers: Students will revise essays in response to feedback received from teacher, writing mentor, peer-‐‑review and other writing-‐‑discursive occasions including scoring sessions. Revised essays will be accompanied by a reflection as evidence of growth in student writing practices. (See guidelines in Mini-‐‑Dissertation Packet, Attachment A) Class Discussion/Participation We will actively engage the material throughout the year via socratic seminars, small group discussion or whole class discussion. Typically, units are presented with establishing a schema of background knowledge through a variety of resources (articles, websites, artwork). Accompanying this would be establishing essential questions for the unit as well as focused objectives for effective analysis of style and writing. After that, we will move to active discussion modeled on the Socratic method. Students will be asked to make assertions and claims about the material and support with specific textual details and quotes. Preparation will primarily consist of formulating questions and locating quotations and details, all students should be ready for class discussion. -‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑ (AP) English Literature and Composition Syllabus.Barrios.Last printed 8/16/2015 9:46:00 PM
2
Name: Period: Period: COURSE OUTLINE NOTE: Additional works may be required and/or selection and order of the major works on this outline may be changed at instructor’s discretion. SKILLS/CONCEPTS/GUIDING QUESTIONS: • Critical Lenses/Theories of Reading (Reader’s Response, Feminist, Marxist, Deconstruction) } What is literary theory? How does one use literary theory to analyze the meaning of a given text? Are various literary theories best understood as competing ideas or as a body of ideas that compliment and connect with one another? • Stylistic Explication } What literary devices do authors use to help convey a specific theme or purpose? In particular, how do authors use devices such as figurative language, imagery, symbolism, and tone? How do style, structure, word choice, syntax a writer’s purpose? What various rhetorical devices do authors use to convey meaning? • Discussion} How can I thoughtfully prepare for and engage in a college level, literary and academic discussion? MAIN ASSESSMENTS: • AP Practice Exams (Free Response Essays and Multiple Choice), Socratic Seminars, Style Explication Papers (SEPs), Non-‐‑Print Text SEPS (analysis of Photographs, Films etc.), Mini Dissertation Paper (MDP), Debates/Mock Trials, Performance Assessments (literature/thematic based creative productions including Photoetry Project, creating art exhibits, visual and performing art productions like Receptions and Cultural Nights) REFERENCE TEXTS *How to Read Literature Like a Professorby Thomas Foster *Perrine'ʹs Literature: Structure, Sound, and Sense 9th Edition by Thomas R. Arp and Greg Johnson Bullfinch’s Mythology (1863) Actor’s Thesaurus by Marina Caldarone, Maggie Lloyd-‐‑Williams Handbook of Literary Terms: Literature, Language, Theory by X. J. Kennedy, Dana Gioia, Mark Bauerlein Literature: Reading Fiction, Poetry and Drama 6th Edition (2010) ed. DiYanni (McGrawHill) Literature and Composition (2011) ed. Jago et. Al (Bedford/St.Martin’s) 100 Best Loved Poems (1995) ed. Smith (Dover) Focus Poets and Poetry Movements: Elizabethan (Shakespeare); Metaphysical (Donne), Romantics (Keats, Shelley, Browning, Wordsworth), Emily Dickinson, Symbolist/Modernists (T.S. Eliot, Auden, Robert Frost), Li Young Lee *5 Steps to a 5 AP English Literature, 2010-‐‑2011 Edition by Estelle Rankin and Barbara Murphy *They Say, I Say: The Moves that Matter in Academic Writing by Gerald Graff and Cathy Birkenstein References for Grammar, Style, MLA also highly recommended. See instructor for recommendation Units: *INDICATES UNITS FOR 2015
*ACTION AND INTENTION (THEATER WORKSHOP/SUMMER INTENSIVE)
[2013] NOVEL ADAPTATION: Brothers Karamazov (1880) by Fyodor Doestoevsky (Adapted by Anthony Clairvoe (1995) DRAMA: Seagull (1896) by Anton Chekhov DRAMA: Midsummer Night’s Dream (1600) by William Shakespeare OR other dramatic selections [2014] ROMANTIC POETRY: Selected poems by John Keats, Byron & Shelley (1816-‐‑1820) [2015] DRAMA: The Tempest (1623) by William Shakespeare Questions and Concepts: How does the text express itself as action? How do characters’ intentions translate into actions in the text? How do these actions constitute the work’s intention?
*FORM AND FUNCTION (POETRY)
POETRY: selected Sonnets by William Shakespeare, ,selected poems from Perrine’s Literature: Structure, Sound & Sense 10th Edition (2009) ed. Arp/Johnson (Wadsworth), selected paired poems fro m AP Literature Open Response Question Prompts Questions and Concepts: How does the study of form reveal meaning? What unique work does poetry accomplish in our world? -‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑ (AP) English Literature and Composition Syllabus.Barrios.Last printed 8/16/2015 9:46:00 PM
3
*HUMANITY AMIDST THE INDUSTRIAL (DICKENS)*
Name: Period: Period:
[2013] NOVEL: Our Mutual Friend (1865) by Charles Dickens NOVELLA: Christmas Carol ( ) by Charles Dickens or other Christmas Themed Literature: Truman Capote Christmas Memory (1965) /W.H.Auden For the Time Being (1941) [2014] NOVEL: Martin Chuzzlewit (1843) by Charles Dickens MEMOIR: American Notes (1842 ) by Charles Dickens [2015] NOVEL: Dombey & Son (1848) by Charles Dickens Questions and Concepts: What are the concerns of the Victorian subject? How does the city, industrialization, the rise of capitalism shape the human subject?
*WIT, LOVE, RELATIONSHIPS, MANNERS, IRONY (AUSTEN/SHAKESPEARE/MOLIERE COMEDY)* NOVEL: Pride and Prejudice (1813) or other novel by Jane Austen (see JASNA Essay Topic) DRAMA: Much Ado About Nothing (1600) by William Shakespeare OR Taming of the Shrew (1600) by William Shakespeare OR other Shakespeare comedy [2015] DRAMA: Twelfth Night by William Shakespeare or Taming of the Shrew (1600) by William Shakespeare or Misanthrope (1666) Questions and Concepts: What causes the underlying tension that govern interactions between the genders and how are these resolved or not? {female voice, mixed loyalties, gendered expectations}
*HYBRID UTTERANCES (CONTEMPORARY LITERATURE)
"ʺ[Language] is shot through with intentions and accents"ʺ –Mikhail Bakhtin SHORT STORY: Woman Hollering Creek (1991) by Sandra Cisneros SHORT STORY: Funeral Singer (2004) by Edwidge Danticat Questions and Concepts: How does the use of language in contemporary works reflect the distinctly multi-‐‑vocal point of view of our milieu? How do the stylistic innovations of contemporary writers reveal our own values, tensions, realities and aspirations? DISENCHANTMENT AND THE MODERN (GATSBY) “MODERNITÉ: fleeting, ephemeral experience e of life in an urban metropolis and the responsibility art has to capture that experience.” –Charles Baudelaire NOVEL : Great Gatsby (1880) by F. Scott Fitzgerald + selected Moderninst texts including POETRY: (The Love Song of J. Alfred Prufrock by T. S. Eliot, Hollow Men by T.S. Eliot SHORT STORY Selections from Dubliners (1914) by James Joyce Questions and Concepts: What is the modern? What constitutes disillusionment? How does understanding this concept illuminate the nature of time and human relationships? REBELLION, CONFORMITY, ALIENATION, MORALITY (HAMLET/SHAKESPEARE DRAMA) DRAMA: Hamlet (1600) by William Shakespeare What is a moral choice? How is one’s identity shaped by one’s internal struggle? How does the struggle against conformity shape consciousness and identity? INSTITUTIONS AND THE SELF (FEMINISM) NOVEL: Their Eyes Were Watching God (1937), by Zora Neale Hurston, NOVELLA: Awakening (1899) by Kate Chopin SHORT STORY: Woman Hollering Creek (1991) by Sandra Cisneros DRAMA: A Doll’s House (1879) by Henrik Ibsen DRAMA: Tempest (1600) by William Shakespeare Questions and Concepts: How does the marriage institution inform femininism? What is liberation? JOURNEY AND EXILE (RACE, IMMIGRATION AND CULTURE) NOVELLA: Under the Feet of Jesus by Helena Maria Viramontes, NOVEL EXCERPTS: Native Speaker (1995) by Chang Rae Lee, MEMOIR: Woman Warrior (1975) by Maxine Hong Kingston, SHORT STORY: The Interpreter of Maladies (1999) or other work by Jhumpa Lahiri , POETRY: selected poems by Li Young Lee Questions and Concepts: What is the function of the alien? How does displacement from homelands shape identity? How is memory, storytelling and voice disrupted through the experience of migration? -‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑ (AP) English Literature and Composition Syllabus.Barrios.Last printed 8/16/2015 9:46:00 PM
4
Name: Period: Period: (All students will be required to submit an essay to competitions sponsored by the Jane Austen society and Dickens Project. Support for the writing of these essays will be offered through USC-‐‑NAI Writing Mentoring Program. Additional titles for outside reading will also be provided to supplement the course selected literature.) Other Works POETRY: selected poems by Emily Dickinson DRAMA: Death of A Salesman by Arthur Miller; Oedipus Rex by Sophocles; Seagull or Cherry Orchard by Anton Chekov, Rosencrantz and Guildenstern Are Dead by Tomas Stoppard NOVELS Sense and Sensibility (or other novels_ by Jane Austen, Great Expectations, Tale of Two Cities, Bleak House, Oliver Twist by Charles Dickens AUTHORS Steinbeck, Hemingway, Brontes Mandatory Extra-‐‑curricular and Afterschool Programs, Resources, Review Sessions Part of the requirements of this course as well as the USC-‐‑NAI program is participation in enrichment and intervention programs, resources and review sessions. In addition (or during) the traditional extra-‐‑curricular mandates of the USC-‐‑NAI program (Intersession, Tutoring and Saturday Academy), this course may also require your participation in literature-‐‑specific programs designed to extend your learning and preparation for AP and SAT examinations and college. These will include the following: USC NAI Theater Workshop/LATTE events and productions, USC JEP/NAI Writing Mentoring Program; AP/SAT Review Sessions; attendance at USC or other guest lectures, symposia, conferences; fieldtrips to USC and local libraries, theaters, museums; student/staff directed literary events including productions, Socratic Seminars, reading groups. It is important for you to understand that your training as a scholar includes experiences that expand the notion of the “classroom” and I fully expect your full, enthusiastic engagement in these opportunities. GRADES: The Grading Scale is as follows: A=90% B=80% C=70% D=60% F=50% The Grading System is as follows: 35%=WORK 65%=Assessments (Essays, Papers, Projects, Seminars, Presentations); 10%=Quizzes (Reading Tests, Multiple Choice) REQUIRED: -‐‑Your TEXT (Purchase or ownership of own texts always encouraged. If hard copies are not available via school resources, please acquire a copy from the public library or online. All scholars should have the ability to print or read/annotate large PDFs or files as many classroom resources are primarily digital. Any issues with acquiring a text must be resolved promptly with the instructor). -‐‑Access to dictionary and thesaurus daily -‐‑3-‐‑ring-‐‑binder or accordion file or notebook or shopping cart (AP English Lit Only) Please date and organize all your notes, handouts and assignments. Have a system and adhere to it. I suggest organizing via Major Works, Poetry, AP Practice, and a reference section for information on style, grammar and more. -‐‑Other Materials: Lined paper, pens, pencils, highlighters, Post-‐‑It notepads, 3x5 index cards, scotch tape -‐‑Technology Basics-‐‑-‐‑ Storing and accessing files: USB Portable Device or other portable storage device or access to Dropbox or Cloud Communication: Email, Edmodo, Googlegroups, Remind 101, Lausd email, Collegeboard, course related Facebook/Blogs/Websites Word processing, multi-‐‑media production, how to make, store and share files. POLICIES AND PROCEDURES: Be Present-‐‑ If you are absent or tardy, it will be your responsibility to make up all missed work. Attendance is crucial to success. If you must be absent, please notify your teacher immediately, honor all deadlines and do what you need to do to catch up. Only excused absences can receive consideration for make-‐‑ups or extensions. Be Prepared-‐‑Bring all materials each class. Work must be completed before class. Maintain an up-‐‑to-‐‑date and accurate Agenda Book or planner for all your classes with assignments due dates daily. Late work will not be accepted unless an emailed request is sent and granted. Penalties apply to any work that does not meet expectations. Be Proactive-‐‑You must stay informed of all expectations—and display evidence of being proactive to do so. You are in charge of your grade in this course and CANNOT be PASSIVE about your education. To that end, please have a buddy in the class as well as be in contact with the class docent. Your instructor cannot assist you if you are not meeting basic expectations . Class: Please minimize disruptions. Use the restroom before or after class during your breaks. Conduct personal business with instructor outside of class time through email or office hours. Class space for class needs. If your texting, eating, chatting, gossiping is not related to class, then stop immediately. Plagiarism/Copying: Any attempt to use ideas, words or work of another person without credit shows a lack of academic integrity. All assignments, notes, projects and activities, individual or group need to demonstrate your own original evidence of thinking, listening, -‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑ (AP) English Literature and Composition Syllabus.Barrios.Last printed 8/16/2015 9:46:00 PM
5
Name: Period: Period: speaking, reading and writing. This holds true for all whole class, partner and group activities, discussions and other interactive assignments. When uncertain, please ask. Dishonesty in the assignment will result in an F and further consequences deemed necessary by the teacher. Class Rules:1. Show EVIDENCE of THINKING. 2. Take RESPONSIBILITY. 3. Act with COMPASSION. (Be Nice.) Disciplinary Consequences: Failure to meet these expectations will result in these possible consequences: Student Conference, Points Deduction, Apology Letter, Detention, Parent Letter, Call or Conference, Suspension or dismissal from class or program, U and/or an F in the class. Continuing enrollment in the course assumes you and your guardian’s understanding and agreement to the expectations I have set forward for your student in my class. Please call and arrange an appointment through the High School Counseling Office or through the NAI Office if you have any questions.
-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑-‐‑ (AP) English Literature and Composition Syllabus.Barrios.Last printed 8/16/2015 9:46:00 PM
6
