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FirstName LastName NOTE: Because of the suggestions I gave for Passage #1 below,

Ms. Morgan this file may seem longer than it really is. Also, be sure to

AP Literature & Composition update the name and date portions of MLA header

FirstDaySchool September Year and share the new file with me! --Ms. Morgan

HS East AP Literature Summer Assignment Log

For the list of books to choose from and other details for this assignment, see my eBoard

for the HS East AP Literature Summer Assignment PDF file. All work should be completed

by the first day of school. Please do not hesitate to reach out to me at [email protected]

for help or advice along the way!

____________________________________________________________________________

Part A: Reading for Fun and Profit! (or at least for credit...)

BookTitle#1 (OriginalPublicationYear)

AuthorFullName (AuthorBornYear – AuthorDeceasedYear)

OriginalLanguage / TranslatorFullName [if applicable]

Passage #1 from EXPOSITION PAST PRESENT

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[“opening phrase” through “closing phrase” (page numbers)]

(a) SPECIAL LITERARY TECHNIQUES not otherwise mentioned

in Steps (b) through (e) below and their meanings within the passage as well as

within the overall work [for example, you could consider metaphors, symbols,

irony, etc]:

(b) NARRATIVE PERSPECTIVE AND PERSONA, the narrative

filter through which the author communicates with the reader and its significance

to the passage as well as to the overall work [for example, you could consider

narrative perspective(s) or point(s) of view — is it written in first-person voice?

third-person omniscient? third-person limited? etc — as well as the potential

influence of the narrative persona on the delivery of the story to the reader — is

the narrator a snarky adolescent female? an innocent 7-year-old Cub Scout? a

first-generation Pakistani immigrant in his 40s? Does the narration change from

section to section, or are new things revealed about the narrator as the work

unfolds? How might these factors affect the way the story is being told, or the

extent to which readers have to adjust their interpretations to account for the

narrator’s knowledge base, values, assumptions, and biases?]:

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(c) CHARACTERIZATION AND

CHARACTER DEVELOPMENT and its significance to the passage as well as to

the overall work [for example, you could consider the characters’ internal and

external traits, motivations, and behaviors; whether the characterization is being

revealed directly to the reader through the narrator’s description of the character

(“Freddy is a rather sharp-fingered dream-killer”) or indirectly through inferences

the reader draws from the character’s speech and behavior (“Freddy exclaimed,

‘These nails are getting sharp!’ as he plunged them deep into the heart of the

nightmare-haunted sleeper”); if there seem to be character archetypes, hierarchies,

foils, sidekicks, or other such relationships; whether a particular character is

presented as round or flat (multi-dimensional with many traits or one-dimensional

with few traits), dynamic or static (changing or remaining the same over the

course of the story), sympathetic or unsympathetic (likely or unlikely to gain the

sympathy and support of the typical reader); and so on]:

(d) PLOT STRUCTURE, or how the author

structures the sequence of events, especially involving one or more protagonists in

conflict with internal or external antagonistic force(s) — and the significance of

the plot development within the passage as well as within the overall work [for

example, you could consider the nature and significance of the chronological,

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historical, cultural, geographical, or physical setting(s) and whether or not they

change throughout the story; the nature of the external or internal conflict(s); the

nature of the events and why the author may have chosen certain types of events

rather than others; the order and timing of events within the characters’ lives vs.

the sequence and pacing of the author’s delivery to the reader; relationships

between the main plot or primary conflict and any subplots or secondary conflicts;

and how the author handles exposition of the background situation and inciting

incident to reveal the primary conflict vs. the complications of the rising action

vs. the dramatic climax or turning point of the primary conflict vs. the partial

resolutions of the falling action vs. the final resolution of the primary conflict]:

(e) THEME STATEMENTS OR THEME DEVELOPMENT and its

significance within the passage as well as within the overall work. [A theme

statement is a complete specific idea that the author seems to be communicating

to the reader through the story, such as a specific lesson, moral, or message; most

of the time, theme statements are developed gradually over the course of the work

as various perspectives are explored by the characters or through the plot events.

Identifying specific theme statements involves more than simply pointing out

general concepts explored within the work, such as “love” or “the individual vs.

society,” but instead takes into account the specific opinions, ideas, or conclusions

expressed through the work as a whole, for example: “Genuine love desires what

is good for the other, not just from the other, as the author demonstrates through

Arthur’s many kind actions intended to benefit Guinevere” or “In the quest to

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establish one’s individual rights, one must be careful not to inflict greater damage

to the rights of others; though Maria does live in an oppressive society that needs

changing, it also seems clear from the obvious and lasting pain Maria causes her

family and friends that the author disapproves of the harsh methods Maria

chooses.”]:

Passage #2 from RISING ACTION


(a) SPECIAL LITERARY TECHNIQUES not otherwise mentioned in

Steps (b) through (e) and their meanings within the passage as well as within the

overall work (see #1a for points to consider):

(b) NARRATIVE PERSPECTIVE AND PERSONA, the narrative filter

through which the author communicates with the reader and its significance to the

passage as well as to the overall work (see #1b for points to consider):

(c) CHARACTERIZATION AND CHARACTER

DEVELOPMENT and its significance to the passage as well as to the overall

work (see #1c):

(d) PLOT STRUCTURE and its significance within the passage

as well as within the overall work (see #1d):

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significance within the passage as well as within the overall work (see #1e):

Passage #3 from DRAMATIC CLIMAX / TURNING POINT


(a) SPECIAL LITERARY TECHNIQUES not otherwise mentioned in Steps

(b) through (e) and their meanings within the passage as well as within the overall

work (see #1a):



passage as well as to the overall work (see #1b):



work (see #1c):



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Passage #4 from FALLING ACTION




work (see #1a):






work (see #1c):



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Passage #5 from FINAL RESOLUTION




work (see #1a):






work (see #1c):



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Part B: Interdisciplinary Treasure Hunt!(World Tour / Mythology / Grammar / Vocabulary)

The goal of this activity is not just to “find,” but also to “learn” — write about and study

Items I–IV below in such a way that they become part of your “working knowledge”

by the first day of school! For each item, use high-quality reference sources [including

documentary videos, TEDTalks, and MOOCs (which can be audited for free through EdX.org

or Coursera.org) as well as nonfiction books, academic journals, or newspaper articles —

NOT Wikis, blogs, “Fred’s Fun Facts,” etc] to provide conceptual ideas and informational facts

that you did NOT previously know, followed by modified parenthetical citations

(AuthorLastName “MinorWorkTitle”orMajorWorkTitle PublicationYear)

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OR (“WebPageTitle” weblink.xxx).

To be credited, you must be able to demonstrate your efforts in a measureable,

GRADEABLE manner. Also, your responses should NOT match or be significantly similar to

another student’s responses! The best way to ensure that is to actually work INDEPENDENTLY,

without discussing your plans with other students. We will share all of our treasure in

September!

I. World Tour (At Least 3 Stops)

Choose at least 2 individual countries plus at least 1 larger multinational area to "visit,"

representing at least 3 different continents. Collect ideas, information, images, and video clips

related to the literature, language, culture, history, and geography of each stop on your tour.

II. Mythological Allusions (At Least 1 Culture)

Ancient Greek Ancient Roman Egyptian Norse American Indian [specify tribe(s)]

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For each culture you choose to work with, explain at least 5 individual mythological figures and

at least 1 longer story that you did NOT already know about.

III. Advanced Grammar & Sentence Structures

(At Least 5 NEW Points with Explained Examples)

IV. Collegiate Vocabulary

(At Least 10 NEW Terms with Detailed Definitions and Sample Sentences)

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