1. AP Lit Vocab

2. Notebook Setup Label the five sections of your notebook:
1. Journal 2. Notes 3. Short Stories/Poetry
4. Novels 5. Revision
Number pgs 1-end in Section 2 and Section 5
Tape the Campbell quote to the inside cover
Glue the pages into the notes section based on the Table of Contents (TOC)

3. WHO: Character the people in the story
Protagonist-the main character
Antagonist-a person or force that opposes the protagonist
Foil-a character who is the opposite of the protagonist, and the juxtaposition of these two characters reveals something important about the protagonist
Flat- simple characters who don’t change
Round-complex characters that change
Dynamic-characters that have a significant change
Static-characters who do not change
Direct characterization-describes the character outright
Indirect characterization-reveals traits of the character through his/her thoughts, actions, appearance, etc.

4. Cathedral by Raymond Carver
In your table partners, choose one person to draw and another person to describe.
Drawers: You will close your eyes and draw what your partner describes to you.
Describers: Use vivid visual imagery to describe the cathedral to your table partner

5. Partner Work Exchange notes Answer questions
How does the point of view affect the story?
Answer questions
Are there any foils? What is the purpose of the comparison?
Using the character chart from pg. 9 of your notes, re- make the character charts for each of the three main characters: the narrator, the wife, and Robert in the Short Story section of your notes
How is “blindness” a reoccurring motif?
What does the cathedral symbolize?
What is happening in the story that is not said?
Discuss answers to the following questions:
What archetypes do you see?
What is the deeper message?
Give examples of indirect characterization. What does it reveal about the character?

6. WHO: Point of View the perspective the story
Narrator-the storyteller
Unreliable narrator-an untrustworthy storyteller
(impaired, biased, or evil)
Persona-a “character” or unknown narrator the writer puts on to tell the story
1st person perspective-the story is told by a character writing directly about himself/herself “I”
2nd person perspective-the story is told as though the reader is the protagonist “You”
3rd person perspective-the story is told by a narrator who is an outside observer to the story “He/She”
3rd Limited-can relate the thoughts of a limited number of characters
3rd Omniscient-can relate the thoughts of all characters

7. Role Audience Format Topic
RAFT
Role Audience Format Topic
Write something (letter, song, card, etc) from the perspective of one character, not our narrator, to another character in the story. You are welcome to be as creative as you would like to be.
Summary- listen to “Am I Blue” by Billie Holiday. How does the tone of the song match the tone of the story?

8. WHERE AND WHEN: Setting the time and place of the story
Era: date, historical period, and cultural period
Time: season, time of day, holidays
Location: country, region, town, which side of town
Environment: weather, climate, landscape
Mood (determined by opening descriptions)
Era: a specific span of time (Victorian era-reign of Queen Victoria)

9. WHY: Theme the main idea of the story
Theme-The theme is a fully developed idea, not a broad topic. It’s sometimes called “the message”
Motif-any element, subject, idea or concept that is repeated throughout a text in order to support the mood or theme
Symbolism- an object, action, event, or word that represents a deeper, more significant meaning
FAQ
I thought theme was a reoccurring broad idea? Yeah, I know. People mix it up all the time, so the wrong definition has become common-like nauseous vs. nauseated
What is the difference between a symbol and motif? A motif repeats in a different way. A symbol occurs directly represents a thing or idea sp while it may develop, it never has another form.

10. HOW: Figurative Language
Figurative language-using words, beyond their literal meaning, to express, reveal, or enlighten
Allusion-a reference to something commonly known
Symbolism- an object, action, event, or word that represents a deeper, more significant meaning
Metaphor-comparison of two unalike things
Simile-comparison using “like” or “as”
Personification-giving human qualities to inanimate objects or ideas
Imagery- word pictures that appeal to the five senses

11. Young Goodman Brown In your journal, complete the theme frames
Cathedral: If one is blind to...then...
Sonny’s Blues: The bond between brothers...
A Pair of Tickets: Places carry...
Young Goodman Brown: Evil is...
Partner Work
Exchange note
Answer Questions
Lists! Make a list of as many themes, motifs, and symbols as you can think of for the story.

12. HOW: Style Devices the way the writer writes
Style-techniques that identify one author from another.
Voice-nearly the same as style in definition. It’s the way a writer sounds
Syntax-sentence structure (short and periodic, long and complex).
Satire- to mock through exaggeration, irony, word play (pun)
Stream of consciousness-narration using the flow of a character’s inner thoughts
Diction-word choice
Figurative Language-expressive language

13. Diction word choice Denotation-literal definition
Connotation-the idea or feeling the word provokes
Jargon-language specific to a certain group or trade
Slang-new or impolite words
Dialect- language particular to a certain region or social group (Ebonics, American South)
Colloquialism-informal word or phrase used in conversation
#people should stop saying #

14. HOW: Tone the feeling the writer communicates through the text
Tone is created through style devices and figurative language
Glue tone word list on pg. 7 of your Notes

15. WHAT: Plot the series of events in the story
Exposition-the beginning of the story that establishes all the relevant background information (setting, characterization, important past events, etc)
Conflict-the struggle between opposing forces
Climax-turning point of the story
Dénouement-last part of the story that ties up the loose ends
En media res-to start the story “in the middle”
Deux ex machina-a plot device in which an unsolvable problem is miraculously resolved by a new, outside force
Foreshadow-a hint dropped by the author to indicate what is to come
Flashback-a transition to events from the past, interrupting the chronological events from the prompt

16. Questions for deconstruction
Examine Connie’s relationship with each member of her family, and use them to characterize Connie. What do we learn about her from these interactions? Characterization
What are Arnold Friend’s first words to Connie? Consider the significance? Foreshadowing
Compare the description of the drive-in after the girls get picked up as darkened, empty and ghostly with the description when they arrived of sacred, haven, blessed. Why the vivid contrast? Setting
Why does Connie say, “Christ, Christ,” when Arnold pulls up in the driveway? Do you consider him a messiah or a demon? Archetype
So, what happens to Connie? Why do you think Oates left the ending ambiguous? Theme/Motif
P.S. I stole all these questions from a Mr. Gunner who teaches AP Lit somewhere else

18. How to Annotate Poetry Recopy or glue a copy into your notebook
Number the lines
Mark the rhyme
Scansion: 1. Count the syllables 2. Divide the feet 3. Mark the stressed beats
Determine the Form
Read the title and use it fill out Subject
Read through once for understanding and to determine the Speaker
Finish SOAPSTone
Fill out Style Journal
Interpret the deeper message (min 3 sentences to ½ page)

19. SOAPSTone Annotate directly onto the poem
Subject: Read the title and record first impressions After reading, go back and fill in how the meaning changes by the end of the poem
Occasion: What prompted the speaker to write the poem?
Audience: to whom is the poem directed?
Purpose: what is the poet’s deeper message? (usually the last 1-2 lines)
Speaker: Who is the voice speaking in the poem? It’s not always the poet!
Tone: Highlight words that create certain emotions. Also mark the shifts!

20. Poetic Meter Scansion: analyzing the rhythm of the piece
Meter-rhythmic structure of a poem
Syllable-beat
Punctuation and line breaks create pauses
Period-full stop-1 sec
Comma-pause- half second
Semi-colon-either half a second pause or full stop
Dash-breath
Line break-breath
Enjambment-when a sentence has a line break in the middle and is carried over to the next line-no pause

21. Scansion cont….
Foot- a set of 2-3 syllables with at least one stressed syllable
Monometer-one foot
Dimeter-two feet
Trimeter- three feet
Tetrameter-four feet
Pentameter-five feet
Hexameter-six feet
Heptameter-seven feet
Octameter-eight feet
Stressed (Unstressed)-a stressed syllable is emphasized in some way. Sometimes it’s the length of the syllable or the sound- a hard consonant sound or a long vowel. Example-desert vs. desert assess vs. asses
Iamb (foot with an unstressed syllable followed by a stressed syllable)
Trochee (foot with a stressed syllable followed by an unstressed syllable)
Anapest ( unstressed, unstressed, stressed (like We Will Rock You)
Spondee (two stressed syllables)

22. How am I supposed to know if something is stressed?
Often stressed
Single syllable rhyming words (cool, school)
Single syllable capitalized terms/proper nouns (Jazz, June)
Important ideas or terms (Die soon)
Not often stressed
Single syllable prepositions: of, to, for
Articles: a, an, the
Prefixes: a, de, be, re
Suffixes: ing, es, est

23. Form Stanza- the paragraph of the poetic world Stanzas:
Couplet- two line stanza
Tercet- three line stanza
Quatrain- four line stanza
Quintain- five line stanza
Sextet- six line stanza
Septet- seven line stanza
Octave- eight line stanza

24. Modern Poetic Form There’s no such thing as a free verse
Rhyme-what is the effect?
Look for approximate rhyme (or slant rhyme)
Look for repetition of end sounds or juxtaposition of end sounds
Scansion-what is emphasized?
Look for any traditional “feet” (iambs, trochees, etc)
Punctuation, font, sound devices (alliteration, assonance, consonance) create emphasis
Syntax-how do the length of lines and word order create flow?
Form-how is it organized?
Line breaks/enjambment-why does the line end where it does?
Stanzas-why are certain lines grouped together?

25. Poetic Devices New Style Vocabulary
Juxtaposition-comparison of opposites
Consonance- repetition of consonant sounds
Assonance-repetition of vowel sounds
Alliteration-repeating initial consonant sounds
Refrain- repeating line
Diction:
Denotation-literal meaning
Connotation-figurative meaning

26. AP Lit Thesis just answer the question!
Literary analysis essay: break down the prompt-what literary elements or style/literary devices does the question want you to address?
2013 AP Prompt: Select a single pivotal moment (PLOT) in the psychological or moral development of the protagonist (CHARACTER) in a coming of age story. Then write a well-organized essay that analyzes how that single moment shapes the meaning of the work as a whole (THEME).
KITCHEN SCENE/CONNIE’S LONGING FOR WOMANHOOD/VULNERABLITILY OF GIRLHOOD RITES OF PASSAGE
SIMPLE TEMPLATE: Author (strong verb) the following elements and/or devices this way to support the theme of (detail theme).
Oates creates a burgeoning terror that reaches a screaming point in the kitchen scene; by using chilling description and ambiguous plot gaps, she portrays a violent and sinister loss of innocence that passes for Connie’s rite of passage into a vast and empty womanhood.

27. TREAT Perfect Paragraph Development
Topic sentence/Transition sentence
Topic sentence: state your main point and how it supports purpose/message
Oates foreshadows the coming terror in her descriptions of Connie’s adolescent sanctuary-the drive-in.
Transition sentence: explain how the point before, relates to the point you will make in that paragraph and connect it to purpose/message
While Arnold’s presence and the shift of the drive-in hint at the horror to come, it isn’t until Connie places him there, and Oates begins her slow, but chilling characterization of him that the reader, like Connie, realize too late how this will end.

28. TREAT Perfect Paragraph Development
Reason-explain what is important about that point. Why?
Re-read your topic sentence and then ask yourself, why? Answer!
Oates foreshadows the coming terror in her descriptions of Connie’s adolescent sanctuary-the drive-in.
Why?
She builds a growing unease in the reader early on in order to emphasize the feelings of terror and inevitability about Connie’s murder

29. TREAT Perfect Paragraph Development
Evidence- support your assertions with summary quotation, partial quotation, or full quotation. How?
Re-read your last sentence and ask yourself, how does the writer do this?
Oats builds a growing unease in the reader early on in order to emphasize the feelings of terror and sickening inevitability about Connie’s murder
How? Set up the context of the quote, then quote it.
Oats juxtaposes opening description of the drive-in as a holy place with the empty, yet sinister imagery of it after Connie meets Arnold Friend. “..a sacred building that loomed out of the night to give them what haven and what blessing they yearned for.”

30. TREAT Perfect Paragraph Development
Analyze- the explanation of your evidence should be the largest part of your points. *Rule of thumb: 3 sentences of explanation per full quotation.
Look at your quotation and single out important words or concepts and explain their importance.
“..a sacred building that loomed out of the night to give them what haven and what blessing they yearned for.”
Oats carefully describes the drive-in like a temple; she categorizes it as “sacred,” which has the religious connotation of being holy and important. For Connie, it is a “haven” away from her parent, who infantilize her, and she can practice being adult by flirting. The “blessing” reiterates that the drive-in is where Connie is grown into adulthood. Like “sacred” the term “blessing” has a religious connotation in that it is a act of approval and purification from a religious leader to parishioner. In the same way, the drive-in is a place where she is welcomed into adulthood by the older kids.

31. TREAT Perfect Paragraph Development
Thesis-Go back to your thesis and ask yourself what do you need to prove?
Thesis: Oates creates a burgeoning terror that reaches a screaming point in the kitchen scene; by using chilling description and ambiguous plot gaps, she portrays a violent and sinister loss of innocence that passes for Connie’s rite of passage into a vast and empty womanhood.
As Connie’s father drives the girls home, Connie looks at the shopping plaza, where she was supposed to be, and sees it “faded and ghostly.” The drive-in now seems almost soulless and desperate with “cars still circling tirelessly” and she can no longer her the music she compared to a church hymn. The place associated with fun and innocence, the shopping plaza, is characterized as dead, and her sanctuary of adulthood has also lost it’s positive association. Oats describes the cars like carrion birds, another image of death. This juxtaposition feels sinister; the death imagery, so out of place with the previous descriptions of typical teenage fun, is chilling. But why this shift? Why now? The reader reaches back and remembers the words of Arnold Friend, which seemed creepy at the time, but have now become ominous. “Gonna get you baby.”

32. Oates foreshadows the coming terror in her descriptions of Connie’s adolescent sanctuary-the drive-in. She builds a growing unease in the reader early on in order to emphasize the feelings of terror and inevitability about Connie’s murder. Oats juxtaposes opening description of the drive-in as a holy place with the empty, yet sinister imagery of it after Connie meets Arnold Friend. “..a sacred building that loomed out of the night to give them what haven and what blessing they yearned for.” Oats carefully describes the drive-in like a temple; she categorizes it as “sacred,” which has the religious connotation of being holy and important. For Connie, it is a “haven” away from her parent, who infantilize her, and she can practice being adult by flirting. The “blessing” reiterates that the drive-in is where Connie is grown into adulthood. Like “sacred” the term “blessing” has a religious connotation in that it is a act of approval and purification from a religious leader to parishioner. In the same way, the drive-in is a place where she is welcomed into adulthood by the older kids.
As Connie’s father drives the girls home, Connie looks at the shopping plaza, where she was supposed to be, and sees it “faded and ghostly.” The drive-in now seems almost soulless and desperate with “cars still circling tirelessly” and she can no longer her the music she compared to a church hymn. The place associated with fun and innocence, the shopping plaza, is characterized as dead, and her sanctuary of adulthood has also lost it’s positive association. Oats describes the cars like carrion birds, another image of death. This juxtaposition feels sinister; the death imagery, so out of place with the previous descriptions of typical teenage fun, is chilling. But why this shift? Why now? The reader reaches back and remembers the words of Arnold Friend, which seemed creepy at the time, but have now become ominous. “Gonna get you baby.”