Read these. Could you have composed an essay of the same caliber? Scores are the following: 8,6, and 4.
http://apcentral.collegeboard.com/apc/members/repository/ap06_englishlit_samples_q1.pdf
Tuesday, March 29, 2011
Monday, March 7, 2011
Structure of Drama Extra Credit
You will have tomorrow or Wednesday to take the Literary Terms Exam.
Here are the extra-credit terms:
Here are the extra-credit terms:
- Dramatic Structure
- Prologue
- Parados
- Episode
- Stasima
- Exodus
- Act
- Scene
- Expostition
- Complicating Incident
- Conflict
- Complication
- Climax
- Crisis
- Turning Point
- Peripety/Peripetia
- Reversal
- Recongition Scene
- Senouement
- Catastrophe
- Catharsis
- Anachronism
- Implied Stage Direction
- Stage Direction
- Cue
- Doggeral
- Dramatic Irony
- Hamaritia
- Purple Patch
- Comic Relief
- Relief Scene
- Repartee
- Stichomythia
- Stock Situation
Friday, February 25, 2011
To Do List: Reminder
Things to think about:
1. Pride and Prejudice (active reading strategies/possible annotations) Gothic Novel, Romanticism, realism style ect.
2. Literary Devices--Define what you know with NO help from the inter-web or a print source
3. Correct all questions missed on 1991 Exam. Hand Write stem and answer. Know WHY!!
4. Watch the Coen brothers slam the Oscars on Sunday night and maybe Banksy too...
Tuesday, January 25, 2011
Chaucer Reminder...
Since its composition in late 1300s, critics have continued to mine new riches from its complex ground, and started new arguments about the text and its interpretation. Chaucer’s richly detailed text, so Dryden said, was “God’s plenty”, and the rich variety of the Tales is partly perhaps the reason for its success.
It is both one long narrative (of the pilgrims and their pilgrimage) and an encyclopedia of shorter narratives; it is both one large drama, and a compilation of most literary forms known to medieval literature: romance, fabliau, Breton lay, moral fable, verse romance, beast fable, prayer to the Virgin… and so the list goes on. No single literary genre dominates the Tales. The tales include romantic adventures, fabliaux, saint's biographies, animal fables, religious allegories and even a sermon, and range in tone from pious, moralistic tales to lewd and vulgar sexual farces. More often than not, moreover, the specific tone of the tale is extremely difficult to firmly pin down.
It is both one long narrative (of the pilgrims and their pilgrimage) and an encyclopedia of shorter narratives; it is both one large drama, and a compilation of most literary forms known to medieval literature: romance, fabliau, Breton lay, moral fable, verse romance, beast fable, prayer to the Virgin… and so the list goes on. No single literary genre dominates the Tales. The tales include romantic adventures, fabliaux, saint's biographies, animal fables, religious allegories and even a sermon, and range in tone from pious, moralistic tales to lewd and vulgar sexual farces. More often than not, moreover, the specific tone of the tale is extremely difficult to firmly pin down.
Monday, January 24, 2011
Apocalypse Now: Film as Literature
SCENE ANALYSIS
Since AP Literature has been given a chance to screen Apocalypse Now and to see how Dartmouth suggests approaching Film analysis, the class will now develop and edit a response to this historical film. You will be assigned a particular scene from the film and a cinematic focus. The film techniques you select will coincide with the focus of your paper.
Notice: This movie has the foundation of impacting literature; therefore, ALL themes seen within Heart of Darkness are reflected at times through these ELEMENTS OF FILM. You must keep this in mind at all times.
1. Fear
2. Fate
3. Race
4. Identity
5. Madness
6. Ambition/power
7. Exploration/ Unknown
8. Time
9. Language and Communication
Your Thesis needs to be grounded in a thematic statement according to your method of analysis AND assigned scene.
Francis Ford Coppola was the deciding director of the film, therefore he had to approve all production decisions (sound, editing, music, etc.). If you would like to include names responsible for specific elements within your discussion, please browse www.imdb.com.
No research is required for this assignment because this is YOUR analysis with the provided materials: Dartmouth Handout and your film notes. Select TWO of the following:
1. Music (Score)
2. Sound
3. Camera Movement/positioning
4. Lighting
5. Editing
You MUST determine what elements (film glossary terms) are most important to your overall analysis. Think: “What has been used to most effectively represent THEME?”
Paper Requirements: Due February 4th or 7th
—Assessment based on an AP Scale. (650 word minimum; 1000 word maximum)
—Times New Roman, 12 Pt., Double Spacing, Default 1.5” margins, and Header
SCENE ANALYSIS
Since AP Literature has been given a chance to screen Apocalypse Now and to see how Dartmouth suggests approaching Film analysis, the class will now develop and edit a response to this historical film. You will be assigned a particular scene from the film and a cinematic focus. The film techniques you select will coincide with the focus of your paper.
Notice: This movie has the foundation of impacting literature; therefore, ALL themes seen within Heart of Darkness are reflected at times through these ELEMENTS OF FILM. You must keep this in mind at all times.
1. Fear
2. Fate
3. Race
4. Identity
5. Madness
6. Ambition/power
7. Exploration/ Unknown
8. Time
9. Language and Communication
Your Thesis needs to be grounded in a thematic statement according to your method of analysis AND assigned scene.
Francis Ford Coppola was the deciding director of the film, therefore he had to approve all production decisions (sound, editing, music, etc.). If you would like to include names responsible for specific elements within your discussion, please browse www.imdb.com.
No research is required for this assignment because this is YOUR analysis with the provided materials: Dartmouth Handout and your film notes. Select TWO of the following:
1. Music (Score)
2. Sound
3. Camera Movement/positioning
4. Lighting
5. Editing
You MUST determine what elements (film glossary terms) are most important to your overall analysis. Think: “What has been used to most effectively represent THEME?”
Paper Requirements: Due February 4th or 7th
—Assessment based on an AP Scale. (650 word minimum; 1000 word maximum)
—Times New Roman, 12 Pt., Double Spacing, Default 1.5” margins, and Header
Wednesday, January 5, 2011
The Hollow Men
T. S. Eliot
Mistah Kurtz—he dead.
A penny for the Old Guy
I
We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats’ feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death’s other Kingdom
Remember us—if at all—not as lost
Violent souls, but only
As the hollow men
The stuffed men.
II
Eyes I dare not meet in dreams
In death’s dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind’s singing
More distant and more solemn
Than a fading star.
Let me be no nearer
In death’s dream kingdom
Let me also wear
Such deliberate disguises
Rat’s coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer—
Not that final meeting
In the twilight kingdom
III
This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man’s hand
Under the twinkle of a fading star.
Is it like this
In death’s other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
IV
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death’s twilight kingdom
The hope only
Of empty men.
V
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o’clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom
For Thine is
Life is
For Thine is the
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
T. S. Eliot
Mistah Kurtz—he dead.
A penny for the Old Guy
I
We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats’ feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death’s other Kingdom
Remember us—if at all—not as lost
Violent souls, but only
As the hollow men
The stuffed men.
II
Eyes I dare not meet in dreams
In death’s dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind’s singing
More distant and more solemn
Than a fading star.
Let me be no nearer
In death’s dream kingdom
Let me also wear
Such deliberate disguises
Rat’s coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer—
Not that final meeting
In the twilight kingdom
III
This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man’s hand
Under the twinkle of a fading star.
Is it like this
In death’s other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
IV
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death’s twilight kingdom
The hope only
Of empty men.
V
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o’clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom
For Thine is
Life is
For Thine is the
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
Monday, January 3, 2011
Screen Writer John Millius Speaks of adapting HOD
Apocalypse Now is based on Heart of Darkness, and this classic Vietnam film would not exist without the novel's foundation.
John Milius wrote screenplays ranging from Dirty Harry to Jaws.
Watch this interview. click here
John Milius wrote screenplays ranging from Dirty Harry to Jaws.
Watch this interview. click here
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