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AP® English Language and Composition—Semester A

Half rhetorical analysis, half super-deep thoughts, and a hundred percent Shmoop.

  • Course Length: 18 weeks
  • Course Type: AP
  • Category:
    • College Prep
    • English
    • High School

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This course has been approved by the College Board, which indicates that the syllabus "has demonstrated that it meets or exceeds the curricular expectations colleges and universities have for your subject." Please contact sales@shmoop.com if you would like to add this course to your official record of AP course offerings.

It has also been granted a-g certification, which means it has met the rigorous iNACOL Standards for Quality Online Courses and will now be honored as part of the requirements for admission into the University of California system.

In this course, we get to read some of the best classic and contemporary nonfiction prose out there, hobnob with some of the world's most brilliant thinkers, and hone our reading, writing, and critical thinking skills so that we can hold our own with the best and the brightest.

Exactly who and what make up this mix of the best, brightest, and most brilliant? Well, we could argue that for days. And in this course, we will do just that—the abundance of texts and thinkers in this course is truly awesome. While no course, no matter how well designed, can possibly include all of the "must-read" texts, our goal for this one is to help you wield and hone that ol' intellectual sword of yours so that you can pop open whichever literary oysters suit your fancy. Whenever you want.

To that end, we're going to be reading, analyzing, and writing about all sorts of texts

  • by classic authors like Plato, Henry David Thoreau, Niccolò Machiavelli, Jonathan Swift, and Frederick Douglass.
  • by famous speechmakers like Abraham Lincoln and Franklin Delano Roosevelt.
  • by modern writers like Gabriel García Márquez, Malcolm Gladwell, Truman Capote, and Steven Johnson. 

As we consider their works, we'll be immersed in themes like responsibility and ethics and equality and morality and government and epidemiology.

(Whew. Exhale.)

And just in case that sounds a tad stuffy, keep in mind that these authors don't "do" boring. Nope. They're engaging with some of the biggest issues and crises of their time. We're talking murders and kidnappings and rampant epidemics and gross injustices. In short, we're talking life and death situations that impact people everywhere—and the language and writing styles that inform us about 'em.

P.S. This is a two-semester course. You're looking at Semester A.

Unit Breakdown

1 AP® English Language and Composition—Semester A - How to Get Your Exam On

This little mini unit is meant to be a short and sweet overview of what Shmoop's English Language and Composition course is all about. In this "basic training," we'll set up our all-important writer's notebook, get acquainted with analysis strategies like SOAPSTone and OPTIC, and practice general annotating skills. In these few days, we'll work to demystify the process of reading, analyzing, and writing about nonfiction texts—both word- and image-based.

2 AP® English Language and Composition—Semester A - Great Orators: They're Famous for a Reason

Regardless of the circumstances dictating these most famous speeches of history, they typically have one thing in common: they're rhetorical masterpieces. So, in a course that puts rhetoric at its center, it makes sense to begin by examining what qualities make certain speeches so special. As we place a few of these verbal masterpieces under the microscope, we'll be getting up close and personal with the three basic persuasive appeals (a.k.a. pathos, logos, and ethos), laying the foundation for our rhetorical terminology glossary.

3 AP® English Language and Composition—Semester A - The Tipping Point, Or the Straw that Broke the Camel's Back

The concept behind The Tipping Point—which author Malcolm Gladwell calls "the biography of an idea"—is that small details can make a big difference, ultimately resulting in tipping the scales towards a particular behavior. The point? To get people talking. And thinking. And criticizing. Which is precisely what we're going to do as we apply some of his ideas (and rhetorical strategies) to the texts we'll be examining (and writing) throughout this course.

4 AP® English Language and Composition—Semester A - How "Sticky" Is Your Education?

In its simplest form, synthesis is the act of combining several separate things into one new entity. So in Unit 4, as we explore what some of the greatest minds and most famous educational theorists have to say about education and the needs of the student, one of our goals is to build those synthesis skills. Gladwell's text—particularly his theory on the "Stickiness Factor"—will come in handy, as will some of the other context building work we've been doing the past three units. After all, this is a course where nothing gets left behind. Especially not while writing a synthesis essay.

5 AP® English Language and Composition—Semester A - There's a Map for That

Part detective story, part biography, and part history, Steven Johnson's The Ghost Map delves into the complicated and intermingled stories of how a mid-19th-century cholera epidemic paved the way for a major reimagining of germ theory, the process of urbanization, and the field of scientific inquiry. As we follow along with the primary players in Johnson's text, we'll be exploring a variety of documents (from primary and secondary sources) that will enable us to imagine the realities of Victorian England more clearly, and help us to draw some comparisons to our own world.

In other words: context, context, context, and research, research, research.

6 AP® English Language and Composition—Semester A - The Mind's a Tricky Thing

Warning, Shmooper: this is one deep unit. We'll chill with the likes of Plato, Sir Francis Bacon, and René Descartes, to learn about some of the obstacles that blind us to things with capital letters like Truth and Knowledge.

Intimidated yet? From there, we'll make a few stops in the 20th century to ponder creativity, perspective, and the mysteries of the human brain, before landing in the 21st century to consider the ways in which technology is shaping the way we think and how we plan for the future. Through it all, we'll examine the rhetorical tricks that these writers have up their sleeves and keep circling back to Johnson's The Ghost Map.

7 AP® English Language and Composition—Semester A - Midterm Review

Rather than pile on a few more texts, Shmoop believes that review should be just that: the opportunity to regroup, reconsider, and revisit those texts or skills that you believe require another look before sitting down to take an important, the fate-of-your-entire-academic-career-depends-upon-your-score kind of test.

(Just kidding.)

Recommended prerequisites:

  • ELA 10: World Literature—Semester A
  • ELA 10: World Literature—Semester B

    • Sample Lesson - Introduction

    Lesson 2.02: Epic Fails

    A magnificent Greek statue of a nude man…holding his face in his hand, shamefully.
    "That speech so didn't go how I planned."
    (Source)

    No one wants to be that person...you know, the one remembered for being the worst dressed, hosting the worst party, or giving the worst speech. Especially since, with social media, there's no place to hide. Show up with a pimple the size of Mt. Vesuvius on your nose or give a cringe-worthy speech, and your humiliation can go viral in no time at all.

    Unfortunately, it's super-easy to mess up, especially if you're under pressure. A simple Internet search for "worst speech ever" will bring up more hilarious and humiliating fails than you could possibly watch, ever, even if you enjoy binge-watching YouTube videos in your spare time. So, the question is: How does a speech avoid going viral for all the wrong reasons? In other words, what makes a speech work?

    That, folks, is what we're about to find out.

    Sample Lesson - Reading

    Reading 2.2.02: It's All Related

    Yes, this unit is focusing mostly on speeches. And, yes, we're gonna be spending a lot of time looking at the rhetorical devices and strategies that authors and speechmakers use to make their words memorable, relatable, persuasive, and so on.

    However, we're not just readers. And there's really no point in taking an AP course if we're hoping to be a passive audience. Nope. We're meant to be all in. That means as writers, too.

    Just as there's an art to what speechmakers and famous prose writers do, there's also an art to writing about those famous speeches and prose works. So, to brush up on the how-to of effective writing, we're going to turn to our A World of Ideas text. Read "Writing about Ideas" on pages 13 – 50, highlighting and annotating merrily as you go.

    We know. It can be a bit dry reading about how to write well. However, the text offers up many useful strategies and tons of helpful examples so that you don't feel lost the next time you're faced with writing about a text. Our advice: Really pay attention whenever you see a bold heading and make sure that you read the text that follows carefully. When you get to the examples—trust us, they'll be obvious—feel free to skim a bit. You can always revisit them when it's your turn to question the text, develop a thesis, or write an essay.

    BTW—you can expect a few quiz questions on this reading, so make sure you put in the time to read...even if you need a caffeine drip to keep going.

    Sample Lesson - Activity

    Activity 2.02a: Top Ten Ways Not to Be a Speech "Which Will Live in Infamy"

    There are certain things that public speakers can do to avoid throwing themselves under the proverbial bus—like abstain from shouting at the audience like this guy, or doing one-armed push-ups on stage. Speakers can also take classes to help hone those public speaking skills. However, none of that matters if their speech is the verbal equivalent of putrid road kill.

    But, how does one write a strong and memorable speech?

    Good question.

    Quite often, it takes time—days, maybe even weeks. Historical circumstances matter, too. War-time speeches draw way more attention—and, therefore, are more memorable—than, say, speeches about prescription medication plans. Just saying.

    However, high-stakes, high-pressure situations like war often require almost immediate responses. Take FDR's "Day of Infamy" speech, which was delivered less than 24 hours after Roosevelt learned of the attack on Pearl Harbor. (Okay, so maybe that's not an immediate response, but it's still pretty darn quick.)

    Anyway, FDR's speech went on to become one of the twentieth century's most memorable speeches. Why? Well, sure, historical circumstances helped. However, Roosevelt's Pearl Harbor speech has way more going for it than just "timing." It is also celebrated for its outstanding rhetoric.

    And, this is where you come in. Your goal?—to create a Top Ten List outlining ten outstanding rhetorical moments in FDR's Pearl Harbor Speech, and then to weigh in on which rhetorical strategy deserves to be at the top of that list.

    Step One

    For starters, you'll need to read FDR's Pearl Harbor speech. Get it here.

    As you read, annotate. (Either copy the text into a Word document or download to an e-reader.) Your annotations should focus particularly on Roosevelt's use of ethos, pathos, and logos as well as his use of other rhetorical devices (think: Roosevelt's use of diction, sentence structure, parallelism, and so forth).

    Step Two

    Once you've carefully read and thoroughly annotated FDR's speech, it's time to tune in to hear the speech as FDR's audience heard it. Although FDR often relied on speechwriters to help draft his speeches, this is a speech he wrote himself. Chances are that as he wrote the speech, he knew how it would sound to his audience as he delivered it.

    So, listen to the audio carefully, taking notes on how FDR's delivery of the speech may have impacted the audience's reception of it. Consider things like pace and tone as well as the impact of calculated pauses, changes in sentence structure, emphasis on certain words or syllables, etc.

    Although your annotations are just for you, make sure that they're detailed and specific. That way, the rest of the activity goes much more smoothly.

    Step Three

    Revisit the speech and your annotations. Highlight or number the ten most effective rhetorical moments of the speech. As you find them, identify them by name (for example, parallelism, ethos, etc.).

    That's right. It's terminology time. You should be scribbling the names of rhetorical devices all over FDR's speech.

    1. Take your findings and write up a neat and tidy Top Ten list.

      Next to each number:

      • provide the oh-so-rhetorically-brilliant quote or phrase from the speech.
      • identify the rhetorical device or strategy employed used in that phrase or quote. (If more than one device or strategy is used in that line, provide the names of each of the devices used.)

      An example, taken from Roosevelt's First Inaugural Speech, would look something like this:


      10. "So, first of all, let me assert my firm belief that the only thing we have to fear is fear itself…"—ethos, hyperbole

      Although your entire list doesn't necessarily need to be ranked in order from least-to-most effective, your number one slot should be reserved for the rhetorical bit that you find most effective. Why? Well, we'll get to that soon. In the meantime, go ahead and type up your list below.

    2. Take the quote/phrase ranked as Number 1 on your list and tell us, in about 250 words, why you found it to be the most effective part of FDR's speech. As you weigh in with your opinion, make sure you identify the rhetorical devices being used in that quote or phrase. You might consider, too, how that quote fits in with or relates to the rest of FDR's speech.

      Just please, let us know—or we'll have to get all pathos on you.

    Expository Writing Rubric - 25 Points

    OutstandingProficientDevelopingNeeds Improvement
    Evidence / Support

    All support is clearly and logically connected to the topic. Examples, evidence, and details are thorough and relevant with effective explanation.

    (10)

    All support about the main topic is relevant. Examples, evidence, and details are explained.

    (9)

    Most support is related to the topic. Examples, evidence, or details are given.

    (8)

    Insufficient examples, evidence, or details. Support may be irrelevant.

    (7)
    Content Understanding

    All content is accurate and analysis is interesting and sophisticated.

    (10)

    All content is accurate.

    (9)

    May contain minor errors.

    (8)

    Major errors.

    (7)
    Style

    Language is clear and interesting. Enhances presentation of information. No errors.

    (5)

    Language is clear and appropriate to topic. Minor spelling or grammatical errors.

    (4)

    Language is occasionally unclear, but meaning is generally understandable. Frequent spelling/grammar errors that do not impede comprehension.

    (4)

    Language use makes writing very difficult to understand. Frequent spelling or grammar errors that impede comprehension.

    (3)

    Sample Lesson - Activity

    1. True or false: Thesis statements should come at the beginning of an essay to ensure that readers understand the central premise of the essay before reaching the body paragraphs.

    2. Which of the following is not a form of argument?

    3. List four different methods of rhetorical development discussed in A World of Ideas. Then, briefly explain each.

    4. In his "Infamy" speech, Roosevelt relies primarily on two rhetorical appeals. Select the answer below that most accurately reflects the order and choice of appeals.

    5. Which of the following rhetorical devices is not used in the statements midway through FDR's speech, beginning with "Last night, Japanese forces..." and ending with "attacked Midway Island"?