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Teaching Ideas and Annotations at Point of Use

Throughout the Teacher’s Edition, you will find notes in the margins written by
experienced AP® instructors to help you get oriented, focus your instruction, and
get handy responses to the text-based questions. WORKSHOP OVERVIEW FIGURATIVE LANGUAGE: Word Choice, Imagery, and Symbols
Copyright (c) 2023 Bedford, Freeman & Worth Publishers. Uncorrected proofs were used with this sample chapter.
This workshop introduces the importance of Associations and Emphasis
understanding associations to reading and
interpreting literature. Close, analytical reading
requires readers to understand the relationship AP Enduring Understanding (FIG-1)
®
Lessons with a Focus between words and ideas. Specifically, students Comparisons, representations, and associations shift meaning from the literal to the
Distributed by Bedford, Freeman & Worth Publishers. Strictly for use with its products. Not for redistribution.
must consider referents (e.g., pronouns, nouns,
images, phrases, clauses) and their antecedents. figurative and invite readers to interpret a text.
Every section of the book comes with a set of notes in the margin to help orient you,
from lesson overviews to common misconceptions. COMMON MISCONCEPTION People use associations to make meaning in everyday life. For example, when
commercials repeat messages about “great low prices” or a product’s high quality,
Referents and antecedents are important to KEY POINT companies hope that you associate their brands with these positive ideas.
effective interpretation. For example, readers Authors use In addition, you may have experienced a conversation at some point in your
More than the learning objective sometimes mismatch a pronoun with the wrong referents and life when someone makes an association that is unclear to you. For example, a
person might say, “They’re all out to get me!” without clarifying who the term
antecedent, which leads to misinterpretation.
repetition to create
This book, like others, provides the focus of the lesson, the learning objectives, and when pronouns are interrupted with phrases, associations within “they’re” refers to. In this instance, it may not be crucial to understand what the
That problem can become more pronounced
person means, but in other instances, ambiguity could change the entire meaning
their works. These
the essential concepts. In doing so, it provides key insights from experienced AP® clauses, or even longer chunks of text. So make associations may of the sentence. Consider the following example: “When guests come over, Samuel
often brings his dog to the living room because he loves to give sloppy, wet kisses.”
emphasize an idea,
sure that you emphasize the importance of
teachers and readers for instructional focus to ensure student success. identifying grammatical structures of the text, create intentional Is Samuel just very affectionate with his guests or does he have a very friendly dog?
such as subjects, verbs, phrases, and clauses. ambiguity, or trace a
concept throughout
By finding the subjects and antecedents of the text. Associations Connect Elements
pronouns, students may clarify and eliminate a
Avoid common pitfalls misreading. within a Text
Authors have several different ways of signaling to readers that details are
We’ve provided insight into the most common student misunderstandings based on important. There are two types of associations: writers may choose words,
LITERARY CONCEPTS
what AP® readers have observed. You can help your students focus on what matters Association images, and symbols that they believe will create emotional connections with
their readers, or they may make syntactical choices such as antecedents, repeti-
most. Figurative Language tion, and ambiguity to create associations within a literary work. Because these
associations move beyond the literal, they are a type of figurative language. In
Referent short, figurative language draws upon the literal and concrete to reveal the intan-
Antecedent gible and abstract ideas.
Meaningful analytical skills annotations Antecedent Action Antecedents and Referents
Repetition
Commentary on the texts themselves and how they demonstrate the skills of the Refrain An antecedent is a device in which a word or pronoun in a line or sentence refers
Alliteration
to an earlier one. Generally speaking, antecedents refer to the noun that a pronoun
unit are placed right next to the text, with extremely clear indications of which part Ambiguity replaces and refers to.
To make an association, authors connect two parts: a referent and an
of the text is being referred to. These annotations show the unit skills in context and antecedent. An antecedent is a word, phrase, or clause that comes before its
connect with questions at the end of each text. referent. Referents can be the following:
138 Unit 2 ■ Analyzing Comparisons and Representations • Pronouns
138 Unit 2 ■ Analyzing Comparisons and Representations • Nouns
It was easier to manage
1 REFERENT The poem’s title includes an 1 It was easier to manage It was easier to manage 132
It was easier to manage
1
1 REFERENT The poem’s title includes an
ambiguous pronoun (“it”), which allows for multiple 2 I started kindergarten that fall you went off to Guyana.
arten that fall y
ana.
I started kinder
ou w
ent off to Guy
g
ambiguous pronoun (“it”), which allows for multiple
2
I started kinder
I started kindergarten that fall you went off to Guyana.
g
arten that fall y
interpretations of its antecedent. “It” could refer Granny cut off my dreadlocks. She knew how to press ou w ent off to Guy ana.
interpretations of its antecedent. “It” could refer
Granny cut off my dreadlocks. She knew how to press
to the speaker’s hair, her living situation with her and curl, ponytail, and cornrow but palm roll
to the speaker’s hair, her living situation with her
and curl, ponytail, and cornrow but palm roll
grandmother, the mispronunciation of her name, locks till the roots stiffened with beeswax, 03_williamlit1e_46174_ch02_116_207.indd 132 22/09/22 9:43 AM
grandmother, the mispronunciation of her name,
her response to the loss of “you,” or another 5 glistens like licorice, she didn’t know. AP Big Idea: Figurative Language AP Key Questions
locks till the roots stiffened with beeswax,
®
®
referent. her response to the loss of “you,” or another 5 glistens like licorice, she didn’t know.
referent. For that matter, no one in the Projects knew Enduring Understanding: FIG-1 Which repeated sound, word, or phrase in a
For that matter, no one in the Projects knew
what to do with hair left natural, left
2 PRONOUN By using the second-person what to do with hair left natural, left ® text emphasizes an idea or association, and
they were afraid to touch
2 PRONOUN By using the second-person
pronoun “you,” the speaker does not address the 3 unparted and wild — they were afraid to touch they were afraid to touch AP Skills: 5.B Essential Knowledge: what is the emphasized idea or association?
3
unparted and wild — they were afraid to touch
FIG-1.A, FIG-1.B,
pronoun “you,” the speaker does not address the
that unmothered part of themselves. Each snip
reader but rather an unnamed character. that unmothered part of themselves. Each snip How do you trace a referent to its antecedent,
that unmothered part of themselves. Each snip
that unmothered part of themselves. Each snip
reader but rather an unnamed character. 10 made each one alive and each one dead. FIG-1.C, FIG-1.D and how might ambiguous referents affect an
made each one alive and each one dead.
made each one alive and each one dead.
10 made each one alive and each one dead.
3 REPETITION The repetition of “each” in these And if you said goodbye, it was an honest whisper, interpretation of a text?
3 REPETITION The repetition of “each” in these
two lines may mimic the sound or cadence of short and fine in your throat. And if you said goodbye, it was an honest whisper,
short and fine in your throat.
two lines may mimic the sound or cadence of
scissors cutting hair. Additionally, “each one” is 4 She cut my hair like a boy’s
She cut my hair like a boy’s
4
scissors cutting hair. Additionally, “each one” is
She cut my hair like a boy’s
She cut my hair like a boy’s
ambiguous and may refer to each strand of hair who hadn’t been to the barber for a month,
who hadn’t been to the barber for a month,
ambiguous and may refer to each strand of hair
who hadn’t been to the barber for a month,
who hadn’t been to the barber for a month,
cut or the people “in the Projects” from line 6. 15 and I sat at the cafeteria table alone for weeks.
cut or the people “in the Projects” from line 6. 15 and I sat at the cafeteria table alone for weeks.
They couldn’t make sense of me, my classmates
They couldn’t make sense of me, my classmates
4 REPETITION The speaker repeats the haircut with their gender-proper hairstyles. I didn’t
4 REPETITION The speaker repeats the haircut
with their gender-proper hairstyles. I didn’t
twice throughout the poem (potentially a third 5 want anything to do with franks & beans,
want anything to do with franks & beans,
twice throughout the poem (potentially a third
5
time in the last line, as sheep are sheared). The those pucks of grilled meat. I waited at lunchtime
want anything to do with franks & beans,
want anything to do with franks & beans,
those pucks of grilled meat. I waited at lunchtime
time in the last line, as sheep are sheared). The
experience is so important to understanding her 20 for peanut butter and jelly and was hesitant to eat
those pucks of grilled meat. I waited at lunchtime
those pucks of grilled meat. I waited at lunchtime
for peanut butter and jelly and was hesitant to eat
experience is so important to understanding her
childhood and lack of control. 20 for peanut butter and jelly and was hesitant to eat
for peanut butter and jelly and was hesitant to eat
bread that wasn’t our color. It was hard
childhood and lack of control. bread that wasn’t our color. It was hard 132 Unit 2 Analyzing Comparisons and Representations
bread that wasn’t our color. It was hard
bread that wasn’t our color. It was hard
not hearing your voice each morning,
5 REPETITION The speaker repeats foods 6 not hearing your voice each morning,
6
not hearing your voice each morning,
not hearing your voice each morning,
5 REPETITION The speaker repeats foods
throughout, communicating her level of throughout the day. And unwilling to correct them
throughout the day. And unwilling to correct them
throughout, communicating her level of
connection, comfort, or familiarity with her when they said my name wrong, I gave into
when they said my name wrong, I gave into
the Sizzlean; the fried chicken crunched
surroundings. connection, comfort, or familiarity with her 7 25 the Sizzlean; the fried chicken crunched
7
25 the Sizzlean; the fried chicken crunched
the Sizzlean; the fried chicken crunched
surroundings. between my teeth, I could’ve bitten both of your hands
between my teeth, I could’ve bitten both of your hands
between my teeth, I could’ve bitten both of your hands
between my teeth, I could’ve bitten both of your hands
6 REPETITION The speaker weaves thoughts for leaving me here, each finger for the gunshots that rang 03_williamlitte1e_47545_ch02_116_207_3pp.indd 132 08/12/22 5:26 PM
for leaving me here, each finger for the gunshots that rang
6 REPETITION The speaker weaves thoughts
for leaving me here, each finger for the gunshots that rang
for leaving me here, each finger for the gunshots that rang
and memories of the unnamed “you” character the night, the footsteps running on the roof, the gravel mashed
the night, the footsteps running on the roof, the gravel mashed
and memories of the unnamed “you” character
the night, the footsteps running on the roof, the gravel mashed
the night, the footsteps running on the roof, the gravel mashed
in lines 1, 11–12, 22, and 26–34. This repetition deeper and deeper into my sleep. Flocks of butterflies
deeper and deeper into my sleep. Flocks of butterflies
in lines 1, 11–12, 22, and 26–34. This repetition
deeper and deeper into my sleep. Flocks of butterflies
deeper and deeper into my sleep. Flocks of butterflies
reflects how frequently she thinks about this 30 broke my skin and I was shatter where I stood,
broke my skin and I was shatter where I stood,
reflects how frequently she thinks about this
30 broke my skin and I was shatter where I stood,
broke my skin and I was shatter where I stood,
character and their absence. a whole constellation of wondering if I could throw
TE-xviii character and their absence. myself to the sky, coat it with urgent wishes
Welcome to Ideas in Literature
a whole constellation of wondering if I could throw
7 ALLITERATION Similar sounds are repeated in you’d see that I missed you, that the barter was unfair,
myself to the sky, coat it with urgent wishes
7 ALLITERATION Similar sounds are repeated in
“chicken crunched,” “between my teeth,” “bitten that you mistook me for sheep.
you’d see that I missed you, that the barter was unfair,
“chicken crunched,” “between my teeth,” “bitten
both,” “running on the roof,” and “butterflies broke” that you mistook me for sheep.
both,” “running on the roof,” and “butterflies broke”
to express deep frustration, anger, and pain.
to express deep frustration, anger, and pain. FIGURATIVE LANGUAGE: Word Choice, Imagery, and Symbols
FIGURATIVE LANGUAGE: Word Choice, Imagery, and Symbols
1. Consider the pronouns and antecedents in the poem. How do these pronouns
create relationships? 1. Consider the pronouns and antecedents in the poem. How do these pronouns
SUGGESTED RESPONSES 2. The speaker characterizes a child through repetitive words and phrases. How does 25/01/23 11:37 AM
create relationships?
01_williamlitte1e_47545_FM_TE-i_xxxvii_1pp.indd 18
TO THE QUESTIONS SUGGESTED RESPONSES 2. The speaker characterizes a child through repetitive words and phrases. How does
TO THE QUESTIONS this repetition create a message? Explain how repetition contributes to the message.
this repetition create a message? Explain how repetition contributes to the message.
1. The author uses the second-person pronoun 3. Choose an alliterative phrase and explain how the repetition of the sound
1. The author uses the second-person pronoun
3. Choose an alliterative phrase and explain how the repetition of the sound
“you” not to address the reader but rather to contributes to your interpretation of the poem.
“you” not to address the reader but rather to
address an unnamed character. The title also contributes to your interpretation of the poem.
address an unnamed character. The title also
includes a notably ambiguous pronoun.
includes a notably ambiguous pronoun.
2. The narrator repeats the experience of her
2. The narrator repeats the experience of her
haircut at least three times (see lines 2, 13,
haircut at least three times (see lines 2, 13,
and 34); her hair likely symbolizes a part of her 03_williamlit1e_46174_ch02_116_207.indd 138 22/09/22 9:43 AM
and 34); her hair likely symbolizes a part of her
life that she lost (perhaps her relationship with 03_williamlit1e_46174_ch02_116_207.indd 138 22/09/22 9:43 AM
life that she lost (perhaps her relationship with
the “you” character, perhaps a part of her own COMPREHENSION CHECK
COMPREHENSION CHECK
the “you” character, perhaps a part of her own
identity) because they left her. The speaker 1. The narrator states that Granny cuts the narrator’s _________ at the opening of the poem
identity) because they left her. The speaker
1. The narrator states that Granny cuts the narrator’s _________ at the opening of the poem
also refers to different foods throughout the sometime before the narrator begins kindergarten. [dreadlocks/hair]
also refers to different foods throughout the
sometime before the narrator begins kindergarten. [dreadlocks/hair]
text, all of which convey her deep connection 2. The narrator recounts that when she goes to school, she sits “at the cafeteria alone for weeks”
to her community. text, all of which convey her deep connection 2. The narrator recounts that when she goes to school, she sits “at the cafeteria alone for weeks”
because her classmates cannot __________. [make sense of her]
to her community.
because her classmates cannot __________. [make sense of her]
3. One of the most powerful examples occurs 3. At lunchtime, the narrator waits for what food instead of “franks & beans, / those grilled pucks
3. One of the most powerful examples occurs
3. At lunchtime, the narrator waits for what food instead of “franks & beans, / those grilled pucks
in line 26, “bitten both” and lines 29–30, of meat”? [Peanut butter and jelly sandwich]
in line 26, “bitten both” and lines 29–30,
of meat”? [Peanut butter and jelly sandwich]
“butterflies broke.” Both of these express 4. As the narrator addresses someone, she describes being so upset that she “could’ve bitten
powerful anger and pain. “butterflies broke.” Both of these express 4. As the narrator addresses someone, she describes being so upset that she “could’ve bitten
powerful anger and pain. both of your ______ / for leaving me here.” [hands]
both of your ______ / for leaving me here.” [hands]
5. The narrator states that nobody in the Projects knew how to style _________ hair. [natural]
5. The narrator states that nobody in the Projects knew how to style _________ hair. [natural]
TRM Unit 2: Comprehension Check Digital Comprehension Check

TRM Unit 2: Comprehension Check Digital Comprehension Check

138 Unit 2 Analyzing Comparisons and Representations
138 Unit 2 Analyzing Comparisons and Representations
03_williamlitte1e_47545_ch02_116_207_3pp.indd 138 08/12/22 5:28 PM
03_williamlitte1e_47545_ch02_116_207_3pp.indd 138 08/12/22 5:28 PM