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• Prof. Mary Fuller

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As taught in.

• American Literature

Learning Resource Types

Reading poetry, assignments, session 1: recognizing patterns.

• Pound, Ezra. “ In a Station of the Metro .” In Personae . New Directions, 1990. ISBN: 9780811211383.

Write up a roughly 300 word introduction of yourself especially as in terms of your relationship with poetry. What is your background: prior knowledge, authors or works you like, don’t like or are curious about, good and bad experiences, things you’d like to learn or talk about in the class, things you know from other disciplines (linguistics!) that might be useful.

Session 2: Making Poetry in English

Print out the readings, mark them up, and bring with you to class next week. The assignment below gives questions to think about as you read the poems.

Assignment: Prose to Poetry

Session 3: From Evidence to Analysis

• William Shakespeare, “ Sonnet 116 .” Poetry Foundation.
•  Vendler, Helen. The Art of Shakespeare’s Sonnets . Harvard University Press, 1999, pp. 113-115. ISBN: 9780674637122. [Preview with Google Books .]

Read the sonnet (multiple times) and Vendler’s analysis. Come with questions.

Assignment : Informal Essay I

Session 4: Etymologies and Rhythms

Make a copy of the readings, mark them up, and bring with you to class next week. In the process, please glance at the poets’ bios and make a note of where and when they lived and any key facts—just the basics!

Assignment: Poetry Analysis I

Assignment: Etymologies and Rhythms

Session 5: Language as System(s)

• Dizikes, Peter. “ From Contemporary Syntax to Human Language’s Deep Origins .” MIT News Office . June 11, 2014.
• Dizikes, Peter. “ The Writing on the Wall .” MIT News Office . February 21, 2018.
• Sun, Jessica. “ Where Did Language Come From? ” Feb. 4, 2018. YouTube.
• Miyagawa, Shigeru, Robert Berwick, and Kazou Okanoya. “ Emergence of Structure .” Frontiers Research Foundation, 2013.

Read enough to get an idea about Miyagawa’s two major research projects.

Come up with questions to ask Miyagawa in class about:

• The research (points of clarification, but also why these projects, how did they come about, how are they finding evidence—anything is fair game).
• Language in general, from a linguist’s point of view (How do you make a sentence out of words? What is a sentence? How do we know where to put stress on words or syllables? Etc.).
• Issues with translation between languages. How different are human languages from each other, anyway?

Session 6: The Shape of Sentences and the Shape of Information

We’re going from words to sentences and looking at some more cool poems. Take a look at the class notes for session 6 (PDF - 1.2MB) .

Assignment: The Shape of Sentences

Assignment : Informal Essay II

Session 7: Reading Line Breaks

• Wordsworth, William. “ A Slumber did my Spirit Seal .” Poetry Foundation.
• Brooks, Gwendolyn. “ We Real Cool .” In The Bean Eaters . Literary Licensing, 2012. ISBN: 9781259274481. 
• Williams, William Carlos. “ The Red Wheelbarrow .” In The Collected Poems of William Carlos Williams: Volume I, 1909-1939 . New Directions Publishing Corporation, 1991. ISBN: 9780811211871. 
• Williams, William Carlos. “ Poem (“As the Cat”) .” Poetry . July, 1930.
• Schussler, Jennifer. “ The Forgotten Man Behind William Carlos William’s ‘Red Wheelbarrow’. ” New York Times . July 6, 2015.
• Eliot, T.S. “ The Love Song of J. Alfred Prufrock .” In Collected Poems 1909-1962 Harcourt Brace Jovanovich, 1991. ISBN: 9780151189786.
•  Eliot, T.S. “ Reflections on Vers Libre .” In Selected Prose of T.S. Eliot Edited by Frank Kermose. Harvest Books, 1975. ISBN: 9780156806541. 

This week, the poems are mostly short and very spare, so that we can really bear down on the phenomenon of what it does to end a line (but not a sentence). Consider this: line breaks affect the rate at which information is delivered. Sometimes (as in the Wordsworth poem) they seem to contain their own information.

There is also some brief prose reading.

• Eliot’s comments will help you think about how to describe rhythm in poems that are not uniformly metrical, and you should find it useful to hear how a practitioner thinks about it. 
• Since you’ll be meeting Tyehimba Jess, let’s start hearing what he has to say.
• Williams’ poems are about as stripped down as Ezra Pound’s “In a Station of the Metro,” so it’s interesting to read an article that fills in what he was seeing and gives us some context. What can we do with the information?

Session 8: Fixed Forms, Rhymed and Otherwise

This week’s poems are fixed forms : forms with tight constraints on variables like number of lines, meter, line-length, rhyme, or line ending words. First, sonnets: by three sixteenth century authors participating in the vogue of writing long sequences of sonnets devoted to (mostly) unrequited love, and then by four twentieth century authors who use the form to different ends. Second, villanelles: another poem by Bishop, and one by Martha Collins (a wonderful poet who lives hear Harvard Square). Finally, a poem that invents a new form, initially as a tribute to Brooks and now used by other writers. Hayes has a weekly column in the NYT Magazine featuring a poem by someone else that he likes with a few sentences about why; if this tickles your fancy, check it out.

Assignment: Poetry Analysis II

Assignment: Sonnets and Rhythm

Assignment : Informal Essay III

Session 9: New Work in Computer-Generated Poetry

•  Montfort, Nick.  Truelist.  Counterpath, 2017. ISBN: 9781933996639.

Rather than ask that they read particular section or sections of The Truelist, I’d like to have each person in the class engage with several aspects of the project:

• The printed book (they don’t have to buy it, but read some from it, see the material artifact).
• The program that generated the book-length poem .
• My complete studio recording of the book .

If people want to read it all, of course, or read a few sections, that’s great.

Session 10: Sound Patterns and Sense

Take a look at the class notes for session 10 (PDF - 1.3MB) .

You know most of the drill (poems, poets, annotate). In a previous session, we looked at poems characterized by end-rhymes organized in predictable patterns. Today, we’re going to broaden the optic on repeated sounds. I would like you to look hard at either assonance and consonance (repeated vowel or consonant sounds) in the sonnet, or track the pattern of rhyming sounds especially but not exclusively at the end of lines in Herbert. It might be useful to know that Herbert was a clergyman (that is, he would have worn a collar, which becomes a sign of both the religious vocation and its demands for certain kinds of personal sacrifices). “Collar” is also a homonym of (sounds identical to) “choler,” an older word for “anger,” and this other word invoked by sound is also relevant.

Andrew Marvell was a contemporary of Milton’s; this short poem is among a number by this poet written in the persona of a mower (that is, a laborer who cut grass)—for reasons again having to do with poetic traditions of writing in the voice of “simple people” who worked with the natural world. Sylvia Plath is the only 20th poet in the reading. Coincidentally, the New York Times published an obituary for her today, part of a project to redress important and systemic omissions in their record. The bio on Poetry Foundation is probably more relevant for us, but here is the extended NYT piece if it interests you. 

Assignment: Poetry Analysis III

Session 11: Reading a Difficult Poem (1)

Assignment: Difficult Poem (Group Project and Presentation)

Assignment : Essay Revision

Session 12: Reading a Difficult Poem (2)

Some takeaways from our discussion of “The Waste Land,” parts 1-3:

The poem links together myth and its own historical moment.

Myth: the Arthurian legend of the Fisher King—guardian of the Holy Grail, wounded and impotent because of a transgression at his court. While the king is wounded, the kingdom is infertile—they are waiting for rescue.

History: the moment is Europe after World War I—recovering not only from the material shocks and losses of a massive war, but the sense that an earlier political and social order was revealed to be bankrupt. No sense of agency for “fixing” the predicament, prospects for renewal not yet evident. Passion is dead, prophecy fraudulent, the living are almost dead, and the reader is also implicated in this situation.

At both high and low levels of society, relations between men and women have been thrown into crisis. In “Game of Chess,” no way out of a room that is stifling and artificial. Traumatized man is unable to use his voice, woman speaks only in imperatives, conversation is repetitive and seems to go nowhere. In the pub, a sense of being trapped, silenced, used up, abandoned. Loss of generative connections between human beings; a toxic environment.

This world is devoid of new meanings, and relies on scavenging scraps from the past. Conventional poetic forms highlight how much the present has declined from the past. Every rule violation is possible, but none are shocking—all is desensitized. Human behavior becomes mechanical while machines take on a threatening agency; language decays almost to the point of meaninglessness. Can the scavenged scraps be used to form a picture? Is there the possibility of a new design?

Assignment : Difficult Poem (Report on “The Waste Land”)

Session 13: How Do Metaphors Work?

We’ll be exploring the territory opened up by (for instance) the “if there were water” passage in Eliot’s “The Waste Land”: imaginative, counterfactual, and figurative language, aka, everything that is not being directly observed or declared to be so, aka, what’s in the poem that would not be in a photograph.

Assignment : Metaphors

Session 14: Guest Lecture: Tyehimba Jess

•  Jess, Tyehimba.  Olio . Wave Books, 2016. pp. 12-29. ISBN: 9781940696201.
• DuBois, W.E.B. “ Of Spiritual Strivings of the Negro People .” Chapter 1, of Souls of Black Folk .  CreateSpace, 2017. ISBN: 9781505223378.

A few weeks ago, we looked briefly at a corona of sonnets from Olio, written in the voice of the Fiske Jubilee Singers. These are distributed throughout the book, and they serve as punctuation between its sections. Each of these sonnets appears on a page with banners above and below listing the names of black churches where violence occurred, with a date.

Now we’ll read two extended sections from Olio, each centered on the historical figure of a particular musician: Thomas Wiggins, a blind pianist who performed while in slavery, and Sissieretta Jones, a soprano whose career took off in the early twentieth century. (Both are in Olio’s character list, and you can discover more at BlackPast .) As you may suspect from reading these two sections as well as the “Double Shovel,” each section of the book does something a little (or a lot) different with form, even while following the career of a historical person.

You’ll see poems in two voices, poems connected to each other by first and last lines, sonnets, free verse, transcripts of archival documents, and prose poems (that may not be an exhaustive list!). But Olio has some unifying interests across this virtuoso display of formal mastery. One is the set of ideas linking masking, persona, double-consciousness, double voices that you’ve seen in “Double Shovel” (and will also see in the two sections for today). Another is the set of ideas associated with freedom and constraint or bondage, as historical facts, artistic choices, imaginative experiences. Like many poets before him, Jess is interested in the conditions of making art, something that never happens in a vacuum. Music—the literal subject of this book—has since ancient times been a metonymy for poetry. So we are reading both a poetic documentary about history and a meditation on how to have, find, and use an authentic voice. Let’s use this class to identify some questions to ask the poet on Friday.

Session 15: How Does Allusion Work? (History)

Assignment: Poetry Analysis IV

Session 16: Guest Lecture: Charles Shadle

• Shadle, Charles. “ Six Dickinson Songs (PDF - 2.3MB) .” Courtesy of Charles Shadle. Used with permission.

Charles Shadle is a prolific and talented American composer who teaches advanced music theory and composition at MIT; he’ll be talking about six short poems by the 19th c. poet Emily Dickinson—a contemporary of Walt Whitman’s (and of the Civil War)—which he scored for soprano and clarinet. Interpretation of poetry takes many forms, and this is one of them—which will focus us quite a bit on sound and on hearing/voicing as interpretation, as well as on ideas about choice of texts and how the composer (and performers) understand them.

Dickinson’s poems may remind you, in some ways, of Shakespeare’s sonnets: they are at the same time general, private, and elliptical—that is, they are focused closer to the level of the self than the level of public or civic discourse, and largely work with vivid figures rather than objective description. At the level of form, they are radically innovative in ways it took decades for audiences to come to terms with, experimenting with syntax, rhyme, and punctuation; at the level of material production, Dickinson worked almost exclusively in manuscript, allowing her to create her own forms of punctuation, provide alternative versions of a line in a single final draft version, and to exert complete control over the appearance, order—and readership—of her work. The paper booklets considered as Dickinson’s final versions are held at Harvard’s Houghton Library. (The 18th century poet William Blake makes for an interesting comparison: Blake’s radical political and artistic vision led him to self-publish books that integrated text and visual art, each hand-colored by the poet).

Session 17: Guest Lecture: Kimberly Brown

•  Clifton, Lucille.  The Book of Light . Copper Canyon Press, 1992. pp. 11-13, 44-47. ISBN: 9781556590528.

Emily Dickinson lived in Amherst, MA, and attended the precursor of Mt. Holyoke. Our guest speaker, Kimberly Brown, is a professor of English and Africana Studies at Mt. Holyoke, as well as an MLK Fellow in Literature and WGS at MIT. Lucille Clifton (1936-2010) is her favorite poet. The NYT review of Clifton’s collected works comments that “[h]er verse was spare, plainspoken and shorn of rhyme, so much so that when she placed the words “salt” and “fault” together in one poem in the late 1980s, she was moved to warn readers of this potential speed bump by titling it “Poem With Rhyme in It.” Those qualities may have led one anonymous reader on Amazon to comment that she was “our modern-day Emily Dickinson.”

Session 18: Guest Lecture: Martha Collins, Translating Poetry

• Collins, Marth and Kevin Prufer, eds. Into English: Poems, Translations, Commentaries. Graywolf Press, 2017. pp. 71–75, 163–167. ISBN: 9781555877824. 

Assignment: Analytic Essay

Sessions 19–23: Student Presentations 

Assignment : Final Presentation Report

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Trending Post : 12 Powerful Discussion Strategies to Engage Students

10 of the Best Literary Analysis Activities to Elevate Thinking

Inside this Post: Ready to elevate your literary analysis lessons? This post is full of engaging and effective activities to help students master literary analysis topics.

Literary analysis has become the beating heart of English classes around the world. When students read a text, we want them to peel back the layers one by one, appreciating the deeper meaning that lies within each sentence. As English teachers, many of us connect with texts easily and persevere through complex literature naturally. For our students, this process is not always as enjoyable.

In this post, you’ll find suggestions for elevating thinking with middle and high school students. These ideas can be used with paired or individual texts and can be differentiated to reach a variety of learners.

Engaging and Effective Literary Analysis Activities

Literary analysis elements are best when they are engaging and elevate thinking without frustrating students. I’ve played around with different approaches, and these are the key elements that resonate most with students.

1. Thinking Aloud

One of the best feelings as a teacher is knowing you have an entire class full of teenagers engaged. It’s amazing how every single student in a classroom is in tune with think alouds. Something about making thinking transparent challenges students of all readiness levels. With literary analysis lessons, I love providing think alouds with the whole class. Whether we do this via face to face instruction or by creating a short video for virtual classrooms, we have to model our thinking.

Here’s an example with “All the world’s a stage” from William Shakespeare’s As You Like It …

This speech, at first, seems complicated. But, Shakespeare is talking about the world being a stage, and I think there is something deeper to what he is saying. Let’s go back again and look for clues. The men and women are players on the stage. He writes that they have their exits and entrances. I’m trying to visualize that in my head now. The world is a stage, the people are actors, and when they walk on and off the stage, that is their theatrical entrance and exit. Now that I understand he is using this speech as an extended metaphor, I wonder why would Shakespeare is choosing to compare these two things?

When modeling literary analysis, we can break down our thought process. If we write a written response, we can scaffold by color coding our thoughts in order to highlight the necessary critical thinking steps.

• First, acknowledge what is confusing or uncertain about the text. What might we be missing as readers?
• Second, make observations.
• Third, apply reading strategies (in this case, I used visualizing).
• Last, teach students to ask questions that probe at the deeper meaning and reason for the writing.

2. Graphic Organizers

Graphic organizers are one of my go-to strategies for elevating thinking . We can use them to differentiate and to guide students as we work in small groups. I like to keep a variety of literary analysis graphic organizers for any text on hand so that I can be responsive. If students show a need to work on analyzing a specific literary element – characterization, plot, theme, conflict, etcetera – I use a graphic organizer as we read a text or excerpt together, modeling my thinking. Then, students can practice using the same organizer in small groups, partners, or independently.

Literary analysis consists of asking a bunch of questions to lead students to deeper thinking, and graphic organizers are a bridge that walks students down that path of purposeful questioning.

Grab this print and digital literary analysis graphic organizer for analyzing song lyrics – one of secondary students’ favorite texts to pick apart!

Nothing grabs a student’s attention like an image! Visuals are amazing tools for introducing literary analysis skills. I always begin my literary analysis unit with pictures. Using an image, we can quickly show students how to differentiate between summarizing and analyzing . Then, we can walk them through the steps of acknowledging what we might be missing, making observations, applying reading strategies, and questioning for deeper meaning.

Consider using images from a variety of sources. We can try historical images, political cartoons, famous paintings, graphic novels, wordless picture books, advertisements, or even just regular photographs.

I even work this type of analytical thinking into my vocabulary activities ! Students get used to interpreting photos and using textual evidence to support their thinking.

4. One Pagers

One pagers are one of my favorite literary analysis activities. In order to make them meaningful, I incorporate scaffolding . So, students have access to standards-aligned goals and questions that prompt their responses to the text. Choice helps as well. We can allow students to choose digital or traditional , response angles, and even texts.

In terms of literary analysis benefits, we can really focus on asking students to cite textual evidence to track a universal theme. While doing so, students can draw conclusions about how literary elements work together or how they provide tension to impact a reader’s overall takeaway.

5. Colorful Charts

Mood and tone can be tricky for students to analyze. So that they can understand the difference between them but also so that they see how mood and tone work in tandem, I began using an equalizer metaphor . Students can use color and amplification to analyze how mood and tone change throughout a literary work. By creating a visual representation, there’s a direct connection between the mood and the storyline.

How does setting impact mood , and how does mood impact the conflict in the story?

For instance, the quiet beauty of the Capulet garden sets the stage for a romantic balcony scene, but the noisy bustle of the lewd fighting in the Verona streets helps to define the conflict and tension between the two feuding families.

With tone , how does the author’s word choice and sentence structure in each section convey his or her attitude in the work?

As we study the amplification of tone in the play Romeo and Juliet , we see a consistent change from light-hearted comedy to an intensely poetic and tragic seriousness. Over the course of the play, one might say that Shakespeare’s juxtaposition creates an overall sympathetic tone toward the star-crossed lovers.

6. Get Moving

One of the issues when it comes to citing evidence in a literary analysis essay is finding relevant support. Sometimes, it seems like the lines students select from literature are completely disconnected from what they are writing. That may be because they don’t truly understand how their thesis connects to their main points or how their main points connect to the evidence. For some students, there are too many degrees of separation!

A kinesthetic option to address this issue involves Post-Its (or colored text boxes if you are doing this digitally) and a t-chart. At the top of the paper (use big paper or a white board if you can do this together in the classroom!), write the analytical point. What conclusion can students draw about characters, setting, or another literary element that would support their thesis statement?

Under that, label the T-Chart as “Relevant” and “Off Topic.” Then, you have some options.

BASIC: You identify support for students in advance and have them sort the support based on its relevance. Could they use it to analyze the text, or is it off topic?

ADVANCE: Ask students to find examples of relevant and off-topic lines from the text.

A MIXTURE:   Provide students with a handful of lines they can sort into relevant and off-topic categories, and then ask them to find a couple more examples on their own.

To increase the engagement factor, use some washi tape on the floor in the shape of whatever makes the most sense – a character outline for analyzing character, a house for analyzing setting, a circle for analyzing a universal theme. Then, have students stick their Post-It notes inside or outside of the shape. Inside indicates that the evidence is relevant, and outside means it’s off-topic.

7. Children’s Books

We don’t always think to use picture books with older students , but they are one of my absolute favorite ways to scaffold literary analysis! Because picture books are short, we can cover an entire (and often complex) story in a short period of time. And, we can continually refer back to that text throughout the school year. Because picture books are accessible for all students, they will remember sharing the story together, and you can really make significant strides with whole-class discussions and small group lessons.

Try using picture books to teach Notice and Note signposts, language, aesthetics, and theme . One of my favorite ways to use picture books is teaching students to analyze how dialogue impacts decisions, propels action, and develops characters. For example, in the book Elbow Grease , the protagonist is motivated to participate in a race for which he is the underdog simply because some crass comments from his friends make him angry. This really is the turning point in the story, which makes it convenient to analyze how dialogue can lead to decisions and actions that change the course of a storyline.

8. Short Films

For a thousand and one reasons, I adore short films. They’re short (obvious, I know), which makes them ideal for modeling and mini lessons. Plus, they are visually captivating and apply to a wide age range. And, generally, they hold quite a bit of depth and leave room for a variety of interpretations.

During first quarter with ninth graders, I built in a yearly routine of watching short films during our literary analysis unit and having students complete their first full analytical essay. It’s fun. I can model using a short film I enjoy. Then, I get to read a wide range of responses from students who choose different texts. To scaffold for struggling writers, I suggest a few short films I am very familiar with; this way, I can guide them if they get stuck or confused.

You can also build in short films by using them with poetry for paired text analysis .

9. Reading Strategies

One of the building blocks of literary analysis is having a good foundation in apply reading strategies. It’s fun to model what readers do. We can show students how analyzing texts and re-reading for deeper meaning helps us with writing and then ask students to practice those skills.

For instance, when students begin to understand that authors have a purposeful craft that impacts their reading experience, it empowers them to pick that craft apart, studying the nuances of what makes it work. And, it gives them an advantage as authors themselves. They may think,  I remember how the author’s purposeful use of short, staccato sentences and onomatopoeias increased the suspense during that scene. Maybe I should use those techniques in this part of my story to add an emotional element for my readers.

These are some of the graphic organizers I’ve used to scaffold reading strategy work with the whole class, and then students can transfer those skills to small group or independent practice, using the same organizer if necessary.

10. Social Media Activities

Social media is everywhere. We might as well use it as a relevant option for analyzing literature! One of my favorites is booksnaps , and I tie in Snapchat by having them take a photo of part of the text they want to analyze. Then, they add interpretations, images, and text as well as a caption with a more detailed analysis. I call these Snap-a-Books.  I also created a Spot-a-Book analysis option, reminiscent of Spotify playlists. Students can create playlists relevant to character analysis, setting analysis, conflict analysis, and more!

And, that’s ten! I hope you’ve found some meaningful literary analysis activities to spark creative, critical thinking in your classroom.

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English Literature Research Paper Topics

This guide, centered on English literature research paper topics , serves as a comprehensive resource for students seeking to delve deep into the diverse epochs, authors, and themes that have shaped English literary tradition. Navigating the intricate tapestry of English literature offers scholars a multitude of avenues for exploration. From the mystique of medieval tales to the introspective narratives of modernism, this guide not only provides a plethora of English literature research paper topics but also offers insights on choosing the ideal topic, structuring the research paper, and harnessing the unmatched writing services of iResearchNet. Dive in to unravel the rich heritage of English literature and discover the myriad opportunities it presents for academic exploration.

100 English Literature Research Paper Topics

Diving into English literature is like embarking on a journey through time and culture. From ancient ballads to modernist narratives, it offers a vast panorama of themes, styles, and societal reflections. Below is a comprehensive list of English literature research paper topics spanning across different eras and genres:

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Medieval Literature

• The significance of chivalry in Sir Gawain and the Green Knight .
• The Christian and Pagan elements in Beowulf .
• Courtly love in The Knight’s Tale from Chaucer’s Canterbury Tales .
• Dream visions in Pearl and Piers Plowman .
• The role of fate and providence in The Consolation of Philosophy .
• The art of storytelling in The Decameron vs. The Canterbury Tales .
• The Seven Deadly Sins in Everyman .
• The evolution of the English language: Old English vs. Middle English.
• Religious allegory in The Second Shepherd’s Play .
• Women and femininity in the Lais of Marie de France .

Renaissance and Elizabethan Age

• Shakespeare’s portrayal of power in Macbeth .
• Love and beauty in Sonnet 18 .
• The idea of the “New World” in The Tempest .
• The virtues in Spenser’s The Faerie Queene .
• Magic and science in Doctor Faustus by Christopher Marlowe.
• The pastoral settings of As You Like It .
• The politics of gender in Twelfth Night .
• Revenge and madness in Hamlet .
• John Donne’s metaphysical poetry and its innovation.
• The darker side of the Renaissance: The Duchess of Malfi by John Webster.

The Restoration and the 18th Century

• The satirical world of Jonathan Swift’s Gulliver’s Travels .
• Class struggles in Daniel Defoe’s Moll Flanders .
• Alexander Pope’s critique of society in The Rape of the Lock .
• Aphra Behn and the emergence of the woman writer.
• The wit and wisdom of Samuel Johnson’s essays.
• The rise of the novel: Richardson vs. Fielding.
• Sentimentality and society in Sterne’s Tristram Shandy .
• Politics and plays: John Gay’s The Beggar’s Opera .
• Women, education, and literature: Mary Wollstonecraft’s ideas.
• The mock-heroic in English literature.

Romantic Period

• Nature and transcendence in Wordsworth’s Tintern Abbey .
• The Byronic hero in Childe Harold’s Pilgrimage .
• Shelley’s Ozymandias and the ephemeral nature of power.
• The Gothic romance of Emily Bronte’s Wuthering Heights .
• George Gordon Lord Byron and the Romantic antihero.
• The visionary world of William Blake’s poems.
• The exotic and the familiar in Samuel Taylor Coleridge.
• Keats’s exploration of beauty and mortality.
• The industrial revolution’s reflection in literature.
• Mary Shelley’s Frankenstein and the dangers of ambition.

Victorian Era

• Charles Dickens and his critique of Victorian society.
• The challenges of morality in Thomas Hardy’s novels.
• The bildungsroman in Charlotte Bronte’s Jane Eyre .
• The plight of women in George Eliot’s Middlemarch .
• Oscar Wilde’s wit and irony in The Importance of Being Earnest .
• The debate on science and religion in In Memoriam A.H.H by Alfred Lord Tennyson.
• The mystery and suspense of Arthur Conan Doyle’s Sherlock Holmes stories.
• The “Woman Question” in Victorian literature.
• The realism of Anthony Trollope’s Chronicles of Barsetshire.
• Gothic elements in Dracula by Bram Stoker.
• The fragmented narrative of Virginia Woolf’s To the Lighthouse .
• T.S. Eliot’s The Waste Land and the disillusionment of the post-war era.
• The struggles of the working class in D.H. Lawrence’s novels.
• The impact of World War I on English poetry.
• James Joyce’s revolutionary narrative techniques in A Portrait of the Artist as a Young Man .
• E.M. Forster’s exploration of social and racial themes.
• The critique of colonialism in Joseph Conrad’s Heart of Darkness .
• W.B. Yeats and the Irish literary revival.
• The emergence of the stream-of-consciousness technique.
• The Jazz Age and decadence in the writings of F. Scott Fitzgerald.

The Gothic Tradition

• Origins of Gothic fiction: Horace Walpole’s The Castle of Otranto .
• The supernatural and macabre in Frankenstein by Mary Shelley.
• Ann Radcliffe’s influence on the Gothic novel.
• The role of the Byronic hero in The Vampyre by John Polidori.
• Duality of human nature in The Strange Case of Dr. Jekyll and Mr. Hyde .
• The haunting atmospheres in Wuthering Heights by Emily Brontë.
• Gender and sexuality in Carmilla by Sheridan Le Fanu.
• Edgar Allan Poe’s influence on English Gothic literature.
• Dracula by Bram Stoker: Themes of sexuality and fear of the unknown.
• The Gothic novel as a reflection of societal fears and anxieties.

The Angry Young Men Era

• Social criticism in John Osborne’s Look Back in Anger .
• Exploring masculinity in Saturday Night and Sunday Morning by Alan Sillitoe.
• The disillusionment of post-war Britain in The Loneliness of the Long-Distance Runner .
• The class struggle in Kingsley Amis’s Lucky Jim .
• Existential themes in John Wain’s Hurry on Down .
• Feminine perspectives in the era: Shelagh Delaney’s A Taste of Honey .
• The critique of academia in The History Man by Malcolm Bradbury.
• The Angry Young Men and their influence on modern theater.
• The transformation of British literature in the 1950s and 1960s.
• The lasting legacy of the Angry Young Men movement in contemporary literature.

Postmodern British Literature

• Metafiction in Julian Barnes’s Flaubert’s Parrot .
• The playfulness of language in Salman Rushdie’s The Satanic Verses .
• Intertextuality in Jeanette Winterson’s Oranges Are Not the Only Fruit .
• The fragmented narrative in Graham Swift’s Waterland .
• Reality and fiction in Ian McEwan’s Atonement .
• Gender and postcolonial themes in Angela Carter’s The Passion of New Eve .
• The exploration of identity in Zadie Smith’s White Teeth .
• The deconstruction of traditional narrative in Cloud Atlas by David Mitchell.
• Postmodern gothic in The Thirteenth Tale by Diane Setterfield.
• Magical realism in The Porcelain Doll by Julian Barnes.

Contemporary English Literature

• The multicultural London in Brick Lane by Monica Ali.
• Exploring family dynamics in On Beauty by Zadie Smith.
• The concept of time in Ian McEwan’s Amsterdam .
• The role of history in Hilary Mantel’s Wolf Hall .
• The exploration of love and loss in Julian Barnes’s The Sense of an Ending .
• Postcolonial Britain in Andrea Levy’s Small Island .
• The challenges of modern life in Nick Hornby’s High Fidelity .
• The evolution of the English detective novel: Kate Atkinson’s Case Histories .
• The legacy of the British Empire in The Inheritance of Loss by Kiran Desai.
• The digital age and its influence on literature: The Word Exchange by Alena Graedon.

English literature boasts a rich and varied tapestry of themes, periods, and genres. This comprehensive list is a testament to the dynamism and depth of the field, offering a myriad of research avenues for students. As they venture into each topic, they can appreciate the nuances and complexities that have shaped the literary tradition, making it an invaluable component of global culture and heritage.

English Literature and the Range of Topics It Offers

English literature, encompassing the vast historical, cultural, and artistic legacy of writings in the English language, boasts a rich tapestry of narratives, characters, and stylistic innovations. From the earliest Old English epic poems to the reflective and multifaceted postmodern novels, English literature offers an expansive array of topics for analysis, discussion, and research. The depth and breadth of this literary tradition are mirrored by the diverse range of English literature research paper topics it can inspire.

The Medieval Foundation

Diving into the early origins of English literature, we encounter works like Beowulf , an Old English epic poem of heroism, fate, and the struggle against malevolent forces. Medieval English literature, characterized by religious texts, chivalric romances, and philosophical treatises, sets the stage for the evolution of narrative styles and thematic explorations. The rich allegorical narratives, like Piers Plowman or Sir Gawain and the Green Knight , present intricate societal and spiritual commentaries that still resonate with readers today. These works invite inquiries into the socio-religious dynamics of medieval England, the evolution of the English language, and the literary techniques employed.

Renaissance and Enlightenment: A Burst of Creativity

The Renaissance and Elizabethan Age saw the emergence of revered playwrights like William Shakespeare and Christopher Marlowe, whose dramas, whether tragedies, comedies, or histories, plumbed the depths of human emotion, politics, and existence. The genius of Shakespeare’s Hamlet or Othello , juxtaposed against Marlowe’s Doctor Faustus , provides a fertile ground for investigating themes of ambition, betrayal, love, and existential angst. Moreover, with poets like Edmund Spenser and his epic The Faerie Queene , English literature expanded its horizons, both thematically and stylistically.

The subsequent Restoration and the 18th century ushered in a period of social and literary change. With authors like Jonathan Swift and Alexander Pope, satire became a powerful tool to critique society and politics. Furthermore, the emergence of the novel, as exemplified by Daniel Defoe’s Robinson Crusoe and Samuel Richardson’s Pamela , offered researchers a chance to explore the evolving societal values, gender norms, and narrative techniques.

Romanticism, Victorian Era to Modernism: A Spectrum of Emotion and Thought

The Romantic period, marked by poets like William Wordsworth, Samuel Taylor Coleridge, and John Keats, celebrated nature, emotion, and individualism. In contrast, the Victorian era, with novelists like Charles Dickens, Thomas Hardy, and the Brontë sisters, addressed societal change, morality, and industrialization. Both periods are a goldmine for English literature research paper topics around the individual vs. society, the role of nature, and the exploration of the self.

Modernism in English literature, with heavyweights like Virginia Woolf, James Joyce, and T.S. Eliot, revolutionized narrative structure and thematic depth. Works from this era, such as To the Lighthouse or The Waste Land , demand analysis on fragmented narrative, stream of consciousness, and the introspective exploration of the human psyche.

Contemporary Reflections

Contemporary English literature, shaped by postcolonial, feminist, and postmodern influences, gives voice to a plethora of perspectives. Authors like Salman Rushdie, Zadie Smith, and Julian Barnes tackle issues of identity, multiculturalism, history, and reality versus fiction. Such works present a plethora of avenues for research, from analyzing the postcolonial identity in Rushdie’s narratives to the intricate tapestries of familial and societal dynamics in Smith’s novels.

Concluding Thoughts

In essence, English literature is an evolving entity, reflecting and shaping societal, cultural, and individual values and challenges over the centuries. For students and researchers, the wealth of English literature research paper topics it offers ranges from historical and linguistic analyses to deep dives into thematic cores and stylistic innovations. Whether one wishes to explore the chivalric codes of medieval romances, the biting satires of the 18th century, the emotional landscapes of Romanticism, or the fragmented realities of postmodern narratives, English literature provides an inexhaustible reservoir of research opportunities.

How to Choose an English Literature Topic

Choosing a research paper topic, especially within the expansive field of English literature, can be a challenging endeavor. The centuries-spanning literature offers a treasure trove of stories, themes, characters, and socio-political contexts that beckon exhaustive exploration. As such, students often find themselves at a crossroads, wondering where to begin and how to narrow down their choices to find that one compelling topic. Here’s a detailed guide to streamline this process:

• Align with Your Interests: Dive into periods, genres, or authors that genuinely intrigue you. If Victorian novels captivate your imagination or if Shakespearean dramas resonate with you, use that as your starting point. Genuine interest ensures sustained motivation throughout your research journey.
• Evaluate Academic Relevance: While personal interest is vital, ensure your chosen topic aligns with academic goals and curriculum requirements. Some English literature research paper topics, while intriguing, might not offer substantial academic value for a particular course or level of study.
• Seek Familiar Ground (But Not Too Familiar): Leverage your previous readings and coursework. Familiarity offers a foundation, but challenge yourself to explore uncharted territories within that domain. If you enjoyed Jane Austen’s Pride and Prejudice , maybe delve into its feminist interpretations or comparative studies with other contemporaneous works.
• Embrace Complexity: Opt for English literature research paper topics that lend themselves to multifaceted exploration. Simple topics might not provide enough depth for comprehensive research papers. Instead of a general overview of Romantic poetry, explore the portrayal of nature in Wordsworth’s works versus Shelley’s.
• Historical and Cultural Context: Literature isn’t created in a vacuum. Understand the historical and societal backdrop of a literary work. This context can offer a fresh perspective and can be an excellent lens for your research.
• Contemporary Relevance: How does a particular work or literary period converse with today’s world? Exploring the modern implications or relevance of classic works can be both enlightening and academically rewarding.
• Diverse Interpretations: Embrace English literature research paper topics open to various interpretations. Works like George Orwell’s 1984 or Samuel Beckett’s Waiting for Godot can be analyzed from political, psychological, existential, or linguistic viewpoints.
• Consult with Peers and Professors: Engage in discussions with classmates and seek advice from professors. Their feedback can provide new perspectives or refine your existing topic ideas.
• Read Critiques and Literary Journals: Academic journals, critiques, and literary analyses offer insights into popular research areas and can help you identify gaps or lesser-explored aspects of a work or period.
• Flexibility is Key: As you delve deeper into your research, be open to tweaking or even changing your topic. New findings or challenges might necessitate slight shifts in your research focus.

Choosing the right research topic in English literature requires a blend of personal passion, academic relevance, and the potential for in-depth exploration. By aligning your interests with academic goals, and being open to exploration and adaptation, you pave the way for a fulfilling and academically enriching research experience. Remember, the journey of researching and understanding literature can be as enlightening as the end result. Embrace the process, and let the vast ocean of English literature inspire and challenge you.

How to Write an English Literature Research Paper

Penning an English literature research paper is a task that demands meticulous planning, a deep understanding of the subject, and the ability to weave thoughts coherently. English literature, with its vast and rich tapestry, offers endless avenues for exploration, making it both an exciting and daunting endeavor. Below are step-by-step guidelines to craft a compelling research paper in this domain:

• Understanding the Assignment: Before diving into the research phase, ensure you fully understand the assignment’s requirements. Is there a specific format? Are certain sources mandatory? What’s the word count? This foundational clarity sets the stage for efficient research and writing.
• Preliminary Research: Start with a broad exploration of your topic. Read general articles, introductory chapters, or review papers. This will give you a general overview and can help narrow down your focus.
• Thesis Statement Formulation: Your thesis is the backbone of your research paper. It should be clear, precise, and arguable. For instance, instead of writing “Shakespeare’s plays are influential,” you might specify, “ Macbeth illustrates the dire consequences of unchecked ambition.”
• Diving Deeper – Detailed Research: With your thesis in hand, dive deeper into primary (original texts) and secondary sources (critiques, essays). Libraries, academic databases, and literary journals are treasure troves of valuable information.
• Organize Your Findings: Use digital tools, index cards, or notebooks to categorize and annotate your findings. Grouping similar ideas together will make the writing process smoother.
• Drafting an Outline: An organized structure is essential for clarity. Create an outline with clear headings and subheadings, ensuring a logical flow of ideas. This will serve as a roadmap as you write.
• Introduction Crafting: Your introduction should be engaging, offering a glimpse of your thesis and the significance of your study. Remember, first impressions count!
• Literary Analysis: Delve into the text’s intricacies – symbols, themes, character development, stylistic devices, and historical context.
• Critiques and Counter-arguments: Discuss various interpretations of the text, and don’t shy away from addressing dissenting views. This lends credibility and depth to your paper.
• Comparative Analysis (if applicable): Compare the chosen work with others, drawing parallels or highlighting contrasts.
• Maintaining Coherence and Transition: Each paragraph should have a clear main idea and transition smoothly to the next, maintaining the paper’s flow and ensuring the reader’s engagement.
• Conclusion Crafting: Reiterate your thesis and summarize your main findings. Discuss the broader implications of your study, potentially suggesting areas for further exploration.
• Citing Your Sources: Always attribute ideas and quotations to their original authors. Depending on the assigned format (MLA, APA, etc.), ensure that in-text citations and the bibliography are correctly formatted.
• Revision and Proofreading: Once your draft is complete, take a break before revisiting it. Read it aloud to catch awkward phrasings. Check for grammatical errors, consistency in argumentation, and clarity in presenting ideas. Consider seeking peer reviews or utilizing editing tools.
• Seek Feedback: Before final submission, consider sharing your paper with a mentor, professor, or knowledgeable peer. Their insights can be invaluable in refining your research paper.

Writing an English literature research paper is as much an art as it is a science. While meticulous research and structured writing are crucial, allowing your passion for literature to shine through will elevate your paper. Remember, literature is about exploring the human experience, and as you dissect these masterpieces, you’re not just analyzing texts but delving into profound insights about life, society, and humanity. Embrace the journey, and let every step, from research to writing, be a process of discovery.

iResearchNet Writing Services for Custom English Literature Research Paper

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• Knowledge Base
• How to write a literary analysis essay | A step-by-step guide

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

• An introduction that tells the reader what your essay will focus on.
• A main body, divided into paragraphs , that builds an argument using evidence from the text.
• A conclusion that clearly states the main point that you have shown with your analysis.

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Table of contents

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

• Who is telling the story?
• How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

• Novels are often divided into chapters and parts.
• Poems are divided into lines, stanzas, and sometime cantos.
• Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for  dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

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Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

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The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

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• Resource Library
• Maryland Open Source Textbook Initiative

Journal Synthesis Assignment Sheet & Rubric

Oer assignments for introduction to literature, pov assignment sheet & rubric, ya/children's lit assignment sheet & rubric, introduction to literature assignments.

This project was part of the Western Maryland M.O.S.T. Institutional Grant (2020). While it focuses primarily on a 100-level Introduction to Literature course, the open resource and subsequent assignments could easily be adapted for upper-level undergraduate literature courses. Furthermore, the design of this project allows instructors to continue to utilize texts with which they are most familiar.

Introduction

See the attached document for the full resource.

This project was part of the Western Maryland M.O.S.T. Institutional Grant (2020). While it focuses primarily on a 100-level Introduction to Literature course, the open resource and subsequent assignments could easily be adapted for upper-level undergraduate literature courses. Furthermore, the design of this project allows instructors to continue to utilize texts [1] with which they are most familiar.

As the instructor, first explore the primary resource from Oregon State University used in this project. The Oregon State Guide to English Literary Terms video series is licensed by creative commons (CC BY) and available online at https://liberalarts.oregonstate.edu/wlf/oregon-state-guide-english-literary-terms .  The open assignments that follow were created to support instructors utilizing the Oregon State resource in collaboration with texts in the literature classroom. Each assignment contains instructions for instructors, tips for teaching, the assignment, and if applicable, a rubric. This resource is licensed under a CC BY 4.0 license © 2021 and can be reproduced or revised as necessary.

[1] Here are a few Open Literature Resources if you need texts to work with in your class:

• https://www.gutenberg.org/
• https://www.oercommons.org/courses/the-open-anthology-of-earlier-american-literature/view
• https://americanliterature.com/100-great-short-stories
• https://most.oercommons.org/courseware/3

Literary Terms Identification Quiz

Instructions for Instructors

Create a quiz of terms and definitions. This can be comprehensive or just a few you introduce in a specific unit. (Bloom’s Taxonomy: Remember). It is recommended that you select terms and definitions ( https://liberalarts.oregonstate.edu/wlf/oregon-state-guide-english-literary-terms )  which you have covered in class and consider essential to meeting the objectives of your particular course. 

Tips for Teaching

You may wish consider these as two sections of the same quiz OR as two related assignments given with a week or two of each other. For instance, you may wish to assign a short quiz in which your students identify/ define several related literary terms (for example, terms related to figurative language) and then, after having read some works which focus those terms, assign the literary terms application quiz based on those works. The students learn to identify the terms first and shortly after, apply them to actual words of literature. You can repeat this combination through the semester as you move from section to section if you arrange your course around different learning units.

Instructions for Students

The objective of this assignment is to assess your ability to remember the definitions of key literary devices and terms. After watching your assigned videos from The Oregon State Guide to English Literary Terms , match  each term to its definition.

Anaphora -the repetition of words or phrases in the beginning of a group sentences, phrases or poetic lines.

Blank Verse -poetry written in unrhymed but metered lines, almost always iambic pentameter.

Deus Ex Machina -a literary device in Latin meaning “God from the machine”, in which a plot is solved at the end of a story through an “miraculous” event.

Ekphrasis -a literary description of a work of art.

Enjambment -the poetic term for the continuation of a sentence or phrase from one line of poetry to the next.

Epistrophe - the repetition of phrases or words in a set of clauses, sentences, or poetic lines.

Figurative Language- a literary device asking the reader or listener to understand something by virtue of its relation to some other thing, action, or image.

Flashback -a trigger that interrupts the present (usually chronological) action of a story to show readers a meaningful scene that happened in the past.

Flat Character -a character who is superficial, predictable, or otherwise not very sophisticated.

Foreshadowing -a narrative device in which suggestions or warnings about events to come are dropped or planted.

Frame Story -a narrative that surrounds another story or set of stories.

Free Direct Discourse -a point-of-view that blends first and third person perspectives.

Genres -categories that have developed over time for what we read, what we watch, and what we listen to.

Graphic Novel -a narrative that involves both pictures and words.

Hyperbole -the art of exaggeration to convey an amplified personal response.

Imagery -the use of vivid language designed to appeal to the senses.

Irony -words or actions that depart from what characters or the reader expect them to say or do.

Juxtaposition -the position of two objects next to one another for the purpose of drawing attention to them.

Metaphor -a comparison between two things that are otherwise unrelated.

Metonymy -a comparison of two objects that are not similar in qualities.

Narrator -the fictional construct the author has created to tell the story through.

Oxymoron -the rhetorical term that describes words or phrases that, when placed together, create paradoxes or contradictions.

Personification -when something nonhuman is described using human characteristics.

Poetic Meter -the basic rhythmic structure of a line within a poem.

Point of View - the audience’s perspective on the events of the narrative.

Prologue -Comes at the start of a literary work and introduces background information such as characters and setting.

Rhyme Scheme -the pattern of end rhymes in a stanza.

Round Character -characters that have a certain depth or complexity.

Satire - the art of making someone or something look ridiculous, raising laughter in order to embarrass, humble, or discredit its targets.

Simile -the comparison of tow objects, usually involving the words “like” or “as”.

Sonnet -a 14-line poem using a specific rhyme scheme.

Stanza -smaller units of prose cut into lines.

Steam of Consciousness -a narrative style that tries to capture a character’s thought process in a realistic way.

Symbolism -a literary device in which words or actions represent something else.

Synecdoche -a metaphorical device in which a part of something represents the whole object.

Understatement -the description of something as having much less of a particular quality than it does.

Unreliable Narrator -a first person narrator that may not be completely trustworthy or unbiased.

Literary Terms Application Quiz

Create a quiz of terms and literary passages. This can be comprehensive or just a few you introduce in a specific unit. (Bloom’s Taxonomy: Apply). Below are example questions to revise for the terms, definitions, and texts you are using in your literature course.

It is recommended that you select terms and definitions which you have covered in class and consider essential to meeting the objectives of your particular course. For each exercise, select a passage from a work your students have studied. Ask that the students to identify a specific literary term in each passage and then write a 1 paragraph (7+ sentences) explanation of how this particular term helps the reader understand the larger work more fully.

In each passage, identify the literary term requested and write a brief definition of that term. Then write a 1 paragraph response explaining how the term in this passage helps the reader understand the whole work. The objective of this assignment is to assess your ability to identify and apply key literary devices and terms.

Question 1. In "Ex-Basketball Player", John Updike writes about a former high school athlete who now works as a gas station attendant. In the 2nd stanza, he has the young man, Flick, identify with the "idiot pumps" using basketball imagery. Aside from this second stanza, where else in the poem does the author use imagery that suggests Flick's preoccupation with his basketball career? Write a 1-paragraph response addressing the following.

• Define the term Imagery.
• Locate a line outside of the 2 nd stanza and explain how the poet is using imagery.
• Explain how the poet is using this imagery to create a broader theme related to Flick and his former glory?

Question 2. In Katherine Mansfield’s story, “Miss Brill”, the story follows the title character through her Sunday afternoon walk to the public gardens. The point of view of the story plays a significant role in how the reader views this story. Write a 1-paragraph response addressing the following.

• Define point of view.
• Explain the specific point of view of this story, quoting at least one line that shows this point of view.
• Describe how this specific point of view provides the reader with unique insights into understanding this story.
• [Bonus] Contrast how this story would be very different if told from a different point of view. Use details from the story to support your claims.

Question 3. The short story, “Young Goodman Brown” by Nathaniel Hawthorne uses various symbols to provide meaning to the story. Write a 1-paragraph response addressing the following.

• Define what a symbol is.
• Locate an object or action in this story that serves as a symbol in the story.
• Explain how this specific object or action provides meaning to the story, using specific references to the text to support your claim.

Point of View Essay

This assignment works best when your students have already been introduced to/ have worked on the concept of point of view. This assignment can be a challenge for some students as it asks them to imagine a concept that isn’t present in the text already. For those students, you may help them get started by engaging in class (or small-group) discussions that practice this change of point of view. This can help some students start to understand how the exercise can work. Edit the highlighted text before giving the assignment sheet to students.

See the sample assignment sheet and rubric that you can modify for your class.

In literature, point of view (POV) is the audience’s perspective on the events in the story. For this assignment, you’ll choose one of the short stories we have read to discuss and apply your understanding of POV. This assignment will have two parts. For Part 1, you’ll analyze and explain the POV in the story. In Part 2, you’ll retell a portion of the story from a new or different POV.

Children’s/YA Literature Essay

This assignment works best when your students have a solid understanding of a variety of literary terms (maybe around the midterm), so they feel like they have various options. Some students who have fond memories of favorite works of children’s or young adult literature (or have favorites they share with their children now) will be able to locate texts for this assignment easily. However, those students who did not read much when they were younger may have difficulties identifying possible children’s texts on their own. Therefore, you may want to prepare a collection of children/YA works that you enjoyed and make recommendations to that latter group of students. 

See the attached assignment sheet & rubric that you can modify to fit your class.

The objective of this assignment is to identify and analyze the literary devices we have discussed in class. For the Children’s Literature Essay, you will analyze a favorite story you read as a kid. A literary analysis examines and interprets a piece of literature. It is NOT a summary. The essay will present an argument, or claim, about the work and the literary devices it employs. The purpose is to demonstrate what you’ve learned about literature and the devices authors use to tell a story.

Journal Synthesis

This assignment works best no earlier than midway through a semester, perhaps even later. If you are asking your students to regularly journal about the literary works, they should ideally have a substantial portfolio of their journals (or discussion boards, if applicable) from which to observe and reflect on their growth during the semester by the time you're deep into the semester.

See the attached assignment sheet & rubric that you can modify for your class.

The objective of this assignment is to synthesize your growth as a reader and writer in Introduction to Literature. For the Journal Synthesis, you will compose a synthesis of your weekly journals, reading strategies, and writing processes throughout the semester. A synthesis is a way to make connections between texts with the goal of presenting and supporting a claim. The purpose is to demonstrate your achievements as a reader, writer, and critical thinker this semester.

Drama Assignment

Audience Your instructor

• Read one of the plays from our list of texts. If you can find a full staged version live or recorded on a platform like YouTube.com, you may watch that performance. Make sure you are well-acquainted with the play as it is written/ performed before an audience.
• Locate a movie/ TV movie full-length adaptation of the same play and watch that movie version.  Consider the written play version the original text and the movie version as the adaptation of the original.
• Characters : Are there significant characters added or subtracted in the movie adaptation? Do some of the characters have greater or lesser importance in the movie version? What is the significance of these differences in character?
• Plot : Are there significant plot differences between the written version and movie adaptation? What plot points/ complications are added or subtracted from the written version? How do these plot changes influence the movie version? Why do you think the creators of the movie made these changes?
• Language/ Content : Are there significant language differences between the written and movie version? What are these differences? What do these changes suggest about what is permitted in a play version and a movie version? Are there themes or issues that are addressed in the original play that are changed in the movie version? Are these differences related to the eras when the play was written and when the movie was produced?
• Setting : Does the movie version set scenes in locations different than are presented in the original play version? Are scenes arranged in a different order in the different versions? How does the movie version employ use of flashbacks/ flashforwards or time changes versus the play version? What are tools regarding scene and time changes that can be used in a play version versus in a movie version?
• Music/ Lights - Do the two different versions of the text use background music/ underscoring? Does the use of music differ between versions? What is the effect of these uses of music? Do the two versions employ lighting in different ways? What is the effect of these differences?
• You may wish to merely identify the significant differences in your essay or you may wish to analyze and critique these differences and their effects on the two versions of the play.
•  Be aware that changes from the original version are not automatically bad. Some changes might be necessary or appropriate when producing a play versus a movie. You may wish to research whether the playwright participated in the production of the movie version.
• MLA Web Publications Citation on a Works Cited page, information about electronic sources from the Purdue OWL: https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_works_cited_electronic_sources.html
• Writing in Literature- suggestions about how to structure a literature paper from Purdue OWL. There are several excellent links within this main page: https://owl.purdue.edu/owl/subject_specific_writing/writing_in_literature/index.html

Note to Instructors: The seven plays below work well for this assignment. This list also includes at least 1 movie/ TV movie adaptation of the play. You may wish to screen these plays and movie versions for content, language, etc. ahead of assigning them.

          Play                                Playwright                        Movie Version Date/ Details

Grading Rubric

0-2

Title

0-5

Introduction

0-15

Content

0-10          

Language Use

0-10

Organization/Arrangement

0-5

Conclusion

0-3

MLA Formatting, Citations, & Works Cited

      

            *Overall grade will be reduced one letter grade each day the assignment is late.

Narrative Assignment

Personal narrative assignment.

Objective: To research an excerpt from a personal narrative and explain its theme and purpose and the historical context of the narrative.

Audience: Your instructor

Length: 500-700 words

Assignment:

• Read one of the personal narrative excerpts below.
• Research important biographical information of the author and the historical context of the narrative
• Write a paragraph (at least seven sentences) in which you provide basic biographical information about the author of the narrative. Make sure you properly cite the source of this biographical information following Modern Language Association (MLA) guidelines.
• Write a full paragraph (at least twelve sentences) in which summarize the actions, events of the narrative. You may wish to directly quote from the narrative but make sure no more than 20% of this paragraph is direct quotes.
• The setting of the events of the narrative (where and when did it occur)
• The purpose of the author writing this narrative
• The audience of this narrative
• The general reaction of this narrative
• What sections of the narrative did you find most interesting/ compelling?
• What sections of the narrative were the hardest to understand/ relate to?
• How do you respond to the author as a person?
• Do you see any similarities in this narrative to your own experiences?

Makes sure that you use in-text citations when necessary and provide an appropriate Works Cited page at the end. Both the in-text citations and Works Cited page should follow MLA guidelines.

List of Narrative excerpts:

Mary Antin- “The Promised Land”

Olaudah Equiano “The Interesting Narrative of the Life of Olaudah Equiano”

Fanny Fern- “The Working Girls of New York”

Sarah Winnemucca Hopkins – “Life among the Piutes”

Red Cloud  “Address to Cooper Union” [All I want is Peace and justice]

Mary Rowlandson “A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson”

Zitkala-Sa- ”The School Days of an Indian Girl”

Booker T Washington “Up From Slavery” 

[Instructors may add/ subtract works as needed]

Poetry rhythm assignment, poetry- rhythm assignment.

Objective: To identify the specific rhythm of a poem and explain how that rhythm is significant to understanding that poem.

Audience: Your instructor.

Length: 250-350 words

Select two poems from the list of poems [Instructor- it is best to provide a list of poems in order to limit opportunities for plagiarism and give students some boundaries]. Make one of your poems [name of “base” poem, which you’ve discussed with class]. Select a second poem which we have not covered as a class.

For each poem write a paragraph identifying the rhythm(s) of the poem and explaining how the rhythm(s) provide specific meaning to the poem. Feel free to quote specific lines or phrases from the poems to support your points.

If you use outside sources to assist you in writing this assignment, please use MLA format in-text citations and a Works Cited page at the end of the journal. 

List of Poems

Theodore Roethke – “My Papa’s Waltz”

William Shakespeare- Shall I Compare Thee to a Summer’s Day”

William Shakespeare- “My Mistresses’ Eyes are Nothing Like the Sun”

Gwendolyn Brooks- “We  Real Cool”

Claude McKay- “The Tropics in New York”

Alfred, Lord Tennyson- “Break, break, break”

[Instructors may add/ subtract poems as needed]

Poetry speaker assignment, poetry- speaker/voice assignment.

Objective: To examine a poem and identify how the poet creates a speaker or voice in the poem that we recognize as separate from the actual voice of the poet.

Length of assignment: 250-350 words.

Assignment: Select a poem from the list below. Read it several times to determine the “voice” or “speaker” of the poem. Write a 250-350 journal in which you explain how the poet intentionally creates a distinct speaker or voice in the poem, separate from that of the poet. Refer to or quote specific lines to support your points. Explain how the poet creates a full, unique character as the speaker of this poem.

List of poems:

                A.E. Houseman- “Is my Team Ploughing?”

                Robert Browning- “My Last Duchess” or “Soliloquy of the Spanish Cloister”

                William Blake- “The Chimney Sweeper”

                Langston Hughes- “Mother to Son”

                Jane Johnston Schoolcraft- “Invocation”

                Wilfred Owen- “Dulce et Decorum Est”

                Howard Moss- “The Pruned Tree”

                James Stephens- “ A Glass of Beer”

[Instructors: Add/ Subtract from this list as you choose. Just make sure that the poems involve a speaker or voice who is distinct from the voice of the poet]

Short Fiction Theme

Short fiction-theme assignment.

Objective: To identify and trace a theme or motif in a short story.

Assignment Length 400-600 word essay:

• Select one (1) short story from the list below.
• Read it carefully, noting keys plot points. Make a list of the key characters and their main goals and actions through the story.
• Identify a key theme, locating at least three (3) specific instances/ references to this theme in the story.
• Summarize the plot of the story in one paragraph. Do not attempt to mention every minor plot point; highlight the key events that following the main characters and their most important goals and actions.
•  In 1-2 paragraphs, articulate the central theme identified in (3) above. Specifically quote these instances, explaining how these references to the theme add to a greater understanding of the story as a whole.  You do not need to retell the plot; your goal is to highlight the key moments when this theme is used to articulate the larger idea of the story.

List of Short Stories.

John Cheever- “The Swimmer”

James Joyce- “Araby”

Flannery O’Connor- “Good Country People”

Tobias Wolf- “Hunters in the Snow”

John Updike “A & P”

Kate Chopin- “The Story of an Hour”

“ Zora Neale Hurston- Spunk”

Katherine Mansfield- “Miss Brill”

Bobbie Lee Mason- “Shiloh”

Alice Munro- “How I Met My Husband”

W.W. Jacobs- The Monkey’s Paw

[ Instructors can add/ subtract works according to their preferences]

Version history.

A.P. English literature & Composition

Welcome to a.p. english literature.

Please take a look around this page for an overview of the class and links to some helpful resources for students, parents, and prospective AP literature scholars .

In addition to what is published here, ALL AP Literature assignments, handouts, readings, rubrics, and other course materials are posted regularly to our Course Materials page on Schoology. Please check there for a more detailed and comprehensive collection of course resources!

AP Lit Summer Assignment 2021-2022

Welcome to A.P. Lit—I am very excited to begin an exciting year of literary adventures with you!

Because we will hit the ground running on the very first day of the semester, I ask that you begin the summer assignment below. All components of this summer assignment must be completed by the first day of school, August 1 6 th. A copy of the assignment is below.

More detailed instructions about how and where to submit your work will be provided on the first day of class. I will require electronic submission, so please make sure your work is all typed and ready to go for submission BEFORE school starts!!

COURSE SYLLABUS

Are you a prospective student who wants to know more about AP Lit? Are you a current student that needs a reminder about our course policies and expectations? Are you a parent interested in knowing more about what your student is learning?

2021-2022 Course Syllabus coming soon!

Check back later this summer!

Advice for A.P. Lit students!

Nervous about taking AP Literature? Or maybe you're already in the class but could use some pointers about how to make it a successful year! Check out this "A.P. Literature Survival Guide" from Mrs. Pariser's former AP students.

AP Literature Course Calendar

The following calendar is where I post our daily agenda and homework. Check this if you are absent, forgot about what was assigned, and if you need a reminder about upcoming deadlines! You can also add this to your own Google calendars to have this show up on your personal device!

If you have any questions about what you see on this calendar, please don't hesitate to reach out to me directly!

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How to Annotate Texts

Use the links below to jump directly to any section of this guide:

Annotation Fundamentals

How to start annotating , how to annotate digital texts, how to annotate a textbook, how to annotate a scholarly article or book, how to annotate literature, how to annotate images, videos, and performances, additional resources for teachers.

Writing in your books can make you smarter. Or, at least (according to education experts), annotation–an umbrella term for underlining, highlighting, circling, and, most importantly, leaving comments in the margins–helps students to remember and comprehend what they read. Annotation is like a conversation between reader and text. Proper annotation allows students to record their own opinions and reactions, which can serve as the inspiration for research questions and theses. So, whether you're reading a novel, poem, news article, or science textbook, taking notes along the way can give you an advantage in preparing for tests or writing essays. This guide contains resources that explain the benefits of annotating texts, provide annotation tools, and suggest approaches for diverse kinds of texts; the last section includes lesson plans and exercises for teachers.

Why annotate? As the resources below explain, annotation allows students to emphasize connections to material covered elsewhere in the text (or in other texts), material covered previously in the course, or material covered in lectures and discussion. In other words, proper annotation is an organizing tool and a time saver. The links in this section will introduce you to the theory, practice, and purpose of annotation. 

How to Mark a Book, by Mortimer Adler

This famous, charming essay lays out the case for marking up books, and provides practical suggestions at the end including underlining, highlighting, circling key words, using vertical lines to mark shifts in tone/subject, numbering points in an argument, and keeping track of questions that occur to you as you read. 

How Annotation Reshapes Student Thinking (TeacherHUB)

In this article, a high school teacher discusses the importance of annotation and how annotation encourages more effective critical thinking.

The Future of Annotation (Journal of Business and Technical Communication)

This scholarly article summarizes research on the benefits of annotation in the classroom and in business. It also discusses how technology and digital texts might affect the future of annotation. 

Annotating to Deepen Understanding (Texas Education Agency)

This website provides another introduction to annotation (designed for 11th graders). It includes a helpful section that teaches students how to annotate reading comprehension passages on tests.

Once you understand what annotation is, you're ready to begin. But what tools do you need? How do you prepare? The resources linked in this section list strategies and techniques you can use to start annotating. 

What is Annotating? (Charleston County School District)

This resource gives an overview of annotation styles, including useful shorthands and symbols. This is a good place for a student who has never annotated before to begin.

How to Annotate Text While Reading (YouTube)

This video tutorial (appropriate for grades 6–10) explains the basic ins and outs of annotation and gives examples of the type of information students should be looking for.

Annotation Practices: Reading a Play-text vs. Watching Film (U Calgary)

This blog post, written by a student, talks about how the goals and approaches of annotation might change depending on the type of text or performance being observed. 

Annotating Texts with Sticky Notes (Lyndhurst Schools)

Sometimes students are asked to annotate books they don't own or can't write in for other reasons. This resource provides some strategies for using sticky notes instead.

Teaching Students to Close Read...When You Can't Mark the Text (Performing in Education)

Here, a sixth grade teacher demonstrates the strategies she uses for getting her students to annotate with sticky notes. This resource includes a link to the teacher's free Annotation Bookmark (via Teachers Pay Teachers).

Digital texts can present a special challenge when it comes to annotation; emerging research suggests that many students struggle to critically read and retain information from digital texts. However, proper annotation can solve the problem. This section contains links to the most highly-utilized platforms for electronic annotation.

Evernote is one of the two big players in the "digital annotation apps" game. In addition to allowing users to annotate digital documents, the service (for a fee) allows users to group multiple formats (PDF, webpages, scanned hand-written notes) into separate notebooks, create voice recordings, and sync across all sorts of devices. 

OneNote is Evernote's main competitor. Reviews suggest that OneNote allows for more freedom for digital note-taking than Evernote, but that it is slightly more awkward to import and annotate a PDF, especially on certain platforms. However, OneNote's free version is slightly more feature-filled, and OneNote allows you to link your notes to time stamps on an audio recording.

Diigo is a basic browser extension that allows a user to annotate webpages. Diigo also offers a Screenshot app that allows for direct saving to Google Drive.

While the creators of Hypothesis like to focus on their app's social dimension, students are more likely to be interested in the private highlighting and annotating functions of this program.

Foxit PDF Reader

Foxit is one of the leading PDF readers. Though the full suite must be purchased, Foxit offers a number of annotation and highlighting tools for free.

Nitro PDF Reader

This is another well-reviewed, free PDF reader that includes annotation and highlighting. Annotation, text editing, and other tools are included in the free version.

Goodreader is a very popular Mac-only app that includes annotation and editing tools for PDFs, Word documents, Powerpoint, and other formats.

Although textbooks have vocabulary lists, summaries, and other features to emphasize important material, annotation can allow students to process information and discover their own connections. This section links to guides and video tutorials that introduce you to textbook annotation. 

Annotating Textbooks (Niagara University)

This PDF provides a basic introduction as well as strategies including focusing on main ideas, working by section or chapter, annotating in your own words, and turning section headings into questions.

A Simple Guide to Text Annotation (Catawba College)

The simple, practical strategies laid out in this step-by-step guide will help students learn how to break down chapters in their textbooks using main ideas, definitions, lists, summaries, and potential test questions.

Annotating (Mercer Community College)

This packet, an excerpt from a literature textbook, provides a short exercise and some examples of how to do textbook annotation, including using shorthand and symbols.

Reading Your Healthcare Textbook: Annotation (Saddleback College)

This powerpoint contains a number of helpful suggestions, especially for students who are new to annotation. It emphasizes limited highlighting, lots of student writing, and using key words to find the most important information in a textbook. Despite the title, it is useful to a student in any discipline.

Annotating a Textbook (Excelsior College OWL)

This video (with included transcript) discusses how to use textbook features like boxes and sidebars to help guide annotation. It's an extremely helpful, detailed discussion of how textbooks are organized.

Because scholarly articles and books have complex arguments and often depend on technical vocabulary, they present particular challenges for an annotating student. The resources in this section help students get to the heart of scholarly texts in order to annotate and, by extension, understand the reading.

Annotating a Text (Hunter College)

This resource is designed for college students and shows how to annotate a scholarly article using highlighting, paraphrase, a descriptive outline, and a two-margin approach. It ends with a sample passage marked up using the strategies provided. 

Guide to Annotating the Scholarly Article (ReadWriteThink.org)

This is an effective introduction to annotating scholarly articles across all disciplines. This resource encourages students to break down how the article uses primary and secondary sources and to annotate the types of arguments and persuasive strategies (synthesis, analysis, compare/contrast).

How to Highlight and Annotate Your Research Articles (CHHS Media Center)

This video, developed by a high school media specialist, provides an effective beginner-level introduction to annotating research articles. 

How to Read a Scholarly Book (AndrewJacobs.org)

In this essay, a college professor lets readers in on the secrets of scholarly monographs. Though he does not discuss annotation, he explains how to find a scholarly book's thesis, methodology, and often even a brief literature review in the introduction. This is a key place for students to focus when creating annotations. 

A 5-step Approach to Reading Scholarly Literature and Taking Notes (Heather Young Leslie)

This resource, written by a professor of anthropology, is an even more comprehensive and detailed guide to reading scholarly literature. Combining the annotation techniques above with the reading strategy here allows students to process scholarly book efficiently. 

Annotation is also an important part of close reading works of literature. Annotating helps students recognize symbolism, double meanings, and other literary devices. These resources provide additional guidelines on annotating literature.

AP English Language Annotation Guide (YouTube)

In this ~10 minute video, an AP Language teacher provides tips and suggestions for using annotations to point out rhetorical strategies and other important information.

Annotating Text Lesson (YouTube)

In this video tutorial, an English teacher shows how she uses the white board to guide students through annotation and close reading. This resource uses an in-depth example to model annotation step-by-step.

Close Reading a Text and Avoiding Pitfalls (Purdue OWL)

This resources demonstrates how annotation is a central part of a solid close reading strategy; it also lists common mistakes to avoid in the annotation process.

AP Literature Assignment: Annotating Literature (Mount Notre Dame H.S.)

This brief assignment sheet contains suggestions for what to annotate in a novel, including building connections between parts of the book, among multiple books you are reading/have read, and between the book and your own experience. It also includes samples of quality annotations.

AP Handout: Annotation Guide (Covington Catholic H.S.)

This annotation guide shows how to keep track of symbolism, figurative language, and other devices in a novel using a highlighter, a pencil, and every part of a book (including the front and back covers).

In addition to written resources, it's possible to annotate visual "texts" like theatrical performances, movies, sculptures, and paintings. Taking notes on visual texts allows students to recall details after viewing a resource which, unlike a book, can't be re-read or re-visited ( for example, a play that has finished its run, or an art exhibition that is far away). These resources draw attention to the special questions and techniques that students should use when dealing with visual texts.

How to Take Notes on Videos (U of Southern California)

This resource is a good place to start for a student who has never had to take notes on film before. It briefly outlines three general approaches to note-taking on a film. 

How to Analyze a Movie, Step-by-Step (San Diego Film Festival)

This detailed guide provides lots of tips for film criticism and analysis. It contains a list of specific questions to ask with respect to plot, character development, direction, musical score, cinematography, special effects, and more. 

How to "Read" a Film (UPenn)

This resource provides an academic perspective on the art of annotating and analyzing a film. Like other resources, it provides students a checklist of things to watch out for as they watch the film.

Art Annotation Guide (Gosford Hill School)

This resource focuses on how to annotate a piece of art with respect to its formal elements like line, tone, mood, and composition. It contains a number of helpful questions and relevant examples. 

Photography Annotation (Arts at Trinity)

This resource is designed specifically for photography students. Like some of the other resources on this list, it primarily focuses on formal elements, but also shows students how to integrate the specific technical vocabulary of modern photography. This resource also contains a number of helpful sample annotations.

How to Review a Play (U of Wisconsin)

This resource from the University of Wisconsin Writing Center is designed to help students write a review of a play. It contains suggested questions for students to keep in mind as they watch a given production. This resource helps students think about staging, props, script alterations, and many other key elements of a performance.

This section contains links to lessons plans and exercises suitable for high school and college instructors.

Beyond the Yellow Highlighter: Teaching Annotation Skills to Improve Reading Comprehension (English Journal)

In this journal article, a high school teacher talks about her approach to teaching annotation. This article makes a clear distinction between annotation and mere highlighting.

Lesson Plan for Teaching Annotation, Grades 9–12 (readwritethink.org)

This lesson plan, published by the National Council of Teachers of English, contains four complete lessons that help introduce high school students to annotation.

Teaching Theme Using Close Reading (Performing in Education)

This lesson plan was developed by a middle school teacher, and is aligned to Common Core. The teacher presents her strategies and resources in comprehensive fashion.

Analyzing a Speech Using Annotation (UNC-TV/PBS Learning Media)

This complete lesson plan, which includes a guide for the teacher and relevant handouts for students, will prepare students to analyze both the written and presentation components of a speech. This lesson plan is best for students in 6th–10th grade.

Writing to Learn History: Annotation and Mini-Writes (teachinghistory.org)

This teaching guide, developed for high school History classes, provides handouts and suggested exercises that can help students become more comfortable with annotating historical sources.

Writing About Art (The College Board)

This Prezi presentation is useful to any teacher introducing students to the basics of annotating art. The presentation covers annotating for both formal elements and historical/cultural significance.

Film Study Worksheets (TeachWithMovies.org)

This resource contains links to a general film study worksheet, as well as specific worksheets for novel adaptations, historical films, documentaries, and more. These resources are appropriate for advanced middle school students and some high school students. 

Annotation Practice Worksheet (La Guardia Community College)

This worksheet has a sample text and instructions for students to annotate it. It is a useful resource for teachers who want to give their students a chance to practice, but don't have the time to select an appropriate piece of text. 

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AP English Literature and Composition

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About the Course

What makes a work of literature great? In AP English Literature and Composition, you’ll examine how authors and poets create meaning through their rich, purposeful use of language. As you write and refine essays about literature, you’ll develop the skills of analysis and composition that will allow you to communicate your interpretation effectively.

New for 2024-25: MCQs Will Have Four Answer Choices

Starting in the 2024-25 school year, AP English Literature and Composition multiple-choice questions (MCQs) will have four answer choices instead of five. This change will take effect with the 2025 exam. All resources have been updated to reflect this change. 

Skills You'll Learn

Read a text closely and draw conclusions from details

Identify the techniques used by an author and their effects

Develop an interpretation of a text

Present your interpretation and make an argument for it in writing

Equivalency and Prerequisites

College course equivalent.

An introductory college-level literature course

Recommended Prerequisites

Wed, May 7, 2025

AP English Literature and Composition Exam

This is the regularly scheduled date for the AP English Literature and Composition Exam.

About the Units

The course content outlined below is organized into commonly taught units of study that provide one possible sequence for the course. Your teacher may choose to organize the course content differently based on local priorities and preferences.

Course Content

Unit 1: short fiction i.

You’ll learn critical reading skills to help you critically read, interpret, and analyze prose.

Topics may include:

• Interpreting the role of character in fiction
• Identifying and interpreting setting
• Understanding how a story’s structure affects interpretations
• Understanding and interpreting a narrator’s perspective
• Reading texts literally and figuratively
• The basics of literary analysis

Unit 2: Poetry I

You’ll continue your critical reading exploration in poetry and learn to analyze similar elements within a wide variety of poems.

• Identifying characters in poetry
• Understanding and interpreting meaning in poetic structure
• Analyzing word choice to find meaning
• Identifying techniques like contrast, simile, metaphor, and alliteration

Unit 3: Longer Fiction or Drama I

You’ll observe how the literary techniques you’ve explored in prior units unfold over the course of longer works and analyze how characters develop and interact over the course of a narrative.

• Interpreting character description and perspective
• Character evolution throughout a narrative
• Conflict and plot development
• Interpreting symbolism
• Identifying evidence and supporting literary arguments

Unit 4: Short Fiction II

You’ll delve deeper into the roles of character and conflict in fiction and explore how a narrator’s perspective can color storytelling.

• Protagonists, antagonists, character relationships, and conflict
• Character interactions with setting and its significance
• Archetypes in literature
• Types of narration like stream of consciousness
• Narrative distance, tone, and perspective

Unit 5: Poetry II

You’ll study different forms of poetry and examine how structure and figurative language can create and impact meaning.

• Traits of closed and open structures in poetry
• Use of techniques like imagery and hyperbole
• Types of comparisons in poetry including personification and allusion
• Identifying and interpreting extended metaphors

Unit 6: Longer Fiction or Drama II

You’ll analyze how various literary techniques play out and shift over the course of longer works, charting how characters change (or don’t) as they’re affected by developments in the plot.

• Interpreting foil characters
• Understanding and interpreting character motives
• Understanding nonlinear narrative structures like flashbacks and foreshadowing
• The effect of narrative tone and bias on reading
• Characters as symbols, metaphors, and archetypes
• Developing literary arguments within a broader context of works

Unit 7: Short Fiction III

You’ll examine how works of fiction interact with and comment on the world around them and the society their authors live or lived in.

• Sudden and more gradual change in characters
• Epiphany as a driver of plot
• Relationships between characters and groups
• Character interactions with settings
• The significance of the pacing of a narrative
• Setting as a symbol
• Interpreting texts in their historical and societal contexts

Unit 8: Poetry III

You’ll develop your interpretation of poetry further by examining how contrasts, ambiguous language, and various other techniques can add layers of meaning to a poetic work.

• Looking at punctuation and structural patterns
• Interpreting juxtaposition, paradox, and irony
• How ambiguity can allow for various interpretations
• Identifying symbols, conceits, and allusions
• Learning proper attribution and citation in literary analysis

Unit 9: Longer Fiction or Drama III

You’ll consider longer narratives in the context of the various techniques and interpretations you’ve learned in prior units and build a nuanced analysis of each complex work as a whole.

• Looking at a character’s response to the resolution of a narrative
• Suspense, resolution, and plot development
• Narrative inconsistencies and contrasting perspectives

Credit and Placement

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Course Resources

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AP English Literature and Composition Reading Study Skills

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AP English Literature and Composition Course and Exam Description

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For Teachers: 1001 Assignments

Below is a list of recommended assignments for English 1001. In some cases, descriptions are followed by links with sample assignments and other related resources.

Annotated Bibliography : An annotated bibliography helps students think through a research topic. In addition to bibliographical entry, each source is followed by a concise analysis of its main points. Annotations may also include a short response or a statement of potential uses for the source. These annotations are intended to be tools for students as they work on later essays; annotations should be designed to help them quickly remember how each source might be useful in their writing. How to Prepare an Annotated Bibliography (with sample) | Assignment Sheet

Causal Analysis : In a causal analysis, students are asked to investigate the known or possible causes of a situation, trend, or phenomenon through extensive research. At its most basic, a causal analysis seeks to answer the question "Why?" Since complex trends and phenomena are not easy to trace step-by-step, causal analysis typically relies on informed speculation of causes using reliable evidence and firsthand experience. Causal Analysis Assignment Sheet

Evaluation of a Source : During research, students should be able to read their sources for credibility and rhetorical appeals as well as for information. This type of reading can be expanded into an evaluation of a source, in which students must conduct a rhetorical analysis of their own materials. As part of this evaluation, students can examine the presentation of information, underlying assumptions, audience awareness, and possible uses of the source in future projects.

Event Analysis : In an event analysis, students are asked to explain the contexts and controversies surrounding a particular event. The event can be something in the past or something that students experience firsthand. An event analysis may examine the causes of the event, the activities during the event, the circumstances surrounding the event, or the consequences of the event. But the focal point is always the particular event and the parties involved. Sample Assignment Sheet

Habit Analysis : In a habit analysis, students are asked to examine the naturalized behaviors (or habits) that help to construct our personal identities and social norms. In one sense, a habit analysis is a rhetorical analysis focusing on ethos , the art of identifying oneself and earning trust. However, a habit analysis can also examine other kinds of behavior, such as personal writing habits or established social customs.

Issue Analysis : (*REQUIRED*) In an issue analysis, students are asked to explain the debate surrounding a contested issue. Because issues involve multiple perspectives, students must locate a wide range of sources in order to present each perspective fairly and thoughtfully. The ultimate goal of an issue analysis is to introduce the debate to an uninformed audience without favoring one argument. All sections of English 1001 must include an issue analysis in order to complete the end-of-semester assessment . Find assignment sheets, scoring matrices, and sample issue analysis essays in the English 1001 Teachers  topic on the community moodle    page.

Literacy Analysis : In a literacy analysis, students are asked to reflect on the experiences and events that have shaped them as both readers and writers. This assignment is useful because it introduces writing itself as a topic of inquiry and identity-formation. Furthermore, it allows students and teachers to share both frustrations and insights about writing as a "literate" activity through self-reflexive analyses of students' writing practices. Click on the following links for sample documents: Assignment Sheet || Sample Rubric 1 | 2 || Sample Literacy Analysis || Digital Archive of Literacy Narratives

Presentation: For the presentation, students are asked to present their analysis of an issue, text, or image to the entire class. Some teachers ask students to work collaboratively, use technology such as Power Points, or use other visual media. Group Visual Presentation Assignment | Individual Oral Presentation Assignment

Process Analysis : In a process analysis, students are asked to take readers through a chronological sequence of steps. Informational process analyses describe how something occurs, while instructional process analyses describe how something is done (such that it can be duplicated). Processes analyzed should be neither too technical nor too simplistic, and students should be able to explain the importance of the process to readers.

Rhetorical Analysis : In a rhetorical analysis, students are asked to examine a spoken or written text for argumentative appeals, including logos (appeals to make logical connections), ethos (appeals to build credibility), and pathos (appeals to win sympathy or incite emotion). Other topics of analysis include kairos (or context), stated or implied purpose, intended audience, thesis and background information. Prewriting worksheet | Sample prewriting | Rhetorical Strategies | Ethos, Pathos and Logos: 1 | 2 || Assignment sheet || Sample essays: basic | 1 | 2  || Rubric

Synthesis:  Most analytical writing requires some form of synthesis; it is an essential skill for the required issue analysis, as well as for any researched essay. Some teachers create assignments to isolate and target this skill, which ask students to pull together multiple sets of ideas in order to compare, contrast, evaluate and discover new insights.   Synthesis essay and in-class practice | Literature review and synthesis

Textual Analysis : In a textual analysis, students are asked to examine a non-literary text (such as a scholarly article) and describe the way that it functions or serves a specific purpose. Analyzable texts may include scholarly sources, resumes, bibliographies, and so on. The criteria for analysis may vary depending on the text's purpose. For example, students can conduct textual analyses of each other's work based on grading criteria.

Visual Analysis : In a visual analysis, students are asked to examine an ad, website, or other form of visual media. Visual analyses can be conducted in a number of ways. For example, students might examine formal elements, such as color and perception. Visual analysis can also be combined with rhetorical analysis (explaining appeals to logic, credibility, emotion and context) and literary analysis (interpreting metaphors, representation, and authorship). In-class activity | Advertising Analysis Assignment  

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Common Assignments: Literature Reviews

Basics of literature reviews.

A literature review is a written approach to examining published information on a particular topic or field. Authors use this review of literature to create a foundation and justification for their research or to demonstrate knowledge on the current state of a field. This review can take the form of a course assignment or a section of a longer capstone project. Read on for more information about writing a strong literature review!

Students often misinterpret the term "literature review" to mean merely a collection of source summaries, similar to annotations or article abstracts. Although summarizing is an element of a literature review, the purpose is to create a comprehensive representation of your understanding of a topic or area of research, such as what has already been done or what has been found. Then, also using these sources, you can demonstrate the need for future research, specifically, your future research.

There is usually no required format or template for a literature review. However, there are some actions to keep in mind when constructing a literature review:

• Include an introduction and conclusion . Even if the literature review will be part of a longer document, introductory and concluding paragraphs can act as bookends to your material. Provide background information for your reader, such as including references to the pioneers in the field in the beginning and offering closure in the end by discussing the implications of future research to the field.
• Avoid direct quotations . Just like in an annotated bibliography, you will want to paraphrase all of the material you present in a literature review. This assignment is a chance for you to demonstrate your knowledge on a topic, and putting ideas into your own words will ensure that you are interpreting the found material for your reader. Paraphrasing will also ensure your review of literature is in your authorial voice.
• Organize by topic or theme rather than by author. When compiling multiple sources, a tendency can be to summarize each source and then compare and contrast the sources at the end. Instead, organize your source information by your identified themes and patterns. This organization helps demonstrate your synthesis of the material and inhibits you from creating a series of book reports.
•  Use headings . APA encourages the use of headings within longer pieces of text to display a shift in topic and create a visual break for the reader. Headings in a literature review can also help you as the writer organize your material by theme and note any layers, or subtopics, within the field.
• Show relationships and consider the flow of ideas. A literature review can be lengthy and dense, so you will want to make your text appealing to your reader. Transitions and comparison terms will allow you to demonstrate where authors agree or disagree on a topic and highlight your interpretation of the literature.

Related Multimedia, Social Media, and Other Resources

Randolph, J. J. (2009). A guide to writing the dissertation literature review. Practical Assessment, Research and Evaluation , 14 (13), 1–13. https://scholarworks.umass.edu/cgi/viewcontent.cgi?article=1219&context=pare

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Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Common Writing Assignments

Welcome to the Purdue OWL

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Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

These OWL resources will help you understand and complete specific types of writing assignments, such as annotated bibliographies, book reports, and research papers. This section also includes resources on writing academic proposals for conference presentations, journal articles, and books.

Understanding Writing Assignments

This resource describes some steps you can take to better understand the requirements of your writing assignments. This resource works for either in-class, teacher-led discussion or for personal use.

Argument Papers

This resource outlines the generally accepted structure for introductions, body paragraphs, and conclusions in an academic argument paper. Keep in mind that this resource contains guidelines and not strict rules about organization. Your structure needs to be flexible enough to meet the requirements of your purpose and audience.

Research Papers

This handout provides detailed information about how to write research papers including discussing research papers as a genre, choosing topics, and finding sources.

Exploratory Papers

This resource will help you with exploratory/inquiry essay assignments.

Annotated Bibliographies

This handout provides information about annotated bibliographies in MLA, APA, and CMS.

Book Report

This resource discusses book reports and how to write them.

Definitions

This handout provides suggestions and examples for writing definitions.

Essays for Exams

While most OWL resources recommend a longer writing process (start early, revise often, conduct thorough research, etc.), sometimes you just have to write quickly in test situations. However, these exam essays can be no less important pieces of writing than research papers because they can influence final grades for courses, and/or they can mean the difference between getting into an academic program (GED, SAT, GRE). To that end, this resource will help you prepare and write essays for exams.

Book Review

This resource discusses book reviews and how to write them.

Academic Proposals

This resource will help undergraduate, graduate, and professional scholars write proposals for academic conferences, articles, and books.

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From 1900 to 1945

The 20th century opened with great hope but also with some apprehension , for the new century marked the final approach to a new millennium. For many, humankind was entering upon an unprecedented era. H.G. Wells ’s utopian studies, the aptly titled Anticipations of the Reaction of Mechanical and Scientific Progress upon Human Life and Thought (1901) and A Modern Utopia (1905), both captured and qualified this optimistic mood and gave expression to a common conviction that science and technology would transform the world in the century ahead. To achieve such transformation, outmoded institutions and ideals had to be replaced by ones more suited to the growth and liberation of the human spirit. The death of Queen Victoria in 1901 and the accession of Edward VII seemed to confirm that a franker, less inhibited era had begun.

Many writers of the Edwardian period, drawing widely upon the realistic and naturalistic conventions of the 19th century (upon Ibsen in drama and Balzac, Turgenev, Flaubert, Zola, Eliot, and Dickens in fiction) and in tune with the anti-Aestheticism unleashed by the trial of the archetypal Aesthete, Oscar Wilde , saw their task in the new century to be an unashamedly didactic one. In a series of wittily iconoclastic plays, of which Man and Superman (performed 1905, published 1903) and Major Barbara (performed 1905, published 1907) are the most substantial, George Bernard Shaw turned the Edwardian theater into an arena for debate upon the principal concerns of the day: the question of political organization, the morality of armaments and war, the function of class and of the professions, the validity of the family and of marriage, and the issue of female emancipation. Nor was he alone in this, even if he was alone in the brilliance of his comedy. John Galsworthy made use of the theater in Strife (1909) to explore the conflict between capital and labor, and in Justice (1910) he lent his support to reform of the penal system, while Harley Granville-Barker , whose revolutionary approach to stage direction did much to change theatrical production in the period, dissected in The Voysey Inheritance (performed 1905, published 1909) and Waste (performed 1907, published 1909) the hypocrisies and deceit of upper-class and professional life.

Many Edwardian novelists were similarly eager to explore the shortcomings of English social life. Wells—in Love and Mr. Lewisham (1900); Kipps (1905); Ann Veronica (1909), his pro-suffragist novel; and The History of Mr. Polly (1910)—captured the frustrations of lower- and middle-class existence, even though he relieved his accounts with many comic touches. In Anna of the Five Towns (1902), Arnold Bennett detailed the constrictions of provincial life among the self-made business classes in the area of England known as the Potteries; in The Man of Property (1906), the first volume of The Forsyte Saga , Galsworthy described the destructive possessiveness of the professional bourgeoisie; and, in Where Angels Fear to Tread (1905) and The Longest Journey (1907), E.M. Forster portrayed with irony the insensitivity, self-repression, and philistinism of the English middle classes.

These novelists, however, wrote more memorably when they allowed themselves a larger perspective. In The Old Wives’ Tale (1908), Bennett showed the destructive effects of time on the lives of individuals and communities and evoked a quality of pathos that he never matched in his other fiction; in Tono-Bungay (1909), Wells showed the ominous consequences of the uncontrolled developments taking place within a British society still dependent upon the institutions of a long-defunct landed aristocracy; and in Howards End (1910), Forster showed how little the rootless and self-important world of contemporary commerce cared for the more rooted world of culture , although he acknowledged that commerce was a necessary evil. Nevertheless, even as they perceived the difficulties of the present, most Edwardian novelists, like their counterparts in the theater, held firmly to the belief not only that constructive change was possible but also that this change could in some measure be advanced by their writing.

Other writers, including Thomas Hardy and Rudyard Kipling , who had established their reputations during the previous century, and Hilaire Belloc , G.K. Chesterton , and Edward Thomas , who established their reputations in the first decade of the new century, were less confident about the future and sought to revive the traditional forms—the ballad , the narrative poem, the satire , the fantasy , the topographical poem, and the essay—that in their view preserved traditional sentiments and perceptions. The revival of traditional forms in the late 19th and early 20th century was not a unique event. There were many such revivals during the 20th century, and the traditional poetry of A.E. Housman (whose book A Shropshire Lad , originally published in 1896, enjoyed huge popular success during World War I), Walter de la Mare , John Masefield , Robert Graves , and Edmund Blunden represents an important and often neglected strand of English literature in the first half of the century.

The most significant writing of the period, traditionalist or modern, was inspired by neither hope nor apprehension but by bleaker feelings that the new century would witness the collapse of a whole civilization. The new century had begun with Great Britain involved in the South African War (the Boer War; 1899–1902), and it seemed to some that the British Empire was as doomed to destruction, both from within and from without, as had been the Roman Empire. In his poems on the South African War, Hardy (whose achievement as a poet in the 20th century rivaled his achievement as a novelist in the 19th) questioned simply and sardonically the human cost of empire building and established a tone and style that many British poets were to use in the course of the century, while Kipling, who had done much to engender pride in empire, began to speak in his verse and short stories of the burden of empire and the tribulations it would bring.

No one captured the sense of an imperial civilization in decline more fully or subtly than the expatriate American novelist Henry James . In The Portrait of a Lady (1881), he had briefly anatomized the fatal loss of energy of the English ruling class and, in The Princess Casamassima (1886), had described more directly the various instabilities that threatened its paternalistic rule. He did so with regret: the patrician American admired in the English upper class its sense of moral obligation to the community . By the turn of the century, however, he had noted a disturbing change. In The Spoils of Poynton (1897) and What Maisie Knew (1897), members of the upper class no longer seem troubled by the means adopted to achieve their morally dubious ends. Great Britain had become indistinguishable from the other nations of the Old World, in which an ugly rapacity had never been far from the surface. James’s dismay at this condition gave to his subtle and compressed late fiction , The Wings of the Dove (1902), The Ambassadors (1903), and The Golden Bowl (1904), much of its gravity and air of disenchantment.

James’s awareness of crisis affected the very form and style of his writing, for he was no longer assured that the world about which he wrote was either coherent in itself or unambiguously intelligible to its inhabitants. His fiction still presented characters within an identifiable social world, but he found his characters and their world increasingly elusive and enigmatic and his own grasp upon them, as he made clear in The Sacred Fount (1901), the questionable consequence of artistic will.

Another expatriate novelist, Joseph Conrad (pseudonym of Józef Teodor Konrad Korzeniowski, born in the Ukraine of Polish parents), shared James’s sense of crisis but attributed it less to the decline of a specific civilization than to human failings. Man was a solitary, romantic creature of will who at any cost imposed his meaning upon the world because he could not endure a world that did not reflect his central place within it. In Almayer’s Folly (1895) and Lord Jim (1900), he had seemed to sympathize with this predicament; but in Heart of Darkness (1902), Nostromo (1904), The Secret Agent (1907), and Under Western Eyes (1911), he detailed such imposition, and the psychological pathologies he increasingly associated with it, without sympathy. He did so as a philosophical novelist whose concern with the mocking limits of human knowledge affected not only the content of his fiction but also its very structure. His writing itself is marked by gaps in the narrative, by narrators who do not fully grasp the significance of the events they are retelling, and by characters who are unable to make themselves understood. James and Conrad used many of the conventions of 19th-century realism but transformed them to express what are considered to be peculiarly 20th-century preoccupations and anxieties.

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A-level English Literature B 7717

English Literature B AS and A-level Specification

PDF | 845.55 KB

1.0 Introduction

1.1 why choose aqa for a-level english literature b, a specification designed for you and your students.

We have worked closely with teachers and universities to develop a relevant, engaging and up-to-date specification that approaches the reading and study of literature through the lens of genre and theory, encouraging the independent study of a range of texts within a shared context, giving logic and meaning to the way that texts are grouped for study.

This unifying approach facilitates the inclusion of a range of wider reading, thus extending students’ experience and appreciation of literature.

Offering clear progression from GCSE, this course allows students to build on the skills and knowledge already gained and prepare for their next steps.

The variety of assessment styles used, such as passage-based questions, unseen material, single text questions, multiple text questions, open- and closed-book approaches, allows students to develop a wide range of skills, such as the ability to read critically, analyse, evaluate and undertake independent research which are valuable for both further study and future employment.

Choice and flexibility

With a choice of genres for each paper and authors for study, you can choose the texts that will be most appealing and of most interest to your students.

Teach AS and A-level together

Both AS and A-level courses provide strong stand-alone qualifications that are fully co-teachable so that you can choose the approach that best suits your, and you students’ needs.

Independent learning

The A-level non-exam assessment component provides opportunities for students to pursue their own areas of interest and develop personal and independent learning skills. This includes writing creatively through the re-creative option.

Through the integration of a critical anthology with A-level non-exam assessment study, students are able to explore some of the critical and theoretical approaches that form the basis for literary study which in turn informs and illuminates their own reading of texts.

We support you every step of the way

Our free poetry anthology, also available digitally, will provide you with easy access to a range of poetry texts and a valuable interactive resource to support teaching.

To further support teaching and learning we provide a comprehensive range of resources, including a digital resource bank and access to the largest network of English teachers facilitated through our national Subject advocate network.

Learn more about our English qualifications at aqa.org.uk/english

1.2 Support and resources to help you teach

We know that support and resources are vital for your teaching and that you have limited time to find or develop good quality materials. So we’ve worked with experienced teachers to provide you with a range of resources that will help you confidently plan, teach and prepare for exams.

Teaching resources

We have a comprehensive range of English Literature B resources. Visit aqa.org.uk/7717 to see them all. They include:

• a digital resource bank which will include a wide range of free, interactive resources to support the teaching of English language, English literature and English language and literature
• a poetry anthology to give you free and easy access to a range of poetry so that you don’t need to source all the poems set for study
• marked and annotated student responses to the questions on our specimen papers, with senior examiner commentaries
• subject advocates who will support you in the transition to the new specification and facilitate local and regional network and update meetings
• student textbooks and digital resources that have been checked and endorsed by AQA
• training courses to help you deliver AQA qualifications
• subject expertise courses for all teachers, from newly qualified teachers who are just getting started to experienced teachers looking for fresh inspiration.

Preparing for exams

Visit aqa.org.uk/7707 for everything you need to prepare for our exams, including:

• past papers, mark schemes and examiners’ reports
• sample papers and mark schemes for new courses
• example student answers with examiner commentaries.

Analyse your students' results with Enhanced Results Analysis (ERA)

Find out which questions were the most challenging, how the results compare to previous years and where your students need to improve. ERA, our free online results analysis tool, will help you see where to focus your teaching. Register at aqa.org.uk/era

For information about results, including maintaining standards over time, grade boundaries and our post-results services, visit aqa.org.uk/results

Keep your skills up to date with professional development

Wherever you are in your career, there’s always something new to learn. As well as subject-specific training, we offer a range of courses to help boost your skills.

• Improve your teaching skills in areas including differentiation, teaching literacy and meeting Ofsted requirements.
• Prepare for a new role with our leadership and management courses.

You can attend a course at venues around the country, in your school or online – whatever suits your needs and availability. Find out more at coursesandevents.aqa.org.uk

Get help and support

Visit our website for information, guidance, support and resources. aqa.org.uk/7201

You can talk directly to the English Literature B subject team:

E: [email protected]

T: 0161 9537504