Ap English Test

“Every Trip Is A Quest (Except When It’s Not)”

Overarching idea/notion includes the idea that every story has an individual who has a stated goal (either to do/or to go), the individual faces challenges and lastly a definitive goal is revealed, as Foster states. Foster directly acknowledges the fact that, within their “original” goal, they ultimately come to fail, believing that this aforementioned stated goal is their final goal. However, their maturity at the time (their lack of, to be specific) leads to this decision of preferring the “stated goal”. With tribulations and difficulties, the character both gains maturity and is directed toward the final aforementioned goal.

“It’s Nice to Eat with You: Acts of Communion”

Overarching concept includes the idea that every story has a moment of religious/non-religious shared meals. A primary example of this idea in practice would be within a dinner with various characters, all sharing a meal. With this factor in mind, it is evident that there is a notion of a shared meal, which could signify a feeling of unity between the people at the meal. With this in mind, once the dinner is interrupted or broken off by a character, it could indicate underlying tension between the individuals of the meal.

“Nice to Eat You: Acts of Vampirism”

Overarching concept includes the idea that, within every story, there will always be an archetype of a “monster” who actively tries to take advantage of/utilize a character for their own gain. Foster creates an example of the younger protagonist being manipulated by the older, more opportunistic “vampire”. Oftentimes, the “vampire” in question isn’t even an individual, but rather a notion that is considered ‘taboo’ (or broader aspects) within the respective society in which the literature is written in — with the “monster” being symbolic of these topics.

“When in Doubt, It’s from Shakespeare…”

More specifically, Foster acknowledges the fact that, within many plotpoints/motifs of media, the writers are inspired by various plot points of Shakespeare’s works, allowing them to be intertextual. With the new forms of intertextuality between the modern works and that of Shakespeare, we are provided with new interpretations of the aforementioned works as viewers.

...Or the Bible

if a piece of literature is not derived from Shakespeare, then it is derived from the ____. Various examples of these notions include that of a fall from Eden or the consumption of the “forbidden fruit” — as shown within loss of innocence stories. Alternatively, there could be the simple use of biblical allusions within the title of the play/literature itself that convey certain emotions and ideas. Lastly, there could potentially be a subversion of Biblical ideas to highlight conflict.

“It’s More Than Just Rain or Snow”

through the ____ (such as ____), we are conveyed certain character changes/evolutions. For example, the setting of “it was a dark and stormy night”, at least for the reader, creates an adjacent atmosphere to the weather. In a more general sense, rain could convey certain emotions of uncomfortability and, alternatively, could reflect the washing away of certain natures/motifs. Likewise, snow could function the same way, representing many mediums (severe, inhospitable). As outlined within the chapter, both rain and snow could indicate a change or washing away of a character’s traits or conflicts.

“...More Than It’s Gonna Hurt You: Concerning Violence”

___ is not for senseless means. It is usually used to accelerate the plot and/or introduce conflict between individuals, specifically through two means. Firstly, there are specific injuries that cause a character to check on one another and/or themselves (direct injuries). On the other hand, there is the narrative violence that causes character harm (through disease or other means). Both of these, as mentioned before, offer a weight within the story (through symbolic means).

Is That a Symbol?

within every story, there are various ideas of ___, which Foster breaks down into various sections — the straightforward and more interpretive. Firstly, Foster details the idea of the evident symbolisms, such as the white flag signifying peace — all symbols that are universally understood. Prior to the idea of the less recognizable symbolism, Foster offers an alternative form of symbolism that is present within literature: the allegory, which offers a stand-in (or a representation) of another piece of literature/motif. Lastly, there is the idea of the interpretive form of symbolism, which offers various forms of interpretation for the reader.

If She Comes Up, It’s Baptism

two alternative means of the notions of ending up within bodies of water, and the differing ramifications it brings for characters. Firstly, there is the idea of entering in a body of water and emerging from it —- creating a form of rebirth for the character, offering a change/epiphany. Likewise, if someone does not emerge from the submerging of water, it can be of two things: their own volition, or simply drown. If one drowns of their own volition, it is reasonable to assume that the author creates the notion that the character chooses to succumb to their fate within society. On the other hand, if a character drowns despite resistance, then society ultimately forces submission on this character — one who succumbs to their societal pressures.

“Geography Matters…”

the baseline symbolism of ___, which thematically works to define the different aspects of a character’s quest. For example, Foster describes the effects that settings can place upon the environment of the story — framing psychology, attitude, finance and industry — reflecting where certain characters live. On the other hand, Foster offers two distinct directions that characters can pursue that can reflect broader character arcs. Firstly, we have the notion of characters going South, where they can experience new freedom in comparison to the life that they had before — often having their life changed and receiving consequences. Conversely, going north offers the character an ebb of reflection, proving clarity and purity.

“...So Does Season”

Foster introduces the notion of ____ reflecting emotion/atmosphere within the broader story or characters. Firstly, Foster introduces the idea of characters’ names (which reflect ideas of season) and the connection to their personality, fate or any other factor. Secondly, Foster breaks down the different seasons and creates a connection to the various phases of life. Firstly, Foster details the parallels between spring and childhood, novelty and overall newness — the beginning of a character’s arc. From there, Foster creates the connection between Summer and the beginning of young adulthood/maturity. Penultimately, Foster creates the beginning of the slump of life within Autumn, reflecting middle age and the beginnings of decline. Lastly, we have the ideas of Winter, representing the end, old age or even death.

Opening statement

No use of characters/events from work analyzed (Patriarchal societies, people in general choosing between ideas ex. — word or idea that is expressed in the prompt or can be argued)

Introduce literary work (one such literary work/for example)

Title in italics with important words capitalized

Author’s full name

Introduce character(s)/brief summary of events (1-2 sentences)

In Charlotte Bronte’s Jane Eyre, the titular character [...]

Thesis statement

(1-2 sentences)