rhetorical analysis essay ap lang examples

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How to Write the AP Lang Rhetorical Analysis Essay (With Example)

November 27, 2023

Feeling intimidated by the AP Lang Rhetorical Analysis Essay? We’re here to help demystify. Whether you’re cramming for the AP Lang exam right now or planning to take the test down the road, we’ve got crucial rubric information, helpful tips, and an essay example to prepare you for the big day. This post will cover 1) What is the AP Lang Rhetorical Analysis Essay? 2) AP Lang Rhetorical Analysis Rubric 3) AP Lang Rhetorical Analysis: Sample Prompt 4) AP Lang Rhetorical Analysis Essay Example 5)AP Lang Rhetorical Analysis Essay Example: Why It Works

What is the AP Lang Rhetorical Analysis Essay?

The AP Lang Rhetorical Analysis Essay is one of three essays included in the written portion of the AP English Exam. The full AP English Exam is 3 hours and 15 minutes long, with the first 60 minutes dedicated to multiple-choice questions. Once you complete the multiple-choice section, you move on to three equally weighted essays that ask you to synthesize, analyze, and interpret texts and develop well-reasoned arguments. The three essays include:

Synthesis essay: You’ll review various pieces of evidence and then write an essay that synthesizes (aka combines and interprets) the evidence and presents a clear argument. Read our write up on How to Write the AP Lang Synthesis Essay here.

Argumentative essay: You’ll take a stance on a specific topic and argue your case.

Rhetorical essay: You’ll read a provided passage, then analyze the author’s rhetorical choices and develop an argument that explains why the author made those rhetorical choices.

AP Lang Rhetorical Analysis Rubric

The AP Lang Rhetorical Analysis Essay is graded on just 3 rubric categories: Thesis, Evidence and Commentary, and Sophistication . At a glance, the rubric categories may seem vague, but AP exam graders are actually looking for very particular things in each category. We’ll break it down with dos and don’ts for each rubric category:

Thesis (0-1 point)

There’s nothing nebulous when it comes to grading AP Lang Rhetorical Analysis Essay thesis. You either have one or you don’t. Including a thesis gets you one point closer to a high score and leaving it out means you miss out on one crucial point. So, what makes a thesis that counts?

• Make sure your thesis argues something about the author’s rhetorical choices. Making an argument means taking a risk and offering your own interpretation of the provided text. This is an argument that someone else might disagree with.
• A good test to see if you have a thesis that makes an argument. In your head, add the phrase “I think that…” to the beginning of your thesis. If what follows doesn’t logically flow after that phrase (aka if what follows isn’t something you and only you think), it’s likely you’re not making an argument.
• Avoid a thesis that merely restates the prompt.
• Avoid a thesis that summarizes the text but does not make an argument.

Evidence and Commentary (0-4 points)

This rubric category is graded on a scale of 0-4 where 4 is the highest grade. Per the AP Lang Rhetorical Analysis rubric, to get a 4, you’ll want to:

• Include lots of specific evidence from the text. There is no set golden number of quotes to include, but you’ll want to make sure you’re incorporating more than a couple pieces of evidence that support your argument about the author’s rhetorical choices.
• Make sure you include more than one type of evidence, too. Let’s say you’re working on your essay and have gathered examples of alliteration to include as supporting evidence. That’s just one type of rhetorical choice, and it’s hard to make a credible argument if you’re only looking at one type of evidence. To fix that issue, reread the text again looking for patterns in word choice and syntax, meaningful figurative language and imagery, literary devices, and other rhetorical choices, looking for additional types of evidence to support your argument.
• After you include evidence, offer your own interpretation and explain how this evidence proves the point you make in your thesis.
• Don’t summarize or speak generally about the author and the text. Everything you write must be backed up with evidence.
• Don’t let quotes speak for themselves. After every piece of evidence you include, make sure to explain your interpretation. Also, connect the evidence to your overarching argument.

Sophistication (0-1 point)

In this case, sophistication isn’t about how many fancy vocabulary words or how many semicolons you use. According to College Board , one point can be awarded to AP Lang Rhetorical Analysis essays that “demonstrate sophistication of thought and/or a complex understanding of the rhetorical situation” in any of these three ways:

• Explaining the significance or relevance of the writer’s rhetorical choices.
• Explaining the purpose or function of the passage’s complexities or tensions.
• Employing a style that is consistently vivid and persuasive.

Note that you don’t have to achieve all three to earn your sophistication point. A good way to think of this rubric category is to consider it a bonus point that you can earn for going above and beyond in depth of analysis or by writing an especially persuasive, clear, and well-structured essay. In order to earn this point, you’ll need to first do a good job with your thesis, evidence, and commentary.

• Focus on nailing an argumentative thesis and multiple types of evidence. Getting these fundamentals of your essay right will set you up for achieving depth of analysis.
• Explain how each piece of evidence connects to your thesis.
• Spend a minute outlining your essay before you begin to ensure your essay flows in a clear and cohesive way.
• Steer clear of generalizations about the author or text.
• Don’t include arguments you can’t prove with evidence from the text.
• Avoid complex sentences and fancy vocabulary words unless you use them often. Long, clunky sentences with imprecisely used words are hard to follow.

AP Lang Rhetorical Analysis: Sample Prompt

The sample prompt below is published online by College Board and is a real example from the 2021 AP Exam. The prompt provides background context, essay instructions, and the text you need to analyze. For sake of space, we’ve included the text as an image you can click to read. After the prompt, we provide a sample high scoring essay and then explain why this AP Lang Rhetorical Analysis essay example works.

Suggested time—40 minutes.

(This question counts as one-third of the total essay section score.)

On February 27, 2013, while in office, former president Barack Obama delivered the following address dedicating the Rosa Parks statue in the National Statuary Hall of the United States Capitol building. Rosa Parks was an African American civil rights activist who was arrested in 1955 for refusing to give up her seat on a segregated bus in Montgomery, Alabama. Read the passage carefully. Write an essay that analyzes the rhetorical choices Obama makes to convey his message.

In your response you should do the following:

• Respond to the prompt with a thesis that analyzes the writer’s rhetorical choices.
• Select and use evidence to support your line of reasoning.
• Explain how the evidence supports your line of reasoning.
• Demonstrate an understanding of the rhetorical situation.
• Use appropriate grammar and punctuation in communicating your argument.

AP Lang Rhetorical Analysis Essay Example

In his speech delivered in 2013 at the dedication of Rosa Park’s statue, President Barack Obama acknowledges everything that Parks’ activism made possible in the United States. Telling the story of Parks’ life and achievements, Obama highlights the fact that Parks was a regular person whose actions accomplished enormous change during the civil rights era. Through the use of diction that portrays Parks as quiet and demure, long lists that emphasize the extent of her impacts, and Biblical references, Obama suggests that all of us are capable of achieving greater good, just as Parks did.

Although it might be a surprising way to start to his dedication, Obama begins his speech by telling us who Parks was not: “Rosa Parks held no elected office. She possessed no fortune” he explains in lines 1-2. Later, when he tells the story of the bus driver who threatened to have Parks arrested when she refused to get off the bus, he explains that Parks “simply replied, ‘You may do that’” (lines 22-23). Right away, he establishes that Parks was a regular person who did not hold a seat of power. Her protest on the bus was not part of a larger plan, it was a simple response. By emphasizing that Parks was not powerful, wealthy, or loud spoken, he implies that Parks’ style of activism is an everyday practice that all of us can aspire to.

AP Lang Rhetorical Analysis Essay Example (Continued)

Even though Obama portrays Parks as a demure person whose protest came “simply” and naturally, he shows the importance of her activism through long lists of ripple effects. When Parks challenged her arrest, Obama explains, Martin Luther King, Jr. stood with her and “so did thousands of Montgomery, Alabama commuters” (lines 27-28). They began a boycott that included “teachers and laborers, clergy and domestics, through rain and cold and sweltering heat, day after day, week after week, month after month, walking miles if they had to…” (lines 28-31). In this section of the speech, Obama’s sentences grow longer and he uses lists to show that Parks’ small action impacted and inspired many others to fight for change. Further, listing out how many days, weeks, and months the boycott lasted shows how Parks’ single act of protest sparked a much longer push for change.

To further illustrate Parks’ impact, Obama incorporates Biblical references that emphasize the importance of “that single moment on the bus” (lines 57-58). In lines 33-35, Obama explains that Parks and the other protestors are “driven by a solemn determination to affirm their God-given dignity” and he also compares their victory to the fall the “ancient walls of Jericho” (line 43). By of including these Biblical references, Obama suggests that Parks’ action on the bus did more than correct personal or political wrongs; it also corrected moral and spiritual wrongs. Although Parks had no political power or fortune, she was able to restore a moral balance in our world.

Toward the end of the speech, Obama states that change happens “not mainly through the exploits of the famous and the powerful, but through the countless acts of often anonymous courage and kindness” (lines 78-81). Through carefully chosen diction that portrays her as a quiet, regular person and through lists and Biblical references that highlight the huge impacts of her action, Obama illustrates exactly this point. He wants us to see that, just like Parks, the small and meek can change the world for the better.

AP Lang Rhetorical Analysis Essay Example: Why It Works

We would give the AP Lang Rhetorical Analysis essay above a score of 6 out of 6 because it fully satisfies the essay’s 3 rubric categories: Thesis, Evidence and Commentary, and Sophistication . Let’s break down what this student did:

The thesis of this essay appears in the last line of the first paragraph:

“ Through the use of diction that portrays Parks as quiet and demure, long lists that emphasize the extent of her impacts, and Biblical references, Obama suggests that all of us are capable of achieving greater good, just as Parks did .”

This student’s thesis works because they make a clear argument about Obama’s rhetorical choices. They 1) list the rhetorical choices that will be analyzed in the rest of the essay (the italicized text above) and 2) include an argument someone else might disagree with (the bolded text above).

Evidence and Commentary:

This student includes substantial evidence and commentary. Things they do right, per the AP Lang Rhetorical Analysis rubric:

• They include lots of specific evidence from the text in the form of quotes.
• They incorporate 3 different types of evidence (diction, long lists, Biblical references).
• After including evidence, they offer an interpretation of what the evidence means and explain how the evidence contributes to their overarching argument (aka their thesis).

Sophistication

This essay achieves sophistication according to the AP Lang Rhetorical Analysis essay rubric in a few key ways:

• This student provides an introduction that flows naturally into the topic their essay will discuss. Before they get to their thesis, they tell us that Obama portrays Parks as a “regular person” setting up their main argument: Obama wants all regular people to aspire to do good in the world just as Rosa Parks did.
• They organize evidence and commentary in a clear and cohesive way. Each body paragraph focuses on just one type of evidence.
• They explain how their evidence is significant. In the final sentence of each body paragraph, they draw a connection back to the overarching argument presented in the thesis.
• All their evidence supports the argument presented in their thesis. There is no extraneous evidence or misleading detail.
• They consider nuances in the text. Rather than taking the text at face value, they consider what Obama’s rhetorical choices imply and offer their own unique interpretation of those implications.
• In their final paragraph, they come full circle, reiterate their thesis, and explain what Obama’s rhetorical choices communicate to readers.
• Their sentences are clear and easy to read. There are no grammar errors or misused words.

AP Lang Rhetorical Analysis Essay—More Resources

Looking for more tips to help your master your AP Lang Rhetorical Analysis Essay? Brush up on 20 Rhetorical Devices High School Students Should Know and read our Tips for Improving Reading Comprehension . If you’re ready to start studying for another part of the AP English Exam, find more expert tips in our How to Write the AP Lang Synthesis blog post.

Considering what other AP classes to take? Read up on the Hardest AP Classes .

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Christina Wood

Christina Wood holds a BA in Literature & Writing from UC San Diego, an MFA in Creative Writing from Washington University in St. Louis, and is currently a Doctoral Candidate in English at the University of Georgia, where she teaches creative writing and first-year composition courses. Christina has published fiction and nonfiction in numerous publications, including The Paris Review , McSweeney’s , Granta , Virginia Quarterly Review , The Sewanee Review , Mississippi Review , and Puerto del Sol , among others. Her story “The Astronaut” won the 2018 Shirley Jackson Award for short fiction and received a “Distinguished Stories” mention in the 2019 Best American Short Stories anthology.

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How to Write the AP Lang Rhetorical Essay

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• AP Lang Rhetorical Essay Example

How Will AP Scores Affect College Chances?

The AP English Language Exam is one of the most common AP exams you can take. However, the average score on the exam in 2020 was a 2.96 out of 5. While this may seem a bit low, it is important to note that over 550,000 students take the exam annually. With some preparation and knowing how to study, it is totally possible to do well on this AP exam.

The AP Lang Rhetorical Essay is one section of the AP English Language Exam. The exam itself is 3 hours and 15 minutes long, and is broken into two sections. The first part of the exam is a 60 minute, 45-question multiple-choice section. The questions on this part of the exam will test your ability to read a passage and then interpret its meaning, style, and overall themes. After the multiple-choice section, there is a section lasting 2 hours and 15 minutes with three “free response” essays. This includes the synthesis essay, the rhetorical analysis essay, and the argument essay. 

• In the synthesis essay , you will have to develop an argument using pieces of evidence provided to you. 
• The argumentative essay will have you pick a side in a debate and argue for or against it.
• The rhetorical essay requires that you discuss how an author’s written passage contributes to a greater meaning or theme. 

The rhetorical essay is perhaps the most unique of all AP Lang exam essays because it requires the test taker to analyze and interpret the deeper meanings of the passage and connect them to the author’s writing style and writing syntax in only 40 minutes. This essay can be the trickiest because it requires you to have knowledge of rhetorical strategies and then apply them to a passage you’ve never seen before.

1. Outline Your Essay Before Writing

One of the most important parts of the AP Lang essays is structuring your essay so that it makes sense to the reader. This is just as important as having good content. For this essay in particular, you’ll want to read the passage first and write a brief outline of your points before you begin the essay. This is because you will want to write the essay using the passage chronologically, which will be discussed in detail below.

2. Understand Rhetorical Strategies 

If you feel like you don’t know where to start as you prepare to study for the rhetorical essay portion of the exam, you aren’t alone. It is imperative that you have a grasp on what rhetorical strategies are and how you can use them in your essay. One definition of rhetoric is “language carefully chosen and arranged for maximum effect.” This can include types of figurative language (metaphor, simile, personification, pun, irony, etc.) elements of syntax (parallelism, juxtaposition, anthesis, anaphora, etc), logical fallacies, or persuasive appeals. Overall, there are many elements that you can analyze in an essay and having a good grasp on them through practice and memorization is important.

3. Keep the Essay Well Structured 

Even if you understand the various rhetorical strategies you can use, where do you begin? First of all, you’ll want to write a strong introduction that outlines the purpose of the piece. At the end of this introduction, you will write a thesis statement that encapsulates all the rhetorical strategies you discuss. Perhaps these are style elements, tone, or syntax. Be sure to be specific as you list these.

Next, you will create your body paragraphs. As you discuss the rhetorical elements in the piece and tie them back to the work’s meanings, be sure to discuss the points in chronological order. You don’t have to discuss every single strategy, but just pick the ones that are most important. Be sure to cite the line where you found the example. At the end of the essay, write a short conclusion that summarizes the major points above.

4. Be Sure to Explain Your Examples

As you write the essay, don’t just list out your examples and say something like “this is an example of ethos, logos, pathos.” Instead, analyze how the example shows that rhetoric device and how it helps the author further their argument. As you write the rhetorical essay, you’ll want to be as specific and detail-focused as possible. 

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AP Lang Rhetorical Analysis Essay Example

Below is a prompt and example for a rhetorical essay, along with its score and what the writer did well and could have improved:

The passage below is an excerpt from “On the Want of Money,” an essay written by nineteenth-century author William Hazlitt. Read the passage carefully. Then write an essay in which you analyze the rhetorical strategies Hazlitt uses to develop his position about money.

Student essay example:

In his essay, Hazlitt develops his position on money through careful use of adjectives and verbs, hypothetical situations, and images. His examples serve to impress upon the reader the highly negative consequences of being in “want of money.”

Hazlitt’s word choice in his opening phrase provides an example of his technique in the rest of the essay. It is not necessary to follow “literally” with “truly” yet his repetition of the same ideas emphasizes his point. In his next sentence, one that lasts forty-six lines, Hazlitt condignly repeats similar ideas, beating into his audience the necessity of having money in this world. The parallelism throughout that one long sentence, “it is not to be sent for to court, or asked out to dinner…it is not to have your own opinion consulted or sees rejected with contempt..” ties the many different situations Haziltt gives together. What could have become a tedious spiel instead becomes a melodious recitation, each example reminding you of one before it, either because of the similarities in structure or content. Hazlitt addresses many different negative effects of not having money but manages to tie them together with his rhetorical strategies. 

The diction of the passage fully relays Hazlitt’s position about money. In every example he gives a negative situation but in most emphasizes the terrible circumstance with strong negative adjectives or verbs. “Rejected,” “contempt,” “disparaged,” “scrutinized,” “irksome,” “deprived,” “assailed” “chagrin;” the endless repetition of such discouragement shows how empathetically Hazlitt believes money is a requisite for a happy life. Even the irony of the last sentences is negative, conveying the utter hopelessness of one without money. Through one may have none in life, pitiless men will proceed to mock one’s circumstances, “at a considerable expense” after death! 

In having as the body of his essay one long sentence, Hazlitt creates a flow that speeds the passage along, hardly giving the reader time to absorb one idea before another is thrown at him. The unceasing flow is synonymous with Hazlitt’s view of the life of a person without money: he will be “jostled” through life, unable to stop and appreciate the beauty around him or to take time for his own leisure. 

The score on this essay was a 6 out of 6. This essay started out very strong as the student had a concrete thesis statement explaining the strategies that Hazlitt used to develop his position on money as well as Hazlitt’s belief on the topic. In the thesis statement, the student points out that adjectives, verbs, hypothetical situations, and images help prove Hazlitt’s point that wanting money can be problematic. 

Next, the student broke down their points into three main subsections related to their thesis. More specifically, the student first discusses word choice of repetition and parallelism. When the student discusses these strategies, they list evidence in the paragraph that can be found chronologically in Hazlitt’s essay. The next paragraph is about diction, and the student used specific adjectives and verbs that support this idea. In the last paragraph, the student emphasized how the speed and flow of the essay helped describe Hazlitt’s viewpoint on life. This last concluding sentence is particularly thoughtful, as it goes beyond the explicit points made in the essay and discusses the style and tone of the writing. 

It is important to remember that in some ways, the rhetorical essay is also an argumentative essay, as the student must prove how certain rhetorical strategies are used and their significance in the essay. The student even discussed the irony of the paragraph, which is not explicit in the passage.

Overall, this student did an excellent job organizing and structuring the essay and did a nice job using evidence to prove their points. 

Now that you’ve learned about the AP Lang rhetorical essay, you may be wondering how your AP scores impact your chances of admission. In fact, your AP scores have relatively little impact on your admissions decision , and your course rigor has much more weight in the application process.

If you’d like to know your chances of admission, be sure to check out our chancing calculator! This tool takes into account your classes, extracurriculars, demographic information, and test scores to understand your chances at admission at over 600 schools. Best of all, it is completely free!

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AP English Language and Composition: Sample Rhetorical Analysis and Synthesis Questions

April 9, 2024.

The Rhetorical Analysis and Synthesis Essays are two of the three essays you’ll need to write as part of the AP English Language and Composition Exam . Read on for a sample of each, as well as tips for how to answer them. 

AP English Language and Composition: Sample Rhetorical Analysis Question

Read the following passage published back in 1967 by The New York Times. Then write an essay in which you analyze how the structure of the passage and the use of language help convey the writer’s views.

Sample Question Instructions:

• Respond to the prompt with a thesis that may establish a line of reasoning.
• Select and use evidence to develop and support the line of reasoning.
• Explain the relationship between the evidence and the thesis.
• Demonstrate an understanding of the rhetorical situation.
• Use appropriate grammar and punctuation in communicating the argument.

Americans and Western Europeans, in their sensitivity to lingering problems around them, tend to make science and progress their scapegoats. There is a belief that progress has precipitated widespread unhappiness, anxieties, and other social and emotional problems. Science is viewed as a cold mechanical discipline having nothing to do with human warmth and the human spirit. 

But to many of us from the nonscientific East, science does not have such repugnant associations. We are not afraid of it, nor are we disappointed by it. We know all too painfully that our social and emotional problems festered long before the age of technology. To us, science is warm and reassuring. It promises hope. It is helping us at long last gain some control over our persecutory environments, alleviating age-old problems—not only physical but also, and especially, problems of the spirit.

Shiraz, for example, a city in southern Iran, has long been renowned for its rose gardens and nightingales; its poets, Sadi and Hafiz; and its mystical, ascetic philosophy, Sufism. Much poetry has been written in glorification of the spiritual attributes of this oasis city. And to be sure, Shiraz is a green, picturesque town, with a quaint bazaar and refreshing gardens. But in this “romantic” city thousands of emotionally disturbed and mentally retarded men, women, and children were, until recently, kept in chains in stifling prison cells and lunatic asylums. 

Every now and again, some were dragged, screaming and pleading, to a courtyard and flogged for not behaving “normally.” But for the most part, they were made to sit against damp walls, their hands and feet locked in chains, and thus immobilized, without even a modicum of affection from their helpless families and friends, they sat for weeks and months and years—often all their lives. Pictures of these wretched men, women, and children can still be seen in this “city of poetry,” this “city with a spiritual way of life.” 

It was only recently that a wealthy young Shirazi who, against the admonitions of his family, had studied psychology at the University of Tehran and foreign universities, returned to Shiraz and after considerable struggle with city officials succeeded in opening a psychiatric clinic, the first in those regions. After still more struggle, he arranged to have the emotionally disturbed and the mentally retarded transferred from prison to their homes, to hospitals, and to his clinic, where he and his staff now attend them. 

They are fortunate. All over Asia and other backward areas, emotionally disturbed men and women are still incarcerated in these medieval dungeons called lunatic asylums. The cruel rejection and punishment are intended to teach them a lesson or help exorcise evil spirits. 

The West, still bogged down in its ridiculous romanticism, would like to believe that emotional disturbances, dope addiction, delinquency are all modern problems brought on by technological progress, and that backward societies are too spiritual and beautiful to need the ministrations of science. But while the West can perhaps afford to think this way, the people of backward lands cannot. . . . 

. . .The obstacles are awesome, the inertia too entrenched, the people’s suffering too anguished, their impatience too eruptive. Moreover, the total cultural reorganizations such as Asia and Africa are undergoing inevitably engender their own temporary dislocations and confusions. But their goals, the direction, remain constant. We are on the move, however awkwardly at first, to a saner, better world.

How to Answer the AP English Language and Composition Rhetorical Analysis Question

Go back to the original question, which asks you to analyze two features of the passage: (1) its structure, or organization, and (2) its language. The first aspect is fairly specific. As you read the passage, you need to observe what the author discusses first, second, third, and so on. Your essay should explain not only the order of ideas but the reasons the author may have chosen that order. 

The second part of the question is more general. It invites you to analyze the use of language, which may include the author’s choice of words (diction), syntax (word order), figures of speech, use of evidence (such as statistics or logical reasoning), sentence structure, rhythm, sound, tone, or just about any other characteristics of style and rhetoric you choose. 

Although the question directs you to write about two different aspects of the passage, the essay itself should be unified. That is, a good essay should not consist of, say, two disparate paragraphs, one exclusively devoted to structure and another to language. Rather, the essay should include material that shows the interrelationship of structure and language in the passage and how those elements contribute to the meaning and effect of the passage. This might be covered in a separate paragraph, or it could be woven into the overall fabric of the essay. 

Before you begin to write, read the passage at least twice: once for an overview and once as you write your analysis. You may notice early on that the opening paragraph contains generalizations about Westerners’ concepts of science and progress. Then the author contrasts the Western view of science and progress with the Eastern view. Immediately, you see that the author, by using the first-person pronoun (as in “many of us”) is speaking from the perspective of an Easterner. Consequently, his discussion of Eastern views is apt to come across as more well-informed, more authoritative, perhaps more personal. 

To support his position, the author gives an extended example—the city of Shiraz—to illustrate just how different the East is from the West. The description and vivid images of Shiraz memorably convey the idea that the “spiritual way of life” has a side to it that many Westerners don’t know about. This is the heart of the passage. The use of quotation marks around “romantic” and “city of poetry” is meant to point out the discrepancy between the idealized and real versions of Shiraz. 

Nearing the end, the author reiterates his initial contrast between West and East, with emphasis on the East. The last paragraph offers a generalized statement about conditions in Asia and Africa, reminding the reader of the contrast made at the very beginning of the passage. Tying the end to the beginning of the passage creates a sense of unity—a desirable feature in any piece of writing.

AP English Language and Composition: Sample Argument Question

The following paragraph is adapted from Mirror for Man, a book written by anthropologist Clyde Kluckhorn in the middle of the twentieth century. Read the passage carefully. Then, write an essay that examines the extent to which the author’s characterization of the United States holds true today. Use appropriate evidence to support your argument. 

Sample Question Instructions: 

• Respond to the prompt with a thesis that may establish a line of reasoning. 
• Select and use evidence to develop and support the line of reasoning. 
• Explain the relationship between the evidence and the thesis. 
• Demonstrate an understanding of the rhetorical situation. 

Technology is valued as the very basis of the capitalistic system. Possession of gadgets is esteemed as a mark of success to the extent that persons are judged not by the integrity of their characters or by the originality of their minds but by what they seem to be—so far as can be measured by their wealth or by the variety and material goods which they display. “Success” is measured by their investments, homes, and lifestyles— not by their number of mistresses as in some cultures.

How to Answer the AP English Language and Composition Argument Question

Whether you agree, disagree, or have mixed views on the content of the passage, your job is to write a convincing argument that expresses your opinion. Initially, the word argument may suggest conflict or confrontation. But rest assured that your essay need not be combative. Rather, make it a calmly-reasoned explanation of your opinion on a debatable subject. Your goal is to persuade the reader that your opinion, supported by examples, facts, and other appropriate evidence, is correct. 

If you have strong feelings about the topic, of course you should state them in your essay. But express them in calm, rational language. Be mindful that the essay should not be an emotional rant for or against the issue. 

Consider first whether you agree with Kluckhorn’s definition of “success.” Is it, as Kluckhorn asserts, measured by income and material possessions? Or do you think that a more accurate standard of success in today’s America should be determined by less tangible criteria—things such as happiness or self-respect? Or do you stand somewhere in between those two extremes? 

The actual position you take on the issue is less crucial than your ability to support it fully by drawing from your knowledge, background, experience, or observation. Regardless of your position, be sure to include more than one example. An argument that relies on a single example, however compelling, will fall flat. 

In the prompt, Kluckhorn’s notion of success seems to refer broadly to American society. Resist responding in kind. That is, a short essay shouldn’t focus on the whole of society but only on an identifiable segment—perhaps college-educated professionals or urban, blue- collar Americans. The point is that a narrowly focused essay on a limited topic will always turn out better than one that tries to cover too much ground in just a few paragraphs.

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AP® English Language

3 ap® english language rhetorical essay strategies.

• The Albert Team
• Last Updated On: March 1, 2022

The AP® English Language rhetorical essay can be nightmare inducing for some AP® students, but there is no need for fear. In this exam review we will lay out helpful strategies to get you through the rhetorical essays in no time.

Rhetorical Strategy #1: Dissecting the Prompt

The first rhetorical essay strategy is to dissect the prompt. Understanding what the rhetorical essay wants from you is essential. It is important for you to read the prompt carefully for every essay, but critical reading is even more essential to the rhetorical essay. Your rhetorical prompt that you will be given for the AP® English Language exam will contain two elements. The first element is the concrete task that the prompt is asking of you, which is always to analyze the passage that follows. The second part of the prompt is a more abstract task that is not directly asked for in the prompt, but it is implied. By completely understanding both parts of the prompt, you will be able to give a complete essay that will get you to a higher score.

One example of a prompt from an AP® English Language rhetorical essay is this one from the 2008 exam . The prompt reads:

“In the following passage from The Great Influenza, an account of the 1918 flu epidemic, author John M. Barry writes about scientists and their research. Read the passage carefully. Then, in a well-written essay, analyze how Barry uses rhetorical strategies.”

Here you can see the concrete task that the examiners are asking. They want you to analyze the passage for rhetorical strategies; however, you must figure out what you are analyzing the passage for. That is the more abstract concept that you need to dissect the prompt to find. In the case of Barry’s passage you will need to analyze how he uses rhetorical strategies in order to portray scientific research. We know this, because if you look at the prompt, it specifically states what Barry did in his work, which was to write about science and research. That is your abstract task.

Once you have found your concrete task and your abstract task, a great strategy is to write it down to keep you focused throughout your essay . Using the example above this would look like the following:

Analyze how Barry uses rhetorical strategies in order to portray scientific research.

That sentence is what you must follow when writing your essay, and if you successfully keep to this task, then you will move closer to that high score.

Rhetorical Essay Strategy #2: Stick to the Format

This next rhetorical essay strategy is the key to great organization and structure that will put your test anxiety to bed. There is a simple paragraph structure for the body paragraphs of the AP® English Language rhetorical essay that will allow you to think, write, and score higher, faster. You need to begin each body paragraph with an assertion or claim. That is the point that you are trying to make clear to your audience what you will be proving. A great example of this is from the 2006 AP® English Language rhetorical essay. Below is student 2B’s opening sentence for her first body paragraph.

“The diction of the passage fully relays Hazlitt’s position about money ( student 2B ).”

You can see how the student directly asserts what he or she will be proving in this statement. The next step in constructing your body paragraph is to give one to two pieces of textual evidence. Be sure to state why these quotations relate back to your claim, otherwise they will be deemed irrelevant by the examiners. An example of this is the next sentence in student 2B’s body paragraph about diction. Here, the student brings in elements from the text to support his or her claim about Hazlitt using diction.

“’Rejected’, ‘contempt’, ‘disparaged’, ‘scrutinized’, ‘irksome’, ‘deprived’, ‘assailed’, ‘chagrin’; the endless repetition of such discouragement shows just how emphatically Hazlitt money is requisite for happy life (student 2B).”

The final part of this strategy for conquering the body paragraphs of your rhetorical essays is to end those body paragraphs with a thorough analysis. This is the aspect of the exam where you can put your way of looking at the text into your essay.

An example of this is at the end of student 2B’s body paragraph where he or she states, “The irony of the last sentences is negative, conveying the utter hopelessness of one without money. Though one may have none in life, pitiless men will continue to mock one’s circumstances even after death! (student 2B)”

This analysis of the text adds to the textual examples above and continues to bring in new logic from the student.

When this format of a body paragraph is followed, then it is extremely effective. The essay becomes clear, assertive, and easy to follow for the examiners. Follow this rhetorical essay strategy and you are even closer to getting that 5 on the exam.

Rhetorical Essay Strategy #3: LORA

As you are looking at your AP® English Language rhetorical essay prompt and passage it is important to remember the mnemonic device, LORA. LORA stands for Language, Organization, and Rhetorical Appeals. These elements will help you form your argument.

When you read through your passage you want to think about how the author is utilizing language. Is he or she using figurative language effectively? Is there imagery within the passage? Does the diction of the passage make it more rhetorically persuasive? You should not use all of these, but picking one and analyzing it clearly in one paragraph will keep you focused on how the author uses rhetoric, which is the main task of this essay.

An example of this was in the 2006 AP® English Language rhetorical essay. Student 2A begins his or her first body paragraph with, “One of Hazlitt’s most effective methods of promoting the importance of money is his strong diction (student 2A).” This student begins his or her essay with focusing on diction as how the language is used. He or she then goes on to explain why diction betters Hazlitt’s argument, which is exactly what you must do for your own rhetorical essay.

The organization of the author is the next part of your answer to the prompt. You want to look at how the author organized his or her ideas within the passage to support his or her own argument. By pointing out the organization, or structure, of the work and how it adds to the overall persuasiveness, you will bring two of the three most important elements of rhetoric together in your essay.

After organization you need to look at the rhetoric appeals. You may know them by the names logos, pathos, and ethos. It is suggested that you cover as many of these as possible; however, if time does not permit or if the passage uses one more than the other, then you should focus on one appeal.

One example of using pathos in an essay is from student 2A from the 2006 prompt. “Hazlitt plays on the audience’s heartstrings for more than enough time to convince them of the importance of having money (student 2A).” While it would have been better for the student to directly say that this is pathos, he or she does thoroughly explain the appeal to the passions, or pathos.

Key Takeaways

When taking the AP® English Language rhetoric essay you just need to remember these three rhetorical essay strategies: dissect the prompt, follow the format, and always include LORA. If you can follow them, then you are already on your way to a 5 on the AP® English Language exam .

Let’s put everything into practice. Try this AP® English Language practice question:

Looking for more AP® English Language practice?

Check out our other articles on AP® English Language .

You can also find thousands of practice questions on Albert.io. Albert.io lets you customize your learning experience to target practice where you need the most help. We’ll give you challenging practice questions to help you achieve mastery of AP® English Language.

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Your chance of acceptance, your chancing factors, extracurriculars, ap lang rhetorical analysis essay examples.

Hi everyone! I'm looking for some really good examples of rhetorical analysis essays for AP Lang. Would love to see how others have approached this type of essay and learn from them!

Hello! I'm glad you're looking for examples to learn and improve your rhetorical analysis skills. To guide you, I'll point out a few resources and tips that could be helpful.

1. College Board resources: The College Board, which oversees the AP program, provides sample essays and scoring guidelines on their website. You can find past exam questions and sample responses for AP Lang, including rhetorical analysis essays, in their "Free-Response Questions" section. These examples include the grading commentary that explains what makes the essays effective. Here's the link: https://apcentral.collegeboard.org/courses/ap-english-language-and-composition/exam/past-exam-questions

2. Analyzing other AP Lang prompts: It's also useful to look at the rhetorical analysis prompts from past exams and try to analyze them yourself. Practice identifying the rhetorical strategies used and make notes on what you think works well and what could be improved. This will help you understand the process of writing an effective rhetorical analysis.

3. Check the AP Lang subreddit or online forums: The AP Lang subreddit and other online forums can be a great place to find examples of rhetorical analysis essays written by other students. Be sure to read the comments, as they often contain valuable feedback and insight from peers and experienced individuals. Remember, though, to take these examples with a grain of salt, as they may not be as high quality or well vetted as official College Board examples.

4. Get feedback: As you practice writing your own rhetorical analysis essays, try to get feedback from your teacher, classmates, or an experienced individual who is familiar with AP Lang expectations. This will help you refine your writing and understand what areas you need to improve.

When examining samples, focus on understanding how the writer:

- Clearly states their thesis, identifying the rhetorical strategies they'll analyze

- Organizes their essay, often using a chronological or point-by-point structure

- Analyzes specific examples from the text and explains their significance

- Uses effective transitions between points and examples

- Builds a coherent and well-supported argument throughout the essay

By studying examples and practicing your own writing, you'll be well equipped to tackle the AP Lang rhetorical analysis essay. Good luck!

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Rhetorical Analysis Essay

Rhetorical Analysis Essay Example

Top 15+ Rhetorical Analysis Essay Examples for Students

Published on: Mar 10, 2023

Last updated on: Jan 29, 2024

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Writing a rhetorical analysis essay can be tough. You want to engage your reader, but you also need to provide clear and concise analysis of the text. 

It's hard to know where to start, what information is important, and how to make your argument clear. 

Don't fret! We've got you covered. 

In this blog post, we'll give you 15+ Rhetorical analysis essay examples to help you craft a winning essay. Plus, we'll give you some tips on how to make your essay stand out.

So without a further delay, let's start!

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Good Rhetorical Analysis Essay Examples

Examples help the readers to understand things in a better way. They also help a writer to compose an essay just like professionals.

Here are some amazing rhetorical analysis examples on different topics. Use them as a helping hand to understand the concept and write a good essay.

Rhetorical Analysis Essay Example: AP Language

Rhetorical analysis done in AP Language and Composition is one of the biggest tasks a student can ever get. On the same hand, drafting it in a proper way is also necessary to get good grades.

Look at these rhetorical analysis essay example AP language given below to see how a well-written rhetorical essay is written.

AP Rhetorical analysis essay example

Rhetorical Analysis Essay Example Ap Lang 2020

Rhetorical Analysis Essay Example Ap Lang 2021

Rhetorical Analysis Essay Example AP Lang 2022

Rhetorical Analysis Essay Example AP Lang 2023

These rhetorical analysis essay example college board will help you to win over your panel in no time!

Want to start from the basics? Head over to our Rhetorical essay guide to solidify your base.

Rhetorical Analysis Essay Example: Ted Talk

A rhetorical analysis can be done on nearly anything. Here is a good example of a rhetorical essay in which a ted talk is being analyzed.

Rhetorical Analysis Essay Example: Ethos, Pathos, Logos

The first impression of these three terms sounds just like a conjuration in some kind of a magical story. But in fact, these elements of persuasion were created by Aristotle and have been used for a very long time.

According to Aristotle, they were the primary persuasive strategies that authors should use in their papers. These elements are further elaborated as follows:

• The ethos appeals to ethics.
• Pathos appeals to emotions.
• Logos mean the use of rational thinking.

Here is an example of a rhetorical essay written using these elements.

Understand Ethos,Pathos and Logos to write a compelling essay.

Rhetorical Analysis Essay Example for College

College students often get to write a rhetorical analysis essay. They find it hard to write such an essay because it is a bit more technical than other essay types.

Here is an example of a well-written rhetorical essay for college students.

Comparative Rhetorical Analysis Essay Example

A rhetorical analysis essay can be written to show a comparison between two objects. Here is a compare-and-contrast rhetorical analysis essay example.

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Visual Rhetorical Analysis Essay Example

The visual rhetorical essay determines how pictures and images communicate messages and persuade the audience. Usually, visual rhetorical essays are written for advertisements. They use strong images to convince the audience to behave in a certain way.

Visual Rhetorical Analysis Essay Example Pdf

Rhetorical Analysis Essay Example: Letter from Birmingham Jail

Here is another good example of a rhetorical essay. Most of us know about the history of “letter from a Birmingham jail”. Read the given example to see how rhetorical analysis is done on it.

Struggling for a similar good topic? Check out our amazing rhetorical essay topics to select the perfect theme for your essay.

Great Influenza: Rhetorical Analysis Essay Example

Influenza has been one of the scariest pandemics the world has faced in history. Here is a rhetorical essay on great influenza.

Great influenza: Rhetorical Analysis Essay Example

Condoleezza Rice Rhetorical Analysis Essay Example

The speech given by Condoleezza Rice has become a classic example of effective oratory. Here is an example of a rhetorical analysis essay on the speech given by Condoleezza Rice at a commencement ceremony.

Rhetorical Analysis Essay Example: Condoleezza Rice’s Commencement Speech

This example explores the effectiveness of Rice's speech and features an in-depth analysis. 

Rhetorical Analysis Essay Example High School

High school essays involve the analysis of different texts and the application of rhetorical tools to those texts. Here is an example that focuses on a high school essay about the effects of television on society. 

Rhetorical Analysis Essay Example (Pdf)

Rhetorical Analysis Essay Example MLA

MLA format is one of the most commonly used formats for essays. Here is an example of a rhetorical essay written in MLA format that focuses on the effectiveness of advertisements. 

MLA Rhetorical Analysis Essay PDF

Rhetorical Analysis Essay Example Outline

Outline helps to organize the ideas and arguments that you want to present in your essay. Here is a sample outline that can help you write an effective rhetorical analysis essay.

Rhetorical Analysis Essay Example Outline sample

Hop on to our rhetorical essay outline guide to learn the step-by-step process of crafting an exemplary outline.

How to Start a Rhetorical Analysis Essay Example

When starting a rhetorical analysis essay, it is important to provide a brief overview of the topic that you are analyzing. This should include the overall message being conveyed, the target audience and the rhetorical devices used in the text. 

Here is a rhetorical analysis introduction example for your ease.

Thesis Statement Example for Rhetorical Analysis Essay

The thesis statement of a rhetorical analysis essay should explain the primary argument being made in the text. Here is an example of a thesis statement for a rhetorical analysis essay for your ease.

Example of Rhetorical Analysis Thesis Statement

Rhetorical Analysis Essay Example Conclusion

The conclusion of a rhetorical analysis essay is an important part of the overall essay. It should summarize your main points and provide some final thoughts on the topic. 

Here is an example of conclusion for a rhetorical analysis essay for your ease.

Download this  Rhetorical Analysis Essay Writing Manual to help gather all the relevant guidance for your rhetorical essay.

Rhetorical Analysis Essay Writing Manual (PDF)

Watch this video to understand how to select Rhetorical analysis essay evidences.

Rhetorical Analysis Essay Writing Tips

To write a rhetorical analysis essay, you must have good writing skills. Writing a rhetorical essay is a technical task to do. This is why many students find it really difficult.

There are the following things that you should do to write a good rhetorical analysis essay. Those important things are as follows:

• Determine the Rhetorical Strategy

To write a rhetorical essay, the writer needs to follow a specific method for research. The typical research methods used for this particular essay are as follows:

• Choose a Topic

For any essay type, it is very important to have a good topic. A good topic seeks the readers of attention and convinces them to read the complete essay.

• Create a Rhetorical Analysis Outline

An outline is an essential part of essay writing. The outline provides a definite structure to the essay and also guides the reader throughout the essay. A  rhetorical analysis outline  has the following elements in it:

• Introduction
• Body paragraphs

These three elements let you describe the entire idea of your rhetorical analysis essay. These three elements are further written with the help of sub-elements.

• Develop a Thesis Statement

The  thesis statement is yet another important part of essay writing. It is the essence of the entire essay. It may be a sentence or two explaining the whole idea of your essay. However, not give background information about the topic.

• Proofread and Edit

The formal terminology used for essay revision is known as proofreading. To make sure that your essay is error-free, repeat this process more than once.

Now let's wrap up , shall we?

So far we have provided you with the best rhetorical analysis examples that are sure to win over your panel. With our help, you can surely sfe guard your academic success journey in no time!

In case you think you can not write such an essay on your own, consult an essay writing service.

At  CollegeEssay.org , we provide the best rhetorical analysis essay writing service  to every student. We have an extensive team of professional writers who can handle all your essay writing assignments.

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Frequently Asked Questions

What are the 3 parts of rhetorical analysis.

The three parts of rhetorical analysis are: 

• Ethos 
• Logos 
• Pathos 

What are the elements of a rhetorical analysis?

The main elements of a rhetorical analysis essay are: 

• Situation 
• Audience 
• Purpose 
• Medium 
• Context 

Is there any difference between AP lang rhetorical analysis essay example 2020 and AP lang rhetorical analysis essay example 2021?

Yes, there are differences between 2020 and 2021 AP Language and Composition rhetorical analysis essay examples.

• In 2020 the essay prompts revolved around various social issues related to public discourse. In 2021 they mainly focused on the ideas of justice or progress. 
• In 2020 students were encouraged to write a multi-paragraph essay shifting back and forth between creative devices of rhetoric. While in 2021 more emphasis was placed on analyzing how well an author's argument is structured.

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Freshman Seminars

Spring 2025 freshman seminars.

This course seeks to introduce students to Latin America’s experience of war and peace in the second half of the 20th century and the 21st century. It focuses on the causes of war, how political violence manifests, the effects war has on society, and how people seek to make peace and move on from war. Instead of studying only war or only peace, the course questions the division between these two categories, and considers how conflicts can transition from peaceful to violent expressions and back again. The course also considers a wide range of violent and peaceful dynamics, from civil war to authoritarianism, nonviolent civil resistance, and truth and reconciliation. At the center of the course is the question: what constitutes a just peace, and how has that been achieved or not achieved in the aftermath of Latin American political violence?

The course has four units. The first is theoretical, focusing on foundational theories of war and peace, as well as cases which are more ambiguous, such as nonviolent civil resistance, violent democracies, and mass violence beyond war.  The next three units each focus on particular countries and seek to provide students with a deeper practical grounding for the course’s theoretical texts. The cases of Chile, Peru, and Colombia provide varied examples, one of an authoritarian regime, one of a relatively short, two-sided civil war, and one of a very long, multi-sided civil war. These cases will also help students learn about the domestic politics of Chile, Peru, and Colombia, as well as the role the United States has played in them and their significance for the history of American foreign policy.

Students interested in politics, sociology, history, international studies, Latin America, law, and peace studies are welcome to apply. The course is designed to give students an introduction to some of these field’s themes, to help them realize what disciplines they might be interested in majoring in, and to prepare them for future coursework in the social sciences or humanities.

Note - Laboratory Monday (1:30-4:20 PM) - [Seminar MW 1:30-3:00 and Lab MW 3-4:20]

This is a hands-on seminar and laboratory experience about the engineering design of motorcycles. Students will restore or repair a vintage Triumph motorcycle and will compare it to previous restorations of the same make and model of motorcycle from other years (1955, 1957, 1958, 1959, 1962, 1963, and 1964). No previous shop or laboratory experience is necessary, and we welcome liberal arts students as well as engineering students. The class meets twice each week, starting with a discussion session followed by laboratory work.

What does it take to be interculturally competent? Intercultural competence involves the ability to function effectively across cultures, think and act appropriately, and communicate and work with people from different cultural backgrounds. This competence has grown in importance due to increased population mobility, migration, and the global economy. It requires a deep understanding and respect for diverse cultural and pragmalinguistic norms, along with fostering empathy. A global leader must communicate effectively across various cultural contexts, appreciating the intricate differences in communication styles and cultural values. Such dedication enhances intercultural adeptness and nurtures shared humanity, leading to a more harmonious, peaceful, and empathetic global society.

This seminar explores linguistic and paralinguistic aspects of intercultural communication, including pragmatics, semiotics, discourse analysis, studies of politeness, and cross-cultural communication. It aims to develop an understanding of the culture-language relationship and the sociocultural shaping of language. The course also raises awareness of social factors and cultural reasoning that may prevent cross-cultural misunderstandings. Additionally, it encourages learners to explore their values, communication styles, and attitudes toward different accents, challenging assumptions about other worldviews. Students will analyze examples from various languages and cultures, discussing global research on barriers to intercultural communication, such as ethnocentrism, stereotyping, and conflicting values. Throughout, students are encouraged to engage, explore, and dialogue to develop a deeper understanding of interculturality.

This course is an engaging introduction to intercultural communication, perfect for undergraduates new to the field and interested in international relations. No background in linguistics is required. Course highlights include bi-weekly discussions and response essays, a reflective paper instead of a midterm exam, an internationally renowned scholar guest speaker, and a half-semester telecollaboration project with partners from the University of Sarajevo on intercultural communication, language, and pragmatics.

Exciting Addition!  During Spring Break, we'll embark on a trip to the University of Sarajevo in Bosnia and Herzegovina, the country's largest and oldest university. This destination, known for its rich multicultural and multi-ethnic heritage, provides an ideal setting for our studies. Students will explore peace and empathy pedagogy, intercultural competence, and intercultural/cross-cultural pragmatics. Themes of universal democratic values, personal and mutual responsibility, inclusivity, solidarity, and cooperation will also be explored, all vital topics in second language pedagogies.

Students must have a passport that is valid until October 2025 . Additionally, some non-US students might need to get a visa in a compressed period of time. We will reach out to all accepted students immediately to determine whether they need a visa. Visa costs will be covered by the course.

Have you ever wanted to “pay someone back” because you felt injured?  To “get even” with someone?  Each of us has likely been or felt wronged – and has pondered how that wrong is to be recompensed.  

Together, we’ll sample that dish “best served cold” by reading great literature that puts revenge at the center of the story, depicting the heart-stopping dilemmas that accompany vengeance. These narratives write out of an idiom of revenge, showing its deep roots in human nature throughout time and around the world.  We’ll relate revenge to the principle of “evenness” in justice, to theories of punishment, and to philosophies of honor and of forgiveness.  These textual examples lay bare the wild-eyed genesis of retaliation and its toxic fruit which, though generated from a single raw moment of offense, soon poisons larger social units.  The very language of revenge, with its equation of an equal transaction, asks if an individual, or a system of justice, can mete out a punishment that is precisely equal to an injury.  How does literature lay out and calculate equivalent acts of retaliation, and write out the circumstances of that brutal equation of “an eye for an eye”?  We’ll consider large-scale ethical issues prompted by these literary treatments:  Can anger and resentment be purged without bodily retaliation?  Do moral issues like self-respect and self-defense factor into revenge?  Does – should – vengeance satisfy one?        Though literature will be at the core of this course, comparative material will also engage us.  We will study works from the Princeton University Art Museum’s collections that represent social and gendered readings of revenge, and these would prompt reflections different from, but complementary to, literary analysis.  The discourses of law and of journalism, and the methods of psychology and of religion, yield essential lines of conversation as we trace the bloody genealogy of revenge.  At its most comprehension, this seminar will develop our shared humanness through several points of contact, however different are our life-stories from each other.  If human imagination has written a wide literature of calculated revenge, these works nevertheless draw upon our shared human vulnerabilities that – however hot the blood – urge us to relent, desist, and reconsider after we have closed the book.

In the history of religion and philosophy, many important works have been written by authors who were behind bars. This course probes this extensive tradition and the concerns raised. Such texts deal, not only with classic problems in the history of philosophical and religious studies, but also with concerns that many of us share. Topics to be addressed include: arguments for and against the existence of God; whether there is life after death; the logic and rationality of nonviolent rebellion; the nature of evil; whether divine foreknowledge negates human freedom; ethical reasoning in times of radical crisis; justice, forgiveness, and reconciliation; the metaphysics of time; and the abolition of prisons.

Readings span the world’s major religious and philosophical traditions and include imprisoned figures such as Socrates, Boethius, Marguerite Porete, Gandhi, Martin Luther King, Jr., Hannah Arendt, Angela Davis, and detainees at Guantánamo Bay. As we explicate the influence imprisonment has had within philosophy and religion, we will probe incarceration as both site and concept for individual moral growth, as a standard for societal justice and equity, and as the frequent tool of choice to eradicate the abnormal. While many of these authors have become standard reading, this course attempts to hear the voices “from below” as rebel, reformer, and outcast. Works will be exegeted according to contexts of origination while also asking what they have to teach us about abusive power, mass incarceration, and our own intellectual and political freedoms.

MLK left us a legacy of the sacrament of imprisonment while Lenin called prisoners “the best fighters for freedom.” Within the agony, Mandela also felt “the cell is an ideal place to learn to know yourself.” Gandhi argued “jail for us is no jail at all,” while Socrates famously argued while enchained that the mind imprisoned by untruth is a greater threat to freedom and civility. What will you learn from jail?

https://glassclass.my.canva.site/travelblogs Glass is so ubiquitous in our daily lives that we barely notice it anymore. Yet, our modern lives would have been very different (or nearly impossible) without it. Although one may associate glass with only windows or containers, glass, as a class of material, has far-reaching applications in global communications, biomedical, and energy industries! In fact, glass has enabled so many technologies in the past 50 years, some may argue that we now live in the “Glass Age.” Few materials have so many wonderful characteristics and unique applications in human society, brilliantly connecting the artists and the scientists among us. So, what makes glass so special?

This interdisciplinary seminar follows the material science framework of “structure - properties - applications” to take a deep dive into the science of glass, with components of history, art, and society impact discussions. We will: •    study the unique chemical and physical properties of glass materials through hands-on laboratory activities •    make and characterize glass using chemical methods •    learn hands-on flame work and scientific glassblowing from scientific glassblowers* •    explore glass-enabled modern technologies and specialty glass •    visit glass museums, studios, and factory in Venice, where the renowned Roman glass was invented and perfected (international travel during Spring Break required)**

The seminar will help students develop an understanding of how glass science and applications have evolved over time and have made major impacts on culture, scientific discoveries, and technological advancement. The trip to Venice over Spring Break to visit the glass studios, cultural heritage archives, and learn from Venetian glass art historian will provide an unparalleled and memorable course experience. * The class will take a field trip that requires students to be available from 1:30- 8:30 pm one day. ** Students must have a passport that is valid until October 2025 . Additionally, some non-US students might need to get a visa in a compressed period of time. We will reach out to all accepted students immediately to determine whether they need a visa. Visa costs will be covered by the course.

When, where, why and how did human language originate? There are no definitive answers, but like cosmologists who propose a Big Bang or geologists who posit an early super-continent on Earth, we consider and evaluate evidence from multiple sciences. This seminar will examine relevant findings from physical evolution, paleontology, archeology, animal communication, neurobiology, genetics, and linguistics to gain a better understanding of the possible origin of human language, often weighing different, possibly competing, hypotheses. 

We define and distinguish critical concepts such as language and communication and analyze key properties of human language that distinguish it from animal communication. We examine the status of proposed universal properties shared by all human languages. Can children’s language acquisition (ontogeny) and the documented emergence of sign languages in deaf communities shed light on the emergence of human language (phylogeny)? 

Research in animal communication shows that our biologically closest relatives (chimpanzees, bonobos and gorillas), while lacking the ability for speech, communicate in sophisticated ways and recruit some of the homologous brain regions that are involved in human language processing. At which stage in human evolution were the prerequisites for language given, i.e., when did our ancestors have a “language-ready brain”? We discuss fossil evidence with respect to the anatomical features (cranial volume, a descended larynx) required for language. Which features are shared by other species (such as birds and marine mammals) and why did they not develop a full language? In light of paleontological and genetic evidence of Anatomically Modern Human’s migration out of Africa, is a single origin of language (monogenesis) more plausible than polygenesis? 

We ask whether language evolved gradually in tandem with primate cognition (symbolic, abstract thinking, categorization, Theory of Mind) or whether it appeared within a relatively short time due to a genetic mutation that some argue occurred between 70,000 and 40,000 years ago (the “saltational” hypothesis). Alternatively, was there a precursor to full, spoken language such as a gestural or a musical protolanguage? 

What degree of societal organization was both a requirement and a catalyst for human language to arise? We examine several competing hypotheses (“verbal grooming,” efficient transfer of tool-making techniques). The earliest known artworks (cave paintings, fertility figurines) were likely created to fulfill ritual functions; prehistoric tools and jewelry similarly point to social structures that required a well-developed language. Why are humans unique in their drive to share thoughts?

The surviving funerary objects from the ancient Mediterranean, such as imposing monuments, carved grave markers, small offerings, personal altars, and elaborate sarcophagi, all stand as individual and communal efforts to grapple with loss, to focus the process of mourning, and to connect with the deceased. Even more, especially striking representations of the dead or powerful monuments that marked significant places of burial could also act as memory aids, prompting their viewers to remember the deceased through specific sensations, experiences, or memories. By considering a broad range of visual and literary material from the ancient Mediterranean that dates from the sixth century BCE to the third century CE, this course foregrounds the lived experience of mourning and commemorating the deceased. We will consider how objects could depict the deceased, how these scenes may have once acted on their viewers in specific spaces, and what the images and objects suggest to us about how the Greeks and Romans made use of certain formal aspects, materials, or representational strategies to understand those experiences of loss. 

The course explores major themes within the context of Greek and Roman funerary art, including the contexts of funerary rituals and monuments; representation and the deceased; myth and funerary art; imperial power and death; and memory, sensation, and mourning. Students will be introduced to current and new methodologies for studying Greek and Roman funerary art, as well as to ancient conceptions of memory and perception. Our approach and framework will enable us both to analyze the material evidence for past experiences of mourning and commemoration, and to understand the connections among the peoples who participated in the work of mourning and the places in which funerary objects were once displayed.

This seminar investigates the nature, causes, and consequences of economic inequality. We consider five big questions: who is unequal; what is unequally distributed; what causes inequality; what are inequality’s consequences; and how does inequality affect justice? Who is unequal? Inequality discussions often focus on differences within countries: American women earn less than men, African Americans earn less than whites, rural workers earn less than metropolitan workers, the bottom 50% earns less than the top 1%. But we also will explore economic differences across countries, and across individuals globally, where inequality is greater still. What is unequally distributed? Some measures, such as wealth, are more unequally distributed than is income, while other measures, such as spending, happiness and life expectancy, are less unequally distributed. Which measure is most meaningful? And are measured inequality trends the same everywhere? What causes inequality? The list is long: less progressive tax and transfer policies, corporate governance failures, a widening college wage premium, restrictive land-use regulation and changes in family structure. What are inequality’s consequences? Some economic inequality is desirable; it spurs innovation, hard work, and investment in people. But economic inequality is also associated with political corruption, slower growth, and consumption arms races. How much inequality is too much inequality? How does inequality affect justice? Is poverty or inequality the more serious problem? Is inequality intrinsically bad or bad chiefly in its consequences? Is distributive justice solely a matter of the structure of a distribution or is it also a matter of the process that leads to that distribution? Do moral obligations to reduce inequality extend beyond national borders or stop at the water's edge?

This course explores the representation of the Middle East in Western media, especially in the United States. It aims to challenge and debunk misconceptions, prejudices, and stereotypes prevalent in Western societies regarding Middle Easterners, Arabs, and Muslims. The course analyzes how these perceptions are shaped and perpetuated through Western media. Students will investigate the influence of media portrayals on public opinion and critically examine themes in contemporary American cultural productions about the Middle East. Various mediums, such as films, television productions, fiction, documentaries, and video games, will be explored to understand how representations of the Middle East are constructed in Western media. For instance, the video game industry perpetuates harmful narratives by depicting Middle Eastern individuals as villains in well-known, violent war games such as Call of Duty and Six Days in Fallujah. The course provides an analytical framework to dissect underlying issues and concepts related to desire, gender, Islam, colonialism, revolution, nationalism, borders, refugees, and violence when depicting the Middle East. By analyzing these themes, students will develop critical analysis skills and challenge prevailing narratives. Emphasis will be placed on video games, entertainment television, and films as they significantly shape popular perceptions. Students will analyze the portrayal of Middle Easterners in these shows, and the implications of perpetuating stereotypes. The impact of these portrayals on the depicted groups, as well as society as a whole, will be highlighted. Ultimately, the course aims to cultivate the critical skills necessary to discern accurate and unbiased depictions of the "other" in Western media and cultural productions. It challenges preconceived notions and fosters empathy, respect, and appreciation for the diversity within our societies. 

Throughout this course, students will engage in weekly readings, video screenings, and discussions to critically analyze and deconstruct prevalent stereotypes and biases in Western media. Writing assignments include weekly short writing responses (one to two pages each) and a final research paper exploring various mediums like films, documentaries, and video games. Other activities include a presentation in lieu of a midterm test, participating in group discussions, engaging with the course materials and other students, and leading classroom discussions.

By taking this seminar, students will:

• Separate the reel from reality regarding the Middle East by investigating Westerners’ attitudes toward Middle Easterners, Arabs, and Muslims.

• Study the main themes and tropes in American (Western) cultural productions about the Middle East through an analytical framework.

• Survey a variety of examples from the written and cinematic culture. 

• Engage in various topics, including desire, gender, Islam, colonialism, revolution, nationalism, borders, and refugees from and/or about the Middle East. 

• Discuss the importance of examining entertainment television representations of racial/ethnic minorities and their implications for attitudes and policy support relevant to the depicted groups.

• Master critical methods to enable them to study and appreciate the ‘correct’ depiction of the ‘other’ in Western media and cultural productions.

Documentary filmmakers forge complex relationships with the real people who appear in their films. Even in the most empathic works, that precarious bond can be fraught.  So, what happens when filmmakers portray people with whom they have an adversarial relationship? How do documentarians grapple with antagonistic, reprehensible, or unreliable real-life characters? What can be gained from taking on tough subjects?

The answers to these questions have implications across today's media landscape, in which makers increasingly find themselves writing their own rules of engagement. Documentarians employ storytelling approaches from many worlds—art, ethnography, journalism, history, advocacy, social science—as a result, their creative choices offer both innovative strategies, and sometimes cautionary tales, to their colleagues across disciplines. 

This course treats documentary as an epistemological tool, a way of knowing the world. In this case, a hostile one. It examines non-fiction filmmaking from the start of a film idea to its reception in the public sphere, both through study and creative student work. We ask why documentarians choose the subjects and approaches they do, and how the medium of cinema serves (and perhaps complicates) that undertaking. As we watch some of the most influential documentary films in this genre and read related theoretical work, we focus on the practical and ethical dilemmas filmmakers face. And we consider the consequences of sharing those films with a broader audience.

The course will teach the basics of interview and film editing, giving students experience with documentary work, but it is primarily a film studies class.  No experience is required. Students should come prepared to encounter work that can sometimes be hard to watch. The course is taught by Purcell Carson, who works professionally as a documentary editor and director. For eleven years, she has taught a seminar in urban studies and filmmaking at Princeton, where she directs The Trenton Project, a multi-year, community-engaged, documentary workshop.

This freshman seminar explores the creative output of one of the most exceptional figures in European history: Hildegard of Bingen (1098 – 1179). Abbess, composer, dramatist, poet, prophetess, healer, theologian—Hildegard’s influence and originality was so profound and wide-ranging that she is difficult to pin down with any traditional label. Part of this is because her creative enterprise was turned so wholly toward the physical care and spiritual cultivation of the community of women with whom she was in fellowship. Hildegard thus offers a fascinating case of an intellect whose creative powers flowed to and from a culture of care, the maintenance of which was her highest aim. And nearly a millennium after her death, Hildegard’s creative force is still on the increase; contemporary composers, artists, and dramaturges still draw inspiration from her searingly bright vision of humankind’s connectedness—with nature, with one another, and with the cosmos. 

Seminar activities shuttle between medieval and modern, historical and hands-on. On a trip to the Met Cloisters Museum in New York City, students tour a medieval garden containing many of the curative plants that formed the basis of Hildegard’s reputation as a healer. This firsthand work with historical gardening practices shapes our engagement with twelfth-century music and poetry, which was saturated in horticultural imagery. We consider Hildegard's refreshingly open invocation of the female body in her theological and medical writings, and its spectacular expression in the paintings produced by her community. We explore twelfth-century ideas about food’s relationship to the care of body and soul, and learn to cook medieval pottage in one of the residential dining facilities. Later in the spring, students have a unique opportunity to attend the premiere of Hildegard, an opera by one of the leading composers of the twenty-first century, Sarah Kirkland Snider, which explores Hildegard's biography through the medium she believed most expressive of the soul: music. In fact, music serves as our anchor and guide to the seminar's theme of creativity and care. Students will have opportunities to attend several performances at Princeton University Concert's Healing in Music series.

Each student will be given a small plant—of the kind known, described, and used by Hildegard and contemporaries—to tend throughout the semester. This small and daily act of cultivation will form the see the seed of your final project.

U.S. popular culture both shapes and reflects our society’s understanding of feminism. When Beyoncé declared herself a F-E-M-I-N-I-S-T onstage at the 2014 Video Music Awards, interpolating a quotation by Nigerian feminist writer Chimamanda Ngozi Adichie into her song “Flawless,” she expressed explicit allegiance to a politics that fans had been celebrating in her work for years. Performing a medley of her most famous hits that night, she defined “feminism” in and on her own terms for a generation.

Feminism is an identity practice, but it is also a lens that we can use to examine the world around us. In this seminar, we will study influential feminist theories—historical and contemporary, scholarly and popular—and use them to analyze a range of pop cultural forms including Broadway musicals, movies, television shows, stand-up comedy specials, social media, and music. In other words, we will take seriously subjects that are sometimes deemed unworthy of scholarly study.

Over the course of the semester, we will investigate how feminist theory can help us to understand the gender, race, sexual, and class politics in those mass-marketed cultural products that we love or hate (or hate to love). Questions we will ask include: How did 1950s sitcoms perpetuate an idealized image of the “happy housewife” and how did ‘70s feminists protest it? What did pop music contribute to the Third Wave politics of the 1990s? How have women’s magazines maintained raced and classed gender norms? How might the superheroes at the center of Wakanda Forever (2022) defy them? What does the Barbie movie (2023) tell us about feminism today? Does loving Bravo’s Real Housewives franchise make you a “Bad Feminist,” to borrow Roxane Gay’s term? How should we interpret Ali Wong’s “cringe comedy”? Can analysis of The L Word (2004 – 2009) and Generation Q (2019 – 2023) help us track shifts in lesbian feminist politics? What do we have to learn from TikTok feminism?

You can expect about fifty pages of reading a week and a requirement to watch, listen to, or otherwise encounter an example of popular culture. In addition to theory, we will read a range of contemporary feminist criticism to examine how writers formulate and support arguments about popular culture, which will serve as models for your own writing. The final project will be a paper in which you draw on feminist theories to develop your own critique of a pop cultural artifact of your choice.

From climate change to political unrest, it can often feel like we are hurtling towards an existential crisis. But what comes after loss and devastation? In this seminar, we approach what are traditionally thought of as political questions—how to rebuild a community, to adjudicate justice, to articulate a new social contract—from a narratological perspective. We use close textual reading skills to examine how fictional communities, like Boccaccio’s brigata, attempt to reinstitute society after a plague, the Black Death of 1348, and film theory to analyze recent tellings of Giorgio Rosa’s very real project to build an artificial island for his own independent nation. Expanding beyond literature and film, this seminar examines the nexus of narrative and solace in textiles, such as The NAMES Project AIDS Memorial Quilt and in the interweaving of storytelling and player experience in The Last of Us game series. In class, we will use a variety of methods from close-reading and film analysis to hands-on-making and critical theory to discuss, investigate and present our findings about these objects of inquiry and reveal what they can tell us about the role of narrative. By closely studying these ‘texts’ in our own community of readers, we’ll have the opportunity to explore the relationship between literature and consolation—imagination and resilience—as we generate and pursue new questions about the art of storytelling. 

The first drawings were created some 40,000 years ago in caves, predating paper drawings by millennia. Were they just decorations? Did they declare communal values? Were they religious? Whatever the rationale, cave artists made marks not in private but in public, a profoundly human activity. 

Students will use walls, ceilings and floors as support for drawings. The act of drawing will be communal rather than personal and the images will be created collaboratively. Students will use tape, black at first, followed by colored tape to create a series of large room drawings. The class’s room will change and mutate over time as drawings are created, re-arranged and pulled down. Weekly discussions, films and readings will center on the question of what makes an image art?  How do artists engage in public discussions? Does working collaboratively create community? How important is a recognizable image for these designs to be “read”? No previous art experience necessary.

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What is a nation, how is it made, and how does it constantly have to be remade? How do ideas about race, language, gender, and dissent shape understandings of community and belonging? This course takes Greece as a case study to examine the cultural and ideological resources that go into making a nation. What makes someone Greek, and on what grounds is that identity claimed, conferred, or withheld? How can something as seemingly trivial as a recipe become a means of establishing national difference? And what can we learn about nation making and nationalism by examining their vulnerabilities and even failures? Through the study of textual, visual, and material objects we bring the history and anthropology of modern Greece into conversation with theories of nation making to explore the resources used in the ongoing project of making a nation. Each week we consider one resource, from the use of the past and the construction of ethnicity to food, travel, and art. While our focus on Greece allows us to consider the variety of resources that contribute to a single nation-making project, we actively explore the relevance of our study to understanding the U.S. today. Throughout the semester, students work towards a collaborative final project created for a public audience—an online resource that examines how specific cultural artifacts contribute to making, or unmaking, the nation.

In a world inundated with information, storytelling stands out as a potent force that transcends temporal and spatial boundaries, prompting questions about its impact on our lives, its potential for transformation, and what renders a narrative universally appealing. This seminar delves into these inquiries through the exploration of Elena Ferrante’s best-selling 'Neapolitan Novels,' published between 2011 and 2014. The novels, translated into fifty languages, turned into a global phenomenon and sparked a Ferrante Fever on social media. The tetralogy has inspired a critically acclaimed TV series and fueled Ferrante-themed tourism in Naples. The author's decision to maintain anonymity has proven a successful strategy, enhancing the allure of her work. 

We will scrutinize the Neapolitan Saga as a microcosm of themes reflecting female friendship dynamics, identity formation, socioeconomic disparities, and pervasive violence within patriarchal societies. The investigation extends to the author's deliberate choice of anonymity, seen as a feminist act of defiance. Our exploration employs psychoanalysis, deconstruction, and feminist philosophy to examine how Ferrante’s novels contribute to broader political and philosophical debates within the transnational realm of global literature.

Assignments include short response papers, a midterm, and a final paper. Each student will also present two critical essays and lead class discussions.

In October 1922, when Benito Mussolini completed his semi-legal seizure of power in Italy, the Fascist era began in triumph and was cheered by the crowds. It ended two decades later in the Piazzale Loreto at Milan, where the bodies of Mussolini and his mistress were strung up by the heels by the partisans as silent evidence that the Fascist regime was indeed over. Between those two historical moments, Mussolini, the ex-socialist, had dominated the spotlight of Europe.

Produced from the post-World War II period to the present, the Italian, French, German, and Polish films we will study in this seminar establish a theoretical framework for the analysis of Fascism, its political ideology, and its ethical dynamics. We shall consider such topics as the concept of fascist normality, the racial laws, the morality of social identities (women, homosexuals), the Resistance, and the aftermath of the Holocaust. An interdisciplinary approach will be combined with learning basic concepts of film style, technique, and criticism. Some of the films we will study are Bertolucci's The Conformist, De Sica's The Garden of the Finzi-Continis, Malle's Au revoir les enfants, Schlöndorff's The Tin Drum, Wertmüller's Seven Beauties, Holland's Europa Europa, Polanski’s The Pianist, Rossellini's Open City, and Benigni's Life is Beautiful.

Readings will focus primarily on historical essays, interviews with filmmakers, and critical reviews. Students are expected to view one film per week. Students will be required to write three short papers based on the weekly readings and the films and a final paper (6-7 pages). All books will be available for purchase at the Labyrinth bookstore or can be consulted at Firestone Library. All other materials will be distributed by the instructor in class.

The Circus! While it’s easy to get mesmerized by beautiful, daring and graceful performances, have you contemplated what goes into executing these acts? While routines such as aerial acrobatics, juggling, balancing acts, and magic may not at first glance seem mathematical, they in fact require a methodical composition of techniques which have a rich analytical and logical structure.

Part of the beauty, and power, of mathematics is the precise language that mathematicians all over the world have formulated to express their ideas. The use of canonical mathematical language not only allows scientists to explore abstract ideas but it also allows us to describe physical phenomena. Moreover, this language, and the logical structure it imposes, can often reveal hidden relationships or principles and augment our physical intuition with powerful analytic tools that allow us to replace trial-and-error approaches with powerful thought experiments.

We will spend the semester developing creative applications of mathematics to analyze a variety of circus arts from the perspectives of both pure and applied mathematics. Our ultimate goal is to develop both new theories and notations surrounding circus acts including aerial acrobatics, juggling, balancing acts, and magic. Our course will consist of many open-ended research projects as we build mathematical language as a team.

Amazonia is a global hotspot of biocultural diversity with over 400 Indigenous peoples and more species of animals and plants documented than any other ecosystem. It is also a massive carbon sink on the brink. The rainforest is simultaneously one of the planet’s most threatened ecologies and a bastion for biodiversity sustainability. Studies show that deforestation rates are significantly lower on areas governed by Indigenous Peoples in the nine countries that comprise PanAmazonia. This is particularly noticeable in the Brazilian Amazon that encompasses 60% of the basin, currently threatened by illegal logging, mining, and megafires. Indigenous leaders, such as Ailton Krenak, rightfully critique the ways in which dominant powers suppress diversity and negate “the plurality of forms of life and existence.” There will be no future for Amazonia if Indigenous knowledges are not fully appreciated and foregrounded.

At the core of Planet Amazonia is the trust that Indigenous ontological, epistemological, and sociopolitical theories and practices of ecosystem management offer substantive opportunities to combat biodiversity loss and climate change. We will explore how local knowledge and the environment co-produce one another. Holding the sciences in parallel and in dialogue with Indigenous knowledge, we will seek to understand the dynamic ecologies in which the rainforest is shaped and cared for. Drawing from archeological, ethnographic, and ecological studies, we will examine the interplay between human communities, other than human beings, and landscapes both historically and in the present. Amazonia is not a domesticated landscape, but the product of overlapping world-making activities by many agents. In problematizing forest-making practices, Planet Amazonia expands the frontiers of conservation science and works as a platform for future-making agendas based on new scholarly and activist alliances.

The seminar starts with an overview of the presence/absence of Indigenous and local knowledge in Amazonian conservation science. We will then analyze how scholars in the Global South have alternatively engaged with Indigenous cosmologies and practices of conservation, especially around biodiversity, fire techniques, forest management, agriculture, and plant familiarization. We will conclude with an exploration of the ethical and political tenets and storytelling practices accompanying Indigenous environmental mobilization around forest-making and forest-caring. Throughout, we will pay attention to diverse evidentiary and visualization practices, i.e., juxtaposing satellite imagery and fine-grained human knowledge on the ground. Students will engage with Amazonian environmentalists and Indigenous scholars and will work in groups, developing audiovisual projects and crafting alternative visions to safeguard this vital planetary nexus.

Long before the popularization of generative Large Language Models (LLMs) like ChatGPT, speculative fiction imagined the promises and perils of Artificial Intelligence (AI) in literature. From Ovid’s Pygmalion (8 CE), to Mary Shelley’s Frankenstein (1818), to Isaac Asimov’s I, Robot (1950), early representations of AI wrangled with ethical questions about what makes us human, and what the invention of AI means for us as a species. As the pace of technological developments in the field of AI accelerates, contemporary speculative fiction continues to explore these ever-more urgent questions in new ways.

This course will introduce students to literature and ethics through the topic of AI, asking such broad questions as: How can literature help us think through philosophical questions and ethical problems? How does culture borrow from literature in ways that are ethically dubious? What can the literature of the past tell us about our society’s present and future? 

In the process, students will

1. analyze how speculative fiction shapes the ways AI is developed, marketed, and understood: In what ways do companies use AI’s connection to speculative fiction to mystify its workings? What are the implications of that mystification, and what is our responsibility to demystify it for ourselves and others? 

2. interrogate the relationship between speculative fiction and real-world technological innovation: Is speculative fiction a mirror of the present? a crystal ball into the future? an agent of political change? a dangerous source of inspiration or misinformation?

3. close read important works of speculative fiction to think critically about key topics in the ethics of AI, such as what automated labor means for the future of work and who should be held responsible for AI’s mistakes; 

4. engage with critical arguments and scholarly debates from the fields of literary studies, digital humanities, and the history of AI;

5. connect readings to current events in the technology and culture sector through in-class presentations of news articles;

6. familiarize themselves with basic machine-learning concepts through hands-on “lab” activities (no programming skills or technical knowledge required);

7. produce their own ethical position papers about how they will engage with AI in their own lives, based on their close readings.

The Holocaust has frequently been viewed as an event whose nature and magnitude are such as to challenge representation in any of the modes available to us, including historiography, written and oral testimony, fiction, poetry, film, photography, and painting. Generally speaking, however, the very difficulty of representing the Holocaust has not inhibited but rather inspired, with special urgency, the effort to portray this event and its aftermath. And in recent decades, with so many survivors aging and passing away, increased attention has been drawn to the singular contribution their witnessing makes to our understanding of how the event was experienced by its victims. In this seminar, we will consider, through different genres of witnessing—mostly written accounts, but also videotaped and filmed testimonies, historical fiction, and the graphic novel—some of the major questions that survivors have raised: how to communicate an “unspeakable” trauma; whether or to what extent, for this purpose, recourse to artistic means is ethically justifiable; how to reconcile or, at minimum, to relate history and memory; what happens to our assumptions about individuality in the midst and the wake of such a collective upheaval; and not least, what the condition of survival itself entails, and why the enabling and transmission of survivors’ speech.

How can humankind harvest enough energy to maintain or raise the standard of living of people everywhere, while minimizing the damage to our habitat and the conflicts over resources? We don’t know! But we do know that this is a central problem facing our civilization, and that the solution to the problem will require a clear understanding of the physics of energy in all its fascinating manifestations. In this seminar, we will survey the physical phenomena involved in energy extraction, conversion, and storage. Starting from an AP Physics level of knowledge (or equivalent), we will learn the basics of mechanical, electromagnetic, thermal, chemical, and nuclear energy. Through quantitative discussions and problem-solving, we will come to appreciate the advantages and disadvantages of harvesting energy from the Sun, wind, and rain; the Earth’s hot interior; fossil fuels and plants; and nuclear fission and fusion, among other possibilities. Since this seminar is taught by an astrophysicist, we will also trace these energy sources back to their astrophysical origins: stars, supernovae, and whatever caused the Big Bang. Our emphasis will be on order-of-magnitude analysis and distinguishing between fundamental physical limitations and engineering or economic challenges. We will eschew politics and polemics and embrace this important subject in the spirit of humility and curiosity. Weekly homework will consist of readings drawn from physics texts and current events, and calculations related to energy harvesting and conversion. Students will also write a final paper about a topic of their choice. 

This course is an intensive introduction to the work of Bob Dylan. Dylan achieved a kind of immortality when he was awarded the Nobel Prize in Literature in 2016.  Yet approaching a decade later, he remains a vital force as a writer, songwriter, performer, and recording artist. Across the many genres of contemporary popular music, and not just popular music, his influence is unmatched. Examining his long career not only unlocks major currents in American cultural history; it provides a model of American creativity and self-creation for the present and the future. Starting with his early days in Greenwich Village, the seminar will retrace Dylan’s roots, examine the cultural contexts in which his art developed, and look at the continuities as well as sharp changes of his singular career.

Our way of speaking is an essential part of our identity. Whether we realize it or not, our particular variety of language gives information to the listeners about where we were born, how old we are, our social class and even our race or ethnicity. Of course, this can become an obstacle in society, since not all dialects are considered equal. For that reason, everyday thousands of speakers around the globe consciously try to change their way of speaking, hiding some parts of their identity, so as not to feel judged or discriminated against.

In the first half of this seminar, we will focus on what constitutes a dialect, and differentiate it from a language or an accent. We will start by finding out the uniqueness of our personal idiolect within our language variety. We will learn, through a number of examples, why some dialects are better regarded than others, and why there is some confusion between language and dialect. We will explore the role of society and politics in determining what the prestigious variety is, with a focus on English and the US, including the many geographical dialects and AAE (African American English). We will debunk the myth that there is only one correct way of speaking and examine the reasons behind that belief. During the second half, we will turn our attention to the phenomenon of languages in contact and the distinctive varieties that result from them, including pidgins and creoles. We will focus on one of the most common occurrences in the US, the code-switching between English and Spanish, and also other examples. We will also discuss diglossia, a situation that often appears when two or more languages coexist in the same area, and the implications that eventually follow, for instance, the figure of the heritage speaker. One of the main goals of this course is to empower every language variety and their speakers.

This seminar is designed for students that are interested in how people talk and the social implications of their way of speaking. No previous knowledge in the field of linguistics is required. Students will write about and study some varieties of their own language and the impact of multilingualism in a particular community.

This seminar is about survival, resistance, and the power of language in the face of cultural and political domination. After the fall of Aztec Mexico by Spanish conquistadors threatened to destroy the Aztec civilization as it was known, its descendants fought to preserve their culture and gain agency and power under the Spanish Crown. Students will dive into this most captivating ancient civilization of Mesoamerica to reflect on its rich history and enduring legacy from pre-Columbian to colonial times. 

Students will have the opportunity to learn the basics of the Nahuatl language, from which words like avocado, tomato, chili, and chocolate come. They will also learn about the Aztecs’ origin stories, their ways of preserving the past and the main features of their writing system before contact with the Europeans. Finally, students will work closely with the Mesoamerican collection at Princeton University’s Library, which contains important manuscripts that document colonial life in Mexico and Central America in Indigenous languages. We will visit the collection often to discuss how these manuscripts document Indigenous Christianity, rhetorical and poetic practices, gender roles and concepts, views of class and ethnicity, and concepts of good and bad governance—sometimes with an implicit critique of colonial institutions.

In this seminar, students will make valuable contributions to a larger project and actively participate in the creation of an  on-line platform  known as "Translating Mesoamerica." This platform aims to explore the ideas, history, and linguistic characteristics of the manuscripts housed in the Mesoamerican collection of Princeton University Library. Students' research findings from this seminar will be integrated into this collaborative endeavor, designed to make the documents more accessible, to promote the study of Mesoamerican cultures, and to showcase the collection to a wider audience.

This seminar offers a contemporary, interdisciplinary introduction to the study of the Holocaust (or “Shoah”). We will study this unthinkable atrocity in its historical specificity, its afterlife, and its relevance to the present. In the first instance, this entails studying the rise of fascism, the emergence of genocide, as well as questions of memory, testimony, and trauma. We will thus move between works of history, first-person accounts, fiction, poetry, film, psychoanalysis, critical theory, and philosophy, testing the limits and powers of these divergent idioms, genres, disciplines in the face of atrocity. We will also have to ask to what extent the traditional functions of philosophy and theory – critique, speculation, and abstraction – are still valid in the wake of genocide and how they might need to be transformed to reckon with the Shoah. Similarly, we will have to ask, following Theodor Adorno, to what extent poetry (and by extension, the other arts) are still possible “after Auschwitz.” Finally, we will also have to engage a set of specifically contemporary questions: how, if at all, can we compare different genocides? Is it possible to think about the Holocaust “comparatively” or indeed “intersectionally”? How does the Holocaust relate to contemporary forms of racism, xenophobia, antisemitism, and fascism? What are the various ways in which the Holocaust is invoked in contemporary culture and politics?

In an April 1945 memo to President Harry Truman, Secretary of War Henry Stimson announced the coming of the nuclear age. The United States, Stimson wrote, was about to complete “the most terrible weapon ever known in human history, one bomb of which could destroy a whole city.” He warned that “the world… would be eventually at the mercy of such a weapon. In other words, modern civilization might be completely destroyed.” Four months later, on hearing the news that America’s atom bomb had destroyed its first target, the Japanese city of Hiroshima, Truman declared, “This is the greatest thing in history.” 

In May 2016, as the first U.S. President to visit Hiroshima, Barack Obama said of the 100,000 people killed in that first atomic bombing, “Their souls speak to us. They ask us to look inward, to take stock of who we are and what we might become.” He observed that “The scientific revolution that led to the splitting of an atom requires a moral revolution as well” and went on to say that “nations like my own that hold nuclear stockpiles, we must have the courage to escape the logic of fear and pursue a world without them.”

Using scholarly and popular writings as well as movies and documentary films, guest speakers and class room exercises, this course explores how the United States became the first country to make nuclear weapons, the only one so far to have used them, what it meant to live with the bomb in America during the Cold War, and the implications of the new nuclear arms race with China and Russia. It probes how and why the bomb has spread to other states, what has driven the rise and the fall of nuclear arms control as way to control the bomb, and the long-standing links between nuclear weapons and civilian nuclear energy programs. The course looks into the development, production, and threats to use nuclear weapons, and the associated economic, political, social, cultural, psychological and environmental costs. It asks how the bomb has become a political and cultural force and how it shapes the lives of people in nuclear communities, from the bomb builders to those tasked to use them. Finally, it engages with the long-standing struggles to ban the bomb, and the negotiation and implications of the 2021 United Nations Treaty on the Prohibition of Nuclear Weapons.

In this seminar, we will study the problem of power and morality, or the tension between the pursuit of rule and empire and the pursuit of excellence, through an examination of classic works of Greek literature. The intense experience of living and acting together in the Greek city-states inspired a remarkable degree of reflection on questions of human nature and many texts that have endured as sources of self-knowledge and humane critique in subsequent cultures. Students will engage works from four distinctly Greek literary traditions—epic poetry, tragedy, history, and philosophy—that explore the attraction of power and glory, the claims of divine and human law, how to combine rule with justice, and the place of war and politics in the good life.

Many of the works we will read were written in or about 5th century Athens, which felt most intensely the alternately reinforcing and competing claims of the pursuit of power and devotion to virtue. During this period, the democracy led a Greek alliance against the Persian empire, converted that alliance into an empire of its own, and fought a generational war with Sparta for supremacy within the Greek world. The reflection occasioned by these events touches on many ethical and political questions—regarding the nature of democracy and democratic imperialism, the elements of prudence and persuasion, the character of leadership and the danger of demagoguery—that continue to be felt in our time.  

Increasing global connectivity has brought forth (at least) four major challenges today. One is global health threats such as the ongoing SAR-CoV-2 virus unleashing the COVID-19 pandemic. A second is the rise in cryptocurrency assets driven by mistrust in institutions and authority. Third is mass migration, possibly related to climate change. And fourth is informational opacity despite constant and continuous digital connectivity. Either due to deliberate obfuscation or mindless content creation, impactful knowledge exchange is impeded.

In order to coherently address these challenges, we need to understand the history of the technologies that have precipitated their trajectories. In this seminar, we will explore the history of modern communications technology from a non-technical perspective. What are the economic and social factors that played a role?

We will start with the evolution of Bell Labs and the invention of the transistor in 1949. Every decade since has seen a path-breaking invention with the integrated circuit or microchip at Xerox Parc in 1959, the microprocessor or brains of the computer at Intel in 1969, as well as Arpanet, the precursor of the modern WWW. Around 1979 we saw the introduction of the personal computer, with the IBM PC with MS-DOS launched finally launched in 1981. In 1989, Tim Berner-Lee introduced the world-wide-web. After that, we were in a sprint with streaming technology introduced in 1995, Google in 98, Napster in 99, Facebook in 2004, Netflix in 2007 and so on. The transistors, lasers and information technologies developed by these firms have been incorporated into the computers, communications and devices and processes as the list of new firms shows.

As these new technologies are developed, they create the need for new technologies to solve the problems created by earlier developments. This is the history of innovation.

In addition to class discussion we will have speakers from these various organizations tell their story of innovation. The goal is to understand the process of invention and innovation from a historical perspective and to find some generalizable principles.

This class will explore a group of performance artists and pedagogies from Latin America that use the medium of theater and live performance to react to social and political injustices and to prompt audiences to respond.  These works challenge structures, cast light on societal inequities, empower the voiceless, and more. Through a mix of readings, practice (play), viewing, and discussions, we will gain a deep, embodied understanding of these approaches, understanding the traditional view of a "good play" stemming from Aristotle's Poetics, to precisely how each of these artists’ works provoke action and awareness to their audiences. In our own practice, we will explore the material while applying techniques to our own relevant issues. 

This class will include a trip to NYC to take a workshop and see relevant work (a performance).

We will begin with Augusto Boal's "Theater of the Oppressed,” which originated in Brazil, through which we will learn first of his perspective on Greek and European approaches to theater.  In the spirit of his vision, we will next explore the idea of the spect"actor" at the forefront—using our own selves; bodies, voices and imagination in guided games and exercises in order to explore the interactive relationship between the audience and performer. (Image Theater, Forum Theater, Invisible Theater, and more) 

We will then delve into ritual and exploration of embodied memory through Teatro Yuyachkani, the satirical and feminist cabaret styles of Jesusa Rodriguez, and the tightly wound exploration of theater criticizing itself and questioning trauma healing in Guillermo Calderón's work.  We will also learn what we can of TiT political happenings (5 minute provocations under an oppressive government we can only read few accounts of) in Argentina,  explore the joyful exuberance of youth-led troupe Teatro Trono who use clowning and mask work to address social/political issues, and more.

As we explore these theatrical contexts, we will embody their methods to share and learn of the historical, social and political contexts of the surrounding culture of these artists in their countries and gain a broad overview of Latin American theater history and its constant grappling with colonialist and imperialist perspectives. (This will include study of excerpts from Theatre of Crisis, by Diana Taylor.)

The class will culminate in a final set of group showings of pieces that students will create based on your own social/political interests, using inspiration from all we have studied in class.

Spanish not required. Acting experience not required. Willingness to play and take risks is integral to class.

Using an array of creative research methods, students will explore their environments, searching for data and identifying connective patterns, stories, and observations. They will collect and catalog their findings in evolving digital archives, iterating on modes of communication, techniques of design, methods of art practice, and applications of creative technology. Some topics to be covered include: archival research, documentary media, mapping, digital illustration, data collection & analysis, information graphics, and interaction design. Discussions on and responses to the work of data-driven artists, writers, filmmakers, designers, and engineers will provide context to these topics. Students will practice and investigate these approaches through the production of small, weekly creative projects. In-class exercises and demonstrations will introduce a range of digital production tools and technologies. The course will culminate in the production of a larger creative data visualization project. This final project will be built on the foundation of one or more of the smaller weekly sketches, developed and iterated upon throughout the semester.

Lasers are not focused, and quantum leaps are tiny. This freshman seminar first explores the science behind quantum technologies. What makes a physical object "quantum", and what does it mean for the way it behaves? The future of quantum technologies, especially quantum computation and quantum cryptography are discussed. Besides the technical aspects, this freshman seminar also explores the use of "quantum" in popular culture, media, film, and literature. This seminar is open to all first-year students, and does not require any specialized prerequisites beyond general high school science and mathematics.

New York’s Central Park, 843 acres in the center of Manhattan Island, remains, now more than a century and a half after its construction, the most iconic urban park in the United States.  Visited by 42 million people each year, Central Park has been the subject of innumerable paintings, photographs, and images, and has been called the most filmed location in the world.   How can we best uncover the meaning and significance of this place, both as a symbolic site from the past, and as an active public space of the present?  This seminar will take a deep dive into Central Park’s history and employ a wide variety of disciplinary approaches. Examining the social, political, and artistic context of the park’s nineteenth century origins, the course will take up the complexity and contradictions inherent in the creation and preservation of “nature” in the center of the most densely developed region in the nation, and in the heart of the city that would go on to become the cultural and economic capital of the United States.

We will consider the history of the land prior to European settlement down through the present, and will explore both the democratic idealism and strategies for social control embedded in the original design of the park by Frederick Law Olmsted and Calvert Vaux.  We will look at the history of Seneca Village, an African-American community of land owners residing within the confines of the present park who were displaced and dispersed by the eminent domain process, and visit the Afrofuturist period room based on Seneca Village in the Metropolitan Museum.  Later on, the course will take up the “exhibitionary complex” of the park (the museums, the zoo, and other attractions) and look at the rich history of different mediums (painting, sculpture, photography, film) through which a wide range of artists have approached Central Park, from its beginnings to the present.

The course will include field trips to New York and Central Park.  Over the semester students will produce a class presentation focusing on one of the attractions of Central Park, a short take-home midterm, and a final project which can be in the form of a research-oriented paper or a creative project such as a photographic essay with text.

They say, “you are what you eat,” but what does the food that we consume say about us and our ways of being? The home and hearth are essential elements of what defines a community, yet this concept differs radically throughout the world. The kitchen, for example, is often viewed across cultures as the heart of the home in literature, film, commercial enterprises, and television. This course examines food practices and eating behaviors through an interdisciplinary lens – the anthropological, historical, sociological, economical, and psychological interpretations of food and eating. An understanding of how food and meals have evolved to create culture and identity as well as distance and otherness (You eat what?!) will enhance students’ understanding of their relationship with food and their culture, history, geography, and themselves. Because food is one of our most basic needs, understanding its significance will allow us to explore how foods and eating convey (and perhaps limit) self-expression and establish relationships between individuals and groups.

The parable of the Good Samaritan is one of the most celebrated teachings of Jesus about the meaning of love and justice.  But, like most biblical stories, its meaning is contested.  By looking at diverse religious and secular interpretations of this story and its themes, this seminar examines the nature and scope of morality in an age of globalization.  Debates about immigration, global poverty, and humanitarian intervention witness varied and contradictory appeals to this parable.  The questions raised by these issues are neither abstract nor limited to public policy.  They involve practical decisions that face ordinary people in everyday life.  In fact, so the seminar will argue, they reveal basic understandings of politics, human nature, and the place of morality in life itself. 

Most people praise the Samaritan for his compassion and his willingness to transcend cultural boundaries in order to meet the desperate needs of a stranger.  The story, conventionally read, teaches the importance of universal concern for any human being.  But not everyone shares the same convictions about what human beings owe one another and how best to meet the needs of others.  Some find it essential to distinguish between actions that are morally required and those that are praiseworthy, above and beyond the call of strict duty.  Some argue that charity may be appropriate for interpersonal relations, but it should not guide political communities.  In fact, virtues like compassion are dangerous because they are inadequate and often cause more harm by trying to do good.  Still others argue that universal concern threatens special relationships and their unique bonds of affection—like those found among friends, neighbors, families, fellow citizens, and co-religionists.  These particular relationships, for example, may justify preferential concern in ways that trump the claims of those who are more “distant.”