Date of publication: 2017-08-25 20:03
Sample student responses to an AP . History long essay question, scored using the updated 7568 AP history rubric. Includes scoring guidelines and commentary.
To compare is to examine how things are similar, while to contrast is to see how they differ. A compare and contrast essay therefore looks at the similarities of two or more objects, and the differences. This essay type is common at university, where lecturers frequently test your understanding by asking you to compare and contrast two theories, two methods, two historical periods, two characters in a novel, etc. Sometimes the whole essay will compare and contrast, though sometimes the comparison or contrast may be only part of the essay. It is also possible, especially for short exam essays, that only the similarities or the differences, not both, will be discussed. See the examples below.
At first sight the volumes and contours declare themselves boldly to the eye. They are of a surprising simplicity, and are clearly apprehended. But the more one looks the more they elude any precise definition. The apparent continuity of the contour is illusory, for it changes in quality throughout each particle of its length. There is no uniformity in the tracing of the smallest curve.... We thus get at once the notion of extreme simplicity in the general result and of infinite variety in every part. It is this infinitely changing quality of the very stuff of painting which communicates so vivid a sense of life. In spite of the austerity of the forms, all is vibration and movement. 77
[Cé zanne] has abandoned altogether the sweep of a broad brush, and builds up his masses by a succession of hatched strokes with a small brush. These strokes are strictly parallel, almost entirely rectilinear, and slant from right to left as they descend. And this direction of the brush strokes is carried through without regard to the contours of the objects. 79
The Egyptian sculptor, cutting into a block of stone, has shaped and organized the parts of his work so that they produce a particular sense of order, a unique and expressive total form. The individual parts have been conceived of as planes which define the figure by creating a movement from one part to another, a movement that depends on our responding to each new change in direction.... In this process our sense of the third-dimensional aspect of the work is enforced and we become conscious of the work as a whole. The movement within the figure is very slight, and our impression is one of solidity, compactness, and immobility.
Note: The scoring guidelines in this table were used to score the 7567 AP United States History Exam. Updated rubrics for the 7567-68 school year are available above, under Updated Rubrics for 7568.
Past exam questions from the May 7569 administrations and before are also available. Note that these questions do not reflect the content, scope, or design specifications of the initial redesigned AP . History Exam.
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In Fry’s view of Cé zanne, contour, or the edges of forms, are especially important. The Impressionists, Cé zanne's peers and exact contemporaries, were preoccupied “by the continuity of the visual welt.” For Cé zanne, on the other hand, contour
became an obsession. We find the traces of this throughout this still-life. He actually draws the contour with his brush, generally in a bluish grey. Naturally the curvature of this line is sharply contrasted with his parallel hatchings, and arrests the eye too much. He then returns upon it incessantly by repeated hatchings which gradually heap up round the contour to a great thickness. The contour is continually being lost and then recovered... [which] naturally lends a certain heaviness, almost clumsiness, to the effect but it ends by giving to the forms that impressive solidity and weight which we have noticed. 76