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Manlius Pebble Hill School > Academics > Curriculum Guide > english 


Curriculum Guide

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 English

UPPER SCHOOL COURSES


“If language is not correct, then what is said is not what is meant; if what is said is not what is meant, then what ought to be done remains undone.” 

Confucius

 

“To have a sense of creative activity is the greatest happiness of being alive.”

            Matthew Arnold

 

The MPH English Department recognizes the creative tension generated by the pull of the utile against that of the gratuitously beautiful; it is as necessary to have literate engineers as it is literary geniuses. We seek to balance these two energies, inculcating basic literacy while wistfully agreeing with Vico that “…in the world’s childhood, men were by nature sublime poets.” To that end, the standard survey courses are enhanced by A.P. and elective offerings, access to which any Upper School student may be granted upon receiving permission from the teacher. These courses explore a culturally diverse range of fiction, non-fiction, and poetry, as well as art, film, and music. To give some idea of the range of these offerings, recent students may have read and discussed works by authors as diverse as Nelson Mandela, Milan Kundera, Stuart Dybek, and Karl Marx; discussed the uses of cinematography in Psycho and The Cabinet of Dr. Caligari; examined the role of gender in 20th century literature; and written original scripts in a playwriting course. Our students assume increasing responsibility for their learning as they make choices, design projects, work collaboratively, evaluate their work, and reflect on the connections between classroom experiences and their own lives. We believe that precision of expression leads to complexity of thought, which in turn leads to empathy and engagement. To learn to express a thought efficiently is to gain access to ones better nature, and empowers one to move confidently and compassionately in the greater community.

 

MPH’s student literacy magazine, The Windmill, is an example of the English’s department philosophy in action. It kindles passions for poetry and prose through the medium of community participation and interaction. The Windmill has received national recognition, including Columbia University’s Gold Award for best literary magazine, First Place in the National Scholastic Press Association Competition, and numerous awards from The Empire State Student Press Association. In 2006 and 2007 The Windmill was named best over-all literary magazines for New York State schools with enrollments fewer than 1000.

 

The English Department also supports the School’s newspaper, The Rolling Stone, which is published four times a year. In years past, The Rolling Stone has garnered its fair share of praise and notoriety, the milestones of any publication that matters to its readers. Additionally the School’s yearbook, eMPHasis, is produced entirely by the students in a journalism course designed to support all student publications.

 

To foster a powerful involvement with the world of literature and writing, department members provide additional learning opportunities through interdisciplinary programming, summer reading projects, trips to theater performance and lectures by authors of national and international stature, (such as George Saunders, Tobias Wolff, Michael Herr, and Mary Karr) and student-directed writing workshops, poetry readings, and literary cafes. The teachers themselves have published their own work in nearly every genre, and serve as passionate advocates for the life of the mind as both a solitary and public activity.

 

It is the English Department’s goal that by the end of their time with us, every student will have taken to heart Emerson’s dictum that “No man ever forgot the visitation of that power to his heart and brain, which created all things new; which was the dawn in him of music, poetry, and art.”

UPPER SCHOOL

English 9
(1 credit)

English 9 is a foundational year for both content and skills. With the guidebook Models for Writers, students develop essential writing skills such as generating thesis statements, organizing paragraphs, and establishing coherence and unity throughout an essay.  Following the exclusive study of writing, students will read from the anthology The Bible as/in Literature to explore selected passages from the Bible, and make connections between the biblical readings and texts from other genres. Students will take their understanding of themes and imagery to their reading of John Knowles’s novel A Separate Peace. To complement their study of the Judeo-Christian influence in literature, students will also explore Ancient Greek texts, specifically Homer’s Odyssey and Sophocles’s Oedipus Rex. These readings will allow students to understand classical ideas about character and heroism, which students will then balance against later texts such as Beowulf, The Narrative of the Life of Frederick Douglass, and Maxine Hong Kingston’s The Woman Warrior.



English 10 (1 credit)
In Tenth Grade, students explore how different cultures and different eras use words to give shape to and make sense of reality. Toward that end, the readings for this course include short stories, essays, poems, drama, and novels, as well as newspaper articles, magazine essays, political speeches, and advertisements. These works form the basis of the formal and informal writing assignments that develop students' critical and analytical skills. Students also write creatively in order to enhance their understanding of how literature works as well as take pleasure and satisfaction in becoming practitioners of literary arts. Students continue to develop their ability to interpret literature and to analyze rhetoric in their oral and written assignments, which include presentations, essays, and journal entries. The course concludes with a final paper about a book chosen by the student.

Texts may include works by Sophocles, Shakespeare, Shelley, Saint-Exupéry, Joyce, Orwell, Auden, Wiesel, Garcia-Marquez, and Danticat.



English 11
(1 credit)
In 2008, the head of the Nobel committee called Europe “the center of the literary world,” and said the literature of the United States is narrow-minded, its writers “too sensitive to shifts in mass culture”—a sign of their “ignorance.”

The English 11 curriculum, traditionally focused on literature of the United States, aims to understand the strengths of our writers and recognize the unique ideas and important styles arising from our cultural seedbed. Students will read slices of every literary and cultural era from Puritanism to what is being composed right now. We’ll take the measure of those authors who’ve told the greatest stories (from Poe’s tales of horror to Twain’s transformation of the vernacular to Vonnegut’s fiction of the fantastic), the poets who reached for new forms of expression (from Dickinson in her ruminations on life and death to Plath and her dissection of the mental state of motherhood), and the essayists from Thoreau to Baldwin who wondered at the cracks in this country’s soul. This year, students will learn the themes and obsessions that drive our citizen-writers, and students will not only write about those authors but will themselves explore those themes in their own writings, discussions and presentations.

Readings may include: Kindred, Octavia Butler; True Grit, Charles Portis; Slaughterhouse-Five, Kurt Vonnegut; We Have Always Lived in the Castle, Shirley Jackson; The Great Gatsby, F. Scott Fitzgerald; The Snows of Kilimanjaro, Ernest Hemingway; The Merchant of Venice, William Shakespeare (no, not an American, but there’s no American literature without him); various stories, poems, speeches and documents.


AP English Language (1 credit)
AP Language examines primarily non-fiction works from a variety of disciplines and time periods in order to explore the art of persuasion, or rhetoric. With a broad focus on the relationship between the personal and the political, the readings expose students to a diverse range English-language writers, among whom are included autobiographers and diarists (Angelou, Hellman, Rodriguez, Wright), historians (Churchill, Fraser, Macaulay, Parkman, Tuchman), science writers (Nestle, Dillard, Eiseley, Gould, Matthiessen, Thomas), critics (Ruskin, Kael, Sontag, Wilson, Clark), essayists (Sedaris, Baldwin, Didion, Hurston, Momaday, Olsen), journalists (Ephron, Goodman, McPhee, Theroux), and political writers (Arendt, Buckley, Jefferson, King, Locke, Mill, Vidal). The purpose of this college freshman level writing course is to enable students to write and to read effectively in all courses across various disciplines.


AP English Literature
(1 credit)
AP Literature presents the most able students with a college level literature class. The course emphasizes the skills in literary analysis introduced in English 9, 10, and 11. Close reading of a range of texts strengthens the student’s ability to analyze literature independently. Features examined in poetry, drama, fiction, and non-fiction include: archetypal patterns, formal terminology, symbolic motifs, and complex structures.
Works may include those by the following writers, as well as some by contemporary writers: Shakespeare, Austen, Bronte, Faulkner, Conrad, Ellison, Tennyson, Keats, Eliot, Shelley, Donne, Kafka, Dickens, Swift, Hardy, Dostoevsky, Tolstoy, Woolf, and Garcia-Marquez.


Senior Electives

America in Black and White, 1619-2012 (Fall 2011)(0.5credit)

This course examines the development of American race relations in politics, society, and culture from the growth of slavery as an institution to the aftermath of Barack Obama’s election as President of the United States. This course will focus on topics of historical significance, but it will understand them through literature, philosophy, personal narrative, music, and film. Key investigative questions include: How did race get established in America as an important social and political category? How did slavery influence personal relations between blacks and whites before and after the Civil War? How did the North and South reconcile their differences after the Civil War, and at what cost to African Americans? What did the civil rights movement really do to improve race relations? Students will read eyewitness accounts of slavery and reflections on race relations by Thomas Jefferson, Frederick Douglass, John Calhoun, Sojourner Truth, Abraham Lincoln, Martin Luther King, Jr., and Malcolm X. In addition, students may read Octavia Butler’s novel Kindred, stories by Richard Wright, William Faulkner, Flannery O’Connor, and Ralph Ellison, and poems by Gwendolyn Brooks, Langston Hughes, and Amiri Baraka. 



Comedy: This Is Not a Joke (Fall 2011) (0.5 credit)
You can reel off dozens of movie titles found under the heading “Comedy” at Netflix. You played Puck in a school production of A Midsummer Night’s Dream. But did you know that comedy, as a genre, traces its origins to ancient ritual gatherings? We find comedy compelling and appealing for its happy endings, the marriage of opposing forces (often literally), yet we use humor to exorcise some of our ugliest hypocrisies, biases, and fears. In this course, we will study comedy in its many forms (irony, satire, parody, farce, humor, and, yes, jokes), considering recurring features of the genre (structure, theme, situation, and character), as well as comedy’s role in society. Texts, from classical plays to contemporary films, will come from: Plautus, Aristophanes, Shakespeare, Wilde, Jane Austen, Dorothy Parker, Sarah Vowell, David Ives, David Sedaris, Tina Fey, Mel Brooks, Woody Allen, and a selection of more recent films.


Confronting Fear and Evil in Literature and Philosophy (Spring 2012) (0.5 credit)

Why is there evil? Why do we experience fear? How can we equip ourselves to overcome these emotional and psychological obstacles? This course investigates the nature of fear and evil, and will take instruction for these answers from writers and philosophers. We will grapple with definitions of fear and evil, with the problems they pose for individuals and societies, and with the variety of real and imaginative responses to them. This is the major question that will guide our inquiries: Do fear and evil challenge us to see who we really are, or does our response to fear and evil make up only a small part of our identity? We will address these essential questions through close readings of literary and philosophical characters from Socrates and Nietzsche’s übermensch to Dracula and Harry Potter.



Creative Writing (Fall 2011)(Spring 2012)(0.5 credit)
Designed for students with a serious interest in writing, this class aims to explore various forms of writing--fiction, nonfiction and poetry--as well as how to constructively respond to each. We'll read and critique works by professionals before moving on to reading and critiquing each other's work. Students will produce frequent pieces for the class and are expected to provide written comments on classmates' work and engage actively in discussions.



Journalism Workshop (0.5 credit or 1 credit)

This course explores the news and the narrative forms of reporting and writing through doing and discussing. By reading, critiquing, comparing, and producing various types of newspaper, magazine, and online articles, students improve as writers and storytellers. This class explores how newspapers and magazines differ in terms of structure, voice, and audience, and how both of those print entities use new media to extend their operations online. Key concepts include interviewing, idea generation, research, ethics, the use of quotes, the role of anecdotes, voice, and audience. Assignments include feature writing, profiles, service articles, essays, news stories, experiential/participatory articles, and reviews. Depending on student interest, this class may include field trips to see news and/or magazine operations. The best work from this class earns space in MPH's school newspaper, The Rolling Stone.



Legends of Horror: Terror, Shock, and Disgust in Literature (Fall 2011) (0.5 credit)
From telling ghost stories around the campfire to watching slasher films, people have been fascinated with the suspense and fright of the grotesque and gruesome. What does the horror genre encompass that audiences find repulsive but yet so appealing?  In this class, we will explore the realm of horror in fiction, exploring a variety of stories, looking at how the concept of what is considered horrific has changed throughout literary history. Some of the authors may include Poe, Bierce, Jackson, and King.


Surviving and Enduring: Going To and Through Extremes (Spring 2012) (0.5 credit)
Some of the most compelling narratives are also the most harrowing, stories that make us cringe and quail but keep us spellbound. In these tales, people or characters set of after glory or distant goals to prove themselves…or they are just going about their business when some great wave, either physical or otherwise, sweeps them up. Often those who seek out challenge are inspired to do so by the stories they have read of people testing themselves against great odds or pitting their will against unknowable forces. Our quest in this course will be to learn what drives and sustains them all through their ordeals. What, if anything, do those who seek danger share in common with those who suffer it accidentally? We will also examine the relationship between fact and fiction, man and myth, in this genre.

Readings may include the following: She by H. Rider Haggard, The Lost World by Arthur Conan Doyle, The Count of Monte Cristo by Alexandre Dumas, Into Thin Air by Jon Krakauer, The Perfect Storm by Sebastian Junger, Adrift by Steven Callahan, Endurance: Shackleton’s Incredible Voyage by Alfred Lansing, The Old Man and the Sea by Ernest Hemingway, Slaughterhouse-Five by Kurt Vonnegut, Where the Mountain Casts Its Shadow: The Dark Side of Extreme Adventure by Maria Coffey.



America in Black and White, 1619-1877
  
This course examines the development of American race relations in the context of the growing institution of slavery, beginning in the early seventeenth century and culminating in the American Civil War and its aftermath. Topics in the pre-independence era include the Middle Passage, the slave trade as practiced in America, differences between slavery in the southern and northern colonies, and the development of slave culture. Discussions of the post-1776 period will focus on the growing struggle over slavery in the law and in popular culture. Students will read eyewitness accounts both in favor of and against slavery, as well as personal and political reflections by Thomas Jefferson, Benjamin Franklin, Frederick Douglass, John Calhoun, Sojourner Truth, Abraham Lincoln, and other writers. In addition, students will direct much of their attention to contemporary scholarship that seeks to understand the social, cultural, and political developments of this time period.



America in Black and White, 1877-2011
 
This course examines American race relations in politics, society, and culture from the end of Reconstruction to the present. With a thorough exploration of the rise of white supremacy organizations, black separatist groups, the migration of African Americans from the rural South to the urban North, the national institution of separate but equal, and interracial attempts to advance the cause of racial equality, students will understand the political and social forces that shaped America in black and white. In addition, students will examine the rise of the blues and, later, jazz, rock and roll, and rhythm and blues, and their effects on broader American popular culture.  Students will also give close attention to literary explorations of American race relations by Richard Wright, Ralph Ellison, Norman Mailer, William Faulkner, and Hannah Arendt, among others. The course will conclude with an examination of the idea of a "post-racial" America.  Students will enhance their facility with using primary documents to support historical and literary analyses.



Introduction to Irish Literature
From Thomas Keneally’s How The Irish Saved Civilization to Seamus Heaney’s translation of Beowulf, the tiny island nation of Ireland has produced a disproportionately significant body of literature. In examining some of its most influential practitioners – Carlton, Synge, Joyce, O’Casey, Behan, Beckett, Heaney, et al. – students explore the relationship between artist and culture, art and history. In the end, the students emerge with an enriched notion of the possibilities inherent in all literary forms.

Texts: Castle Racksrent, Playboy of the Western World, The Dubliners, The Plough and theStars,Waiting for Godot, Borstal Boy, At Swim Two Birds, assorted poems by Yeats, Kavanaugh, Heaney, Montague, Boland, and short stories by O’Conner, Kiely, O’Faolain and Lavin.



The Language of Film
Films tell stories—not in the same way as literature, but using a cinematic language that borrows from other forms of storytelling while crafting new ways of connecting with an audience. Using a host of film segments and some complete movies, The Language of Film considers everything from movie credits to lighting, sound design, script, score, sets, cinematography, acting and direction. Students study and discuss outstanding films, the work of great directors, and shifting audience expectations, all with the aim of unpacking the language of film. They learn, too, what to look for when thinking about a film's virtues and shortcomings.

Films utilized range from the popular to the obscure and from the brilliant to the not-so-successful. Readings include interviews with directors, commentaries on films and film history, and film reviews. Writing include responses, both in-class and at home, to films and film segments. 

Texts: Roger Ebert, Great Movies.


Mavericks and Misfits
In this class, we will discuss works that illustrate both self-created and socially derived confinement. In our readings, we will encounter characters who struggle against dominant and powerful forces, and explore how their struggles lead them to either be held captive or set free. We will also examine how various beliefs imprison these characters, and how they surmount their prisons of conformity and expectations.  These readings will lead us to reflect on physical and imagined prisons not only in literature, but in our own lives as well. 

Texts may include A Portrait of the Artist as a Young Man, “Metamorphosis,” “Billy Budd,” and Brave New World. 



Other Voices in Literature
This course explores other ways of being “American.” The texts explore interactions between cultures generated by migration, exile, work, vacation, and the experience of belonging to a minority group. Inevitably, students discuss such issues as: belonging and estrangement; home, nationality, and otherness; exile, both internal and external; the quicksilver shifting definition of the American self. 

Texts: Drown, Junot Diaz; The Lone Ranger & Tonto Fistfight in Heaven, Sherman Alexie;Dreaming in Cuban, Christina Garcia; When I Was Puerto Rican, Esmeralda Santiago; The Bluest Eye, Toni Morrison; The Autobiography of a Brown  Buffalo , Oscar Zeta Acosta


Playwriting
This course is run as a workshop, with emphasis on in-class development of student work. The focus is on theme, storytelling, and dramatic action, and on weaving these three elements into a consistent and coherent whole. This is achieved by concentrating primarily on the ten-minute play form. Through weekly playwriting assignments, students complete a ten-minute play and a notebook of writing exercises, drafts, and critical comments. Students critique each other’s work as well as acting in and directing them. Students also attend performances of plays in the Central New York region
. 


Publications Workshop: Yearbook
In the Yearbook section of the Publications Workshop, students design and publish the 2008 Manlius Pebble Hill School Yearbook. Students learn everything they need to know when designing a publication as small as a brochure or as large as a yearbook. Students learn software programs such as Photoshop and Yearbook Avenue Online. Students also learn to use type, color, digital photography and copy to produce compelling and innovative designs for the Yearbook as well as other print media. 
Not accepted as English credit. 


Saints and Sinners
Often times, society portrays the ideal image of a woman as that of a virtuous and faithful rule follower. In this course, we will ask ourselves why this is considered the “ideal” and what occurs to women who do not follow societal conventions. Additionally, we will examine how literature reflects the prevailing female stereotypes, and also explore how the image of women has changed in literature and media in recent times.

Texts may include Pride and Prejudice, Hedda Gabler, A Doll's House, A Jury of Her Peers, “A Scandal in Bohemia,” “The Yellow Wallpaper,” Dracula, The Awakening, and Wuthering Heights.


Short Stories
This course is designed for students who want to see all the glory, love, and heartbreak of the world packed into approximately thirty pages or less. The short story is one of the oldest, most beloved, and least understood methods of storytelling. Students read the masters, the old and the young, the living and the dead, on a quest to determine not only how to tell a great story, but what stories are worth telling and why. Papers and one short story are required.

Texts include works by: Ivan Klima, Ernest Hemmingway, John Edgar Wideman, Vladimir Nabokov, Nikolai Gogol, Alice Walker, Denis Johnson, Charles Baxter, Alice Munro, Anton Chekhov, Edward P. Jones, Gabriel Garcia Marquez, Jayne Anne Phillips, Tim Gautreaux, Roddy Doyle, Jeannette Winterson, Lorrie Moore, and Milan Kundera.



Voices from the Margins: Storytelling As a Political Act 
How can storytelling be political? When does documenting life become a radical act? How do history, memory, and power work to privilege or silence voice because of race, age, class, ability, gender, politics, language, or religion? We will focus on these questions and others as we explore the nature of memoir, autobiography, manifesto, and letters from the nineteenth century to the present and in students' own lives. Throughout the quarter students will read and create various narratives as they develop their own voice. Students will engage in small-group activities, class discussions, performances, and formal and informal writing assignments that will include writing about the self as well as interviewing and writing about others. This is a good course for those who enjoy reading, writing, and performing their work, and would like to produce work for publication.


Youth and Popular Culture: Harry Potter 

The Harry Potter series by J. K. Rowling may have ended with the epilogue in The Deathly Hallows, but the series’ influence on popular culture is far from over.  The vast world of wizardry explored by Rowling was created from history.  This course will explore the roots of Potter’s wizarding world with experiments in the pseudo-sciences, research in mythology, analysis of the film adaptations, and an examination of Rowling’s themes on grappling with death, the importance of friendship, and the power of love.  Texts include The Magical World of Harry Potter,  The Sorceror's Companion, and The Tales of Beadle the Bard. 



Youth and American Popular Culture  
The activities, practices, and habits of youth provide a fascinating platform for critical thinking and writing. In this course, we will read and write about the signs and symbols of American popular culture. Grounded in theory, we will analyze a variety of topics, including graphic novels, toys, youth subculture, music, media, TV & cinema, technology, and consumerism. We will not study skateboards or Barbie simply as recreation or toys; instead, we will explore how artifacts produce meaning and convey specific ideologies within American culture. In the same way archaeologists use artifacts to analyze ancient cultures, you will use modern artifacts like board games, the prom, and Disney to “read” and analyze our culture. By examining the critical consciousness of our time, we better understand the connections between the things we do, like use Facebook and get tattoos, and the things we believe, like the pursuit of happiness and individual freedom. Students will work on a quarter long research project and work in collaborative reading, writing, and presentation groups. Students will be required to attend film screenings outside of class time.



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