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https://www.amazon.com/Harlem-Hellfighters-Max-Brooks/dp/0307464970 goes well with David Diop's At Night All Blood Is Black and Chris Abani's Song For Night

https://www.amazon.com/Understanding-Comics-Invisible-Scott-McCloud/dp/006097625X has been a useful teaching tool recommended by colleague in my department

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We are at a hinge moment in the history of our schools. A 120-year-old industrial structure is radically ill-equipped for the challenges posed by the COVID pandemic, much less what has been called the triple pandemic of COVID, racism and economic inequality, and fundamental threats to our democracy. We have been trying to carry on as usual, but it isn't working. Mental health crises among students are way up, as are disciplinary referrals, and teachers are now fleeing the profession in large numbers. And these are just surface-level symptoms of much deeper underlying problems. Our present situation calls for flexibility, relationship-building, and deep engagement with the broader world, but our school systems are bureaucratic, transactional, and insular. The problem is not the people - teachers are working heroically, and students are persevering under highly adverse circumstances. The problem is that they are working within a structure that is working against them.

There is a better way. After nearly two decades of attempts to standardize schools, education leaders across the United States are coming to recognize the limits of Newtonian command-and-control models of school reform and becoming increasingly aware of the need to embrace a more complex, humane, and diverse future. Movements for equity and social justice have shaken foundational assumptions about the nature of our schools and pushed us to rethink many of our familiar policies and practices. The sciences of learning have become much more interdisciplinary, offering richer portraits of who our students are, how they construct knowledge, and how cultural and social experiences shape their understandings. And, finally, we now have many models that show us what new and better forms of education can look like in practice, as youth development organizations, schools, and districts adopt more forward-looking visions of teaching and learning. No doubt, progress will be patchy, more evolution than revolution. But we can already glimpse what the future of schooling might look like.

Why a new grammar?

In 1994, David Tyack, William Tobin, and Larry Cuban (Tyack & Cuban, 1995) coined the term "the grammar of schooling" to describe the almost invisible architecture that organizes much of what goes on in education. Among these elements are the separation of classes by academic discipline, age-graded classrooms (and the "batch processing" of student cohorts), teaching as transmission, leveling and tracking, and schooling as a mechanism for sorting students by perceived ability. This grammar reinforces the dominant culture, excludes the perspectives of non-dominant groups, and serves as a means of reproducing social inequalities from one generation to the next.

No doubt, progress will be patchy, more evolution than revolution. But we can already glimpse what the future of schooling might look like.

This grammar was designed more for efficiency and control than for learning or liberation. It is congruent with the Taylorist management philosophy emphasizing standardization that also was born at the beginning of the 20th century. The system was grounded in a gendered division of labor - equipped with the latest ideas in organizational management, a small number of male superintendents could oversee a much larger group of (mostly) female teachers, who would handle the lowly work of pedagogy. It also reinforced dominant racial hierarchies, as it asked everyone who was not white and privileged to accommodate themselves to middle-class white norms. Angela Valenzuela (2010), who studied Mexican American students in Texas, described this process as "subtractive schooling," in that it required students to shed their heritage to participate in school.

If the future of preK-12 education is going to be significantly better than the past, then we need to replace this entrenched grammar of schooling with an approach that values teaching and learning more than control, liberation more than colonization, sustainable approaches more than quick fixes, and human relationships more than bureaucratic rules.

What might be the foundational pillars of a new approach? I suggest three: 1) learners whose agency is respected, whose diversity is embraced, whose selves are deeply known, whose joy is cultivated, and whose holistic growth is the paramount concern; 2) learning that is purposeful, authentic, and connected to the broader human domains of which those learners are part; 3) learning communities that enable deep relationships, cultivate democratic values and dispositions, and model the kind of society and environment we want to create.

For learners: A new social contract

The existing social contract we have with students reflects the early 20th century context in which it was born. Students are conscripted into school from ages 5 to 16. They learn what we say, when we say it. Teachers dispense pre-formulated knowledge and ask questions to which they already know the answers. Students are rewarded for following directions, giving right answers, and not talking back. Students who don't fit the norm - because they are too slow, too fast, don't speak the dominant language, or resist teacher authority - are defined as problems to be fixed. And while more advantaged students may experience a kinder and gentler version of this model, the core emphasis on adult authority, pre-determined content, and batch-processing remains in place for them, too.

We need a different social contract grounded in the idea that children are curious, capable, interested people, whose personhood needs to be respected and whose interests can be stimulated. Such a contract must start with giving students a clear purpose for their learning, moving from what they are learning to why. Purposes come in many shapes, and developing one is a critical starting point for any journey of consequential learning.

Second, this new social contract must give students a considerable amount of choice and agency over their learning. Choice and agency not only support the personal autonomy of the learner but also make it much more likely that learners will find a meaningful purpose in their learning.

Third, we must embrace the diversity of learners. People come in all shapes and sizes, with different interests, goals, strengths, weaknesses, cultural backgrounds, and much more. As Todd Rose (2016) says, there is no such thing as an average human being. We are all "lumpy" in different ways - schools need to respond to these differences rather than seek to suppress them.

And fourth, we must make students feel known, respected, and loved within their communities.

This very different social contract is both desirable and possible. We already have many examples of what it could look like. Montessori schools give even the youngest children considerable choice and agency over their learning; they also use cross-age grouping to create opportunities for peer learning. Reggio Emilia schools combine a stable philosophy with an emergent curriculum, giving teachers flexibility to adapt to the interests of different groups of learners. Clubs, electives, and extracurriculars embody this alternate grammar, enabling students to explore their interests, demonstrate leadership, participate in authentic work, and learn from peers. International Baccalaureate programs move away from multiple-choice tests, giving students some say over what they study and evaluating their work against rubrics that assess disciplinary thinking skills rather than content knowledge. Some private high schools have moved away from Advanced Placement courses and seven-period days in favor of longer blocks, deeper immersive experiences, and more authentic demonstrations of learning. Alternative high schools frequently embrace the social and emotional aspects of schooling, using advisories and other structures to build the relationships needed to keep struggling students engaged. Many youth development programs are places where students are known and deeply cared for, see clear purpose in their activities, and are treated like producers rather than recipients of knowledge. All of these models seek to embrace the new core essentials of purpose, agency, diversity, and community.

Right now, most of these approaches exist in what Sarah Fine and I (2019) have called the "periphery" of schooling, rather than the core. They happen for young children, or after school, or for seniors, or at alternative or private schools. What would it take to move this periphery into the core?

For learning: A new grammar of schooling

To realize this new social contract, we would need schools to adopt a different "grammar." This grammar needs to be much more flexible, porous, and connected than the current grammar.

These changes would make schooling more aligned with learning. In The Book of Learning and Forgetting, Frank Smith (1998) counterposes two theories of learning: the official one, as enacted in school (go over material, study, test, forget, rinse, repeat) and the unofficial one, as enacted in much of life (stimulate interest, try, fail, try again, get feedback, slowly get better). The latter, apprenticeship-based view of learning is how people learn most consequential things in life: It is how we learn to talk, how we learn most jobs, and how we get better in almost all spheres of human activity.

This apprenticeship theory offers a learner-centered view of motivation: The learner wants to learn how to talk, to cook, to defend a client, or to perform a surgery, and that desire motivates what follows. In addition, there is a clear relationship between parts and wholes - the specific skills being learned and the larger enterprise of which they are part. You practice your pirouettes because you want to be able to dance, you practice your layups because you want to score, you revise your sentences because you want your essay to sing. School, by contrast, has lots of parts with disconnected wholes; the decontextualized nature of learning is a critical reason why so many students are disengaged. One of the biggest goals of remaking the grammar of schooling would be to break down those walls and create more fluid connections between individual subjects and the larger domains of which they are part (For an illustration, see Table 1.)

Relatedly, this new grammar would feature fewer firm boundaries and many more connections. The current grammar is extremely compartmentalized, with students divided into age-graded cohorts, time divided into short blocks, learning divided into subjects, students divided by perceived ability, and schools cordoned off from their communities. A new grammar would bridge these divides, creating connections across subjects, among students, and between schools and the broader world. For example, the Philadelphia Science and Leadership Academy partners with the Franklin Institute, a world-renowned science museum, to have students take "mini-courses" taught by Franklin Institute scholars on a range of scientific topics, as well as use the museum's enormous resources to do hands-on work in different domains. This makes learning exciting and authentic.

Such a grammar would also be much more flexible. Rather than assuming that everything can be learned in 50-minute periods over a semester, we would fit the time and space to the nature of the learning. Many blocks would be longer to create space for in-depth work. Some courses might be shorter but more immersive - a week for a design sprint, or two weeks for a mock trial featuring real-world attorneys. School would serve as home base, but students could spend time in a variety of other settings. For example, the Illinois Math and Science Academy sends students to college laboratories on Wednesday afternoons, giving them opportunities to work alongside, and gradually become, practicing scientists. Cities such as Pittsburgh have built ecosystems that connect learners with nonprofits, arts organizations, businesses, youth development organizations, and more. In this vision, the use of adults would also become more flexible: While there would continue to be certified teachers, we would take much fuller advantage of the array of adults in our communities who have skills, knowledge, and perspectives to offer to young people. In Cowichan, British Columbia, for example, Indigenous elders are paid as paraprofessionals to help students learn Indigenous knowledge and traditions.

A system with more choice, agency, and flexibility needs an assessment system to match. We may be on our way. After the state-test mania that gripped us during the No Child Left Behind years, there is an increasing awareness that we need a wider variety of ways to assess learning. For instance, a number of colleges, including big state systems like the University of California and high-status privates like Harvard, have moved to make the SAT optional. Assessments should be grounded in the process and performance of work in particular domains and should be used primarily as a tool for inquiry rather than a single summative judgment. Exhibitions allow students to show fellow students, parents, and community stakeholders the value of the work they have been doing in school, and portfolios allow students to curate their work, revise their best pieces, and align the way they are being evaluated with the highest standards in their fields. The Mastery Transcript Consortium allows students to move away from conventional grades and represent their competency levels in various domains in the college admissions process. There is no shortage of possibilities for different forms of assessment; what is needed is the will to subtract existing low-level multiple-choice assessments to make room for these thicker ways of evaluating learning.

This new grammar would also allow for a different and richer perspective on equity. Yes, we should try to equalize academic skills across groups, but we should do so in a way that stimulates students' interests in learning, gives them increasing levels of choice and agency, and reflects the diversity of cultures and perspectives in the nation and the world. We've tried doubling down on the factory model of schooling - double blocks of reading and math, test-and-punish strategies, summer school, remediation - and the record is not pretty. The solution is not more of the same. Further, it is the students who are most disconnected from school, who are least engaged and most disillusioned, who need a different approach - one where they are known, where their background and culture is respected, and, perhaps most important, where they get to do meaningful work on topics that they care about.

For learning communities: A new social commitment

Schools are not just places where students learn knowledge and skills; they are also places where they develop values, dispositions, and ways of relating to one another. Every decision we make in schools implicitly or explicitly communicates a set of values. Right now, while we talk as if schools are places where students learn to think critically, collaborate, communicate, and so forth, in practice what they are learning is that schools are places that value individual advancement through grades and tests. We need to develop different kinds of communities, organized around different values, if schools are going to become the kinds of places we need them to become.

Every decision we make in schools implicitly or explicitly communicates a set of values.

And what do we need them to become? The world is not in a good place right now. Our day-to-day existence and our long-term survival are threatened by climate change; infectious disease; economic and racial inequality; and, most of all, our inability to work together as local, national, and global communities to constructively address our problems. As the scholar George Counts (1932) argued during the societal upheaval of the Great Depression, some moments call upon us to challenge our fundamental assumptions about the purposes of education - rather, than expecting our schools to prepare students to fit the social order, we should ask our schools to remake that order. We find ourselves in a similar moment today.

To remake the social order will take a commitment to stewardship - that is, a commitment to take care of something important with which we have been entrusted. In so many ways, we are failing at stewardship today. We are not taking care of our environment, our democracy, or our fellow humans during a pandemic. But we must not only restore what has been lost, but also move forward in ways that build a more equitable, humane, and sustainable world than the one we have inherited.

Schools can help foster this ethic in ways large and small. For example, a school that features authentic, collaborative work more than competition for grades is better suited to supporting these values. When students work with peers, as co-apprentices in a field of interest, they learn implicit lessons about the benefits of mutual help and care, rather than the cutthroat pursuit of individual advancement. Such a commitment is visible in a school like Latitude High in Oakland, California, which treats the Bay Area as its extended classroom, sending students out to investigate social issues like housing affordability and homelessness, and to record a podcast, Oaklore, that describes what they learn. Projects like this bridge the boundaries between schools and their surrounding communities, and they position students as a team of learners and, potentially, change-makers. When schools take seriously the concerns of students, involve them in decision making, and help them understand differing perspectives, they are modeling the democratic virtues that our world so sorely needs.

Schools are not just where we communicate academic content; they are where we raise our young people. Our current grammar of schooling inhibits much of what we want for those young people. Why not create a new structure that is consistent with our highest aspirations?

Note: This series is supported, in part, by the Spencer Foundation.
References
Counts, G. (1932). Dare the schools build a new social order? John Day Company.

Mehta, J. & Fine, S. (2019). In search of deeper learning: The quest to remake the American high school. Harvard University Press.

Rose, T. (2016). The end of average. Harper Collins.

Smith, F. (1998). The book of learning and forgetting. Teachers College Press.

Tyack, D.B. & Cuban, L. (1984, 1995). Tinkering toward utopia: A century of public school reform. Harvard University Press.

Valenzuela, A. (2010). Subtractive schooling: U.S.-Mexican youth and the politics of caring. Suny Press.

This article appears in the February 2022 issue of Kappan, Vol. 103, No. 5, pp. 54-57.

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Possible futures: Toward a new grammar of schooling - kappanonline.org

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We are at a hinge moment in the history of our schools. A 120-year-old industrial structure is radically ill-equipped for the challenges posed by the COVID pandemic, much less what has been called the triple pandemic of COVID, racism and economic inequality, and fundamental threats to our democracy.

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We've compiled a list of publications devoted in large part to eco-literature - essays, articles, short stories, poetry. Last updated on April 2, 2022.
To be notified when new publications are added to the list, subscribe to our monthly newsletter:

1. About Place Journal (www.aboutplacejournal.org)

2. African Conservation Telegraph (https://conbio.org/groups/sections/africa/act)

3. Alluvian (www.alluvian.space)

4. Alterity (www.alteritystudies.org/alterity-journal)

5. Among Animals (An anthology series from Ashland Creek Press)

6. Anabiosis Press (www.anabiosispress.org)

7. Antennae (www.antennae.org.uk)

8. Anthropocene Magazine (www.anthropocenemagazine.org)

9. Art after Nature (a forthcoming book series)

10. Artis Natura (www.artisnatura.com)

11. Ashland Creek Press (www.ashlandcreekpress.com)

12. Canary (www.hippocketpress.com/canary)

13. Caught by the River (www.caughtbytheriver.net)

14. Center for Humans and Nature (www.humansandnature.org)

15. Channel (www.channelmag.org)

16. Claw & Blossom (clawandblossom.com)

17. Cold Mountain Review (www.coldmountainreview.org)

18. Dark Mountain (https://dark-mountain.net)

19. Deep Wild Journal (www.deepwildjournal.com)

20. Dragonfly.eco (www.dragonfly.eco)

21. Ecocene: Cappadocia Journal of Environmental Humanities (www.ecocene.kapadokya.edu.tr)

22. EcoHustler (www.ecohustler.co.uk)

23. Ecological Citizen (www.ecologicalcitizen.net)

24. EcoTheo (www.ecotheo.org)

25. Ecotone (www.ecotonemagazine.org)

26. Ecozon@: European Journal of Literature, Culture and Environment (www.ecozona.eu)

27. Edge Effects (https://edgeeffects.net)

28. Elsewhere (www.elsewhere-journal.com)

29. Elementum (www.elementumjournal.com)

30. Emergence Magazine (www.emergencemagazine.org)

31. Environmental Humanities (https://read.dukeupress.edu/environmental-humanities)

32. Epizootics (www.epizooticszine.wordpress.com)

33. Ferns: The Graduate Journal on Environmental Stewardship (www.fernsjournal.com)

34. Flycatcher (www.flycatcherjournal.org)

35. Flyway (www.flywayjournal.org)

36. Gaia Lit (https://gaialit.weebly.com)

37. Green Letters: Studies in Ecocriticism (www.tandfonline.com/loi/rgrl20)

38. ISLE: Interdisciplinary Studies in Literature and Environment (www.asle.org/research-write/isle-journal)

39. Journal of Critical Animal Studies (http://journalforcriticalanimalstudies.org)

40. Journal of Sustainability Education (www.journalofsustainabilityeducation.com)

41. High Country News (www.hcn.org)

42. Humana Obscura (www.humanaobscura.com)

43. Newly Added: Kelp Journal (www.kelpjournal.com)

44. Kosmos Journal (www.kosmosjournal.org)

45. Literary Veganism: An Online Journal (www.litvegan.net)

46. Matador Review (www.matadorreview.com)

47. Mānoa: A Pacific Journal of International Writing (https://manoa.hawaii.edu/manoajournal)

48. Media + Environment (https://mediaenviron.org)

49. Newfound (www.newfoundjournal.org)

50. Northern Woodlands Magazine (www.northernwoodlands.org)

51. ON Nature (www.onnaturemagazine.com)

52. Orion Magazine (www.orionmagazine.org)

53. Otherness: Essays and Stories (www.otherness.dk/journal)

54. Newly Added: Paperbark Literary Magazine (www.paperbarkmag.org)

55. Peaceful Dumpling (www.peacefuldumpling.com)

56. Plants & Poetry Journal (www.plantsandpoetry.org/journal)

57. Poecology (www.poecology.org)

58. Punt Volat (www.puntvolatlit.com)

59. Places Journal (www.placesjournal.org)

60. Plumwood Mountain: An Australian Journal of Ecopoetry and Ecopoetics (www.plumwoodmountain.com)

61. Reckoning (www.reckoning.press)

62. Resilience: A Journal of the Environmental Humanities (www.resiliencejournal.org)

63. Resurgence & Ecologist (www.resurgence.org)

64. Saltfront: Studies in Human Habit(at) (www.saltfront.org)

65. Sierra Magazine (www.sierramagazine.org)

66. Sinking City (www.sinkingcitylitmag.com)

67. (For undergraduate students: Sloth: A Journal of Emerging Voices in Human-Animal Studieswww.animalsandsociety.org/pages/sloth)

68. Snowy Egret (www.snowyegret.net)

69. Stonecoast Review (www.stonecoastreview.org)

70. Stonecrop Review (www.stonecropreview.com)

71. Terrain (www.terrain.org)

72. The Bear Deluxe (www.orlo.org)

73. The Clearing (www.littletoller.co.uk/the-clearing)

74. Columbia Insight (www.columbiainsight.org)

75. The Common (www.thecommononline.org)

76. The Curlew (www.the-curlew.com)

77. The Fourth River (fourthriver.chatham.edu)

78. The Goose (http://scholars.wlu.ca/thegoose)

79. The Hopper (www.hoppermag.org)

80. The Island Review (www.theislandreview.com)

81. The Learned Pig (www.thelearnedpig.org)

82. Newly Added: The Plant-Human Quarterly (https://otherwisecollective.com)

83. The Siskiyou Prize for New Environmental Literature (www.siskiyouprize.com)

84. The Tiger Moth Review (www.thetigermothreview.com)

85. The Trumpeter: (http://trumpeter.athabascau.ca/index.php/trumpet)

86. The Willowherb Review (www.willowherbreview.com)

87. Tiny Seed Literary Journal (www.tinyseedjournal.com)

88. Trace: A Journal of Writing, Media and Ecology (www.tracejournal.net)

89. Whole Terrain (www.wholeterrain.com)

90. Wild Hope Magazine (www.wildhope.org)

91. Wild Roof Journal (wildroofjournal.com)

92. Words for the Wild (www.wordsforthewild.co.uk)

93. ZEST Letteratura sostenibile (in Italian) (www.zestletteraturasostenibile.com)

94. Zoomorphic (www.zoomorphic.net)

If we've missed something, please let us know.
PS: These journals have ceased publication (to the best of our knowledge) but are still online:

1. Animal: A Beast of a Literary Magazine (www.animalliterarymagazine.com)

2. Humanamalia (www.depauw.edu/site/humanimalia)

3. Kudzu House Quarterly (www.kudzuhouse.org)

4. Windfall: A Journal of Poetry and Place (www.windfalljournal.com)

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Literary Outlets for Environmental Writing

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We've compiled a list of publications devoted in large part to eco-literature - essays, articles, short stories, poetry. Last updated on April 2, 2022.

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Dr. Anna Androulaki-Woodcock has been teaching English since 1988. She started her career in the IB teaching Diploma Programme English and ToK in 2002 and since then she has also taken on the roles of examiner and workshop leader for the IB. Since 2002, her work has had an exclusive IB focus and her perspective has been shaped by teaching in very different and diverse contexts in Greece, Germany, the UK and China.

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Dr. Anna Androulaki-Woodcock has been a professional educator since 1988. BA in English Language and Literature 1988 University of Athens. MA in Linguistics 1991 New York University. PhD in Theoretical Linguistics 2009 University of Reading. Oxford University Press English A: Literature Course Companion for the new

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Ensure understanding of key terminology and what it looks like in practice. How do I explain what "insightful" is to ensure common understanding of such an objective term. How to best define the difference between analysis and evaluation.

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More ideas on how to structure the course, ideas on non-literary works and more knowledge about how to assess the different parts of the course.

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· how the three Areas of Exploration, the 7 concepts and global issues all fit into course design - different approaches to course design and their pros and cons,

· how to best select the literary works to be studied and used for IA and Paper 2 (i.e. how much overlap there should be between them in terms of the themes etc.),

· practical ideas for the Learner Portfolio and what my role is in what goes there

· to what extent should literary theories be a part of our discussions of the literary works?

· how detailed should the analysis of the literary works be, e.g. in poetry, are we hoping to go into things like diction, imagery, figures of speech, symbolism and allegory, syntax, sound, rhythm and meter, structure or rather focus predominantly on the meaning and themes?

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I'm most interested in how to recognise what makes a "Grade 6" essay/ oral essay- what do these students DO that sets them apart, and how I can teach it. I'd also really like to properly understand the adjectives in the mark scheme- what's "adequate" and what's "insightful"?

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My main concern is understanding the new subject guide and how to best prepare my current year 11 students for success in the course. Our school is already in week 5 of this school year, so I feel a bit behind. Also, my class is quite large. It is about 22 HL students who are not really "HL" students, so this poses a bit of a challenge.

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I would like to understand how to guide students in all of the assessment components, specifically the HL essay and paper 2. I also need to understand how to design an interesting syllabus in accordance with the IB requirements.

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I am keen to know more about the learner portfolio, the global issues, and more. I also want to know more about the EE, it’s structure, and how to support students to achieve the highest grade.
As Paper 2 was cancelled, I’d also like to know what this will look like, how best to teach it, and how best to support students.

Finally, I’d like to know about the HL essay and how it differs from the EE.

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I am keen to know whether English A and English B share any similarities when it comes to ideas and skills. I would also like to know how best to integrate TOK and CAS.

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I'm keen to learn more about the structure of the course, approaches to the course, assessments and how they are marked as well as how to give helpful feedback to students.

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I'm currently teaching towards the IO and guiding students through the revision process of their HL essays, although I wasn't with them last year to teach them the texts so I want to be sure I'm guiding them in the right direction. Being new to the program too, and being in a high-stakes school with lots of pressure on students to excel (whether I like that culture or not!) - and with some gaps and time restraints last year due to covid - I want to be sure I'm instilling as much confidence and knowledge in my students as possible to get them through the remainder of the course.

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I am returning to the world of the IB after a 5 year hiatus and I'm delighted to be back. I've just arrived at Al sahwa Schools in Muscat, Oman as Head of English. The school introduced the DP last year and we are now delivering to the DP2 cohort for the first time. What I want to achieve is reassurance that the long term plan currently in place will fulfill requirements whilst best preparing and delivering for our students. Unfortunately I feel I have been left with a lot to cover in this 2nd year. I want to best understand how best to alter and modify to deliver the best programme of study.

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I would like to know more about curriculum planning. Classroom activities that would suit the course. As well as how to cohesively link all subject components into a coherent whole. Not sure I did that very well last year.

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https://docs.google.com/document/d/1Qo05OeHf9vifc3lPkLNkj3KuTvZ2CI95/edit

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https://docs.google.com/document/d/1iqV8Fdjyof-XZmsygh7gQ9v_PklX5loO/edit?usp=sharing&ouid=100493770321907248469&rtpof=true&sd=true

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Textual Analysis task - focus on Time and Space

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Textual Analysis task - focus on Time and Space

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Concepts: Identity and perspectives

Paper 2 opportunity to teach the SKILLS, not content

Students could design questions around the concepts

IO opportunity

Introduce concepts and open up to students linked to fields of enquiry and global issues around the concepts.

Could then develop into an IO practice.

LP question - how relevant/urgent are the issues you’ve identified in these texts?

P1 opportunity: Have to understand the context and apply it. Consider contemporary responses. Contextual reading skills

(Petrina, Leonie, Doreen, Sheila)

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Textual Analysis Task - Readers, Writers and Texts

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Textual Analysis Task - Readers, Writers and Texts

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Concepts: Representation

Guiding Questions:
1. How are we affected by texts in various ways?
2. How are characters ‘fair’ representations of people? By studying texts and literary works, we engage in a dialogue about how the world works and how the world could be.

Focus - IO
Task: Respond to both texts by writing a paragraph conveying how they both share a similar global issue. How are women represented in different texts? Is it a fair representation?

(Haya, Joanna and Rana)

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Alex -
1. Read texts for understanding
2. Identify potential Global Issues
3. Annotate the texts in group for where these G.I are shown
4. Rank the ways in which this G.I is explored.
5. Pick top one and write an analysis of the technique including the effectiveness. Group work
6. Individual paragraph
7. Give them the concepts and they decide which ones are relevant.

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Concepts:

Stereotypes
Culture
Expectation
Characature
Self

Create a graphic organiser to show the similarities and differences.

Create a satirical comic of your interpretation of the texts.

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Textual Analysis - Time & Space / Intertextuality

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Textual Analysis - Time & Space / Intertextuality

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Learning Objectives
- To explore the three key concepts: identity, representation, perspective
- Bring in AOE’s such as intertextuality and time and space

Develop a mind map / Venn diagram that looks at similarities and differences between the two texts.

Construct an essay response on the following GQ’s:
1. How do language and visual elements represent social distinctions and identities?
2. In what ways can diverse texts share points of similarity?

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Course construction worksheet - Matthew Duffield

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http://www.pz.harvard.edu/thinking-routines

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PZ's Thinking Routines Toolbox | Project Zero

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The Toolbox organizes the Thinking Routines into categories that describe the types of thinking the routines help to facilitate. Some routines appear in more than one category, and some routines have different versions that offer modifications for specific age groups or more specific conceptual challenges.

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Doreen Power Suggested Syllabus Planning HLLL

AUTUMN | SPRING | SUMMER
Poems of Carol Ann Duffy | Yu Hua - Chronicle Of A Blood Merchant | BOW? Speech Transcripts eg. Winfrey???
Ibsen Ghosts / Shakespeare Othello | Morrison - Home |

BOW? | BOW? Ad campaign eg. D&G??? |

BOW? Opinion column eg. Marina Hyde/ David Olusoga??? |
| Summer holiday reading El Saadawi Woman At Point Zero and Hamid The Reluctant Fundamentalist
Introducing HL essay | Revision | Draft HL essay

Year 13

AUTUMN | SPRING | SUMMER
El Saadawi - Woman At Point Zero
|
|

Hamid - The Reluctant Fundamentalist |
|

Orals |
|

Mocks |
|

Revision |
|

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English A Course Outline DP 2022-2023-.pdf

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Petrina’s English A: Lang and Lit Outline

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Time and Space

1. Poems of Wilfred Owen (around 13 poems)

| Free-Choice |

2. Persepolis - Satrapi:

| Satrapi | Marjane | F | Iran | Prose: non-fiction | Graphic novel | 21

Intertextuality

1. Julius Caesar - Shakespeare

English | Shakespeare | William | M | UK | Drama |  | 16-17

Readers Writers and Texts

1. Death and the Maiden - Dorfman

|Free-Choice|

The Vendor of Sweets – R.K. Narayan

|English | Narayan | R.K. | M | India | Prose: fiction | 20

HL

A Doll’s House – Ibsen

| Norwegian | Ibsen | Henrik | M | Norway | Drama |  | 19-20 |

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 Course construction worksheet (SL).docx

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https://docs.google.com/document/d/1gEtGjVr0qsINGFWyYZQOvBXl9Oudz7oMiSCOTX-fsbQ/edit?usp=sharing

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We are two friends, teaching partners, and passionate English teachers. We have been teaching IB English together for 10 years and individually have been teaching for (gulp) over 20 years each. We have taught in various international schools in Japan, Tanzania, China, Thailand and the United State…

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Woman at Point Zero
Carol Anne Duffy Poems
The Crucible by Arthur Miller
Othello
A Doll's House
So Long a Letter

BoW
Political Cartoons - Horsey/ Liza Donelly cartoons -Gender
Stereotypes
Michelle Obama speeches

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Time and space

Tim Winton - Shallows

Readers, writers, texts

Henrik Ibsen - An Enemy of the People

Intertextuality

Salvatore Satta - The Day of Judgment

Non-literary texts

advertisements
blog
magazine article
letter
travel writing

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Unit 1 - Global Issues Through Literature
Frankenstein by Mary Shelley (Novel)

Death of a Salesman by Arthur Miller (Drama)
Marjane Satrapi’s Persepolis (2007) (Film/Memoir)

Unit 2 - Connecting Texts Through a Critical Lens
We by Yevgeny Zamyatin (Novel)

Hamlet by William Shakespeare (Drama)

1984 by George Orwell (Novel)

Unit 3 - Language and Literature as a Function of Community, Culture and History
A Doll’s House by Henrik Ibsen (Drama)

“The Thing Around Your Neck” by Chimamanda Ngozi Adichie (collection of short stories)

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Prospective Questions can be:
1. What does the pronoun 'it' refer to in the poem?
2. Comment on the use of punctuation in the poem.
3. What is the significance of the word 'nothing' in the poem?
4. How does the title of the poem connect with the idea proposed by the poet?
5. Why does the poet compare nothingness with love or God?
6. Comment on the feelings of the readers derived after reading the poet.
7. Discuss the explicit and implicit meaning of the poem.
8. How does the form of the poem connect with the content?

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What is the Last Lesson about?

How can the poem be a commentary on life?

How does the narrative technique shape the reader’s understanding of the “Last Lesson”?

How might Is it possible for readers to have contradicting interpretations of the Last Lesson?

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Group 2: Matthew, Sheila, Kathleen, Doreen.

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Group 2: Matthew, Sheila, Kathleen, Doreen.

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1. I'm looking at the title in isolation, what do these three words 'The Last Lesson' connote to me?
2. I want to find out what the speaker's attitude is to this lesson? Further analysis - discussion of time and space. Will my interpretation differ according to where I am and when I'm reading it?
3. To what extend do I relate to the attitude and experience of the speaker speaking to me? Who is the speaker?
4. Context and exploration. How might this poem fit with the poet's wider body of work? What might his other poems discuss and suggest?

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1. What is the significance of the title? What do they mean by 'lesson' in this case?
2. What is the relationship between the speaker and the student?
3. What is the significance of the absence of punctuation towards the end of the poem?
4. How can we relate to this poem at a personal level?
5. What is the purpose of lesson of 'nothing'?
6. What is happening in the poem?

(Rana, Haya, Leonie, Jasmine)

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1. A well-dressed man of mid-thirties looking quietly sombre and unhappy. He is heavily pregnant.
2. It makes me feel slightly embarrassed and apologetic for being male. The image and caption suggests that as a man faced with possible pregnancy, one would be much more cautious and responsible.
3. The realisation that pregnancy effects everyone related to the pregnant individual.

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Describe the image, simply what do you see on the page?
I see a western man who seems to be pregnant. And there is writing advertising free contraception.

What feelings does the image evoke?
This makes me feel sorrowful that someone has gotten pregnant when they didn't want to and makes me feel that people should know better in his context.

What kind of realisations does this image provoke for you?
No new realisation, I've always been aware that people have unprotected sex and that it's often men who initiate this decision. However, it does make me think that we have a responsibility for contraception.

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1. The image depicts a photograph of a man who appears to be pregnant. He looks straight into the camera. Below the photograph there is a question and some smaller text.
2. The man looks at viewer with a sad expression on his face. As a result, I tend to feel sorry for him. Clearly, he is not happy and appeals to me as a viewer to show understanding into his difficult situation.
3. The combination of the photograph and the question (Would you be more careful...) shows that this message is addressed to men. It is trying to make men realise how women may feel when they get pregnant because they didn't use contraceptives.

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1. The photo shows a man carrying a baby at what appears to be a nearly full-term pregnancy, and he does not appear to be happy with his condition.
2. This evokes feelings of sympathy, confusion, cognitive dissonance, and bit of frustration.
3. My immediate reaction is that this is an obvious argument, but that it is just too hard for a male to comprehend. I mean this with no disrespect, simply that one can't convey the weight of the issue.

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1. I see a picture of a pregnant man holding his belly. He seems to have a blank look, possibly a worried one because he got pregnant when he did not want to. He is looking straight into the camera.
2. I find this image to be strange because it does not reflect the reality and that is men cannot get pregnant.
3. The picture is obviously addressed to men. It has a very powerful message when looking at the image and the question posed.

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1.  A man who is pregnant, looking directly at the viewer and does not seem to be very happy.

2. There seems to be a feeling of sadness. As the viewer and due to the direct eye contact, I feel involved and worried for the person.

3. Contraception concerns all - everyone is involved. Further questions arise: how would you feel if you were in such a situation?

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What we see are snippets from sonnets by dead white men being compiled as a list as an example of what this curriculum teaches. 

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What we see are snippets from sonnets by dead white men being compiled as a list as an example of what this curriculum teaches. 

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How this is done is metacognitively through the poet writing her own sonnet.

So what? The evaluation is to show the repetitiveness and generic reiteration of the poem; Could also be a feminist critique of the syllabus; could also be a comment on how poetry writing has evolved over time.

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What is a lesson?
What are the connotations of the title?
What tone is stuck throughout?
Why is it so short?
Why is there no full stop at the end of the poem?
Why is free verse and why is there no rhyme scheme?
What links the images of school and religion?
What could the lesson be?
Why did the poet write this poem?

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The speaker is experiencing a degree of frustration which is evidenced by the diction used, the unromantic imagery and the tone of dissonance

The poem begins with the line “all summer long”, this is not capitalised and underscored the laborious and dissatisfying nature of the teaching. The word “all” also has a lugubrious undertone to it as if her summer term has been elongated in a negative way

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Room 1: Nikita, Shihab, Kathleen, Melissa

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Room 1: Nikita, Shihab, Kathleen, Melissa

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Embedded theme in the sonnet: sharing the love for the kids, profession of teaching or poetry.

Speaker of the sonnet: a literature teacher since the sonnet is written in the first POV

Allusion to various famous poems, Johne Donne, Hopkins, Andrew Marvell (a reference to canonical literature)

Mud can be a reference to a place closer to water, some river, lake, or something you cannot come out of.

Entire sonnet is written in one sentence and broken into different lines so free-floating ideas – could be referred to as stream of consciousness

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Group 2 (Matthew, Suzanne, Sidhant, Doreen): The speaker is experiencing a degree of frustration.

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Group 2 (Matthew, Suzanne, Sidhant, Doreen): The speaker is experiencing a degree of frustration.

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The reader is thrown into the poet's frustration and confusion in the very first two lines in the poem. She conjures up the unsettling image 'all summer term reading poems - down in the mud'. The juxtaposition of the positive 'summer' and artistic 'poem' clashes with the unhappy essence of 'mud'. Furthermore the frustration of the speaker turns to aggression with hostile verbs 'slapping' and 'battered'. As the reader reads we soon understand that the speaker has referenced and quoted metaphysical poets, who as we understand, embraced the concepts of the universe, big ideas and the natural world. The reader appreciates by the end of the poem that the speaker's frustration has grown in feeling as she appears to throw the lines of referenced poetry at her students.

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WHAT:

2 quotes from Donne (both from ‘Holy Sonnets: Batter my heart, three-person'd God’) and one from Andrew Marvell (‘To His Coy Mistress’), and one from Gerard Manley Hopkins (‘God’s Grandeur’). Quotations make up the final four stanzas of the poem.

HOW:

Stand-alone stanzas, quoted = Importance, significant. Poet has identified these four in particular.

Addition in the final stanza of ‘again, again’ = going through the process and revisiting the poems, but also the joy of the process

Interesting juxtaposition between “batter” and “my heart”. Batter - to consistently beat - negative connotation, but positivity of moving through that process again and again.

Love repetition - emphasises the idea of passion, perhaps linked to their passion for poetry.

Powerful image re God

Batter = violent but powerful

The process of breaking down these poems - passion

SO WHAT?

Probably an anthology of 15 poems, but only four feature here. Affinity with these four poems, perhaps particularly the Donne as it features twice. Joy and passion for teaching and teaching these poems in particular.

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https://docs.google.com/document/d/1gtIrmpLfBsEUn8E-zYovI4YqvyCCxvtmWoONpalELqY/edit?usp=sharing

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Global issue: Deforestation and long-lasting environmental damage

Literary Text (Novel):

Jared Diamond, “Collapse: How Societies Choose to Fail or Succeed”, Penguin Books, 2005, 589 pages.

Excerpt: “Hence the Chaco Anasazi settlements were initially constructed in a pinyion/juniper woodland unlike the present treeless landscape but convenient for obtaining firewood and construction nearby. However, middens dated after A.D 1000 lacked pinyion and juniper, showing that the woodland had then become completely destroyed and the site had achieved its present treeless appearance. The reason why Chaco Canyon became deforested so quickly is the same reason that I discussed in Chapter 2 to explain why Easter Island and other dry Pacific islands settled by people were more likely to end deforested than were wet islands: in a dry climate, the rate of tree regrowth on logged land may be too slow to keep up with the rate of logging.” (Diamond, p.147)

Non-Literary Text (Memoir):

Charlotte Gill, “Eating Dirt”, David Suzuki Foundation, 2011, 247 pages.

Excerpt: “Does planting trees work? Can it fulfill its many promises? It’s a question of waiting around for a few hundred years to find out, since that is the basic difference between an ancient forest and a razed field studded with tender seedlings. Time. A primeval woodland is time incarnate. Sunlight made solid. Carbon turned to wood, molecules into cells. An old-growth tree needs centuries to build that bulk, which is why a natural forest stores more carbon than an engineered one. Trees run on cycles that span human generations. They live in epic chronologies. Until we learn how to fold up the centuries or mimic photosynthesis there’s no substitute for patience. Human hands can replace the trees but not necessarily the forest. Tree planting sets the stage, perhaps hastening a revival, but still we must wait. For something that happens underneath an established canopy that we can neither replace nor control. An ancient forest is a life-giving environment, like a coral reef or a wetland, where creatures flock to find shelter and nourishment.” (Gill, p.225)

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I'm thinking of planning to spend a full lesson every week (I've got 4) on paper 1 prep. Ask students to look at a wide variety of text types and, in groups, fishbowl discussions, mindmap making, etc. to learn how to analyse these texts, what are appropriate questions, etc.

It would mean spending 25% of my lessons on developing these skills. Would that be too much? What do you think?

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Literary work: The Handmaid’s Tale by Margaret Attwood.

Non-Literary work: Shirin Neshat

The Handmaid's tale: oppressive regime of fictional country Gilead. People forced into specific roles. Regime is restrictive and we see them use violence to enforce rules and brainwash. The wall is where the bodies of individuals who have been “salvaged” are displayed in an attempt to drill the dangers of rebellion into the

minds of the citizens.

Attwood's purpose= claims her novel draws inspiration from real life events. Consequences- stripping women rights. Response to oppressive, totalitarian and theocracy.

The use of violence in Gilead effectively threatens individuals and forces them to conform to the strict regime. Repetition of I think. Emphasis of uncertainty as violence prevented communication. Assumes Ofglens life rather than inquiring. Thinks her acts are “done for show”. Lack of trust and highlights the effectiveness of violence. “she does such things to look good” is followed by “I think”. Fear.

wall deter rebellion and instil fear in those who walk past it utilising death of individuals who have not conformed to the regime's rules. lack of shock. “used to them”. bells are also used to announce ‘death’ reminds people of violence. “we’re supposed to look at them” dehumanised. “like dolls on which faces have not yet been painted”. “like scarecrows”. “meant to scare”.

“women being raped, beaten up, killed”. Violence in Gilead is clear throughout the novel - a reoccuring theme. Forced to watch, preventing them from acting out. Particicutions are also a form of violence. Force Handmaids to get involved. Brainwashing them to think they are being rewarded. Against regime but still wants to “I want to tear, gouge, rend”.

Shirin Neshat uses photography to express the struggles faced by Iranians -especially women- highlighting the use of violence within the country in order to gain control over the population..

Repetition of use of guns in BOW and writing. Speechless. Gun against side of head: presence of guns in Iran. Forcing her to be silenced. Numb expression shows she is used to the violence. Guardians of revolution. Only see hands in 2nd image. represent whole of Iran. 0 individuality. Writing she has a lot to say but cannot - threatened gun.

Stories of martyrdom. Gun holds her down. Replaces handcuffs, they have turned to violence to restrict. We sympathise as she is not a threat. Gun has been placed on her. Contrast of colours black gun pale hands= power imbalance.

Writing shows cultural integrity of citizens. No culture in the guns. They fear the power of words. Same colour so hold the same power but gun is blocking words. Silencing citizens  blocks words from getting to the mouth. writing =body language no other form of communication.

Handmaids fiction but Neshat is not. Happens everyday we need to use our voice to raise awareness. Both use repetition to emphasise use of violence in oppressive regimes.

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https://docs.google.com/presentation/d/1-Vlv4MmNn06JPfj9TUbAPn0k0bpNIcI5/edit?usp=sharing&ouid=100703623659460942104&rtpof=true&sd=true

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JA Example Planning sheet for IO Minnie-mock- Banksy_ (1)

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Use of symbolism in Therese Raquin

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How does Banksy combine symbolism and persuasive language to show the ethical mistreatment between social classes in his street art?

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In Angela Carter's The Bloody Chamber, how do women act to enforce the norms of patriarchal society in suppressing other women?

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Persepolis: what values does Marji's grandmother represent and to what extent is Marji influenced by her? -Suzanne

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Persepolis: what values does Marji's grandmother represent and to what extent is Marji influenced by her? -Suzanne

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BOW Banksy:

How does Banky's use of irony serve to strengthen his intent in art regarding children and conflict?

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How does Hamid use clothing in The Reluctant Fundamentalist to explore hegemonies of power?
How does Morrison use setting in Home to explore dispossession?
How does David Olusoga use satire to explore systemic racism?

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The fear of female sexuality and independence in Purple Hibiscus or A Streetcar Named Desire - Leonie

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Krik? Krak! by Edwidge Danticat

How does Danticat use imagery to preserve identity in her collection of short stories?

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Representation – Through what means does Harper Lee successfully convey the representation of Atticus Finch as the voice of morality and reason in 'To Kill a Mockingbird'?

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Perceptions of motherhood and self in 'Ariel'- Sylvia Plath.

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Representation - How does the representation of the character of Nora comment on the notion of female agency?

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How does WWF convey the need for action to protect the environment in their leaflets/blog entries?

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To what extent does masculine representation in magazines have an influence/effect on the viewers?

‘Maxim’, ‘Esquire’ and ‘Men’s Health’

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IB LL Text Matching List (Authors + Bodies of Work)

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Emails

Personal: g.a.smith1986@gmail.com
Work: gsmith@lisluanda.com

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Chimamanda Ngozi Adichie "Half of a Yellow Sun"

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Chimamanda Ngozi Adichie "Half of a Yellow Sun"

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What are the different attitudes of British expats living in Nigeria in the 1960s based on the characters of Richard and Susan?

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GS IO extracts_template for students Example

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Now I know that I have to beware of academic integrity regarding disclosure of lines of enquiry for HLE and global issues for IO.
Now I can start to review BOW choices by perusing draft syllabi from day 1 and spreadsheet from other teachers.
Now I am ready to use what I have learned from this course to inform my teaching of current 13 Standard Lit students and 12 Higher Lang Lit ones.
Now I am ready to

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Now I know how to prepare students for the HL Essay.

Now I can keep in contact with an HL Essay examiner and pick her brain about the questions I have.

Now I am ready to take my understanding of the course further and confidently teach my students and colleagues about how I'm teaching DP Lang/Lit.

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Now I know that all elements of assessment test the same skill of textual analysis.
Now I know the parameters for non-literary bodies of work I can make good choices for the course.
Now I am ready to approach teaching to course with more confidence.

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Now I know what are the similarities and differences between the old and the new syllabus.
Now I can construct a 2-year curriculum that will prepare my students as best as possible for their exams, and hopefully they will enjoy it too.
Now I am ready to make choices, based on the guide, the assessment components, the requirements as far as Global Issues, AOEs and concepts are concerned.

In my new school there seems to be a very free approach as to which texts I would like to teach. However, I do want to make sure that the other DP Lang&Lit teacher and I are to some extent on the same page as far as our pedagogical approach is concerned. I am particularly interested in having the discussion if we should offer students a limited amount of BOWs, so we can teach them in detail, or if we should go for an approach where we offer them more than strictly necessary, expect more from the students themselves, but give them a wider variety of options in that way.

I also need to consider whether my intended choices for literary works are the best choices as far as opportunities for assessment are concerned. In addition, in which order do I teach them?

Finally, and this will be an ongoing thing, I personally need to focus a lot more on the 'language' element, the BOWs, in the course. I've always felt a literature teacher and have always preferred to teach the lit course. I need to develop a greater interest in the non-lit works too.

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Now I know how to structure my course outline keeping in mind all the different assessment components. Now I can teach the different assessment components more confidently. Now I am ready to guide the students to achieve their maximum potential in all the different components.

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Now I know the big picture of the Lang/Lit course. It helps to be able to contextualize the syllabus in regards to the assessments. It also helps me to pace my units and practice assessments better.

Now I can discuss the required assessments with confidence. They seemed rather obscure and undetermined before. Now I feel like I can appreciate the fluidity of the tasks while being comfortable with their requirements.

Now I am ready to present knowledgeable and practical guidance to my students regarding the IO. We are currently creating mini IOs about Banksy's BOW, so it was great practice to complete the student task. I plan on following through with the exercise and recording myself presenting an IO. I am excited to share this with my students.

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Now I know about how best to select literary and non-literary texts. I understand that this is vital for the construction of the course as well as the assessments.

I know about the need to explore a range of texts, offering students a choice.

I can ensure that areas of exploration, concepts and global issues are considered carefully.

I am ready to use my energy in classes, encouraging the enjoyment of language and literature.

I will focus on short-term and long-term goals so that students have enough time for reflection on each text and assessment preparation. I shall ensure that the student portfolio is constructed carefully and is there to support the students, enabling them to make a note of their train of thought.

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Now I know the approach through which to guide the students for the HLE. Now I know the challenges that students face when conducting the Individual Oral

Now I am ready to reorient my pedagogy to ensure that skills are being acquired for academic writing in the future and not just for the current assessments. For the texts that students do not find engaging, I am now ready to find to ensure they nonetheless be able to analyse them effectively.

One major takeaway I hope to incorporate in my classes is write downscaling sample responses. Until now, I had only been focused on 7 level sample responses but this exercise would ensure that students know how to exactly bump up their grade as well determine what is lacking in each level sample response.

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How does Liza Donnelly use of colour explore the issue of representation in society?

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Now I know the process behind delivering and preparing and IO and how to effectively question students. I found the note taking resource very useful and will be definitely be using this when the time comes.
Now I can articulate with more confidence the outline of the IB Lit/Lang course and the requirements of the different assessment components. I also have the resources and support ready to design my own syllabus and take more ownership of the direction of my classroom
Now I am ready to get stuck into my first year teaching the IB and to bring these changes in my practice and delivery down into my GCSE classroom as well :)