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What are the three things you want to make sure you do when you design your own course?

I want to be able to offer diverse texts which requires research and reading on my part first. I am a big fan of historical literature so I know I will lean towards Victorian (US or UK) but I would like to be able to look at distinct themes the run through texts in various eras to show how society is or isn't progressing. Science and attitudes towards is always a fun one for this. Also ,I want to be able to challenge learners to put themselves out of their comfort zones and to read and experience texts that make them feel uncomfortable in order to present and tackle subjects outside of the norm.

What two principles of course design spoke to you personally, why, and how will you use that to design your syllabus?
Variety and Accountability - the idea that there are set texts but there is also scope for learners to study different texts from the PRL so they can't rely on the teacher for all of the answers which then links to accountability and being responsible and trusted to perform with integrity and respect.

What one question do you still have about the philosophy or the practicalities of designing a course syllabus?

I was super excited to see Sondheim on the list - mind blown! I am assuming this is studied in the same way as poetry? But, my question is, how much independence does the individual teacher have in designing their course? Or, do you tend to follow SOW and all follow the same texts within a department?

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Intertextuality—connecting texts

How do texts adhere to and deviate from conventions associated with literary forms and genres or text types?

How do conventions and systems of reference evolve over time?

In what ways can diverse texts share points of similarity?

How valid is the notion of a classic text?

How can texts offer multiple perspectives of a single issue, topic or theme?

In what ways can comparison and interpretation be transformative?

Let's be obvious and look and the Bard himself. A playwright of 37(?) plays set in 3 distinct genres of comedy, history and tragedy. For this task I will focus on his history plays - the epitome of intertextuality, sprinkled with a little bit of mockery and subversive undertones throughout. He both conformed to his form through the use of iambic pentameter and strict rhyme for 1000s of lines while throwing in the odd stab at religion, the monarchy and the social hierarchies of the time. Looking at society today and how Megan Markle has been thrown to the lions, and how class systems around the world are no different to 500 years ago, it is easy to prove that his plays are timeless and true but also a little bit ridiculous and far-fetched.

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Time and Space

How important is cultural or historical context to the production and reception of a text?

How do we approach texts from different times and cultures to our own?

To what extent do texts offer insight into another culture?

How does the meaning and impact of a text change over time?

How do texts reflect, represent or form a part of cultural practices?

How does language represent social distinctions and identities?

Texts can offer vast details on the social and historical context of when they were written. I recently posed the question: 'All comedy represents an important part of history' and we focused in the likes of Richard Prior, Bill Hicks, Sandra Bernhard, Amy Schumer and even some Tommy Cooper and Lucille Ball. The learners had to prove me wrong. They could use any comedian but my job was to argue that my statement stood true.
All of the above rely on social and historical context in order to either mock society or ensure we reflect in a somewhat Brechtian fashion - all of them use language to do so.
Once they grasp the concept that context is inherent, they are then sent on their way to relate the same statement to the text being studied.
In the same way that comedy has a shelf-life, it is interesting to investigate texts that also may fall victim to the 'cancel culture' in today's world.

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Readers, writers texts

Why and how do we study language and literature?

How are we affected by texts in various ways?

In what ways is meaning constructed, negotiated, expressed and interpreted?

How does language use vary among text types, and among literary forms and genres?

How does the structure or style of a text affect meaning?

How do texts offer insights and challenges?

The 'study' of language and literature is another avenue of looking our history and cultural growth (or lack of) over any period of time. Literature and language present a door to a world that we once knew or a world that we want to be in the future - the 'how we study' part is the key to whether or not we truly experience it or just remain watching from the window (love a good metaphor!) There are different types of learners from hierarchal individual to distributed collective and these need to be celebrated within learning environments in order to challenge common ideas and guide to learning that is reflective, meaningful and interactive.

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Who gets left off in canonical discussions of literature and why does that matter?

And so, is the notion of a canon helpful in the study and understanding of literature? How does a canon get established?

And what "canon" are you presenting to students in your literature choices? Why does that matter?

The first thing I noticed about the PRL - much to my embarrassment - is how little I have read with regards to literature that is considered important. However, I also noticed some absentees and realise that actually, a list of canons is surely endless - as literature is continuous and as political climates diversify and change so does the idea of representation. So, maybe, as the world turns, so does this list and the literature that is chosen for study must be relatable to current affairs and how those current affairs also link to the past.

There is also a notion that someone, somewhere has decided that a text is important to society and it portrays an important aspect of how society is functioning at that time. Take for example, Frankenstein - a gothic tale showing the struggles of the Enlightenment and religion at a time when the world was changing at a tremendous pace as it headed into the Industrial Revolution and science became the place to look for answers rather than the church. In my personal opinion, a text that should be read, if not studied all. But that is my opinion and others may not agree.

That's why it matters if someone 'gets left off', no one should be as literature is subjective and should remain so.

'Through the course of education, when one is asked to read any novel, essay, poem, or some other sort of text, it is because a teacher or some other entity decided the text should be canonized. Canons, then, can be understood as value-determining lists that are ingrained in our education system, perhaps unavoidably so. However, the political process of deciding what makes it into a given canon and what does not has long been a topic of scrutiny and debate for scholars of all academic disciplines.' https://www.dailynebraskan.com/culture/literary-canons-exclude-works-no-matter-how-selective-canon-makers-are/article_da83def2-ad43-11e2-b07a-0019bb30f31a.html#:~:text=The%20term%20%E2%80%9Cliterary%20canon%E2%80%9D%20refers,particular%20time%20period%20or%20place.

I don't wonder if, by giving a prescribed list - however vast - it might encourage learners to search for literature and writers who are not on the list, thus creating that learner who wants to 'nurture their curiosity in connection with the different views and experiences of life present in a text (inquirers)' as only when they look outside what is being offered do they become active lifelong learners.

Having not yet taught the IB (I am an independent learner) I can only go by the texts I have been teaching in other courses and I see them on the list which is great! Ishiguro, Shelley and Atwood spark an interest in their portrayal of science and religion and how society deals with the subjects of victimisation. It may be easy to see but, I know these author, which is why I would probably go for these over others at first glance. And that is what we so, we go for the safe options of teaching what we know and staying in our box when we expect learners to go away and experience other canons that we may not be familiar with.

I just read that Joni Mitchell and Stephen Sondheim are on the list and having never taught literature through lyric before, this would be a genuinely exciting project for me and the learners!