Upper School
US Curriculum

English

The Upper School English faculty strives to lead students to embrace a life-long appreciation of literature, analytical thought, and engagement in their world.
Students hone their grammar skills, find their own voices for various audiences, develop their use of diction and syntax, learn to exploit literary/rhetorical devices, refine their logical thought and expression, and grow as successful public speakers. They develop a mastery of on-demand and process-oriented writing so they can dispatch simple writing tasks and tackle complex ones.

Our teachers nurture students through reading and writing assignments, writing workshops, thoughtful feedback, and frequent one-on-one meetings. Students become perceptive readers and fluent, powerful communicators as they gain skills that facilitate self-discovery, critical thinking, self-awareness, originality, intellectual independence, ethical use of evidence and research, and the capacity to construct knowledge for themselves.

English: Major Courses

List of 7 items.

  • English 9

    6 meetings per seven-day cycle/3 credits.
    Required for ninth-graders.

    Ninth-grade English is designed to make sure all students start upper school with the foundational skills and abilities needed for the study of English at this level.

    Students are exposed to drama, creative nonfiction, poetry, short fiction, and novels—and they learn both the conventions associated with those forms and the skills necessary for reading them well. Students master reading for literal comprehension of plot and begin to read both to analyze how literary elements and abstract ideas in a text relate and to consider the consequences of those abstract ideas in the world beyond the text.

    Classroom discussion supports the development of these close reading and analytical skills, and students are supported in taking increasing ownership in class discussion. Students learn to participate in purely student-driven discussions that develop their skills at working collaboratively, developing questions about a text, and answering those questions for themselves. From time to time such discussions may be assessed and also graded.

    Students review and master paragraph structure—including the writing of topic sentences, the embedding of quotations, and the analyzing of evidence—and gradually move on to progressively more complex work. Over time, they learn how to close read significant patterns in the text to find an idea they want to explore, how to exploit the writing of paragraphs as a means to develop that idea, how to present that idea in a thesis statement, how to develop an introduction to help the reader to understand that idea, how to organize a full essay to support that idea clearly, and how to write a conclusion. In this way, students learn to use writing to ask questions of a text and to develop analytical ideas for themselves rather than to wait for an authority figure to give them a question to answer. They thus take ownership of their thinking and writing and empower themselves to tackle increasing challenges.

    To develop their skills as writers, students start with short essays in the first trimester, move on to essays for which they must first write proposals in the second trimester, and finally move on to three stage essays for which they write proposals, drafts, and revisions in the third trimester. In addition to analytical essays, students also write personal narratives, short fiction, and even poetry. They also write discussion-board posts, blog posts, journal entries, and reading responses as a way of preparing for discussions and essays.

    Typical works include a summer reading text, numerous poems, a wide range of short fiction, a film, and such texts as Antigone, Romeo and Juliet, The Catcher in the Rye, and I Know Why the Caged Bird Sings.

    As in History 9, students not meeting a minimum standard of competency in writing in English 9 may be asked or required to enroll in a writing workshop or to participate in some other program to support their writing.
  • English 10

    6 meetings per seven-day cycle/3 credits. Required for sophomores.

    Tenth-grade English explores key texts in British Literature including works of drama, poetry, short fiction, and novels. It focuses upon these texts as a means by which to develop students’ skills as readers, writers, and thinkers.

    Students enhance their skills as close readers of literature, not only refining their skills at analyzing how literary elements and abstract ideas in a text relate, but also learning to track such textual patterns purposefully in order to support both strategic rereading and careful analysis. Students also enhance their ability to reflect on the consequences of those abstract ideas in the world beyond the text.

    Classroom discussion supports the development of close reading and analytical skills, and students take increasing ownership in discussion. Not only do they participate in purely student-driven sessions to develop their ability to collaborate, to develop questions about a text, and to answer those questions, but they also reflect intentionally on their individual and collective practice and then cultivate strategies by which they all can grow. From time to time, such discussions may be assessed and also graded. In addition, each student regularly offers passage presentations, which combine elements of formal presentation and discussion facilitation.

    In the first trimester, students review and master the multistage essay that culminated their writing in ninth grade, with particular attention to the use of evidence. While working on that essay—typically about poetry—students are scaffolded in their efforts to develop complex ideas and guided in how to seek appropriate and constructive feedback via writing and conferences with teachers. In each of the second and third trimesters, students write another multistage essay and are expected both to emulate the strategies used in the first and to take increasing responsibility for developing their ideas and for writing and revising. Even so, teachers provide support to all students who self-advocate by seeking appropriate feedback. Drawing as it does upon skills developed through passage presentations in the second trimester and graded discussions at the start of the third trimester, this last major essay supports students in exploring analytical ideas for themselves and in taking confident ownership of their thinking and writing.

    In addition to analytical essays, students also write in such modes as personal narrative, short fiction, and poetry, as well as discussion-board posts, blog posts, journal entries, and reading responses.

    Typical works include a summer reading text, numerous poems, a wide range of short fiction, a film when possible, and such texts as The Tempest, Heart of Darkness, and A Passage to India.

    As in U.S. History, students not meeting a minimum standard of competency in writing in English 10 may be asked or required to enroll in a writing workshop or to participate in some other program to support their writing.
  • English 11

    6 meetings per seven-day cycle/3 credits. Required for juniors.

    Eleventh grade English explores not only the key formal elements of memoir/personal narrative, modernist and post-modernist fiction, and magical realism, but also such key topics in American literature as race, class, the immigrant experience, the social construction of identity, the American dream, and the conflict between individual desire and social expectations.

    Students work on close reading and skillful analysis of both literary elements and abstract ideas in the text, but they place greater emphasis on analyses that explore the consequences of these things in the world beyond the text. Such explorations help students see why literature matters and why it is important they be able to make their own claims about the significance of particular works.

    Since this course focuses on the relationship between literature and themes at work in our culture, it is especially important for all students’ voices to be heard and nurtured. As a consequence, teachers provide key concepts about the literary forms and tools for analysis of texts, encourage students to take charge of discussions, and serve as moderators/facilitators, reinforcing effective analysis and highlighting insights and discoveries. Students also continue with passage presentations and purely student-driven discussions that may be assessed and also graded. In addition, students at work on multistage essays participate in optional roundtable luncheons in order to explore ideas with their peers in other sections and thus to enrich their thinking and writing.

    Students develop strategies for analyzing personal narrative/memoir, for decoding modernist and postmodernist texts that challenge conventional narrative, and for exploring magic realism. They empower themselves to enjoy challenging texts and to write confidently, creatively, and insightfully about them.

    The first trimester expands the multi-stage essay and emphasizes significance beyond the text. This essay builds on exploratory writings, involves a topic proposal, a draft, and a revision, and relies on numerous conferences and on-line communications to help students take ownership of their writing. The second trimester features a similar essay that introduces the idea of enriching analysis by drawing upon research, scholarly articles, and even basic ideas in philosophy. The third trimester varies. In recent years, it has involved both an analysis exploring the relevance of a work by connecting it to pop culture or current events, and an exploration of a theme in which students design an anthology of short fiction, prose excerpts, poetry, and music for which they develop a thematic rationale and introduction. In addition, students may write personal narratives, short fiction, and poetry, as well as discussion-board posts, blog posts, journal entries, and reading responses.

    Typical works include a summer reading text or texts, numerous poems, a wide range of short fiction, a film when possible, and such texts as William Faulkner’s Sound and the Fury, F. Scott Fitzgerald’s Great Gatsby, Junot Diaz’s Brief Wondrous Life of Oscar Wao, and Toni Morrison’s Bluest Eye.
  • English 12: Overview

    6 meetings per seven-day cycle/3 credits. Required for seniors.
     
    Ranging over American, British, and World Literature in translation—as well as the so-called “new” English literature of Africa, India, and the Caribbean—each of Hackley’s two twelfth-grade English courses comprises a three-trimester unit introducing students to collegiate-level work in exploring and writing about literature, culture, and theory.
     
    While each of the courses offers a unique selection of texts, themes, and critical perspectives, all courses serve to develop students’ skills as readers of many types of “texts”: literature, journalism, films, theatre, advertisements, and the visual arts. In addition, students will develop their skills both as writers and thinkers through class presentations, group projects, and writing tasks in a variety of genres.
     
    Students will come to appreciate that the Anglo-American literary tradition is not the only viable tradition; that the Anglo-American tradition has complexities they have not yet encountered; that a historical approach must not look purely at the center of a literary domain, but must also look at its borders on the margins of the text; that there are no “theory-free” readings of texts or cultures; that all language is political and that even the “plain style” has an agenda; that the politics of “othering” limits our perceptions; that we must step out of and look critically at the center of society; and that we have much to learn from the range of critical theories open to us – including but not limited to historicism, new criticism, feminism, Marxism, deconstruction, new historicism, cultural materialism, queer theory, post-colonial theory, etc.
     
    Students will pursue class presentations, group projects, and writing tasks in a variety of genres, with the major written project (but no exam) due in the third trimester.
  • English 12: A Hitchhiker’s Guide to Insanity: Mental Illness as a Literary Trope

    English 12 Logistics: The English Department will offer two three-trimester course options to seniors: Hitchhikers Guide to Insanity and Gumshoes.
     
    Students will indicate their preferred course on course selection forms. While we will make every effort to accommodate student preferences, both scheduling conflicts and the necessity of maintaining a favorable student-to-teacher ratio inevitably prevent a small number of students from enrolling in their chosen English 12 course.

    A Hitchhiker’s Guide to Insanity: Mental Illness as a Literary Trope
    When doctors complain a novel or film depicts mental illness inaccurately, they often miss the point. While some works depict mental illness to improve understanding of the mentally ill, most focus on mental illness as a device by which to reveal what is silly or wise, bad or good, unhealthy or healthy. Our goal here is to explore what literary madness shows us about the world and ourselves — and how it does so. In some works, madness is a pitiable condition to which we are driven. In others, madness is our only sane response to the horrible or absurd. In others, madness is a nervous punch line — a way to dismiss what makes us uncomfortable. Who among us doesn’t know a story about a “crazy” ex boy- or girl-friend? In still others, madness is a mark of divine inspiration or genius. We’ve all heard of an idea is “so crazy it might just work.” While the British cherish mental illness domesticated as eccentricity, other cultures stigmatize mental illness as shameful. Finally, as Michel Foucault points out, cultures use insanity as a label by which to contain what they fear socially or politically. So, writing about insanity may be a response to political or social conflict. After all, in Russia dissidents once were hospitalized for their views and in America feminist discontent once was medicalized and treated.

    Short texts will include such works as “Diary of a Madman” by Nikolai Gogol, “Ward Number Six” by Anton Chekov, “Cares of a Family Man” by Franz Kafka, “Bartleby the Scrivener” by Herman Melville, and “Porphyria’s Lover” and other poems by Robert Browning.

    Longer texts will include such works as Ajax by Sophocles, Hamlet or King Lear by William Shakespeare, Steppenwolf by Hermann Hesse, The Trial by Franz Kafka, Vladimir Nabokov – Despair or Pale Fire, Nightwood by Djuna Barnes, Under the Volcano by Malcolm Lowry, The English Teacher by R.K. Narayan, One Flew Over the Cuckoo’s Nest by Ken Kesey, A Clockwork Orange by Anthony Burgess, Darkness Visible by William Styron, Norwegian Wood by Haruki Murakami, Regeneration by Pat Barker, American Psycho by Bret Easton Ellis, Fight Club by Chuck Palahniuk, and The Curious Incident of the Dog in the Night by Mark Haddon.

    Films may include: Psycho, Marnie, A Clockwork Orange, A Beautiful Mind, and The Soloist.
  • English 12: Gumshoes: Mysteries, Private Detectives, & the Principles of Deduction

    English 12 Logistics: The English Department will offer two three-trimester course options to seniors: Hitchhikers Guide to Insanity and Gumshoes.
     
    Students will indicate their preferred course on course selection forms. While we will make every effort to accommodate student preferences, both scheduling conflicts and the necessity of maintaining a favorable student-to-teacher ratio inevitably prevent a small number of students from enrolling in their chosen English 12 course.

    Gumshoes: Mysteries, Private Detectives, & the Principles of Deduction
    Sherlock Holmes always maintained to his amanuensis Dr. Watson that his great insights owed themselves to little more than “elementary” principles. Indeed one might assert that any quest for knowledge is a quest for that which is the case -- for the truth. If one proceeds from agreed-upon observable facts, one can solve any number of cases: Who stole the Maltese Falcon? What happened at the Watergate Hotel? Just who was this Charles Foster Kane fellow? The principles of deduction can help to order our investigations not only into specific issues or scandals, but also into personal identity and even metaphysical or ontological realities. What, though, if those facts are elusive, kept secret by certain individuals or forces, or even themselves somehow in question? What can an analysis of the act of detection tell us about the detective, as well as the world that she/he strives to understand? Indeed, characters -- the citizens who read about them -- all journey in some way from innocence to experience (or even some kind of enlightenment). In this course, we will consider the identity politics of those who detect, the complexities of the social and political environments through which those detectives move, the philosophical or political nature of the sought insight or critical missing object (re-imbuing the Hitchcockian “MacGuffin” with meaning), and the critical shift from gathering facts to assessing various interpretations of the “truth.”

    Texts may include, but are not limited to, Thomas Pynchon’s The Crying of Lot 49, Jonathan Lethem’s Motherless Brooklyn, Akimitsu Takagi’s The Tattoo Murder Case, Willkie Collins’s The Moonstone, Maj Sjöwall and Per Wahlöö’s Roseanna, Walter Mosley’s Little Scarlet, a volume from Alexander McCall Smith’s series The No. 1 Ladies’ Detective Agency, Sherman Alexie’s Indian Killer, Mark Haddon’s The Curious Incident of the Dog in the Night-Time (novel / play), Diane Wei Liang’s Paper Butterfly, Subcomandante Marcos and Paco Ignacio Taibo II’s The Uncomfortable Dead, Tana French’s Broken Harbor, Ruth Ozeki’s A Tale for the Time Being, and films such as Hitchcock’s Rear Window, Welles’s Citizen Kane, Polanski’s Chinatown, Paluka’s All the President’s Men, and Kurosawa’s High and Low.
  • Advanced Placement English Exams

    During the spring semester, Juniors and Seniors who wish to take the AP Language and Composition exam and/or the AP Literature and Composition exam may take advantage of an after-school review program in the appropriate AP English test-taking strategies. These sessions will be provided by the English Department

English: Minor Courses

List of 10 items.

  • The Vision: Multiple Views, Rich Media

    3 meetings per seven-day cycle/2 credits. Open to grades 10-12.

    Enrollment in the course is by application only. Enrollment will be limited to 11 students. Students who join in 10th or 11th grade have priority for senior leadership roles in senior year. Leadership positions include editors-in-chief, managing editors, literary editors, art editors, social media editors, and more. 

    When applying, students should indicate for which role or roles they feel they are best suited. Past experience with InDesign or a similar graphics program is a plus, though not a requirement, and students should mention what relevant experience they have in their applications. Applications are available in the U. S. office and are due in Ms. Akin’s mailbox by April 18th, decisions to be made by May 1st.

    This course will involve students creating a year-long presentation of Hackley creative writing and visual arts through print, web, and digital media.

    Students will begin by soliciting, evaluating, and editing literature and artwork for inclusion in a new on-line literary and art magazine. They will help create and manage a basic online posting system on the Hackley website, and they will work as editors to support the online presence of these materials—both for internal and external audiences—with regular bi-weekly postings.

    Students will select the best of the art and literature gathered for online presentation and will include this work in the printed publication. Students will learn to use the InDesign graphics program to develop and manage visual layouts. They will design the printed publication and see it through all phases of editing, proofing, and print production. They will also have to work within a budget, which will necessitate creative decision making as they bring their vision (pun intended) into reality. And they will be required to support and meet frequent deadlines for various components and phases of the project, culminating with delivery in the spring of The Vision publication.

    In addition, The Vision will offer published students the opportunity to read their work (or have it read) for an audio CD that will accompany the printed magazine. Students working on the publication will help support the recording process and oversee the creation of the CD.

    Throughout the process of presenting both on-line and print versions of The Vision, students will learn to combine and manipulate different types of media such as text, audio, and graphics. They will employ microphones, scanners, and other input devices to gather information.

    While students will be enrolled based on application for specific roles in the editorial structure, where they will hold primary responsibility, students will participate in and learn all aspects of the project.
  • Foundations of Creative Writing

    3 meetings per seven-day cycle/2 credits

    Open to juniors and seniors; open to sophomores with special permission of the Department Head. Enrollment limited to two sections.

    Foundations of Creative Writing students are required to keep a journal and to carry a small notebook in which they jot down thoughts, observations, overheard dialogue, or anything else that might be useful material in their creative writing. In addition, they have weekly assignments of varying lengths that involve them in a variety of writing techniques and subjects. The class meets three times a cycle to analyze and critique assignments, and to talk about writing.
  • Advanced Creative Writing

    3 meetings per seven-day cycle/2 credits

    Prerequisite: Foundations of Creative Writing 123 or special permission of Department Head

    “Life, friends, is boring,” writes John Berryman in his fourteenth Dream Song. “We must not say so.” And yet, clearly was Berryman compelled to do so, in this poem and the 384 other poems that make up his masterwork. The Dream Songs is many things – confessional, angry, sullen, sensual, jazzy, offensive, compassionate, elegiac – but it is first and foremost a work that is inimitably Berryman’s. Advanced Creative Writing, then, will provide a setting for proven (but still learning) writers to explore those topics, themes, ideas, and utterances they feel compelled to put to page. It is a course in which students will learn the further use of the creative tools they will need in composing what might turn out, one day, to be their own masterworks. It is a course that will train creative writers to recognize creative voice – in canonical writers, in each other, and in themselves.

    Students will read and write in a range of creative writing genres (including poetry, short fiction, plays and screenplays, and song lyrics), but they will also focus on a self-selected topic or aspect of craft – akin to the sort of concentration a student might develop and pursue in an AP art studio course. The workshop experience will be the cornerstone of the course: students will submit their creative pieces for peer review and discussion.

    Peer creative writers will read those works prior to workshop, and prepare some feedback in advance. As personal reflection helps foster the development of a distinct unique voice, students will reflect in various ways on their own works and creative processes. Finally, students will encounter a variety of creative practices by reading widely from canonical and contemporary sources (which may include volumes from The Best American Poetry series and literary journals such as Poetry, American Poetry Review, and Tin House). The course may include occasional texts about the writing process (such as Dillard’s The Writing Life, Hugo’s The Triggering Town, and Dobyns’s Best Words, Best Order).

    The pre-requisite for Advanced Creative Writing 124 is Creative Writing 123. In exceptional cases, students who have not satisfied this requirement may apply for departmental approval with a writing sample.
  • The Good Life: Seminar in Moral Philosophy (Not Offered 2018 - 2019)

    3 meetings per seven-day cycle/2 credits
    Open to juniors and seniors. Enrollment Limited.

    What does it mean to live a good life, and what is the relation between living well and making moral choices? In this course, we will think hard about these questions and wrestle with some of the most compelling issues of the human condition. Why should I want to do the right thing, and how do I know what that is? What makes a dilemma a moral dilemma? Is it more important to act morally, or to be the sort of person who makes moral choices? What does it mean to be a friend? Is there a relation between our happiness and the moral values we hold? Students will consider theories by thinkers such as Aristotle, Epictetus, Kant, Mill and Frankel and test them against their own experience and lived dilemmas. The goal is to become more sensitive to the moral dimensions of our everyday life and to develop the thinking skills and vocabulary to address them. For the final project, each student will develop their own “Credo,” a set of self-identified principles essential to living one’s life well.
  • Literature of Social Comment

    3 meetings per seven-day cycle/2 credits.
    Open to seniors and juniors. (Also listed in the History Department.)

    This course will include ancient and modern texts on ethics, human rights, protest, and social action, will have a fairly wide range geographically and temporally, and will focus on several groups whose civil rights have been challenged. The direction of the course and the breadth of the syllabus will also reflect the interests of the class; students will be equally responsible for contributing discussion items, will monitor online and print media daily, and will be assessed on class participation. Other assessments will include written reflection, oral presentations, podcasts, and the use of additional technology. The course will culminate in a final project reflecting the passion of each student, to which considerable class time in Trimester 3 will be devoted. We will welcome occasional guest members to the class: faculty, students, alumni, and parents.
  • Foundations of Reading, Writing, and Thinking

    3 meetings per seven-day cycle /2 credits.
    Open to all Upper School students with preference to freshmen, sophomores, and juniors.

    Focused on the practical, immediately useful basics of writing, “Foundations of Reading, Writing, and Thinking” is intended for students who want to improve their skills as readers and writers.

    Language allows us to communicate our ideas and to learn those of others. The more skillfully we put our ideas into words, the better we can understand ourselves and the world around us. Focused on practical reading, writing, and thinking skills, the goal of this course is to help upper school students develop and strengthen their reading and writing skills, and through them to strengthen their thinking and communication skills. We will examine both published and student-generated writing.

    We will begin by working on introductions and theses: what to include in them when writing and what to look for in them when reading. Next we will work on organization and support of ideas within paragraphs and organization of paragraphs within essays: how to organize to express ideas clearly and how to read actively to discern the organization and meaning of others. Then we will take up the often-neglected conclusion, giving it the same attention. In the process we will focus on close reading skills and on developing sensitivity to diction, syntax, and tone.

    As the year progresses—and in response to student needs—we will also work on editing and proofreading skills, which will involve learning the necessary grammar and punctuation. As much as possible we will deal with grammar though online exercise and quizzes. In the 2nd and 3rd trimesters, the teacher will provide students with individualized instruction and feedback.
  • Sophomore Seminar in Creative Writing

    3 meetings per seven-day cycle/2 credits
    Open to sophomores.

    This is a course for those who think they can’t write creatively and for those who think maybe they can. Our major goal is that students become comfortable not only writing, but also talking about what they and others have written.

    Some topics for writing will come from the teacher, and some from the students, but there will also be free writing without a particular topic and writing in which individuals choose their own topics.
  • American Paradoxes: Moby Dick, National Contradictions, and the Search for Meaning

    3 meetings per seven-day cycle/2 credits

    Open to juniors and seniors; open to sophomores with special permission of the Department Head. Enrollment limited to twelve students.

    Like Quentin Compson, English teachers and students worry constantly about time: how do we balance the importance of reading broadly while also reading deeply and richly?

    This minor course offers one possible solution: spend an entire year reading one of the classic “tomes” of literature classes at a (reasonably) leisurely pace. While students will occasionally be asked to write short reflection pieces, assignments in this course will all be readings from the novel in order to prepare for rich, interesting discussions.

    Why “The Whale” (Melville’s subtitle for the book)? Why read novel that seems to be about a bunch of white men doing “manly” things? Reading Moby Dick remains a part of Hackley history, its prose remains beautiful, and its fundamental weirdness remains intriguing, but Melville’s exhaustive exploration of America through the lens of a sea yarn provides the best reason for contemporary readers to tackle its complications. How are we to understand a nation championing equality yet legalizing slavery? A nation committed to democracy that enables demagoguery? A nation that heroically challenges frontiers while leaving destruction in its wake? What place is there for an individual within a nation’s communal institutions? What value do science, art, and introspection have when weighed against the forces of economic growth? Melville’s novel does not judge: it reveals, questions, and sprawls.

    The course will include numerous excursions, both intellectual and literal. We will visit the Whaling Museum in New Bedford, Massachusetts for the annual marathon reading (and eat at the ridiculously good DB Burgers right next to the building), study the real biology of whales, debate the ethics and international complications of contemporary whaling, and, mostly, have a grand, leisurely, intellectual year.
  • Psychology

    3 Meetings per cycle/2 credits
    Open to seniors and juniors. Preference to seniors. Juniors admitted as space may permit.

    Understanding human behavior, whether it be that of others or of oneself, is at the core of all of life’s endeavors. This introductory course in psychology is designed to examine human behavior, social development, and mental processes. Students will learn how biological heritage, environment, and experience influence development and behavior. Through examination of psychologists and their research, students will gain a clear understanding about what motivates human behavior and how we perceive, remember, adapt, solve problems, form relationships, and find our place in the world.

    Topics will include development, learning, memory, intelligence, motivation, emotion, personality, social psychology, and abnormal psychology. Theorists will include, but will not be limited to, Freud, Piaget, Erikson, Pavlov, Skinner, Bandura, Kohlberg, Gilligan, Maslow, Gardner, Rogers, Milgram, and Zimbardo. Students will unravel the history of the field of psychology and discover the importance of psychological experiments through examination of past studies and their design, as well as through creating and developing their own experiments.
    • Gleitman, Gross, and Reisberg, Psychology.
    • Hock, 40 Studies that Changed Psychology: Explorations into the History of Psychological Research
    • Oltmanns, Neale, Martin, and Davidson, Case Studies in Abnormal Psychology
  • Public Speaking

    3 meetings per seven-day cycle/2 credits
    Open to all students.

    (Note: This course does not satisfy the Visual/Performing Arts graduation requirement.)

    This course will assist students in developing better public-speaking skills through the use of voice, speech and presentation technique.

    Topics covered in this class will include:
    • Presenting informative, persuasive, storytelling, demonstration, impromptu and group speeches
    • Dealing with stage fright
    • Using one’s voice to one’s advantage
    • Relating to the audience

    Students will be required to write their own speeches throughout the course of the year. They will watch and analyze great inspirational speeches, as well as those of their classmates.