Upper School Course Guide 2017-2018 Upper School Course Guide 2021-2022 - FRIENDS SCHOOL OF BALTIMORE
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FRIENDS SCHOOL OF BALTIMORE
Upper School Course Guide
2017-2018
FRIENDS SCHOOL OF BALTIMORE
Upper School Course Guide
2021-2022
TABLE OF CONTENTS Diploma and course 3 Requirements 3 Diploma Requirements 3 Art Major 5 English 8 Languages 17 History 25 Mathematics 30 Performing Arts Offerings 34 Physical Education 38 Science 39 Non-Departmental Courses 43 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 2
3. Successfully complete the PE/Athletic
“Four Core Plus Two” requirement (see page 34
for full description), including the healthy rela-
tionships and identity curriculum, presented in the
following two courses:
a. Freshman Forum (.5 credit)
b. Sophomore Forum (.5 credit)
Diploma and course
4. Successfully fulfill the requirement of the
Requirements community service program
Diploma Requirements
To receive a Friends School diploma, a student 5. Complete the following courses and other
must: requirements:
1. Earn a total of twenty-one credits, eighteen of
which must be in major courses. a. Junior Forum
b. Senior Forum
2. Satisfy the following course requirements:
English: 4 credits
Credits
(including four ½ credit electives during Junior
& Senior year.) Full-year major courses earn one credit.
Semester major courses earn one-half credit. Mi-
nor courses earn one-half credit. Twenty-one
Social Studies: 2 credits credit units constitute the minimum state man-
(including History of the Modern World and dated high school degree requirement.
U.S. and the World)
Math & Science: 6 credits (at Matriculation
least 2 credits in each discipline including Biol-
A student may matriculate from one year in the
ogy and successful completion of Algebra 2 or
Upper School to the next if they: 1) complete the
Accelerated Algebra w/Trigonometry)
English requirement for that year; and 2) are able
to appropriately satisfy the diploma requirements
Languages: 2 credits of in their time remaining at Friends.
Friends School language (including completion of
Level III of a modern language, or Level II of
Latin)
Curriculum Recommenda-
tions for College Placement
Fine Arts: 2 credits
Students are encouraged to enroll in the most rig-
orous college preparatory program they can man-
Other Majors & Minors: 3 credits
age. This generally means taking five major aca-
demic subjects each year, plus one or two minors.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 3The minimum requirements for college entrance
include: four years of English; three years of pre-
Adding and Dropping
calculus math (through Algebra 2); two labora-
tory sciences; three years of social studies (in-
Courses
cluding History of the Modern World and US and
Adding Courses: Students may add courses,
the World); and two years of a foreign language.
space permitting, within the first two weeks of the
Students who plan to apply to highly selective
year for a year-long course or the semester for a
colleges and universities should plan to take
semester-long course. A completed Add/Drop
courses well beyond this minimum, including
Form is required.
three to four years of the same foreign language;
four or more years of science; math through Pre-
Dropping Courses: If a student believes they
calculus or Calculus; and four years of social
need to drop a course, the following guidelines
studies. Students must complete courses noted as
are to be followed:
graduation requirements at Friends School.
The school allows students to wait until the first
In some cases, the student's intended college ma-
interim (or the third interim for second semester
jor may influence the course selections for the
courses) to drop a course without it being rec-
junior and senior years. For instance, students
orded on the transcript. If a student wants to drop
who plan to go into science or engineering-related
a course after these deadlines, they need to obtain
fields should take math all four years, and may
an Add/Drop Form from the Upper School office.
elect to take a second advanced science in lieu of
Approval is obtained from the following: (a) the
foreign language or social studies in the senior
student’s advisor, (b) the teacher of the course,
year. Conversely, a student who plans to study
(c) the Grade Dean, and (d) the student's parents.
history or English in college may double up in
In addition, seniors need approval of faculty who
one of these disciplines rather than continue in
wrote their college letter of recommendation. In
science or math in the senior year. Students and
some cases, it may be appropriate to consult the
parents with questions about the impact of course
College Counseling staff. The completed form is
selections on college admission should contact
to be returned to the Registrar. Final approval
the College Counseling staff.
rests with the Principal.
If permission is granted, the student may drop the
Students Taking Four or Six course. The transcript will read "Withdrawn Pass-
Courses ing" (WP) or "Withdrawn Failing" (WF), depend-
ing upon the student's status at the time of the
drop.
Most students take five major courses each year;
no student may take fewer than four academic Students enrolled in six major courses will be
major courses plus a minor. Students who wish to given until the end of the first quarter to drop a
course without penalty. This should allow a stu-
deviate from the normal course of study by enrol-
dent sufficient time to discern whether they can
ling in four or six major courses must petition the handle the demands of six courses. If a student
faculty for permission. The required form asks wishes to drop a sixth course at the end of the
the student to explain the reasons for the desired first quarter, the course will be expunged from the
number of courses; the form is reviewed and the transcript.
student's parent(s); faculty advisor and a Grade
Dean make comments. In appropriate cases, the On occasion, changing a class to Pass/Fail may be
College Counseling staff is consulted regarding preferable to dropping it. If the department and
the college implications of a proposed course of administration concur, a course may be changed
from a grade to Pass/Fail. Credit is awarded for a
action.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 4grade of Pass. Courses earned Pass/Fail grades Semester-long Medium-Based courses meet
are not factored in to the GPA. during a 70-minute letter-block 5 out of 10 days
in the cycle. Students do not need a 6 Major form
to enroll in these offerings; however, they cannot
Art enroll in these offerings if they are planning to
take 6 majors, as these courses are only offered
The Upper School Art Department cultivates sev- during the 70-minute letter blocks. Some out-of-
eral enduring understandings and expectations for class work may be expected in these courses.
the artists in our program: Artists engage their
work and the work of others with hearts and
Year-long Survey courses meet during the
minds prepared, cultivating their empathetic en-
50-minute L or M-blocks 3 or 4 out of 10 days in
gagement with visual art in and beyond the class-
the cycle.
room. Artists are inquisitive viewers and active
listeners and are willing to share their work with
a broader community. They exhibit historical un- Rejoining a Course: In regards to fulfilling art
derstanding of the role of art in its culture, its credits, we feel as if the healthiest approach is for
time period, and its connection to the world students to experience a wide variety of art offer-
around us. ings. If it's a deeper dive students are looking for,
we hope a student considers re-joining a course--
Artists develop their expressive capacity to com- but only with instructor approval and if the stu-
municate effectively about their work and the dent is willing to do the work that this deeper
work of others. They hone their ability to inter- dive will require. We think rejoining an art
pret and analyze works of art, understand mean- course is a worthwhile discussion to have only if
ing and significance and articulate their own pro- it's something a student is serious about pursuing
cesses of expression as artists. Artists display an through a more devoted and meaningful practice.
ability to use materials thoughtfully and perfect Second-years in any art course are expected to
their craftsmanship. They continue to develop work more independently on more challenging
this practice in conjunction with effective visual projects, often outside of the curriculum they
communication through those materials. have already mastered. If this is something you
think might describe you, then please talk with
Each artist synthesizes these understandings in your art teacher about how and when you might
different ways during the creative process. It be- rejoin.
gins with embracing the creating process, un-
leashing his or her curiosity, and exhibiting a
willingness to explore with both meaningful fore- Art Major
sight and thoughtful reflection. Paramount to the
artist’s practice is the recognition and mainte- This full major course prepares students for a col-
nance of the integrity of the work. lege art program in either professional or liberal
arts schools. Skills we plan to focus on will be
The Art offerings listed below are split into three drawing from observation and building students’
categories: voice in art. Each student is expected to have
some command of drawing processes in order to
Full Majors meet just as often as an Academic better understand and develop his or her individ-
Major. If a student is planning to enroll in one of ual creativity. Art Major students interact daily
these courses as a 6th Major, they need to obtain with the teacher and each other while working in
the proper documentation from the appropriate various media and techniques to fill out their
grade dean. These are only open to 10th-12th body of work. Much out-of-class work is ex-
Grade. pected in Art Major. In addition to in-class work,
individual journal entries and homework assign-
ments as well as portfolio reviews are central to
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 5this curriculum. Students will be assessed on their assignment, making exploration a vital compo-
engagement and development of the visual lan- nent for success. Outside-of-class research and
guage through our consistent feedback sessions open-studio work time may be integral to com-
and art reviews. Coursework also includes a se- pleting this course. Comfort with digital formats
mester project in lieu of exam. Art Major is re- and processes might make this a more meaningful
served for students in 11th and 12th grade. Inter- class for those that wish to take it, but it is not a
ested s10th graders may be considered for Art prerequisite. This class may be repeated with the
Major as a 6th major in special circumstances. approval of the instructor. This is a semester-long
This class may be repeated with the approval of course, open to 9th-12th. ½ credit
the instructor. This is a year-long major course
that meets 4 days per 6 day cycle. 1 credit Web Design and Development In this course,
students will learn how to design and build cus-
tom websites using Javascript, HTML, and CSS.
L and M Block Offerings Students will build essential skills for designing
and organizing sites that are visually distinctive
and engaging. Learn about layout, typography,
Art and Politics In this class we will come and color, create assets, design UX interactions,
together during L block to read, watch, and expe- and put it all together in one- and multi-page
rience art that is trying to make an impact on the websites. No previous programming experience is
politics of its time. We will discuss what is con- necessary. Students will create collaborative and
sidered art (Posters? Stickers? Paintings? Graf- individual projects. Students will be assessed on
fiti? T-shirts? Memes?), what is politics (AIDS their growth as programmers and makers, their
crisis, revolutions in ideology, LGBTQ rights, artist habits of mind, and the quality of the prod-
abolition of slavery, jobs, equal pay for equal ucts they create. Outside-of-class research and
rights), and look at ways to read images closely. open-studio work time may be integral to com-
We will develop our observational and conversa- pleting this course. This is a year-long course,
tional skills around art, its meaning, and its poten- open to 9th-12th. ½ credit
tial impact on the people who see it. We will
read, watch ted talks, films, have discussions and
hopefully have a visit or two to museums. Stu- Medium-Based Semester
dents will be assessed periodically on their under-
standing and analysis of art movements and me- Courses
diums we are studying. These assessments will
take the form of in-class writings, short essays, Adaptive Design Students in this course will
quizzes, and other brief written responses. ½ design and create functional furniture and devices
credit in direct collaboration with community members
with physical disabilities. Students will learn
solid cardboard construction techniques and use
Design—Photoshop This course enables the design process to ask, research, imagine, plan,
students to learn the basics of the visual language create, test, and improve their products. We will
and composition through more in-depth explora- explore innovative uses for common materials
tion of Adobe Photoshop. Skills we plan to focus and tools through trial and error. We will investi-
on will be arranging compositions using basic gate perceptions of normality and narratives of
shapes, creating theme-based work. Not only disability, consider how design can reinforce the
will we be using Photoshop as the primary tool to status quo, and develop solutions for our campus
build meaning in our work, but students will be and beyond. Students will create two or three in-
expected to engage in daily dialogue in order to dividual and collaborative projects per semester.
build visual vocabulary and understanding of the Students will be assessed on their growth as de-
projects covered. Students will be assessed on the signers and makers, their artists’ habits of mind,
variety of images they are able to create for each and their craftsmanship. Outside-of-class research
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 6on ideas and open-studio work time may be inte- still life, interiors, and portraiture. Students usu-
gral to completing this course. This is a semester- ally create four to five major projects per semes-
long course, open to 9th-12th. ½ credit ter. Students will be assessed on their exploration
of techniques and materials, the development of
Art, Technology, Media, and Design Students their artist habits of mind, and the quality of work
in this hands-on course will create projects that they create.
reflect current trends in contemporary art and de- Outside-of-class drawing and open-studio work
sign by using new technologies such as Robotics, time may be integral to completing this course.
3d fabrication, small electronics, and micropro- This is a semester-long course, open to 9th-12th.
cessors as well as the more traditional power tools ½ credit
found in the maker space. We will create collabo-
rative and individual projects that change every
semester and push the boundaries of what is typi- Drawing—Experimental Practice This
cally called “Art”. Emphasis will be placed on us- course will explore the limits of drawing and pro-
ing design thinking to develop solutions. Students mote student ownership of the prompts given in
will create three or four major projects per semes- class. We will unpack drawing practices founded
ter. Students will be assessed on the quality of the in fundamental rules and delve into expressive
products they create, the development of their art- content. The skills we plan to focus on will be to
ist habits of mind, and on their documentation of experiment with image-building through some
their learning in digital portfolios. Outside-of- traditional but mainly non-traditional materials
class research and open-studio work time may be and practices, such as drawing with found objects
integral to completing this course. This is a se- and collaborative drawing. The tools we may use
mester-long course, open to 9th-12th. ½ credit could range from dry material like graphite and
charcoal to wet material including ink and paint.
Creative Coding Students in this course will in- Students will be assessed on how far they take
vestigate basic computer science concepts and the assignment away from the initial prompt and
learn how to program by making art. We will cre- more towards authentic ownership demonstrated
ate interactive drawings, animations, and games in their studio practice. The essential questions at
the core of this course will be what makes a
with P5.js, a JavaScript-based coding language.
No previous programming experience is neces- drawing good for the artist, and what makes a
sary. Students will answer open-ended prompts to drawing good for the viewer? Outside-of-class re-
create several individual and collaborative pro- search and open-studio work time may be inte-
gral to completing this course. This is a semester-
jects that require participation from the audience.
long course, open to 9th-12th. ½ credit
Students will be assessed on their growth as pro-
grammers and makers, their artist habits of mind,
and the quality of the products they create. Out- Painting This course will foster a student’s
side-of-class research and open-studio work time love of color and desire to create with paint. With
may be integral to completing this course. a focus in watercolor in the fall and acrylic in the
This is a semester-long course, open to 9th-12th. spring, students will investigate color, light, and
½ credit edge when creating their images. Projects may in-
clude still lifes, portraiture, and landscapes. Stu-
Drawing This course will demystify the com- dents will be encouraged to generate composi-
mon belief that it is hard to draw. Students will tions and painting techniques while learning from
develop an understanding of how to see and how direct observation, and we may also explore non-
to use mark-making to focus on value, light, and representational directions as well as abstraction
edge. Various drawing methods and subjects are from life. Students usually create four to five ma-
explored as a means to cultivate and improve stu- jor projects per semester and will be assessed on
dents’ perceptual ability and core drawing skills. their quality of work, proficiency of techniques
Graphite, charcoal, pastels, ink, and marker may and materials while developing their artist habits
be explored within subjects such as landscape,
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 7of mind. Outside-of-class painting and open stu- thoughtful presentation and reworking ideas
dio work may be integral to completing this through multiple shoots. Our first two projects
course. This is a semester-long course, open to will be suggested by the teacher, but for the final
9th-12th grade. ½ credit project, work is student directed. Each project is
proposed and discussed with the teacher and
group before work begins. Projects can utilize
Photo 1 This course is an introduction to the vis- previously learned techniques or explore new
ual language of photography. Students enrolling ones. Students will be assessed on portfolios of
in this course will be learning to shoot on their prints handed in at the conclusion of each project,
phones for the duration of the course. In this class as well as participation in critique and a good stu-
we will learn about composition, portraiture, dio practice. This is a semester-long course for a
color and editing our images. We will explore ½ credit. Prerequisite: Successful completion of a
different ways to shoot, direct a photograph and Photo 2-level course or special permission from
develop our photographic eye. Students will be the department. ½ credit
introduced to photographers to inspire their work.
We will shoot different assignments every few
Printmaking In this course we will explore the
weeks as we develop our editing skills in the ap-
possibilities of printmaking. Possible projects in-
plication PIXLR. Critique will be introduced and
clude work with relief (linocut), intaglio (dry
used on the teacher-student level. This is a semes-
point etching on acrylic plates), and silkscreen.
ter-long course, open to 9th-12th grade. ½ credit
We will make several editions of prints, working
in series as well as making unique prints. Outside
Photo 2 This course is an introduction to film de- of the fine print, we may explore other applica-
veloping and traditional black and white dark- tions of printmaking such as for books, for post-
room photography. Students enrolling in this ers and for clothing. We will make our imagery
course will use their own or borrow a 35 mm from source images, drawing, and photography.
SLR camera (with F-stop and shutter speed) for Comfort with another medium such as drawing or
the duration of the course. [The school maintains photography would make this a more meaningful
a set of 12 film cameras for use by students.] In class for those that wish to take it. This class may
this class we will learn the functions of a film be repeated with the approval of the instructor.
camera, black and white developing and wet Students repeating the class will be asked to com-
darkroom printing. We will build on our visual plete more complex, multi-layered prints in each
language skills, review composition techniques area of printmaking. This is a semester-long
and continue to develop our photographic eye. course, open to 9th-12th. ½ credit
Students will be introduced to photographers to
inspire their work. We will shoot different assign-
ments every few weeks as we develop our skills
in the darkroom. Projects will include Landscape,
Self Portrait and Double Negative. We will use
English
group critique to reflect on our images and de-
velop projects for an audience. Fine printing and The Friends School English program seeks to de-
thoughtful presentation are stressed. Students will velop students’ skills in reading, writing, think-
be assessed on a portfolio of work at the end of ing, speaking, viewing, and listening. Our pro-
each project. ½ credit gram establishes a foundation of essential skills,
habits of mind, and knowledge in the 9th and 10th
grades, and then builds upon this as students ma-
Photo 3 Students enrolling in this course must ture and become more independent learners. Vo-
own or borrow a 35 mm SLR camera or Digital cabulary, grammar, and language usage skills
SLR. This course is geared toward individuals comprise an important part of the 9th and 10th
who are self-motivated and interested in grade years, and these skills serve as a foundation
continuing to develop their photographic body of for the 11 and 12 grade elective courses. Stu-
work. Skills we will focus on are fine printing, dents write often, formally and informally, in
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 8both expository and expressive modes. Students The Things They Carried. In addition, students
develop speaking, listening, and thinking skills as read Julius Caesar and examine its thematic con-
they read aloud, lead and participate in discus- nections to the course, as well as its poetic and
sions, give presentations, and share their own dramatic elements. Further, students study poetry
writing. Students learn to read closely, thought- and biblical literature. The assigned reading in
fully, and with open minds. Engaging with the different genres provides opportunities for stu-
world beyond our campus is another important dents to build their skills as readers even as the
facet of our program. Many of our courses re- texts invite students to consider such topics as
quire students to leave campus both figuratively gender roles, individuality and conformity, per-
and literally in order to hone skills and to engage sonal responsibility, and choice. As in the ninth-
with essential questions. By asking students to grade course, students study vocabulary, with
experience a diversity of texts, activities and as- words coming from the texts studied and accumu-
sessments, our program enables students to be- lating throughout the year. Similarly, the course
come more thoughtful about themselves in rela- continues the study of grammar and usage. Stu-
tion to their global and local community. dents write (and revise their writing) frequently
and in different modes, emphasizing the analyti-
English 9 The ninth-grade course develops a cal essay and also including other genres, such as
variety of habits of mind and skills: planning the short story, poem, and play. As in English 9,
ahead, taking notes, organizing projects and this course features a variety of teaching tech-
meeting deadlines, taking individual responsibil- niques, including class discussions, cooperative
ity for academic progress, writing and thinking small-group tasks, independent projects, and in-
logically, integrating textual material into one’s class acting. 1 credit
own writing, expressing one’s ideas clearly and
persuasively, thinking creatively, and cultivating
a willingness to think through varied points of ENGLISH ELECTIVES
view. Students build reading, writing, thinking,
listening, viewing and speaking skills through in- The eleventh and twelfth-grade English program
teraction with a variety of genres: the short story, offers semester-length courses that focus on a va-
the essay, drama, and the novel. The study of riety of themes, literatures, and genres. Because
grammar and vocabulary helps students to im- of the importance of students’ acquiring as broad
prove their reading and writing skills; grammar an experience of teaching styles, writing modes,
concepts and vocabulary words are taught in con- and literary expertise as possible, students may
junction with each text. 9th grade is also a year in plan no more than two semesters with a single
which we continue to build student understanding English faculty member. The courses listed be-
of media literacy and digital citizenship. A vari- low are the 2019-20 electives; selections vary
ety of assessments allows students to demonstrate from year to year.
their comprehension of the texts overall and their
mastery of significant detail. 1 credit
English 10 The tenth-grade course continues
FIRST SEMESTER
and enhances the genre study begun in the ninth
grade, affording students opportunities to develop American Experience I This course takes a
their intellectual maturity. The course also helps look at American literature during the 19th and
students to question and define their own value early 20th centuries, covering Maggie, Girl of
systems. The course focuses primarily on the the Streets, Walden, Winesburg, Ohio, and My
American experience and examines the relation- Antonia. We’ll be discussing how our forefathers
ship between the individual and community. Stu- were living and thinking in terms of social Dar-
dents read The Great Gatsby, Their Eyes Were winism, nature, rural versus urban values, gender
Watching God, The Interpreter of Maladies, and issues, and the ironic evolution of an upper class.
A visit to the Irish Museum in West Baltimore,
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 9exposure to thematically related art by Grant Frankenstein and Its Monstrous Progeny
Wood, Thomas Hart Benton, and the Ash Can This course will use Frankenstein as its central
painters, and a Thoreauvian bike trip to the NCR text and as a starting point for exploring the rich
trail in northern Baltimore County will enrich and and varied afterlife the novel has enjoyed. In tan-
clarify the experience. Students will do a fair dem with reading the novel itself, we’ll explore
amount of writing and pair up to get into the com- the influences and social, political, literal, cul-
munity to find and report on examples of Ameri- tural, scientific, and historical context in which
cana (exhibits, plays, county fairs etc.) that repre- Mary Shelley wrote her masterpiece. Equally im-
sent thematic reflections of the class. Note: This portant, examine the myriad issues and anxieties
course is not offered every year. ½ credit it addressed to a 19th century audience- and to a
21st century one too. We'll examine works di-
Analysis and Criticism of Contemporary rectly influenced by the novel, which might in-
clude Ahmed Saadawi's Frankenstein in Baghdad
Literature In this course, we will explore
, as well as texts that bear Shelley's subtle im-
modern prose and poetry written by contempo-
print, such as Karl Capek's R.U. R. Moreover, the
rary fiction writers, critics, poets, and literary
class will study critical approaches to the novel
journalists. We will have the opportunity to dis-
like Elizabeth Young's Black Frankenstein. We
cover memoirs, essays, criticism, fiction, non-fic-
will screen various media inspired by Franken-
tion, and biographical profiles, each presented in
stein as well. This course will offer a vigorous
fresh and creative forms. Rather than rely on out-
dive into the world of the novel and, in Victor
side texts, we will read primarily pieces from The
Frankenstein's words, the "monstrous progeny" it
New Yorker magazine, which each student will
gave birth to. ½ credit
receive weekly. Much of our writing will be
modeled on the magazine’s essays, criticism,
Journalism Do you like to tell stories, or talk to
“Talk of the Town” pieces, and in-depth “Re-
strangers? Are you fired up about injustices large
porter-at-Large” segments. The class will ap-
or small? Then this new narrative journalism class
proach the magazine’s insightful and technically
could be for you. In it, we'll read some of the
sound writing with intellectual curiosity and criti-
most beautiful true stories ever written on dead-
cal minds. Together, we will explore the writers’
line: from news articles to opinion pieces, war
techniques—both innovative and traditional—and
stories to features, profiles of vulnerable people to
learn to apply them to improve our own reading
reviews of great art. We'll study these stories as
and writing. ½ credit
inspiration, and as models for our own written
work – some of which we'll revise for publication
The Caged Bird Sings The Caged Bird Sings in the Quaker Quill. Along the way, we'll discuss
examines the question: Can the individual tri- what makes narrative nonfiction come alive, ex-
umph over shattering odds? The texts may in- plore digital media, and watch a number of mov-
clude Angelou’s I Know Why the Caged Bird ies and documentaries. We'll ground all of this in
Sings, Potok’s The Chosen , Wiesel’s The Acci- the history of print journalism, from the role of
dent, and Tyler’s Dinner at the Homesick Res- the free press in shaping this country, to the pow-
taurant. We'll watch Life Is Beautiful and The Ac- erful role investigative reporting is playing in
cidental Tourist. Thematically related art by Ro- combating "fake news" today. Special note to
mare Bearden and child Holocaust prisoners and athletes who may compete in college at the Di-
photography by Roman Vishniac as well as a trip vision I or Division II level: Although this
to the Holocaust Museum are fringe benefits. course gives a full credit toward Friends School
Late in the semester, students will pair up and graduation, the National Collegiate Athletic Asso-
make presentations to the class about real life ciation has not yet fully vetted this course and
"caged birds" whom they have known. Note: thus it does not currently count towards required
This course is not offered every year. ½ credit high school credits ½ credit
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 10Literature and Politics This course begins by determined that this course does not count to-
distinguishing between a fight and an argument, wards required high school credits. ½ credit
and then we study the art of the argument. We'll
examine speeches from speakers as diverse as Literature of the African Diaspora In this
Elizabeth I, Sojourner Truth, Ronald Reagan, course students will examine literature through
Barack Obama, and Emma Gonzalez. We'll also the prism of a globalized notion of “blackness,”
examine the ways in which art and literature can among people who have emigrated or been forci-
help us to understand power and political pres- bly removed or exiled from a common geo-
sures better. A central unit examines the rhetoric graphic origin—Africa. We will consider the no-
of Dr. King’s “Letter from Birmingham City Jail” tion of "diaspora" as a concept and as a construct,
and Ta-Naheisi Coates’s “The Case for Repara- (and as a notion!), by reading literature in many
tions,” followed by an exploration of diverse genres, from many authors, hailing from as many
Black voices about race. Robert Bolt’s "A Man different countries and cultures as we can muster.
for All Seasons" offers us the chance to reflect on Throughout the semester, we’ll also be looking at
how one individual can cling to integrity and a art, watching films, and listening to music. Au-
sense of self even in the midst of strong political thors will include canonical writers and artists
pressures. Shorter selections from the works of like Ralph Ellison, Toni Morrison, James Bald-
various writers, including Jonathon Swift, Abra- win, Jamaica Kincaid, Derek Walcott, Charles
ham Lincoln, Azar Nafisi, and Maya Angelou Burnett, and Nikki Giovanni, but special empha-
will be included as well. Assessments may in- sis will also be placed on diasporic literature
clude persuasive speeches, analytical essays, that’s happening now, among writers like Dan-
class discussions, and more. ½ credit ielle Evans, Marlon James, Teju Cole, Paul
Beatty, Kiese Laymon, Junot Diaz, Tracy K.
Literature in Adaptation: From Page to Frame Smith, and Percival Everett. Texts will likely in-
What happens when a work of literature is clude: Invisible Man, Ralph Ellison; Beloved,
adapted for the screen? How does an audience ex- Toni Morrison; Open City, Tegu Cole; I’m Not
perience a moving visual piece differently than a Sydney Poitier, Percival Everett. ½ credit
reader experiences the written page? Themati-
cally centered on adaptation, this course will have
students read and analyze works of literature and The Literature of Tragedy In 1981, Harold
view and understand their film/video adaptations. Kushner’s book, When Bad Things Happen to
In a hands-on manner, we will also learn and Good People, ignited countless discussions about
practice camera, scene-building, editing, and the tragedy of human suffering and pain and the
post-production techniques, and learn to produce problem of evil in the world. In its evolution, the
small video projects, which may include a dra- word “tragedy” now refers to both literature and
matic adaptation, a style-exploration-oriented human life itself and has become a way for us to
piece, and a “vivid memory” project done with an frame and attempt to understand inexplicable
elderly collaborator. Major writing assignments events. In this course, we will read a combination
will include two analysis papers and two short of Classical Greek tragedies in conjunction with
scripts. Works studied may include the modern tragic plays or novels and examine three
text/movie of Cornell Woolrich’s short story and key aspects of the tragic experience (i.e., the
Alfred Hitchcock’s film Rear Window, and the scapegoat, the tragic hero and the ethical crisis).
text/movie of Philip K. Dick’s Do Androids Some works will be augmented by relevant vid-
Dream of Electric Sheep and Ridley Scott’s eos or movies. Key paintings or sculptures will
movie Blade Runner. Special note to athletes also inform our discussions about the social, po-
who may compete in college at the Division I litical and psychological functions of theatre in
or Division II level: Although this course gives confronting human tragedy. Readings may in-
a full credit toward Friends School graduation, clude Oedipus Rex, by Sophocles; Antigone, by
the National Collegiate Athletic Association has Sophocles; A Doll’s House, by Henrik Ibsen;
Death of a Salesman, by Arthur Miller; Things
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 11Fall Apart, by Chinua Achebe; and Extremely gators”, finding certain “clues” to test various hy-
Loud and Incredibly Close, by Jonathan Safran potheses in the form of thesis-support essays and
Foer. Note: This course is not offered every creative assignments. The class will also aim to
year. ½ credit examine the translation of mystery from the page
to screen [big and small] and the role of mystery
in our popular culture. Lastly, we will examine
Modern Environmental Literature Long our own criminal justice system in Baltimore
before the modern environmental movement, through some limited field work. For example, in
American authors wondered whether the coun- the past we have participated in court watching,
try's vast wildernesses could support the nation's with an eye towards bail review, which was part
growth indefinitely. These authors also wrestled of a Baltimore Quaker initiative seeking to re-
with issues environmentalists still confront: the form inequities in the cash bail system. Come
competing needs of humans and the natural envi- prepared to read provocative texts, engage in spir-
ronment; the expansion of some groups at the ex- ited discussion, and learn about the genre of sus-
pense of others; the rights and responsibilities of pense. ½ credit
dominant species and groups. At heart this course
asks students to think about the complicated rela- Peace, Nonviolence, and Social Justice Through
tionship Americans have to the past, present and comparative study of the writings of Mahatma
future of our cultivated and wild spaces. Expect Gandhi, Martin Luther King, Jr., and Thich Nhat
short response papers about the ethical dilemmas Hanh, we will discover the sources and methods
the authors pose and longer analytical essays of each individual's non-violent work for peace
about major themes. ½ credit and social justice. We will also study the work of
major non-governmental organizations working
The Narrative of Suspense This course seeks to for peace in the world and explore the role non-
offer a broad survey of the mystery/suspense violent resistance has played in times of war and
genre, focusing primarily on English and Ameri- conflict. Reflective and analytical writing will
can authors. We will examine the 19th century help students to connect this learning to their own
writers considered the forebears of the modern life's work; research will hone students' skills in
mystery novelists, focusing on E.A. Poe and analyzing the underlying causes of social injustice
move on to Arthur Conan Doyle, exploring how and the outcomes of nonviolent work for change.
the Sherlock Holmes narratives might shed some Students will engage in a collective service learn-
light on Victorian anxieties. Agatha Christie pro- ing project of their own design through which
vides a look at interwar period mystery, and then they will apply and evaluate some of the method-
it's on to Raymond Chandler and the hard- ologies of Gandhi, King, and Hanh. Note: This
boiled/noir genre. We will also examine some course is not offered every year. ½ credit
short stories as well as non-fiction narratives of
suspense. Supplemental “texts” might include Reading Reality Reading Reality is a literature-
films by Alfred Hitchcock, selections from noir based class focusing on the question "How do we
cinema, and episodes of various television shows. know what we think we know?" From Plato’s
Studying a variety of texts, students will trace the "Allegory of the Cave," through modern adapta-
evolution of the genre, examining content, narra- tions of this parable, such as The Matrix, with
tive voice, tropes, and how the narrative of sus- many stops in between, we will explore the ways
pense has changed with the times. Much of the in which individuals throughout time have used
course will be an analysis [both formal and infor- stories to question conventional understandings
mal] of the notion of a “mystery” and how vari- of reality. At the heart of this exploration is the
ous authors have taken this venerable form and notion that, as Socrates said, "The unexamined
molded it for a variety of purposes: entertain- life is not worth living," and we will discuss the
ment, warning, to promote agendas [cultural, po- pleasures and perils that go along with seeking a
litical]. In a way, students will become “investi- truer understanding of reality. We will begin by
considering the multiple ways in which the brain
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 12makes meaning from the sensory input around us being and why we are so interested in imagining
and the various ways of knowing that are availa- disastrous wrong turns in dystopic futures. In
ble to us. We'll also examine how cultural factors texts dating back to Samuel Johnson’s eighteenth-
affect the reality that we perceive. Texts will in- century Rasselas and to contemporary “cli-fi”
clude: Slaughterhouse Five, One Flew Over the post-apocalyptic dystopias imagining the ravages
Cuckoo’s Nest, and excerpts from a variety of lit- of unmitigated climate change, our course focuses
erary, scientific, and philosophical sources, as on the worlds the literature imagines and takes
well as films, podcasts, TED Talks and other brief excursions into the ideologies, histories, and
online content. Note: This course is not offered philosophies the literature invokes. Students will
every year. ½ credit write critically about major texts and ultimately
describe or create their own utopia. Possible au-
thors and texts include Ursula Le Guin, Junot
Shakespeare The Shakespeare course employs a Diaz’s edited collection Global Dystopias, China
genre approach to drama. Examining the plays Mieville’s essays, and Nnedi Okorafor’s Binti. ½
both for their individual merits and the way in credit
which they fit into their respective categories
(tragedy, comedy, history, romance), the course is
Wise Readings and Literary Traditions This
designed to equip students to be lifetime readers
course will begin and end with handwritten
of Shakespeare. Offerings may include Richard
books. At the beginning of the semester, we will
III, The Merchant of Venice, Twelfth Night, Much examine ancient manuscripts and early American
Ado About Nothing, King Lear, and Hamlet. We
commonplace books; by the end of the semester,
alternate close textual analysis with classroom
students will have filled their books with nuggets
participation and acting in chosen scenes. Side-
of wisdom and bits of artwork that they would
line coaching in this latter experience is used to
like to preserve. Instead of focusing on being crit-
help students see dramatic tensions between char- ics who respond to texts as antagonists, tearing
acters and understand the relationship between
them apart, we will read favorite texts with the
the printed text and the intended stage perfor- faith that they hold wisdom for us, and that we
mance. Analytical papers are the primary graded
can trust our own reactions to great literature. We
responses, and some personal and imaginative
will take our cues from “Harry Potter and the Sa-
writings are also done in relation to the materials
cred Text,” a podcast that grew out of courses at
covered. Additionally, opportunities for collabo-
Harvard Divinity School, treating our favorite
rative work are part of the course. To supplement
books as though they are holy, with lots to teach
our exploration of each play, we’ll read critical
us about our own lives. At its core, this class in-
essays and watch contemporary film adaptations
vites us to examine our own lives deeply. This is
in the hopes of discovering new insights into
a class about how we read as much as it is about
Shakespeare. Whenever possible, the course will
what we read. Texts may include Italo Calvino’s
include a trip to see a relevant play performed.
The Baron in the Trees, Esquivel’s Like Water
Note: This course is not offered every year (will for Chocolate, Toni Morrison's Beloved, chapters
not be offered in Fall 2021). ½ credit
from Paradise Lost and Harry Potter, and a wide
variety of poetry. ½ credit
Utopias and Dystopias in Literature For
some, the words “utopia” or “dystopia” bring to Writing for Podcasts and Radio Podcast
mind good or bad futures. For others, these imagi- junkies, NPR nerds, tinkerers, and talkers, this
nary places can be dismissed as the unrealistic new course needs your voices. In it, you’ll start
hopes of optimists or the irrational fears of pessi- learning to tell stories with sound, practice re-
mists. For a set of authors and critics, however, cording and interviewing, write and revise scripts,
this genre is rich territory for exploring social edit and mix sound, think critically about the me-
thought and theory. This course begins by asking dia you consume, and contextualize all of that in
students to contemplate what attracts us to articu- the history of radio. Homework will mostly be
lations of more utopian lands, worlds, or ways of listening to great podcasts like This American
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 13Life, Historically Black, Story Corps, Ear Hustle, techniques—both innovative and traditional—and
Radiolab, and The Truth. You’ll also make some- learn to apply them to improve our own reading
thing of your own each week, building to a final and writing. ½ credit
project of your choosing. As you do, you’ll learn
the gear and software you'll need to make your
own first podcast. ½ credit British Novels This course will explore three
British novels: Jane Austen’s Pride and Prejudice
(1813), EM Forster’s Howard’s End (1910), and
Zadie Smith’s On Beauty (2005). These novels
SECOND SEMESTER will help us to develop our own answers to ques-
tions like, What is the importance of first impres-
The American Experience II This course deals sions? What is the role and importance of love in
with some of the ambiguities and paradoxes of our lives? What harm does prejudice do? Why is
the American character as reflected in these humility important? What is integrity, and why
works: Ben Carson’s Gifted Hands, Sylvia Plath's does it matter? Assessments will include robust
Bell Jar , Jack Kerouac’s On the Road, and Rich- class discussions, essays, journal entries, the occa-
ard Wright’s Black Boy . The poetry of Allen sional quiz or test, and more. ½ credit
Ginsberg; the art of W.H. Johnson, Saul Stein-
berg, and Norman Rockwell; the photography of Children's Literature: Fantasy Vs. Imagina-
Robert Frank; and the music of the Temptations, tion Since the last half of the 18th century, chil-
Miles Davis, Jerry Butler, Bruce Springsteen, and dren’s literature has offered adult writers a forum
Arlo Guthrie will enrich the Experience. Most to explore the imaginative world of children. It
years there is a trip to the Reginald Lewis Mu- has also provided a way to nurture, educate and
seum of African American Art and Culture in entertain children for many generations. In this
East Baltimore. Every student will pair up with a course, we will consider themes that will chal-
classmate and get out into the community to find lenge our notions of justice, good and evil, and
something (a museum exhibit, a theater perfor- right and wrong. We will also examine the role of
mance, a county fair, a yard sale….) which is pe- imagination and storytelling as a means of effect-
culiarly American and report back to the class ing personal and cultural change. By reading sev-
about its thematic connection to what we've read. eral selections from well-known authors, the first
Note: This course is not offered every year. ½ half of the course will explore the historical de-
credit velopment of children’s stories and consider the
cultural context of their work. The second half
Analysis and Criticism of Contemporary will focus on analyzing the literary structure of
Literature In this course, we will explore children’s fantasy stories and identifying the es-
modern prose and poetry written by contempo- sential components of most literature in this
rary fiction writers, critics, poets, and literary genre. Note: This course is not offered every
journalists. We will have the opportunity to dis- year. ½ credit
cover memoirs, essays, criticism, fiction, non-fic-
tion, and biographical profiles, each presented in Community and Solitude in the Religious Ex-
fresh and creative forms. Rather than rely on out- perience We will engage in a comparative
side texts, we will read primarily pieces from The study of various religions—among them Bud-
New Yorker magazine, which each student will dhism, Hinduism, Taoism, Shinto, Judaism,
receive weekly. Much of our writing will be Christianity, and Islam—through an exploration
modeled on the magazine’s essays, criticism, of specific practices, texts, and communities
“Talk of the Town” pieces, and in-depth “Re- within each religion. Our readings will be drawn
porter-at-Large” segments. The class will ap- from sacred texts, memoirs written by practition-
proach the magazine’s insightful and technically ers, philosophy, theology, and poetry. Our learn-
sound writing with intellectual curiosity and criti- ing will be both academic (reading, discussion,
cal minds. Together, we will explore the writers’ research) and experiential (practicing meditation,
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 14for example). Students will engage in extensive willingness to explore our roles as storytellers. ½
field work through which they will visit, observe, credit
and learn from specific religious or spiritual com-
munities in the Baltimore/Washington region. Film Analysis This course focuses on the style
Analytical and reflective writing will connect stu- and history of film as a means of expression and
dents’ learning to their own lives. Special note to communication, and features the study of film as
athletes who may compete in college at the Divi- our primary ‘text.’ How does film work? Through
sion I or Division II level: Although this course film/video, how do we create meaning and emo-
gives credit toward Friends School graduation, tion for our audiences? Following an introduction
the National Collegiate Athletic Association has to film analysis, including the three main film
determined that this course does not count to- styles (realism, classicism, and formalism), stu-
wards required high school credits. ½ credit dents will watch and analyze a variety of films il-
lustrating essential principles including photog-
Creative Nonfiction This writing course raphy, frame composition, editing, sound, light-
explores nonfiction literature as art—the essay as ing, story/structure, and ideology. Students are re-
art, really. Often in English classes, students read quired to learn and apply knowledge of how film
novels but write essays; this course allows stu- (and video) work to several analytical papers and
dents to see other real-world examples of the to the writing and filming of some original vid-
kinds of writing we expect them to do throughout eos. Our written texts are Understanding Movies
their academic careers. Students will be encour- by Louis Giannetti, and the films may include
aged to think of themselves as writers, as the High School (dir. Wiseman), Spellbound (dir.
class will focus on students' use of the writing Blitz), Chien Andalou (dir. Dali/Bunuel) The
process and the development of their writing General (dir. Keaton), Triumph of the Will (dir.
voices. Class time will emphasize student-driven Riefenstahl), Potemkin (dir. Eisenstein), Citizen
discussion and writing workshops. Assignments Kane (dir. Welles), and Run Lola Run (dir.
may include personal essays, essays incorporating Tykwer). Special note to athletes who may
research, analytical essays, free choice essays, compete in college at the Division I or Division
and a journal. Texts may include Best American II level: Although this course gives a full credit
Essays and Anne Lamott’s Bird by Bird. Note: toward Friends School graduation, the National
This course is not offered every year. ½ credit Collegiate Athletic Association has determined
that this course does not count towards required
high school credits in English. ½ credit
Fiction Writing Consider fiction writing as
your passport to new (and old) worlds. Over the
Gender Studies Guided by rich texts including
course of the semester, prepare to join a commu-
Virginia Woolf’s A Room of One’s Own, Alice
nity of writers committed to practicing their craft,
Walker's The Color Purple, Walt Whitman's
engaging with each other about the stories they
Leaves of Grass, excerpts from The Disability
read and write, and participating in spirited work-
Studies Reader, and lots of poetry, we will de-
shops that allow us the opportunity to grow as
velop our own responses to questions such as,
writers, readers, and thinkers. Authors we will
What is the experience of having a body, of being
read might include Raymond Carver, Alice
embodied? How does a person’s body affect their
Walker, Octavia Butler, George Saunders, Tom
experience of the world? How do the expecta-
Perrotta, Richard Harris, Sherman Alexie, Roald
tions of the society in which one lives affect
Dahl, ZZ Packer, and others. Be prepared to pro-
one’s experience of the world? What does it mean
duce a range of work, from craft exercises to peer
to be attracted to someone, and to love someone?
critiques to polished short stories. This is a writ-
To what extent do we have control over our own
ing- and reading-intensive class. Be prepared to
lives? How do we become whole, and free? As-
engage with your peers and the written word vig-
signments may include personal essays, video
orously, generously, with a sense of humor and a
presentations, analytical essays, and essays incor-
porating research. ½ credit
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 15other assignments, create and write an introduc-
Journalism Do you like to tell stories, or talk to tion to an anthology of their favorite poems, and
strangers? Are you fired up about injustices large produce a portfolio of their own work. Texts will
or small? Then this new narrative journalism class likely include: The Anthologist, Nicholson Baker;
could be for you. In it, we'll read some of the The Making of a Poem: A Norton Anthology of
most beautiful true stories ever written on dead- Poetic Forms, Eavan Boland, Mark Strand (edi-
line: from news articles to opinion pieces, war tors). ½ credit
stories to features, profiles of vulnerable people to
reviews of great art. We'll study these stories as
inspiration, and as models for our own written Seminar: Social Justice Social Justice Seminar
work – some of which we'll revise for publication will build on student learning in the popular
in the Quaker Quill. Along the way, we'll discuss “Peace, Nonviolence, and Social Justice” class
what makes narrative nonfiction come alive, ex- currently offered to Upper School Juniors and
plore digital media, and watch a number of mov- Seniors. With a strong foundation in the history
ies and documentaries. We'll ground all of this in of social justice movements using nonviolent
the history of print journalism, from the role of methods, students will both broaden and deepen
the free press in shaping this country, to the pow- their knowledge of the many ways in which indi-
erful role investigative reporting is playing in viduals and organizations work nonviolently for
combating "fake news" today. Special note to social change. Readings and other learning expe-
athletes who may compete in college at the Di- riences (site visits, meetings with individuals
vision I or Division II level: Although this working for social justice, etc.) will be driven by
course gives a full credit toward Friends School student interest, but will emphasize how the econ-
graduation, the National Collegiate Athletic Asso- omy, the arts, government (legislative and politi-
ciation has not yet fully vetted this course and cal processes), and non-governmental organiza-
thus it does not currently count towards required tions can be leveraged in our work for social jus-
high school credits ½ credit tice. Learning will also be driven by students’ in-
dividual social justice work: students will be sup-
Philosophy and Literature This course will ported in the design and implementation of a se-
explore links between moral philosophy and liter- mester-long project that will allow them to be-
ature. Students will consider the ways that litera- come deeply involved in creating and sustaining
ture and philosophy grapple with ethical dilem- work for social justice in an area of their choos-
mas, competing ideas about morality, and the ing. The community of social justice seminarians
rights and desires of individuals and the group. will support, encourage, and learn from one an-
Alternating between literature (poems, short sto- other in this individual work. Ideally, seniors in
ries, a novella and a play) and selections from the course will design their Senior Work Project
philosophical essays and Michael Sandel’s book as a continuation of their social justice project.
Justice , we will study how philosophy and liter- Prerequisite: Peace, Non-Violence, and Social
ature intersect and differ in their approach to ethi- Justice and permission of the instructor. Note:
cal concerns. ½ credit This course is not offered every year. ½ credit
Practicing Poetry In this course, students will The Short Story Despite their limited length,
take a deep dive into the world of poetry, as read- short stories tackle big literary and cultural ques-
ers and as writers. Imagine a bathysphere, ex- tions. They ask readers to think about how liter-
cept, instead of an ocean, we’ll be submerged to- ary form (narration, dialogue, plot arc, etc….)
gether in the vast sea of poetry. We will read, changes if the text is short, and what kind of sto-
write, and discuss poetry in a wide variety of ries work best to record reality, convey ideas, or
forms and voices, and in doing so learn some of promote social change. We begin with nine-
the basics of the poetic craft, as well as deepen teenth-century authors such as Nathaniel Haw-
our ability to close-read. Students will, among thorne and Herman Melville who write conven-
tional stories and then we'll compare their works
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2021-2022 | UPPER SCHOOL COURSE GUIDE 16You can also read
