School Curriculum

English

"A book must be the axe for the frozen sea within us.” Franz Kafka
  • FORMS OF LITERATURE

    Literature occurs in discrete forms across cultures and histories. This course introduces the three major forms of literature: prose, verse and drama. Students read representative texts from a variety of cultures and time-periods, focusing on the similarities in form while exploring the uniqueness of those civilizations’ beliefs. By undertaking formal analysis, students perfect their critical vocabulary and grammar knowledge, and they learn to articulate thematic understandings of texts anchored in close-reading practices. In order to demonstrate and refine their knowledge, students write regularly.
    They understand writing as a process that includes workshopping, peer-review and individual conference. Discussion remains a cornerstone of the pedagogy, and students arrive at class ready to explore the formal qualities of literature.
  • AMERICAN LITERARY MOVEMENTS

    Literature arises as part of a larger cultural narrative. This narrative is often sequenced as a historical progression of beliefs known as “literary movements.” In English 210, students read key texts from the living American canon, understand the characteristic features of each literary movement and refine their study of form. Central to these texts, movements and forms is the recurrent thematic question: What does it mean to be an American? In partnership with History & Social Sciences, students study the writers, scholars, activists, and dissidents who articulated their answers to this question. Students understand the inclusionary and exclusionary tactics of each movement and how we can read with and against these tactics in forming our understanding of American literary movements. Movements include Colonial and Puritan writing, the Enlightenment, Transcendentalism, Romanticism, Realism, Naturalism, Modernism, the Harlem Renaissance, Postmodernism and contemporary literature. Daily discussion and regular writing assignments reinforce the critical vocabulary from English 110. As with all English classes, writing occurs as a process in which students take ownership to craft rhetorically sound and thoroughly revised pieces. Through discussion, reading, and writing, students learn to distinguish between the thematic, formal, and cultural characteristics of America's major literary movements.
  • ADVANCED AMERICAN STUDIES

    Literature and history develop within a larger cultural narrative. This narrative is often sequenced as a historical progression of beliefs, arising from the culture’s economics, politics, geography, religions, literature, music, visual arts, social institutions and popular culture. In keeping with the Humanities Department mission statement, students in this course develop an integrated understanding of historical, literary, and cultural ideas, in
    order to explore questions such as: What does it mean to be an American? How has the pursuit of freedom unfolded for diverse groups of Americans? What is the role and responsibility of citizens in an American republic? How does the larger cultural narrative inform our interpretation of historical and literary texts? Students learn in a double-period, co-taught, discussion-based format, emphasizing close reading of texts. Students
    demonstrate their knowledge through essays requiring analysis and synthesis, daily discussions, and presentations. The major writing assignment of the course is a research essay on a topic of the student’s choosing with the goal to submit it for publication in
    The Concord Review (a publication for secondary school papers). This is a double-period class that provides two credits, one each in English and History & Social Sciences, for sophomore year.

    This is a double-period class that provides two credits, one each in English and History & Social Sciences, for sophomore year.

    NOTE: This course is not specifically designed to prepare students for the AP United States History, AP African American History, or AP English Language and Composition exams. However, students who take this course and complete some independent, supplemental study, will be well-situated to take these AP exams. The humanities faculty will assist students interested in taking these exams with acquiring study materials and other resources that will help them prepare for the exams in the second semester. Students may also take the AP African American Studies exam with the counsel of their instructor and the Humanities Department Chair. Advanced American Studies and United States History address a sizable portion of the AP African Studies curriculum; however, students who are approved to take the exam should expect to prepare independently.
  • RESEARCH SEMINAR: CONTEMPORARY LITERATURE

    In literature courses, students often read texts produced decades or centuries before they were born. This course invites students to turn their critical attention to works produced both in and for the present. Students delve into global literature from the past forty years to discuss how these texts raise a mirror to the contemporary world, illuminating the diversity of our experiences and revealing deeper truths about
    individual freedom, human dignity, and civic responsibility. The course introduces students to literary scholarship on these texts and supports them in crafting original arguments in dialogue with the ongoing debates. Through their investigations, students harness the power of contemporary literature not only to respond to the present, but to imagine and create new and hopeful futures.
  • RESEARCH SEMINAR: WOMEN IN LITERATURE

    Half the world identifies as female, yet many canons and courses remain stubbornly male-focused. In this seminar, students examine literature by and about women to explore how these texts reinforce or challenge cultural norms. Students consider how writers capture women’s experiences, if at all, and research how these gendered experiences intersect with race, class, and sexuality. Students sharpen their scholarly voices in dialogue with literary criticism, culminating in original research projects. The course empowers students to delve into texts and topics of their choosing, illuminating paths toward more equitable futures.
  • AP ENGLISH LITERATURE

    Grade 11: Literary criticism keeps literature alive, and texts evolve through scholarly conversations that interpret, intensify, and interrogate their meanings. This advanced course empowers English students to join these conversations while simultaneously preparing them for the Advanced Placement English Literature and Composition Exam. Building on the skills acquired in tenth-grade English and History, the course begins with an accelerated introduction to the craft of research-based literary criticism, culminating in a midyear research paper on a text from the Anglophone canon. The second semester develops these skills through the introduction of more complex research methods, while simultaneously preparing students for the AP English Literature exam.

    Grade 12: This year-long class is for students who plan to take the Advanced Placement English Literature and  Composition Exam. It is the equivalent of a first-year college English course. In a seminar format,  students engage in a close study of verse, drama and prose. Writing focuses heavily on the critical  analysis of literature culminating in thematic assertions. Through close reading, daily discussion  and frequent writing, students explore a wide variety of classic and contemporary literature.
  • AMERICAN SHORT FICTION

    This course explores contemporary American short fiction with a literary studies approach. Students explore a wealth of important pieces by a diverse selection of writers. Each week, students examine thematic pairings of short fiction with various critical methodologies (including gender studies, psychoanalytical criticism, formalism, new criticism, and biographical criticism). Students study and apply these critical methodologies through weekly roundtable discussions, presentations and written reflections. In examining these texts, students wrestle with current social issues and moral and ethical questions.  In addition, students write analytical responses in the course of their study. Finally, they complete a  passion project, which gives them the opportunity to explore a passion in greater depth while connecting that passion to the deeper research-based study of one text and social issue of their choosing. Passion projects have taken a number of different forms, from websites and films to short stories and artistic interpretations, and serve as a culminating assessment. 

  • CREATIVE WRITING: PERSONAL NARRATIVE

    This course explores and practices forms of non-fiction writing with an emphasis on personal narrative. Students start with the nuts and bolts of the writing craft, reading and discussing chapters from William Zinsser's On Writing Well in order to develop technique. Then in workshops and small groups, students share and discuss their nonfiction works and the works of their peers in an atmosphere that is supportive and challenging. Exercising listening and response skills is an essential part of the democratic workshop practice. Students read and analyze the works of published authors and also watch video clips of acclaimed authors discussing the writing process. Students learn to think and read like writers and, in so doing, are exposed to writing as a culture. The course intends to spark students’ creative passions. Some of the themes and topics developed include self-portrait, personal statement, humor, the experience of nature, daily routine, travel, family and local culture.
  • CREATIVE WRITING: POETRY AND SHORT FICTION

    This creative writing workshop asks students to engage in the artistic practice of poetry and short fiction writing. Students, through creative explorations in voice and framing, will explore varied techniques, forms and traditions available to the working writer. Students receive and offer feedback on their writing in a workshop setting and produce chapbooks that reflect their personal interests and knowledge of creative approaches. This workshop ascribes to the burgeoning idea within literary studies of creative practice as research; thus, students scrutinize their work as both process and product, a method of creative and critical discourse that fosters both the imaginative ingenuity of the writer and the elements by which their works have been ultimately constructed.
  • CREATIVE WRITING: SCREENWRITING

    Students in this course study narration as a mode of thought and mode of writing, principally through the genre of screenplays. By studying classic screenplays, students enhance their ability to read and understand the relationship between visual images and written/spoken language that is prevalent in much of our modern media. Students deepen this understanding by writing their own one-act screenplays. In exploring the process of screenwriting, students practice the art of storytelling and enhance their understanding of storytelling techniques such as character development, plotting and
    sequencing. The writing workshop is an important methodology of the class; students’ own work is at the center of discussions employing the writer’s workshop. Students also work in groups to create a short film from one of their screenplays.
  • DIGITAL NARRATIVE

    It's tempting to think of digital technology as the enemy of literature. In her trailblazing study Hamlet on the Holodeck, the media scholar Janet H. Murray argues quite the opposite: the computer is “the child of print culture,” a powerful representational medium of its own that promises to continue the evolution of storytelling and “reshape the spectrum of narrative expression.” In this course, students think about how the unique affordances of digital technology (e.g. its ability to create an inhabitable virtual world, or its ability to invite the participation of the “player”) allow for different modes of storytelling. What kinds of stories can we tell using digital technology that we wouldn't have been able to tell as effectively using the linear medium of print? In particular, we focus our attention on critical analysis of video games, a medium that is culturally significant, aesthetically complex, yet not often subjected to deep analytical scrutiny. How do games work as narrative artifacts? How do they  use their unique form to convey philosophical or political ideas – about identity, human nature, social structures, violence, etc.? How might we extract meaning and insight from what they allow us to do and where they allow us to be? In the latter part of the course, students put these questions and ideas into practice by writing and coding their own interactive fiction project using the platform Twine.
  • ECO-LITERATURE

    The world brims with remarkable experiences. Eco-Literature explores narratives, both real and fictional, that embrace the world’s beauty and complexities. These works feature expeditionists and humanitarians navigating extreme situations in the built and non-built environment: explorers braving Antarctica; communities fighting zombies; survivors overcoming disasters; and advocates taking action. Whether achieving notoriety for incredible accomplishments or withstanding impactful disasters, the narratives showcase human resilience and encourage students to contemplate the very real adventures awaiting them in the world. Eco-Literature focuses on the importance of communication, especially in unique or extreme situations, and the responsibilities we have to carefully use words in service to others. Through projects that include strategizing humanitarian information campaigns, designing infographics for public service announcements, and running mock disaster responses and press briefings, students in Eco-Literature will master a fundamental responsibility to use words meaningfully, answering: How do we best communicate in order to help those who need it most?
  • FILM THEORY AND METHOD

    Over the past century, cinema arose as the dominant form of storytelling. This course explores the dominance of cinema through close attention to its history, its technical qualities and its thematic meanings. By discussing four major genres (Blockbuster, Experimental, Documentary and Animated), within units organized around dominant cinematic techniques (sound, cinematography, mise-en-scene and editing), students analyze film in order to generate arguments about what it means to be human. Students write short response papers in addition to two major writing projects: a film review; and, a research-based film analysis paper. Our guiding text is Jon Lewis’s Essential Cinema, and we read a wide variety of theoretical articles, including Laura Mulvey’s seminal “Visual Pleasure and Narrative Cinema,” Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction,” and excerpts from Gilberto Perez’s The Material Ghost.
  • SCIENCE FICTION AND SOCIAL CHANGE

    What does it mean to be human? The Science Fiction genre both documents the complexity of this question, and shapes our perception of it. Whether it imagines the future, reimagines the present, or wields the apocalypse as social commentary, Science Fiction acts as a powerful medium to shape and change our current society. In this course, students learn to ask, and reflect on, tough questions about gender, race and politics, while engaging in sophisticated, skillful discourse and drafting creative and 
    analytical responses. In the end, students learn both practical and philosophical lessons from the texts in order to better prepare themselves to embrace our shared humanity.
     
  • VOICES FROM THE INSIDE

    This course provides students with the means to think critically about an array of social issues related to mass incarceration. Through a study of fiction and non-fiction written from within and/or about prison, students explore various ways in which societies discipline their members, and how the values of society are reflected by their systems of discipline and rehabilitation. Students examine how race, class and gender relate to carceral systems by reading texts representing multiple voices and experiences.
    Throughout the course, students produce a variety of modes of writing, ranging from analysis, to reflection, to research, as they explore the enduring centrality of the prison.
  • WORLD MYTHOLOGY

    This course explores the enduring roles myths play in our lives from the reimagining of Classical myths for contemporary audiences to the modern myths like Batman. Students explore iterations of mythic figures, the viral nature of legends in the digital age, and the psychological forces that sustain myths, connecting classical allusions to present-day storytelling. Through discussion, composition, and creative projects, students analyze the myths forming around them today, and in which they may be participating, to reveal the timeless humanity embedded in storytelling.

    “What we mean when speaking of 'myth' in general is story, the ability of story to explain ourselves to ourselves in ways that physics, philosophy, mathematics, chemistry—all very highly useful and informative in their own right—can't.” (Thomas C. Foster)

  • LITERARY THEORY

    How is meaning created? What is language? How does it work? What happens when it doesn’t? Through an exploration of these seemingly obvious questions, students discover that the functioning of language and the world are precarious, structural, encoded, hegemonic, and beautiful. In their pursuit of method, students interrogate the core thinkers from the past 3,000 years and learn how to adopt and evolve their approaches. Central to this capstone course is the production of a substantial research paper, on a topic of the student’s choice, from the position of one school of literary theory.

Department Faculty

  • Photo of Jennifer Nero
    Jen Nero
    Humanities Department Chair, History & Social Sciences Teacher
    305-460-8871
    Providence College - B.A.
    Marquette University - M.A.
    Bio
  • Photo of Elisabeth Anderson
    Elisabeth Anderson
    English Teacher
    305-460-8866
    Salve Regina University - B.A.
    Bio
  • Photo of Flavia Araripe
    Flavia Araripe
    English Teacher
    305-250-6895
    Pontificia Unversidade Catolica do Rio de Janeiro - B.A.
    University of Texas - M.A.
    Bio
  • Photo of Juan Arrastía
    JP Arrastía
    MS Dean of Students, English Teacher
    305-250-6843
    Florida International University - B.A.
    Nova Southeastern University - M.A.
    Bio
  • Photo of Kathryn Bufkin
    Kathryn Bufkin
    Dan Leslie Bowden Teaching Chair in English
    305-460-8822
    University of Georgia - B.A.
    University of Georgia - M.A.
    University of South Carolina - Ph.D.
    Bio
  • Photo of Karina Buhler
    Karina Buhler
    MS Dean of Community Engagement & Multicultural Affairs, English Teacher
    305-250-4218
    Barnard College - B.A.
    Bio
  • Photo of Victoria Castells
    Victoria Castells
    English Teacher
    305-250-4522
    Duke University - B.A.
    McNeese State University - M.A.
    McNeese State University - M.Fa.
    Bio
  • Photo of Julia Clarke
    Julia Clarke
    English Teacher
    305-460-7968
    University of Florida - B.A.
    Stony Brook University - Ph.D.
    Bio
  • Photo of Addie Eliades
    Addie Eliades
    English Teacher
    305-460-2116
    University of Virginia - B.A.
    University of Houston - M.F.A.
    Bio
  • Photo of Shaida Escoffery Whitley
    Shaida Escoffery Whitley
    Dean of the Eighth Grade, English Teacher
    305-250-4540
    University of Miami - B.A.
    New York University - M.A.
    Bio
  • Photo of Matthew Helmers
    Matthew Helmers
    US English Department Coordinator
    305-460-8229
    Arizona State University - B.A.
    University of Manchester, UK - M.A.
    University of Manchester, UK - Ph.D.
    Bio
  • Photo of Christina Iglesias
    Christina Iglesias
    College Counseling Writing Specialist, English Teacher
    305-460-7949
    University of Florida - B.A.
    Columbia University - M.A.
    Columbia University - Ph.D.
    Bio
  • Photo of Vanessa Lopez
    Vanessa Lopez
    Dean of the Seventh Grade, English Teacher
    305-250-6842
    Universidad Complutense de Madrid - B.A.
    University of Miami - M.Ed.
    Bio
  • Photo of Matthew Margini
    Matt Margini
    English Teacher
    305-460-4348
    New York University - B.A.
    Columbia University - M.A.
    Columbia University - Ph.D.
    Bio
  • Photo of Brian Mensinger
    Brian Mensinger
    English Teacher
    305-460-2111
    University of Illinois Urbana-Champaign - B.A.
    Northwestern University - M.A.
    Bio
  • Photo of Kathryn Morgan
    Kira Morgan
    English Teacher, Visual Arts Teacher
    305-460-8882
    Wheaton College - B.A.
    University of Bath - M.A.
    Bio
  • Photo of Corinne Rhyner
    Corinne Rhyner
    Teacher
    305-460-8800
    George Washington University - B.A.
    Georgia State University - M.A.
    Georgia State University - Ph.D.
    Bio
  • Photo of Alexander Rodriguez
    Alex Rodriguez
    English Teacher
    305-250-4209
    Florida International University - B.A.
    Bio
  • Photo of Jody Salzinger
    Jody Salzinger
    MS English Department Coordinator
    305-250-6863
    Brandeis University - B.A.
    Columbia University - M.A.
    Bio
  • Photo of Adam Schachner
    Adam Schachner
    English Teacher
    305-460-8213
    University of Miami - B.A.
    Florida International University - M.P.A.
    Bio
  • Photo of Teagan Thompson
    Teagan Thompson
    English Teacher
    305-460-8809
    Drew University - B.A.
    Bio
  • Photo of Samuel Upton
    Samuel Upton
    English Teacher
    305-250-6879
    Dartmouth College - B.A.
    University of Michigan - M.A.
    Bio

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Founded in 1903, Ransom Everglades School is a coeducational, college preparatory day school for grades 6 - 12 located on two campuses in Coconut Grove, Florida. Ransom Everglades School produces graduates who "believe that they are in the world not so much for what they can get out of it as for what they can put into it." The school provides rigorous college preparation that promotes the student's sense of identity, community, personal integrity and values for a productive and satisfying life, and prepares the student to lead and to contribute to society.