Week 3 Syllabus: September 2-5

WE WILL FINISH GOING OVER some of the administriva of learning at New Trier this week. We will practice annotating by re-reading chapter three of Haroun and the Sea of Stories, “The Dull Lake.” We will vote on, discuss, and then rewrite the paragraphs on the poem, “Doors Opening, Closing.” We will also write our second paragraph, this one about Haroun and the hero journey. We will also review course expectations and discuss “academic integrity,” a phrase here which means, “cheating.”

TUESDAY, September 3

• Reading aloud a NYT article on the attack on Rushdie, practicing annotation technique:

  • Circle vocabulary words;

  • What questions does the writer pose or discuss in the article?

  • What does the article say about the importance of story-telling or censorship?

• Watching the third interview with Rushdie, this one from last week’s 60 Minutes about the attack and his new book, Knife.

• Practice annotating, this time from the summer. Students will listen to the audio from the novel (click here) while re-annotating chapter three of the novel. (Chapter three begins at 42:30 in the above track, and goes until 1:04:30)

• When annotating, students should a) circle vocabulary words—not just words you don’t know, but also words that Rushdie is carefully choosing for a purpose; b) write our questions that you have, as a reader, about what you’re reading—preferably about theme, not plot; and c) what this chapter says about story-telling and censorship.

• HW: Finish writing your paragraph at the end of the article for class on Tuesday. Remember, include at least one quote from the article, and at least one from the novel.

• “Reading Assessment” questions on chapter 3: 1st period, these are due on Thursday. 3rd period, these are due on Friday (you will receive them in class, on Thursday).

THURSDAY, September 5

• Starting class by reading through the “Academic Integrity” policy. We will review the student handbook and talk about cheating. After, students will sign off on the official, “I know where the policy is” form. We will also watch various film clips on the theme of “cheating.”

• Listening to an NPR interview about Salman Rushdie, the author of our summer novel. That story is here.

• Moving into Joseph Campbell’s hero journey, and thinking about how his stages of departure, initiation, and return apply to Haroun’s adventure.

Post your "The Man Who Swallowed a Bird" paragraphs here

On the back of the poem, you have already written a bit about the poem, what it means and what the audience for the poem should get. What is the poem about? What should we learn from it?

Type what you’ve already written (or write about what the poem means) —having reviewed and corrected mistakes that you see—and then copy it from a Google doc and share it on this blog entry.

Post that as a comment below.

Remember to type your full name (whatever you go by in class) and your NT email address. Leave the URL space blank and then select <Post Comment>.

Audio for summer reading, Haroun and the Sea of Stories

Click on the image above to access the audio files for the novel. If not already complete, you should have the summer reading finished asap.

Week 1 & 2 Syllabus: August

WELCOME TO NEW TRIER HIGH SCHOOL ENGLISH. Each weekly syllabus will begin with a short paragraph that describes where we’ve been, what we’ve learned, where we’re headed, and what’s the big picture. The first two weeks, we’ll establish routines—how to annotate, how to participate in discussions, how to submit writing here on Squarespace or on Canvas. I will also include reminders—such as this: bring your copy of Haroun & the Sea of Stories to class starting week two. If you haven’t finished it, get it read sooner than later.

WEDNESDAY: August 21

• Introduction to Canvas & Squarespace.

• How to read a poem.

• Reading and annotating, “Doors Opening, Closing.”

• HW: re-read the poem, and annotate for a) What do I notice? and b) What does it (the poem) mean?

THURSDAY, August 22

• Picture day!

• Reviewing poetry rules.

• Lecture on “Great Books discussion method”

• Discussion of poem (practicing routines, pre-post discussion writing, note taking)

• HW: If you have not done so, finish reading Salman Rushdie’s novel over Friday and the weekend.

MONDAY, August 26

• Reviewing course expectations, and posting your signed form into Canvas, as an assignment.

• Killer Kane and the growth mindset.

• In-class writing assignment; ¶ on “The Man Who Swallowed a Bird”

• Using Squarspace to submit your (and to read others’) writing.

• HW: Use “Genius Scan” after taking a picture of your signature of the Course Expectations, to submit the assignment into Canvas. More on “Genius Scan” and how to use it can be found here.

• Also, post your paragraph on “The Man Who Swallowed a Bird” onto Squarespace. Read ALL of these paragraphs, and choose the three best (in your opinion—from either 1st or 3rd period).

WEDNESDAY, August 28

• How we share (and comment upon) writing, publicly.

• Reading and circling vocabulary (annotation technique).

• Voting on “best” paragraphs on the poem, and reviewing those.

• HW: For homework, scholars will review an Rushdie essay about the novel’s connection to Frank Baum’s children’s novel The Wizard of Oz and the American film by the same name. Read page 9 through the middle of page 16 in “The Wizard of Oz,” by Salmon Rusdie.

THURSDAY, August 29

• Reviewing argument structure in body ¶s—”What I think, and why I think it.”

• Reviewing the ¶s we already read in class.

• Once done with our three, in class, writers, we will look at three ¶s from other class, in small group.

• Revising your new paragraph.

• Watching two videos about our summer reading author, Salman Rushdie.

• HW: Post your revised paragraph as a REPLY to your first draft. If you haven’t finished reading the selection on “Wizard of Oz,” do that.

Greetings, Class of 2028!

Searching for books that you will need for our English class? Seek no further. You can purchase these here, via our NT bookstore.

Finals

Plan on arriving at the room for the final 15 minutes early. That will give you time enough to get a snack, water, use the washroom if needed, and relax before the test. Please bring pen (for annotating) and pencil (for the scan-tron multiple choice portion of the test). You should also bring a book for silent reading for when you are done with the test.

Final room and times are as follows:

Summer Reading

Yes, you have been assigned summer reading for the 24-25 school year. Click on the image below to access that assignment (most of you are enrolled in Sophomore English 2, three level). Apart from that…keep reading! For fun, for information, for investigative purposes. Nary any other skill will serve you lifelong as reading will. Practice.

Week 10 Syllabus: May 28

ACT FOUR IS WELL SUMMARIZED BY 1988 DJ JAZZY JEFF and Fresh Prince’s song, “Parents Just Don’t Understand,” insomuch as we see the Lord and Lady Capulet make a fierce 180 degree turnaround, in respect to their daughter. At the end of Act 3, Capulet threatens that Juliet can “hang, beg, starve, die in the streets, for, by my soul, I’ll ne’er acknowledge thee.” Yet when his suicidal daughter seems to have taken her life, he becomes somberly, even morbidly reflective: “Death lies on her like an untimely frost upon the sweetest flower of all the field. … the night before thy wedding day hath Death lain with thy wife. There she lies, flower as she was, deflowered by him. Death is my son-in-law; Death is my heir. My daughter he hath wedded. I will die and leave him all. Life, living, all is Death’s.” In line’s like these, we see Shakespeare’s view of mortality emerging through the plot of the play. Clearly, this is a writer who has experienced death, is familiar with losing a child. Can we say the same about Romeo and Juliet’s love? Do we see the poet’s view of love—forbidden, and love divided by parental strife—in what Romeo or Juliet says? What do you make of their fascination and deep commitment to one another? Is their extreme behavior similar to their parents?

MONDAY May 27

• No school.

• HW: Read act five. Pay attention to extremes and opposites in your marginal notes! Finish the study guide for act four.

TUESDAY, May 28

• Watching the 2009 Globe version of act four, and the Zefferelli and Lehrman versions of act five. (Everyone dies in the end, except the adults—the live on).

• Small group work on act five questions. When done, I will collect the guides.

• HW: There are five remaining annotation grades: study guides for act 1, act 2, act 3, acts 4-5, and your notes in script.

• When I collect books, I will pay special attention to your written-in-the-book notes on the following passages:

  • Prologue, act 1 (7)

  • Princes speech, act 1.1 (15)

  • Mercutio’s speech on love, act 1.4 (47-9)

  • Romeo & Juliet’s meeting, act 1.5 (53-61)

  • The Balcony scene, act 2.2 (69-83)

  • Friar Lawrence’s soliloguy, act 2.3 (83-5)

  • Juliet’s soliloquy, act 2.5 (103-5)

  • Mercutio & Tybalt’s deaths, act 3.1 (121-125)

  • Prince’s decree, act 3.1 (129)

  • Juliet’s soliloquy, act 3.2 (129-131)

  • Juliet’s response to slaying of Tybalt, act 3.2 (135-139)

  • Romeo’s response to banishment. act 3.3 (143)

  • Friar Lawrence chastising Romeo, act 3.3 (149-51)

  • Romeo & Juliet’s last meeting (while alive), act 3.5 (155-161)

  • Juliet threatens suicide and Friar’s plan, act 4.1 (181-85)

  • Juliet drinks the potion, act 4.3 (191-3)

  • All of act 5 (211-243)

THURSDAY, May 30

• Watching the Globe presentation of Act 5.

• Watching “The Condensed Shakespeare” performance of R&J.

• While doing so, I will collect and grade annotations in your Folger’s edition of R&J.

• Time permitting we will watch part one and part two of John Greene’s crash course of the play.

• HW: Our final will be in the following room(s):

  • Period 1 in room B-301, Wednesday June 5, 10-11:30 am

  • Period 4 in room B-313, Wednesday June 5, 10-11:30 am

Week 8 Syllabus: May 13

IN ACT TWO, THE LOVE ADVICE RUN DEEP AND flies fast, as fast as Romeo and Juliet’s so-called-love grows. Shakespeare uses Mercutio’s criticism of Romeo’s childish infatuation with women in 2.1 by making fun of his behavior, as a lover: “Madman! Passion! Lover!
Appear thou in the likeness of a sigh.” Friar Lawrence’s description of natural medicines, where he says the most good, healing herb can become poison if used uncontrollable, is a metaphor for Romeo & Juliet’s love: “For naught so vile that on the Earth doth live But to the Earth some special good doth give; Nor aught so good but, strained from that fair use, Revolts from true birth, stumbling on abuse. Virtue itself turns vice, being misapplied, And vice sometime by action dignified.” He gives similar advice for moderation when the good Friar tells Romeo to literally slow his roll :“Wisely and slow. They stumble that run fast.” The Nurse joins in, repeats this good council to Romeo , directly telling him that “if you should lead her in a fool’s paradise, as they say, if were a very gross kind of behavior. … [I]f you should deal double with her, truly it were an ill thing to be offered to any gentlewoman, and very weak dealing.” Why can’t Romeo hear the warnings his friend and his adult advisor(s) provide?

MONDAY May 13

• Collecting the study guide for act two.

• Watching the Globe Theater production of act two.

• Starting our study guide for act three.

• HW: Finish scenes 1 through 3 for act two.

WEDNESDAY, May 15

• Taking a close look at Act 3, scenes one and two. The killing of Mercutio and Tybalt.

• Time permitting, we will also watch the actor Simon Cowell perform the balcony scene, in a biographical one-man show about Shakespeare’s life and work. It’s pretty amazing.

• HW: Work on the Act 3 study guide.

THURSDAY, May 16

• Today we will examine scenes three, four and five in Act 3. We will watch both the Zeffereli and the Lehrman performances of these scenes.

• Watching 3.3-5, the 1968 film (starting at 1:27, and ending at 1:47)

• Watching 3.3-5, the Baz Lehrman film (starting at 1:09:30 and ending at 1:26:00)

• Small group work on the Act 3 study guide. If students finish early, perform aloud Act 4 together.

• HW: Read act four. Pay attention to extremes and opposites in your marginal notes!

Week 7 Syllabus: May 6

IN ACT ONE, NOTICE THAT KEY CHARACTERS discuss death and it’s horrible impact on their lives. Lord Capulet first mentions death when he tells Paris that all his children, save Juliet, are dead: “[T]oo soon marred are [girls] so early made [into brides]. Earth hath swallowed all my hopes but she. She’s the hopeful lady of my earth” (I.ii.: 13-15). He is clearly affected by the death of a child, and losing Juliet will be the worst loss yet, because she is his only living child. Similarly, the Nurse mentions that he child—who was exactly the same age as Juliet—died when she was a baby. Lady Capulet insists that Juliet is only 13, and the Nurse replied, “I’ll lay fourteen on my teeth. … How long is it till Lammastide. … Come Lammas Eve at night shall she be fourteen. Susan and she (Godrest all Christian souls!) were of an age. Well, Susan is with God; She was too good for me” (I.iii.19-22). She goes on to talk about remembering when Juliet was a baby, and weening her from breastmilk, and another memory when Juliet, then a toddler, bumped her head. Death is on the mind of all the adults, when love is the only thing Romeo and Juliet can consider. Are they blinded by their love? Or does their optimism better capture what Shakespeare thinks about young love?

MONDAY May 6

• Collecting the study guide for act one.

• Watching the Globe Theater production of act one.

• Starting our study guide for act two.

• HW: Finish scenes 1 through 3 for act two.

WEDNESDAY, May 8

• Today you are taking the Star reading test for the last time (this year).

• Start by either launching the Star app via this icon on your iPad, or by going to this website.

• Your username is your 2027XXXX NT id number, and your password is your EIGHT digit birthdate (MMDDYYYY).

• Once in, select the reading test icon, and follow the prompts to begin the test. If the test times out, please ask me or the test supervisor to reset the test for you.

• When done, you should silently read from act two of Romeo & Juliet (you MAY use earbuds to listen along with the audio).

• HW: You will have 30 minutes in class to finish the study guide, but THAT’S ALL. Get most of it done tonight so you can compare notes with your Shakespeare troupe.

THURSDAY, May 9

• Spending 30 minutes finishing part of the study guide for Act 2.

• We will then break into partners, and practice performing II.ii, the famous balcony scene between Romeo and Juliet, the same night of the Capulet masquerade party.

• We will watch the Baz Lehrman version of II.iii, the Friar scene, and Zeffereli version of II.iv, the Mercutio/Nurse scene. We will return to the Lehrman to watch Juliet and the Nurse, II.v.

• HW: Read act three. Just as with act one, pay attention to extremes and opposites in your marginal notes!

Exporting your annotated bibliography from NOODLE

Watch the following video:

Then follow these directions to export your annotated bib to word or google doc.

Please bring a printed and stapled copy to class on MONDAY.

Week 6 Syllabus: April 29

THERE ARE THREE PRIMARY INTERPRETATIONS of Shakespeare's tragedy, Romeo & Juliet: 1) scholars who see the play as an indictment of civic responsibility, that the feuding families' hatred cause the tragic death of their children; 2) scholars who see individual responsibility and tragic character flaw within Romeo and Juliet themselves, whose lust and rash desire result in their downfall, and 3) scholars who view the play as an indictment against institutional failure--the church, the politic--who fail to protect young adults from life's harsh reality. These are only three, of course, but are common interpretations. What do YOU think the play is about? What does Shakespeare want YOU to learn from his tragic play?

MONDAY, April 29

• Today we will begin a close reading of Act 1.

• In small groups, examining I.i and I.ii. Some interpreting of lines, and then writing about their importance in the context of the play.

• After quote analysis, answering some study guide questions on scenes one and two.

• HW: If you haven’t finished reading Act 1, you should have. Get caught up!

WEDNESDAY, May 1

• Watching the 1968 Zefferelli film version of Romeo and Juliet, prologue to act one, and I.i and I.ii.

• Small group work on the act one study guide, I.iii.

• HW: If you have act one scenes one through three study guide complete, no homework.

THURSDAY, May 2

• Watching act one of the Zefferelli film.

• Completing the study guide for act one.

• Performing the meeting between Romeo and Juliet.

• HW: Read act two. Just as with act one, pay attention to extremes and opposites in your marginal notes!

Audio for Romeo & Juliet

Week 5 Syllabus: April 22

BRING ON WILLIAM SHAKESPEARE! The iconic tragedy, Romeo & Juliet, features everything you would want in romantic-death-comedy: teenage romance, street-fighting with swords, out-of-control family parties and drunken exploits, a marriage, a court case, even illegal drug use and murder. And that doesn’t even include the dual suicide which ends the play! We will begin finding out more about William Shakespeare’s youth and his Elizabethan England, and will prime-the-pump for our play-reading by re-re-re-reading the Act 1 prologue. Remember to bring your script! Annotations will be worth DOUBLE Homer’s Odyssey.

MONDAY, April 22

• Documentary on the life of William Shakespeare. Who was he? Where did he grow up, and what did he do that eventually led to him becoming the world’s most famous playwright in English? How did his life in England influence his work?

• Ending class by reading and annotating the prologue to Act 1, a Shakespearian sonnet (duh!)

• HW: If you haven’t finished your annotated bibliography on your mythic figure do so. Light homework because of Passover.

WEDNESDAY, April 24

• The first half of class we will practice performing the prologue to Act 1.

• The second half, we will resume “In Search of William Shakespeare,” this part focusing on William’s 20s, about which we know little for certain.

• HW: Read act one. While reading, use the audio of the play on Folger’s excellent web site. We meet Romeo, and he’s obsessed with Rosaline. His friends try to break him out of his sappy-romantic funk by bringing him to a party—but he meets (and instantly falls in love with) Juliet. The feeling is mutual!

  Annotate for conflicting imagery: love/hate, hot/cold, day/night, sin/piety, sun/moon. It’s all there, and it all symbolizes something.

Week 4 Syllabus: April 15

IF YOU HAVEN’T PURCHASED YOUR COPY OF Romeo & Juliet, do that now. Please note, you will need the LARGER edition, which is approx 5.5” x 8.5” in size. You can purchase that via our NEW bookstore, here. This week we will begin practicing some acting/vocal techniques, as we practice performing some scenes from Antigone. At the same time, we will wrap up our research project, which will require students to produce an annotated bibliography on a mythic character of your choosing. Once done, we will start preparing for our reading (and performance of) Shakespeare’s iconic tragedy.

MONDAY, April 15

• Practicing oral delivery of lines. We’ll try two different exercises:

  • First, we will read through one Chorus passage, reading one word at a time, in a circle. This will help with careful reading of lines, and force you to think about inflection;

  • Second, we will practice lines between Antigone and the Chorus at a distance, to help you work on projection.

• We will spend a few minutes revisiting the google sheet, on which students should report out their source information on the Greek myth project (annotated bibliography)

• HW: Purchase your copy of Romeo & Juliet. Make sure you get the LARGER format of the Folger Library edition.

WEDNESDAY, April 17

• Working on the “Antigone Noodle Project", writing ONE annotated paragraph for EACH of the five sources you choose.

• HW: Not done with these paragraphs? Work on these tonight for homework (I know, I said these would not be homework. But you should be done with these by now.)

THURSDAY, April 18

• Rehersal of an assigned scene from Antigone.

  • You will be assigned a role in one scene in the play.

  • You and other performers will read through the scene; you will discuss what happens in the scene, and your characters motivation in the scene; afterwards, you will work out master gestures, blocking, and symbolic costuming for your scene.

• Lecture on fidelity (to family—filial peity; to state—civic peith; to god—divine peity). What is the lesson of Sophocles’ play “Antigone”?

• HW: Reading introduction to Shakespeare’s Romeo & Juliet.

Week 3 Syllabus: April 8

NOW THAT YOUR COPY OF HOMER’S ODYSSEY has been returned, we will finish a short research project on Greek mythology. The final product will be an annotated bibliography with five paragraphs, one for each source. Sources will include: one overview, one art work, one print media, and one lengthy source (plus one of your own choosing). To work on the project, we will be in the Library this week, so report directly there. While working on it, scholars will be reading Seamus Heaney’s translation of Sophocles’ play Antigone (his version is entitled Burial at Thebes.) Finally, students should obtain a copy of Shakespeare’s Romeo & Juliet, and you can purchase that via our NEW bookstore, here.

NOTE: This is the LARGER edition, and is approx 5.5” x 8.5” in size.

MONDAY, April 8

• Report directly to the Library. We will work on our research project there.

• I will have your copy of Homer’s Odyssey in the Library, and will return them there. .

• HW: Read the second part of Heaney’s play for class on Thursday.

Wednesday, April 10

• Today we are meeting in C-236, our classroom.

• Here’s a link to the assignment.

• With partners, finishing our “Antigone Noodle Project", writing ONE annotated paragraph for ONE of the sources you choose.

• We will create a Google-sheet that lists research topics and databases/sources wherein scholars are finding information about their mythological figure.

• HW: Finish reading Heaney’s play for class on Thursday.

THURSDAY, April 11

• Returning to the library to work on your research project.

• My expectation is that you should LEAVE with all your sources located, and have at least ONE of the annotations completed in Noodlebib.

• HW: Review the play. Where do you see the conflict between loyalty to the gods (following divine law, relating to family, burial) and loyalty to the state (following law of city-state, ruler(s), etc.)? Note 5 key passages that relate to these topics, and list them on a google doc. Add your commentary…2-4 sentences that explain what the passage means.

Week 2 Syllabus: April 2

WE ARE WRAPPING UP OUR EPIC POETRY unit this and next week, completing a quick review of all our English skills that we’ve been practicing, as well as writing a personal narrative and completing an annotated bibliography on a Greek god/hero before moving on into drama. For this unit, we will read and practice performing Seamus Heaney’s translation of Sophocles’ play “Antigone,” which he calls “Burial at Thebes.” We will then move into our reading performance of Shakespeare’s “Romeo & Juliet.” That will be the next book you’ll need to purchase—more detail on that next week.

TUESDAY, April 2

• Practicing our poetry analysis skills, and the three rules of poetry.

• Our focus will be the poem, “Ithaka.” After individual annotation and class-wide discussion, we’ll write a paragraph in small groups.

• After posting these on Squarespace classroom blog, we will turn our attention to a Smithsonian article on geographic Ithaka.

• Collecting your Odyssey annotations, and new seating chart.

• HW: Read the end of this graphic novel version of the epic poem, pages 58-71, which retells Odysseus’ return to Ithaca. That’s located here. Also, read through the seven paragraphs posted on Squarespace about the poem, “Ithaka.”

THURSDAY, April 4

• Starting in the same groups as Tuesday, analyzing your (and other groups’) paragraph about the poem “Ithaka.”

• Revising these paragraphs, and posting the revision as a comment to your first draft.

• Shifting into Greek drama, we will read an overview of Sophocles tragedies: Oedipus Rex, Oedipus at Colonus, and Antigone.

• HW: Read through the first half of the play for class on Monday, page 5 through 38. Here’s a link to the play. We will meet in the library next week for research work on Greek mythology—starting with Antigone!

What does the "Ithaka" in C.P. Cavafy's poem mean?

Type your response here. When you post your group’s paragraphs, please type the first name and last initial of EACH group member into the “NAME” field (only use the first scholar’s NT email address, and leave the URL field blank):

Week 1 Syllabus: March 19

QUARTER GRADES ARE DUE ON WEDNESDAY at 9:00 am. I am committed to collecting and grading annotations AFTER break, so that if you are behind, you may use break to get caught-up with these notes. However, I do want to briefly check in to see that everyone is in good standing with their notes, to avoid any “misunderstandings.” Also when we return from break, everyone will write a paper on Greek mythology. More on that after break.

MONDAY, March 18

• Finishing the Armand Assanti version of the film.

• While watching, I will do a spot check on everyone’s annotations. If you don’t have your book in class today, please make sure you have your copy with you in class on Wednesday.

• HW: Finish your annotations. Make sure they are A-quality for when you get back from break.

WEDNESDAY, March 20

• After watching the reunion of Penelope and Odysseus—which, I feel, the screenwriters butcher, doing a serious disservice to Penelope and homophrysene—we will turn to an essay about the ancient Greeks.

• Examining a chapter from Why Homer Matters, looking for particularly well-crafted sentences and carefully chosen words. What does this writer do to connect to the connect to his readers?

• HW: No, really, double check your annotations in Homer’s Odyssey.

Thursday, March 21

• Examining a modern re-telling of Odysseus’ journey and his reunion with Penelope, in the form of Chuck No-land in the film Castaway. Were Odysseus a 21st century hero, how would his tale unfold?

• With your partner, read through the sentences that we selected yesterday. Keep notes of your own on the handout. What is this writer doing to improve his style? Which types of words does he use to create emphasis and to connect with his readers?

• HW: Enjoy break. I will collect and grade annotations when you return in April.

Week 10 Syllabus: March 11

ODYSSEUS SYMBOLIZES THE TRANSITION BETWEEN the warrior hero and the thinking hero. The warrior is concerned with forces of nature, right versus wrong, deals in brute force. The thinking hero is more concerned with forces of social order, strategy, issues of social justice. This is Odysseus’ essential transformation: the warrior must die, lose his ego and bravado, and the reasoned husband, father and king’s heart must be reborn if order is to exist on Ithaca. How will this be accomplished? Will Odysseus complete this transformation?

MONDAY, March 11

• Careful reading of book 21, the slaughter in the great hall. The helpers to Odysseus on his hero journey play a key role in this chapter. Pay attention to what the swineherd, cowherd, and the nurse do to help Odysseus rid his palace of the suitors and their ilk.

• Watching the penultimate section of “The Greeks: Crucible of a Civilization,” wherein we will see Pericles plan to defeat the Spartans fail miserably.

• HW: Go back and find one chapter that you have not annotated well, and re-read and annotate it.

WEDNESDAY, March 11

• Finishing the documentary. The death of Socrates and the fall of Athenian empire, and setting the stage for the second half of the Classical Age.

• HW: Gather together your Greek mythology notes, as you will hand these in during class on Friday. Staple these together, and print out any typed notes (if you typed them). I’d like to review these as a whole.

Friday, March 8

• The dramatic ending before the actual ending, book 21, known as the test of the bow, or death in the great hall. We will read and annotate this together.

• HW: Review and complete annotations for any missing chapters in your book.