How redesigning your syllabus can transform your teaching, your classroom, and the way your students learn Generations of teachers have built their classes around the course syllabus, a semester-long contract that spells out what each class meeting will focus on (readings, problem sets, case studies, experiments), and what the student has to turn in by a given date. But what does that way of thinking about the syllabus leave out—about our teaching and, more importantly, about our students’ learning? In Syllabus, William Germano and Kit Nicholls take a fresh look at this essential but almost invisible bureaucratic document and use it as a starting point for rethinking what students—and teachers—do. What if a teacher built a semester’s worth of teaching and learning backward—starting from what students need to learn to do by the end of the term, and only then selecting and arranging the material students need to study? Thinking through the lived moments of classroom engagement—what the authors call “coursetime”—becomes a way of striking a balance between improv and order. With fresh insights and concrete suggestions, Syllabus shifts the focus away from the teacher to the work and growth of students, moving the classroom closer to the genuinely collaborative learning community we all want to create.

On June 17, 2015, a white supremacist entered Emanuel AME Church in Charleston, South Carolina, and sat with some of its parishioners during a Wednesday night Bible study session. An hour later, he began expressing his hatred for African Americans, and soon after, he shot nine church members dead, the church’s pastor and South Carolina state senator, Rev. Clementa C. Pinckney, among them. The ensuing manhunt for the shooter and investigation of his motives revealed his beliefs in white supremacy and reopened debates about racial conflict, southern identity,systemic racism, civil rights, and the African American church as an institution. In the aftermath of the massacre, Professors Chad Williams, Kidada Williams, and Keisha N. Blain sought a way to put the murder—and the subsequent debates about it in the media—in the context of America’s tumultuous history of race relations and racial violence on a global scale. They created the Charleston Syllabus on June 19, starting it as a hashtag on Twitter linking to scholarly works on the myriad of issues related to the murder. The syllabus’s popularity exploded and is already being used as a key resource in discussions of the event. Charleston Syllabus is a reader—a collection of new essays and columns published in the wake of the massacre, along with selected excerpts from key existing scholarly books and general-interest articles. The collection draws from a variety of disciplines—history, sociology, urban studies, law, critical race theory—and includes a selected and annotated bibliography for further reading, drawing from such texts as the Confederate constitution, South Carolina’s secession declaration, songs, poetry, slave narratives, and literacy texts. As timely as it is necessary, the book will be a valuable resource for understanding the roots of American systemic racism, white privilege, the uses and abuses of the Confederate flag and its ideals, the black church as a foundation for civil rights activity and state violence against such activity, and critical whiteness studies.

Writing exercises and creativity advice from Barry's pioneering, life-changing workshop The award-winning author Lynda Barry is the creative force behind the genre-defying and bestselling work What It Is. She believes that anyone can be a writer and has set out to prove it. For the past decade, Barry has run a highly popular writing workshop for nonwriters called Writing the Unthinkable, which was featured in The New York Times Magazine. Syllabus: Notes from an Accidental Professor is the first book to make her innovative lesson plans and writing exercises available to the public for home or classroom use. Barry teaches a method of writing that focuses on the relationship between the hand, the brain, and spontaneous images, both written and visual. It has been embraced by people across North America—prison inmates, postal workers, university students, high-school teachers, and hairdressers—for opening pathways to creativity. Syllabus takes the course plan for Barry’s workshop and runs wild with it in her densely detailed signature style. Collaged texts, ballpoint-pen doodles, and watercolor washes adorn Syllabus’s yellow lined pages, which offer advice on finding a creative voice and using memories to inspire the writing process. Throughout it all, Barry’s voice (as an author and as a teacher-mentor) rings clear, inspiring, and honest.

When it was first published in 1997, The Course Syllabus became the gold standard reference for both new and experienced college faculty. Like the first edition, this book is based on a learner-centered approach. Because faculty members are now deeply committed to engaging students in learning, the syllabus has evolved into a useful, if lengthy, document. Today's syllabus provides details about course objectives, requirements and expectations, and also includes information about teaching philosophies, specific activities and the rationale for their use, and tools essential to student success.

"Deliciously drawn (with fragments of collage worked into each page), insightful and bubbling with delight in the process of artistic creation. A+" -Salon How do objects summon memories? What do real images feel like? For decades, these types of questions have permeated the pages of Lynda Barry's compositions, with words attracting pictures and conjuring places through a pen that first and foremost keeps on moving. What It Is demonstrates a tried-and-true creative method that is playful, powerful, and accessible to anyone with an inquisitive wish to write or to remember. Composed of completely new material, each page of Barry's first Drawn & Quarterly book is a full-color collage that is not only a gentle guide to this process but an invigorating example of exactly what it is: "The ordinary is extraordinary."

Advancing a unified, principled approach that aims for high quality/high equity educational outcomes, this book offers clear, realistic guidelines for the tasks of writing curriculum documents and designing official syllabi and professional development programs at system and school levels.

Demonstrates the principles involved in planning and designing an effective syllabus. This book examines important concepts, such as needs analysis, goal-setting, and content specification, and serves as a useful introduction for teachers who want to gain an understanding of syllabus design in order to modify the syllabuses with which they work.

Now spiral bound! Features a step-by-step description of course contents. Includes: Lesson objectives * Flight and ground time allocations for all lessons, and * Coordination of other academic support materials with your flight training. ISBN 0-88487-240-8

Can the syllabus constitute the curriculum? In this volume, Rocha explores curriculum theory through the lens of the syllabus. By critiquing curriculum studies and the entire field of education, overrun by the social sciences, Rocha provides an integrated vision of philosophy of education and curriculum theory, rooted in the humanities. Through an original reconceptualization, this text draws from a broad range of sources - ranging from Classical Antiquity to the present - offering a rich context for understanding curriculum as a philosophically salient concept, contained within the syllabus. The Syllabus as Curriculum features actual syllabi created and taught by the author in undergraduate and graduate courses at the University of British Columbia, Canada. These curated syllabi work as exemplars and media, supported by pedagogical commentary and context. Inspired by Augustine's Confessions, each part of the book culminates in a metaphorical "garden," which serves as a meditation on the syllabus in three senses: correspondence, essay, and outline. An original, powerful, and corrective contribution to the literature on curriculum studies, this work invites teachers and scholars from across the foundations of education, especially philosophy of education, art education, and those invested in curriculum theory, to see their contribution in more direct and integral ways.