https://xmenrevolution.com/w/api.php?action=feedcontributions&user=Borg&feedformat=atomX-Men: rEvolution - User contributions [en]2024-03-29T05:57:13ZUser contributionsMediaWiki 1.35.13https://xmenrevolution.com/w/index.php?title=Logs:Of_Ramen_and_Reunions_(Or,_Torture_Memes_for_Lassi-Teens)&diff=25991Logs:Of Ramen and Reunions (Or, Torture Memes for Lassi-Teens)2024-03-29T02:38:49Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Kavalam]], [[Roscoe]]<br />
| summary = "Pfft, imagine having a boat without a motor, that's for ''poors''."<br />
| gamedate = 2024-03-27<br />
| gamedatename = <br />
| subtitle = <br />
| location = <XAV> [[Computer Lab]] - Xs First Floor<br />
| categories = Kavalam, Roscoe, XAV Computer Lab, Mutants<br />
| log = <br />
All modernism in contrast to the old-world elegance of most of the mansion, this room has been dragged into the twenty-first century wholeheartedly. Rows of top-of-the-line computers provide internet access to any students who lack their own in their rooms, and sleek tablets give the mansion's artists a place to practice their digital art when the art studio does not suffice. Whether knuckling down to pull an all-nighter on a research paper or simply killing time browsing, students can be found in here at all hours in front of the glows of the screens.<br />
<br />
Stacked high to Roscoe's left is a pile of what looks like ''work'' -- textbooks, notebooks, loose-leaf graph paper in folders and a slim but overstuffed three-ring binder, and Roscoe is skulking productively in the comfortable rolling desk chair, both feet pulled underneath him, with a beanie pulled low over his face, the hood of his bright-blue sweatshirt pulled up over his beanie, and dark gray joggers. Is Roscoe doing ''work''? Resoundingly not. Two windows, each taking up about a third of his computer monitor, are open on Reddit and a third is streaming the Bruins game. Roscoe is ignoring the Bruins game -- at least, his activity is focused on the two Reddits, one of which is the mod queue of r/Assiter and the other of which is open to the top page of r/Assiter itself ("Torture Memes for Lassi-Teens"). Roscoe is not a very strict moderator -- he is automatically approving ''most'' of the reports in his feed, though he takes the time to remove one lengthy chain of comments with, 'Both of you shut the fuck up, torture memes only.'<br />
<br />
"Exactly ''how'' tortured do you have to have been to be supplying torture memes?" How long has Kavalam been here? Probably not ''that'' long; while he's got comfortable in another of the desk chairs, ''both'' the cups of cocoa he's brought -- one cupped in his hands and one set down on the corner of the workstation ''next'' to Roscoe's -- are still hot. Kavalam himself is slouched back in his chair in jeans, an orange checked button-down. "I don't know if Boredom Memes count."<br />
<br />
"Only if they're ''funny''," says Roscoe, in a censorious tone to indicate that this is a ''high'' bar, before he turns his head to see who's interrupting him. His eyes widen -- "Kavalam!" Without his feet on the floor to steady the chair, he scrambles in his seat to face the other teenager, with the result that for a few seconds he swivels the chair in the one direction and himself in the other, before he finally grabs the desk to make it stop. He gives Kavalam a gleeful, searching look -- "Dude! It's good to see you, how long has it ''been''? You, uh --" he crosses over from excitement to confusion with somewhat jarring speed, squinting with what is probably utterly fruitless mental calculation. "You made it out of the lab okay?" he says.<br />
<br />
"Seven months, give or take," Kavalam says, with a casual wobble of head. "And a few days. Only in passing, though, I have not been --" Another small wobble. Once Roscoe is done spinning, he nudges the second cocoa closer to the other boy's reach. "You helped greatly. And," his eyes lower to his cup as he takes a sip, "Mr. Joshua." His brows pinch and he is examining Roscoe critically. "They are not turning you into a nerd here, are they? They are very-big nerds."<br />
<br />
Roscoe hesitates a brief but noticeable moment before he takes the cocoa, a smile spreading slow and broad over his face as he considers it. "Only in passing?" he says. The smile falters a little at the mention of Joshua, pulling into a sudden, scrunching frown and then smoothing out again; he holds the mug close to his chest, both hands wrapped around it. "Glad I helped," he says. "I got my sentence extremely extended for that. By the way." This time the scrunch of his face is a dimpled smile -- "I would've did it again though," he adds. Then he glances down, ''maybe'' at the Dragon Ball Z design on his sweatshirt (though he mostly gets a faceful of cocoa steam) before he says, "No. If anything, they are really discouraging nerdery. I was explicitly forbidden to join the mathletes."<br />
<br />
"As first riots go I think it was an adequate disaster. And you got your sentence extremely cut very-very short for that, no." Kavalam replies, "I stole one guard's car and came straightaway here to send the cavalry. Swords and all." He's looking only briefly at Roscoe's shirt, his huff small and amused. "Nessie she is ''very''-very fierce with her -- people. Have you considered Odyssey of the Mind? Maybe Cryptology Club. Cool kids only there."<br />
<br />
"Yeah, there were more swords than I expected," Roscoe agrees thoughtfully; he grins into his first sip of cocoa. "I don't know why they have to hide behind Chess Club when there are already clubs for gays and Asians and Jews and stuff, couldn't they just start the Monster Bog Alliance and call it a day?" This is ''probably'' not a serious suggestion; it is followed by a slightly theatrical sigh. "I'm not cut out to be a nerd at this place," he says. "Even ''nerd'' stuff here is ''snobby''. I thought about pivoting into being a jock but I bet they only offer lacrosse and horseback riding."<br />
<br />
"You could show up at the next Mathlete session and ask," Kavalam suggests very seriously. "Oh! Mr. Jackson runs the horseback riding so it's less snobby but ''very'' much gay." Has Kavalam ever taken a riding lesson here, doubtful. "Don't forget crew, though. In spring now they have crew. For those who don't want to slum it with the lacrosse team."<br />
<br />
Roscoe blows a dismissive raspberry -- "Pfft, imagine having a boat without a motor, that's for ''poors''," he says, refolding his legs in his chair to rest one knee more comfortably against the armrest, tilting his head owlishly. "You weren't -- ''here'' this whole time and I just forgot, were you?"<br />
<br />
"Oh yes, the whole time. It's very inconvenient actually because I have been kicking your ass regularly in chess but then you all shine cheyya," Kavalam shakes his head in exaggerated woe before clarifying, "stealing all my glories." After this he's looking back to Roscoe's screen, taking a slow sip of cocoa before allowing with a determined casualness: "I was actually staying this while with Gaétan's family. Very good food there for a white."<br />
<br />
Roscoe's eyes widen with dismay -- "No ''way''," he says. Perhaps he is distressed at the possibility he has been forgetting Kavalam over and over for seven months. Perhaps he is ''highly'' distressed at the possibility that he has been losing to him at chess for seven months. He glances at the screen too, is even more distressed at the score of the Bruins game, and then looks back at his companion. "Is Gae okay? I haven't seen him either. Sucks about his brother. Sometimes at Lassiter you would see people going through withdrawal, if their source got moved or they were new or... addiction can get really ugly really fast." He furrows his brow slightly -- "I guess if you were there you probably know that," he adds, a touch apologetically.<br />
<br />
"Only but he ''wasn't'' --" Kavalam begins, immediate and ''vehement'', but then he's slouching lower in his chair, his voice lower. "I mean, yes, he had had some difficulties with drugs. But through his ''whole'' show now he had stopped and he wasn't -- it just came very by surprise, you know? I thought --" His fingers clench tight around his cup. "I do not know what I thought. He was very kind to me. That takes a lot of work." He swallows another mouthful of cocoa and with it, perhaps, this undignified lapse into ''feelings''. "It is rough for Gaétan. Lucien-uncle he was the good cook, now they are on their own with Mr. Matthieu's terrible catastrophes. He can manage some very rubbery egg and not much else."<br />
<br />
Roscoe's gaze darts away; though this is as much as he reacts outwardly, his voice rises slightly in pitch, lapsing into a hushed, appeasing tone. "Sorry. I bet that's -- sorry for your loss." He wraps his hands tighter around his mug and shrinks minutely into the chair. "I know where he can get some good instant ramen if he gets hungry. Feast of kings. It always makes me feel better."<br />
<br />
Kavalam blinks in surprise, glancing over brief and startled to Roscoe. His death grip on the cup is easing after this offer of condolence. "Your room, hopefully, or I will be very disappointed. Have you begun an underground Xavier's economy, yet? I suppose it would be maybe-difficult to compete with Nahida. She," he sounds ''very'' approving here, "cheats copiously."<br />
<br />
"I'm not telling ''you'', you're a ''known'' ramen thief," Roscoe retorts -- he is bounding slooowly back into good spirits. Probably all the ramen is, in fact, in his room. He takes another sip of cocoa. "No," he laments, "if you try to barter here with cup noodles or cigarettes or toilet paper, you get looked at funny." Though perhaps this firm denial is negated when he squints and says, "Why, you need anything? I can probably pull some favors."<br />
<br />
"I am out of jail now. Turned over a new leaf. ''Proper'' citizen. But perhaps you are not thinking high enough. The restrooms are quite well stocked already with ''regular'' toilet paper. You may need a hookup for 4-ply. Secure your place in the economy by letting them share an experience that only ''royal'' asses have previously known." Kavalam is leaning forward and gesturing inquisitively towards the computer. "Do they even make 4-ply? Inventing it would take more work. -- Oh! If you do need a hideout, I know an excellent spot for illicit goods smuggling. Safe from almost ''everyone''." ''Almost''.<br />
<br />
Roscoe obediently opens a new tab -- 'do they make 4 ply toilet paper?' -- and wrinkles his nose. "Oh, it's just Charmin'. These bears should change their marketing strategy, yours was way more convincing." While he is here, he closes both Reddit windows, before peering over his shoulder again, eyes widening with ''strong'' interest, though his voice is a little skeptical. "There are ''so'' many teeps here," he says. "And I'm good at finding hiding spots. Usually. I keep forgetting where I already hid stuff. I'll go to use a stash spot and, wham, surprise ramen already there."<br />
<br />
"Was one of your ancestors a squirrel?" Kavalam is wondering, and then, hopeful: "Do squirrels have X-Ray vision? -- Anyway, I can show you but it will take a ''small'' bit of work up front. Gaétan found this spot at great pains to himself last year. Did you know the Professor's family used to smuggle alcohol? Perhaps that is how they became rich." He's waving a hand -- generically at one side of the computer lab walls; he could mean ''anything'' past there, the library, the school grounds, the woods. "The bootlegging tunnels they had on the ''mansion'' side have part-way collapsed. I am not sure if they would look still like tunnels to you or just -- some rocks now only. We were going to open this end back up but then he stupidly went in jail, a mistake I would never make." His hand turns up in front of him, tipping out in a small manual shrug. "The one good thing about hanging out with me is that the telepaths overhear nothing. I will show you, no? As long as you make some good use of it."<br />
<br />
"I don't think so," says Roscoe, though he promptly hedges, "It would explain my teeth." Already his front teeth are rather prominent, but the scrunched-up smile he offers makes him even more rodentlike -- it lapses a moment later back into a real smile. "Very bad judgment going to jail," he agrees gravely. "What a ''rube''." But now he is swinging his feet down out of the chair, reaching for the mouse to log off. "Don't be stupid," he says. "There are ''many'' good things about hanging out with you."<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Xavier%27s_School&diff=25982Xavier's School2024-03-26T04:25:56Z<p>Borg: /* Roster */</p>
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| colspan="2" |<br />
|-<br />
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== Purpose ==<br />
<br />
Located outside Salem Center in Westchester County, New York, Xavier's School for Gifted Youngsters is publicly known as a prestigious boarding school, founded in 1992 and providing an outstanding college preparatory education to middle- and high-school students. With a rigorous academic curriculum and a low student-to-teacher ratio, Xavier's sends its students on to the best colleges in the country.<br />
<br />
The school's true purpose is much more secretive -- Founded by its current headmaster, Charles Xavier, in his family's ancestral home, the school serves as a safe haven and training ground for young mutants to learn to cope with and control their powers. Alongside more typical high school classes, Xavier's students receive instruction and guidance from the faculty in responsible use of powers, the ethics of living with them, and how to eventually make their way back out into the world.<br />
<br />
== Recruitment ==<br />
<br />
Xavier's is ''not'' publicly known to be a mutant school, and its students as welll as its faculty are found by proactive recruitment.<br />
<br />
The school is intended to help students who ''cannot'' attend school due to the danger posed from their mutations. Please keep that in mind when crafting your characters' backstory -- the overwhelming majority of their students are there because they need help to learn to control their powers, and were unable to go to their previous schools. If your character has a mutation that is under control and is not experiencing difficulties at their school, it is ''very unlikely'' that they would be offered a place at Xavier's.<br />
<br />
The sole exceptions are: <br />
<br />
a) mutant students from very wealthy families, who are, occasionally, offered spots at Xavier's even if their powers are not posing them any trouble -- with nearly all their students on scholarship, it's helpful to have a ''few'' students who are actually paying tuition.<br />
<br />
b) immediate family of ''current faculty'' (children, siblings) who are -- if they wish -- allowed to attend the school even if they do not require its specialized accomodations. Weirdly enough, very few human relatives actively ''want'' to go to Freak School, so this is rare.<br />
<br />
Faculty tend to be recruited on recommendation/word of mouth. It is ''not'' required to be a mutant to teach at Xavier's, but, obviously, it is required to be positively disposed towards them.<br />
<br />
OOC Note: Keep in mind that Xavier's is a middle/high school, ''not'' a shelter for wayward or distressed mutants. If you would like a character who is taking ''refuge'' at Xavier's, getting help learning to control their powers at Xavier's, etc. '''you need to make a teenage, student character'''. Your adult ''will not'' be accepted to train and learn at Xavier's, regardless of their own perceived need.<br />
<br />
== Schedule ==<br />
<br />
The school year at [[Xavier's School|Xavier's]] is divided into three terms. Breaks fall between terms, with summer term falling for two months beginning in early June. Though classes are not in session, the school is open residentially through all breaks. Students must have permission from their legal guardians to remain at school during breaks and holidays, including summer term. During summer term, an abbreviated class schedule is in place for those students needing remedial/make-up classes, or those enrolled in elective summer school courses.<br />
<br />
====Daily Class Schedule====<br />
<br />
<div class="mw-collapsible mw-collapsed">Class Schedule<br />
<div class="mw-collapsible-content"><br />
{| cellpadding="10" class="wikitable"<br />
!style="color:#FFFFFF; background-color:#000000;" | Monday<br />
!style="color:#FFFFFF; background-color:#000000;" | Tuesday<br />
!style="color:#FFFFFF; background-color:#000000;" | Wednesday<br />
!style="color:#FFFFFF; background-color:#000000;" | Thursday<br />
!style="color:#FFFFFF; background-color:#000000;" | Friday<br />
|-<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|-<br />
|style="background-color:#CDB5CD;" | 8:00 - 8:45<br />
Class A<br />
|style="background-color:#CDB5CD;" rowspan="2" | 8:00 - 9:15<br />
Class A<br />
|style="background-color:#74BBFB;" rowspan="2" | 8:00 - 9:15<br />
Class C<br />
|style="background-color:#CDB5CD;" rowspan="2" | 8:00 - 9:15<br />
Class A<br />
|style="background-color:#74BBFB;" rowspan="2" | 8:00 - 9:15<br />
Class C<br />
|-<br />
|style="background-color:#7BCC70;" | 8:55 - 9:40<br />
Class B<br />
|-<br />
|style="background-color:#B0B0B0;" | 9:45-10:15<br />
Study/Break<br />
|style="background-color:#7BCC70;" rowspan="2" | 9:25 - 10:40<br />
Class B<br />
|style="background-color:#FBA16C;" rowspan="2" | 9:25 - 10:40<br />
Class D<br />
|style="background-color:#7BCC70;" rowspan="2" | 9:25 - 10:40<br />
Class B<br />
|style="background-color:#FBA16C;" rowspan="2" | 9:25 - 10:40<br />
Class D<br />
|-<br />
|style="background-color:#74BBFB;" | 10:20 - 11:05<br />
Class C<br />
|-<br />
|style="background-color:#FBA16C;" | 11:15 - 12:00<br />
Class D<br />
|style="background-color:#B0B0B0;" | 9:45-10:15<br />
Assembly/Break<br />
|style="background-color:#B0B0B0;" | 10:50 - 11:35<br />
Study/Break<br />
|style="background-color:#B0B0B0;" | 10:50 - 11:35<br />
Assembly/Break<br />
|style="background-color:#B0B0B0;" | 9:45 - 10:15<br />
Advising<br />
|-<br />
|style="background-color:#B0B0B0;" | 12:10 - 12:55<br />
Lunch<br />
|style="background-color:#FFCC11;" rowspan="2" | 11:45 - 13:00<br />
Class F<br />
|style="background-color:#D44942;" rowspan="2" | 11:45 - 13:00<br />
Class E<br />
|style="background-color:#FFCC11;" rowspan="2" | 11:45 - 13:00<br />
Class F<br />
|style="background-color:#D44942;" rowspan="2" | 11:45 - 13:00<br />
Class E<br />
|-<br />
|style="background-color:#D44942;" | 13:05 - 13:50<br />
Class E<br />
|-<br />
|style="background-color:#FFCC11;" | 14:00 - 14:45<br />
Class F<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|-<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:00 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:00 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|-<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|}<br />
</div></div><br />
<br />
====Academic Calendar, 2023-2024====<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Summer Term 2023'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
June 26 (Monday) - Summer session faculty arrival<br />
June 27 (Tuesday) - Summer session students return<br />
June 28 (Wednesday) - Summer session classes begin<br />
August 21-25 (Monday-Friday) - Exam week; special class schedule for exam period<br />
August 25 (Friday) - Summer term ends<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Fall Term 2023'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
August 28-19 (Monday-Tuesday) - New faculty orientation<br />
August 31- September 1 (Thursday-Friday) - Faculty meetings<br />
September 2-3 (Saturday-Sunday) - New Student Orientation<br />
September 4 (Monday) - Labor Day; Returning Students Must Check-in (by 6 pm)<br />
September 5 (Tuesday) - Required Opening of School Assembly; Classes Begin<br />
September 15 (Monday) - classes as usual - Rosh Hoshanah begins at sundown <br />
September 25 (Monday) - No classes - Yom Kippur (begins at sundown on Sept. 24)<br />
October 6-8 (Friday-Monday) - Family Weekend (No classes Monday)<br />
October 12-13 (Thursday-Friday) - Midterms<br />
October 28 (Saturday) - Halloween Dance (Casual)<br />
November 10 (Friday) - Last day of Fall Term classes<br />
November 13-17 (Monday-Friday) - Exam week; special class schedule for exam period<br />
November 17 (Friday) - Last day of Fall Term; Thanksgiving vacation begins<br />
November 21 (Tuesday) - Fall term grades/reports due (Faculty)<br />
November 22 (Wednesday) - Fall term academic review meeting, 9:00-13:00 (Faculty)<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Winter Term 2023-2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
December 3 (Sunday) - Thanksgiving vacation ends; students must return and check in before 6 pm.<br />
December 4 (Monday) - Winter term classes begin<br />
December 16 (Thursday) - Winter Ball (Formal)<br />
December 15 (Friday) - Half-day of classes; Winter vacation begins after classes end<br />
January 2 (Tuesday) - Winter vacation ends; students must return and check in before 6 pm.<br />
January 3 (Wednesday) - Classes resume<br />
January 11-12 (Thursday-Friday) - Midterms<br />
January 15 (Monday) - No Classes - Martin Luther King, Jr. Day. Mandatory all-school assembly, 9:45-10:45.<br />
February 5-6 (Monday-Tuesday) - No Classes - Mid-Winter Holiday<br />
February 10 (Saturday) - Valentine's Dance (Semi-Formal)<br />
March 8 (Friday) - Last day of Winter Term Classes<br />
March 11-15 (Monday-Friday) - Exam week; special class schedule for exam period<br />
March 15 (Friday) - Last day of winter term; break begins once exams end<br />
March 19 (Tuesday) - Winter term grades/reports due (Faculty)<br />
March 20 (Wednesday) - Winter term academic review meeting, 9:00-13:00 (Faculty)<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Spring Term 2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
March 25 (Monday) - Spring vacation ends; students must return and check in before 6 pm.<br />
March 26 (Tuesday) - Spring term classes begin<br />
April 1 (Monday) - Mid spring holiday, no classes<br />
April 26-27 (Thursday-Friday) - Midterms<br />
May 6-10 (Monday-Friday) - AP exams<br />
May 13-17 (Monday-Friday) - AP exams<br />
May 24 (Friday) - Spring Ball (Formal)<br />
May 24 (Friday) - Last day of Spring Term Classes<br />
May 27-June 31 (Monday-Friday) - Exam week; special class schedule for exam period<br />
May 31 (Friday) - Vacation begins after exams end.<br />
June 1 (Saturday) - Senior-Faculty Dinner<br />
June 1 (Saturday) - Senior academic review meeting, 9:00-13:00 (Faculty)<br />
June 2 (Sunday) - Commencement<br />
June 4 (Tuesday) - Spring term grades/reports due (Faculty)<br />
June 5 (Wednesday) - Spring term academic review meeting, 9:00-13:00 (Faculty)<br />
June 7-9 (Friday-Sunday) - Alumni reunions<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Summer Term 2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
June 24 (Monday) - Summer session faculty arrival<br />
June 25 (Tuesday) - Summer session students return<br />
June 26 (Wednesday) - Summer session classes begin<br />
August 19-23 (Monday-Friday) - Exam week; special class schedule for exam period<br />
August 23 (Friday) - Summer term ends<br />
</pre><br />
</div></div><br />
<br />
== XS School Rules ==<br />
<br />
ICly, all students at Xavier's are expected to be familiar with the rules and follow them while they are living at and attending the school. OOCly, clearly, people break rules and we do not expect all characters to be studious and well-behaved at all times! Just keep in mind that they have teachers who are telepaths, and boarding schools are highly prone to a busily turning gossip mill. There are things that are easy to get away with and things that are likely to be discovered; don't be surprised if your char's frequent class-skipping or curfew-breaking or bullying lands them in hot water with the school administration.<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Major Infractions'''<br />
<div class="mw-collapsible-content"><br />
<br />
'''Major infractions will result in more severe disciplinary action. Choosing to remain present while violations of any school policies are occurring may also result in disciplinary action.'''<br />
<br />
*A large part of Xavier's safety lies in its discretion. Under no circumstances should information about the school's mutant status or the X-Men or the mutations of anyone associated with the school be divulged. If students believe they have found other children who would benefit from schooling at Xavier's, they should bring this to faculty attention rather than extending any sort of information or invitation themselves.<br />
<br />
*Violence of any sort is prohibited at Xavier's.<br />
<br />
*Hazing or bullying of any kind will not be tolerated at Xavier's. Hazing is defined as harassing, intimidating, bullying, or coercing another student with the purpose or result of embarrassment, disturbance, or humiliation. Bullying or discriminatory behaviour will not be tolerated. <br />
<br />
*Leaving school grounds without permission. All students must sign out with and be cleared by the faculty member on-duty before leaving school grounds at any time. There is no requirement for a chaperone when leaving campus under normal circumstances. However, if there is a crisis students must be attended by a faculty chaperone or a guardian.<br />
<br />
*Purchasing, possessing, using, or distributing any illicit or illegal drug, any prescription drug in a manner inconsistent with the instructions of the prescribing physician, or legal over-the-counter drugs for purposes other than legitimate medical treatment.<br />
<br />
*Purchasing, possessing, drinking or being under the influence of alcoholic beverages.<br />
<br />
*Dishonest acts of any kind, including cheating, plagiarizing, and other forms of academic dishonesty.<br />
<br />
*Xavier's is a safe location for mutants to live and explore their powers free of the judgement and hostility encountered in the rest of the world. Students are encouraged to train and practice and explore responsible use of their powers while at the school. Use of mutant powers in malicious or destructive manners, whether towards persons, creatures, or property, is never acceptable and will be dealt with strictly.<br />
<br />
*ALL out of school visitors, including family members, must be cleared by a faculty member and signed in with security while they are on school grounds.<br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Additional Policies'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Students are not permitted to possess weapons or firearms of any sort, including BB guns. Permitted use of weapons during athletic activities and training sessions is allowed only under the supervision of a faculty member.<br />
<br />
*Gambling for money is prohibited.<br />
<br />
*Students are required to attend all their scheduled appointments punctually, including classes, assemblies, athletic sessions, or meetings with their adviser. Students who are ill and unable to attend their appointments must report to the medical bay; only Health Services staff may excuse students for medical purposes. Students with other schedule conflicts must receive a note, in writing, from a faculty member excusing them from their school duties.<br />
<br />
*All Xavier's students are issued a cellphone for emergency use. Students leaving school grounds must bring their school-issued cell phone with them at all times. Xavier's cellphones come with a 'panic button' that alerts the school if students find themselves in trouble. Students are expected to utilize this if they are in danger: casual misuse of the panic button outside of emergencies will result in disciplinary action.<br />
<br />
*All students are allowed access to the equipment in the computer lab and, for those with their own computers, internet connections are available in all dorms and wireless internet throughout the school grounds. All students utilizing school technology resources must comply with the acceptable use policy at all times. (Typical regulations about responsible use, prohibiting fraud, pirating, account sharing, malicious hacking, any illegal activities.)<br />
<br />
*Sunday through Thursday, students under the age of 16 are required to be on school grounds by 8 p.m. and in the mansion building by 10:30 p.m. Students over the age of 16 are required to be on school grounds by 9 p.m. and in the mansion building by midnight. On Friday and Saturday nights, students over the age of 16 have no curfew but are still required to follow appropriate sign-out/permission procedures at all times. For students under the age of 16, Friday and Saturday night curfew is extended; students are required to be on campus by midnight, with no requirement to stay in the building. After curfew, students may not leave again before 5 a.m.<br />
<br />
*There is no formal dress code at Xavier's; students are expected to exercise good judgement in the appropriateness of their attire, both in terms of offensiveness and of modesty. Students must change if requested to by a faculty member.<br />
<br />
*Students are not permitted in Cerebro at any time. Students are not permitted anywhere on the second basement level without a faculty escort.<br />
<br />
*Students possessing a valid driver's license are allowed to keep one personal vehicle in the school garage, if they first obtain the written permission from the faculty.<br />
</div></div><br />
<div class="mw-collapsible mw-collapsed">'''Dormitory Rules'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Dormitories have quiet hours to allow students to sleep and study: any period of the day when classes are in session, and after 10 p.m. every night except Fridays and Saturdays.<br />
<br />
*No out-of-school visitors will be allowed on the dormitory floor after 10 p.m. Approved visitors staying overnight at Xavier's will be given a room in the guest wing.<br />
<br />
*Students may only be in their OWN dormitories after curfew. Exceptions may be made only by faculty and RAs.<br />
<br />
*Open flames are not allowed in student dorms, to include candles, matches, incense, lighters, or uses of mutant powers that produce flames. Highly flammable materials may not be stored or used in student dorms. Students may not tamper with smoke detectors or fire alarm systems.<br />
<br />
*Student rooms are required to be kept neat and orderly. Inspections for cleanliness will occur on a regular basis; inspection beyond simple observation is considered a room search and will not occur without dean approval.<br />
<br />
*Pets are permitted to students only with faculty approval. Approved pets are the responsibility of the student to care for and oversee. Approval may be revoked for considerations of hygiene, student safety, and animal welfare.<br />
</div></div><br />
<br />
== Academics ==<br />
<br />
Xavier's School runs on trimesters, with an optional summer term for students who wish to stay at school over the summer. In order to graduate, students must complete at least 60 credits of courses through their four years; in almost all cases, classes count as one credit per trimester. Students must enroll in a minimum of four and maximum of six classes per term, except for summer term.<br />
<br />
*Art - 3 term credits; Must study at least two different disciplines (visual arts, performance, or music.) Normally non-credit performance extracurriculars (e.g. Xavier's Players, Band, Chorus) can fulfill a discipline requirement. Visual arts requirements can be waived by permission of the [[Jax|arts department head]].<br />
*Computer Science: 3 term credits; alternatively can test out. <br />
*English - 11 term credits <br />
*History - 6 term credits; three of which must be U.S. history and three of which must be non-U.S. history.<br />
*Health & Human Development: 2 term credits.<br />
*Language - 9 term credits of one language or 5 each of two; alternatively, can test out. <br />
*Mathematics - 9 term credits <br />
*Philosophy, Ethics, and Religion: 6 term credits<br />
*Physical Education: 2 term credits per year; can use a season of athletics as one term of phys. ed. requirement.<br />
*Science - 6 term credits<br />
*Social Sciences - 1 term credits<br />
*Vocational Tech - 1 term credit<br />
<br />
Additionally, students must successfully complete sixty hours of community service activities through the course of four years. Faculty advisors are available to help students find appropriate service projects. <br />
<br />
'''Note''': The following courses, highlit in red in the course list, are mandatory for all students:<br />
*English - Expository Writing<br />
*Health & Human Development - Teen Health Matters (formerly Health & Human Development. Must be taken first term upon enrolling at Xavier's)<br />
*Health & Human Development - Thriving in Community (formerly Human Sexuality)<br />
*Philosophy, Ethics & Religion - Bioethics - Humanity in a Post-Genomic Era<br />
*Philosophy, Ethics & Religion - Power & Social Responsibility<br />
*Philosophy, Ethics & Religion - The Ethics of Power<br />
*Phys. Ed - Psionic Self-Defense<br />
<br />
'''Note''': Classes marked with an asterisk* can be repeated for credit. Classes without an asterisk may only be taken for credit once. Any classes may always be audited (for no credit) as fits the students' schedule, with permission from the instructor.<br />
<br />
'''Note''': Students taking interdisciplinary classes may choose ''one'' department to apply their credit to. Credit will not be awarded in multiple disciplines for the same class.<br />
<br />
<div class="mw-collapsible mw-collapsed">Xavier's Academic Offerings<br />
<div class="mw-collapsible-content"><br />
{| cellpadding="10" class="wikitable" style="width: 90%;"<br />
!style="color:#FFFFFF; background-color:#000000;" | Department<br />
!style="color:#FFFFFF; background-color:#000000;" | Course<br />
!style="color:#FFFFFF; background-color:#000000;" | Term Length<br />
!style="color:#FFFFFF; background-color:#000000;" | Teacher<br />
!style="color:#FFFFFF; background-color:#000000;" | Class Description<br />
!style="color:#FFFFFF; background-color:#000000;" | Notes<br />
|- <br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Introductory Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Fall)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is designed to give students a vocabulary to further understand and describe the music they will encounter. After beginning the year learning hand-written musical notation, the study of scales, intervals, tonality, harmony, melodic organization, voice leading in two parts, and harmonic dictation ensues. After this study is complete, students will be in a position to knowledgeably describe every aspect of a typical piece of music that they may come across. Ear-training skills are developed through dictation and sight singing. Those taking this course in the fall are encouraged to combine it with Intermediate and Advanced Theory and Composition to form a three-term Advanced Placement Music Theory sequence. Students will begin composing near the end of the term, but it should be noted that most compositional activity will occur in the intermediate & advanced classes.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Intermediate Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Winter)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Continuing from where Introductory Theory & Composition leaves off, this course begins the students’ hands-on compositional development. Small pieces are composed almost nightly as students now begin to demonstrate what they previously learned to recognize and describe. Also in this term, students will compose several larger pieces that will be written for and recorded by classmates. As the term progresses, the chords of Western music are incorporated into their musical vocabulary one by one. Further study in sight singing and ear training help to continue that development. In most years, this term includes a field trip to see the New York Philharmonic in concert.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Advanced Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Spring)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Completing the music theory sequence, the focus for the beginning of this term is on preparation for the AP exam in May. Students study non-dominant seventh chords, applied dominant seventh chords, and musical form before a week of AP prep. After the AP exam, a larger project is decided upon. Past projects have included studying Chopin’s piano preludes, examining poetic meaning in Schubert’s songs, and composing a 3–5 minute work.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Becoming Musical<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course examines the elements that are universal in music and develops the practical skills needed to become functioning musicians. Rhythm, pitch, scales, keys, intervals, and triads are the basic material of the course. By studying a variety of both popular and classical styles, students will discover how composers employ the elements of music to create varied moods and expression. The practical skills of ear training, sight-singing, and dictation as well as the notation of music are integrated into the course. The department encourages students to take private lessons along with this course.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | The Nature of Music<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course offers a basic introduction to music literature, theory, performance, and composition. Music from various cultures and historical periods is examined in an attempt to increase student awareness of the musical languages and practices. Students compose several original compositions, and they also receive instruction on musical instruments. No previous experience in music is required.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Western Music History<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
A one-term survey of Western music history. The course progresses chronologically from classical antiquity to the music of today, exploring along the way the religious, social, historical, and human issues surrounding music and its composition.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | World Music<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In this performing/writing course, we will explore, connect, and engage cultures from different corners of the world through music composition and improvisation. Students will have access to the many traditional instruments owned by the Xavier's Music Department. All participants will share equally in the creative process and an end-of-the-mod performance will highlight the experience.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Popular Music in America<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What is American popular music? How does the rich variety of American popular music styles reflect trends in American society and the major events of American history? Through a series of readings and recordings, students will trace the history of popular music in America across three extended time spans: 1840-1920 (beginning roughly with Stephen Foster and the advent of minstrelsy through ragtime and early blues forms); 1910-1950 (to include New Orleans jazz, syncopated song and dance music, big band, swing and bop, and Chicago jazz); 1950-1980 (including cool jazz, rock and roll, rhythm and blues, British rock, rock, soul, Latin music, and contemporary jazz). Emphasis will be placed on developing understanding and perception of the musical elements of instrumentation, rhythm, melody, harmony, dynamics, texture and form through study of classic recordings from a wide spectrum of popular artists.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Your Musical Brain<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What playlists do you create to accompany you through the parts of your day? How does the music we choose shape the personal and communal tapestry of our daily lives? The Musical Brain explores why music matters so much to us as individuals and as a species. Through reading assignments, listening assignments, and classroom activities we’ll explore the rapidly evolving field of inquiry and research in music perception and cognition. Topics will include the science of sound, the biological origins of music, relationships between music and language, and the sources of music’s emotional impact. </div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Film Scoring<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In this course, students will study film music primarily through compositional exercises, as well as analysis of films from various genres and time periods. The course will begin with an introduction to a wide variety of compositional styles and techniques employed throughout the history of film, including changes resulting from increased technological resources throughout the 20th century. Students will then compose music for film scenes from different genres, such as drama, horror, romance, and action/adventure. Though this course will primarily focus on music from the 20th century to the present, students also will learn about how certain composers connected music to visual images in classical concert music prior to 1900.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Jazz History<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course begins by examining jazz’s mixture of African and European traditions and the subsequent pre-jazz styles of spiritual, blues, and ragtime. It then proceeds with a study of 20th-century jazz styles, beginning with New Orleans and culminating with the multifaceted creations of today’s artists. Along the way the course pays tribute to the work of some of jazz’s most influential innovators, including Louis Armstrong, Duke Ellington, Count Basie, Billie Holiday, Charlie Parker, and Miles Davis. Original recordings, photographs, and videos are used extensively throughout the term.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Songwriting Workshop<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Popular music plays an important role in our modern culture: it can provide an escape from our daily lives and influence our thoughts and actions. MUS480 will begin by exploring popular songs from artists such as Ryan Black, Lady Gaga, Miranda Lambert and Rihanna as well as those of other artists from Motown to the present day. We will study songs from a variety of genres—including jazz, blues, rock, R&B, folk, and country western—as a way of building a foundational understanding of popular music. In addition to frequent songwriting exercises, students will create three original songs in the genre of their choice with particular focus on the musical attributes needed to support both the genre and the specific topic of each song. Students interested in all musical genres are welcome; however, it is expected that all students will be capable and willing to perform at a basic level using their own voice and/or an instrument and/or technology.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Modern Music Making*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is a workshop for students interested in making modern styles of music, primarily through technology. Students will develop their technique, their aesthetic and their ears by working on multiple collaborative and independent projects across a spectrum of musical genres including (but not limited to) pop, hip-hop, EDM, ambient and experimental. There will also be opportunities for live performances, cross-disciplinary collaboration and student-initiated projects. The in-class studio environment will be one of creativity, curiosity and collaboration as students work both together and alongside each other in pursuit of their musical goals.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Music Recording and Mixing*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course will give students hands-on instruction in the craft of recording and mixing music across multiple genres. Through focused discussion, experiential recording and in-depth mixing projects, students will learn the following: foundations of acoustics; aspects of digital recording using a DAW; microphone techniques in a variety of musical circumstances; design and implementation of signal chains in a multi-track environment; proper gain staging techniques; effective use of effects and signal processing; mixing best practices; and the interpersonal nuances of recording. Mixing projects will utilize audio recorded by the class, recordings made at on-campus music events, and stems from professionally recorded studio sessions.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Band*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Band provides students an opportunity to begin and continue instrumental development. Students new to string instruments must take the fall term course "Introduction to Orchestra" before auditioning for placement in an appropriate level of rehearsal: Concert (beginners and intermediate repertoire) and Symphonic (intermediate and advanced repertoire). Percussion Ensemble runs when there are sufficient percussion students and will combine with the other courses for recitals. Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Orchestra*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Orchestra provides students an opportunity to begin and continue instrumental development. Students new to string instruments must take the fall term course "Introduction to Instrumental Music" before auditioning for placement in an appropriate level of rehearsal: String (beginners and intermediate repertoire), Philharmonic (intermediate repertoire), and Symphony (advanced repertoire). Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Chorus*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Chorus provides students an opportunity to begin and continue vocal development. Students new to choral singing must take the fall term course "Introduction to Reading Music" as well as audition for placement in an appropriate level of rehearsal: Treble Choir (beginners and intermediate repertoire, women's voices only), Tenor/Bass (beginners and intermediate repertoire, mens's voices only, does not run all years), and Concert (advanced repertoire, mixed voices). Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | Instructor engages in blatant favoritism, both among classes and within classes. Students who can sight sing are often appointed section leader with no other qualifications. Consistently assigns more rep than can be reasonably learned and memorized, and drops selections within the week of the final concert. <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Jazz Ensemble*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC (instruments) & NPC (vocalists) <br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> This audition-only course is for those students interested in pursuing the study and performance of jazz/popular music. Instrumentalists and vocalists will rehearse separately to master jazz techniques before coming together to work on group improvisation and performance. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the winter term performance and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | Instructor engages in blatant favoritism, both among classes and within classes. Students who can sight sing are often appointed section leader with no other qualifications. Consistently assigns more rep than can be reasonably learned and memorized, and drops selections within the week of the final concert. <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Beginning Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Dance<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
All peoples and cultures dance. This course investigates why we dance as a representation of culture, as a form of communication and expression, and as a way of understanding our world. Students will look at various forms of dance generally and then delve more specifically into works of art that shape American concert and pop culture dance. Students will watch and analyze dance, research dance pioneers, and learn examples of significant and pivotal choreography. The class will learn about and do various forms of dance and will culminate with students using techniques and theories learned to develop their own composition. No prior dance experience needed.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course introduces students to four primary disciplines: ballet, modern, jazz and hip-hop. Basic composition and improvisation skills will be introduced. Little or no previous dance training required.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course focuses on Western concert dance disciplines: ballet, modern and jazz. Composition and improvisation skills will be developed. Previous dance training, which must include ballet, is required. </div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This accelerated course provides advanced dancers with intensive training in concert dance disciplines (ballet, modern, contemporary and jazz). Classes will consist of a warmup, technique and complex choreographed phrases, along with composition and improvisation. Prerequisite: instructor permission. Extensive dance training, which must<br />
include ballet, is required.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to Street Styles*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course introduces students to the culture of hip-hop and a variety of street dance styles under the hip-hop umbrella. Disciplines may include party/social dances, breaking, house, vogue and waacking. Classes will consist of a warmup, historical context, technique and some choreography. </div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | West African Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
The content of this course gives an introduction to basic West African movement, rhythms, and songs. Each class begins with a warm-up to prepare the body for this particular style of movement, followed by movements across the floor, and finally work on specific dances. Students will learn several dances from West Africa, primarily from Nigeria, Mali, Guinea, and the Senegambia regions. Classes are accompanied by live drumming, giving the students the opportunity to understand the unique connection between polyrhythmic timing and the body in motion. While the class focuses on the dances of West Africa it is also a means for understanding the culture of the people.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Moving Your Way<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is a creative movement class designed to introduce the novice dancer to dance in a comfortable learning environment while allowing the experienced dancer to further develop their choreographic tool box. Both novice and experienced dancers will explore and develop creative thinking skills, useful to the learning process. We will look at the different impetus of motion that can be initiated by the stimulus of sound and imagery, as well as external energy forces outside of the kinesthetic realm of the body. The course relies heavily on improvisation as a primary tool for finding one’s own authentic movement quality and is structured to liberate the way we move through space and communicate with each other by freeing up habitual patterns that may be restricting our unconscious and kinesthetic flow of energy.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to the Theatre<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Why do we make live performances? What does it take to create a production? This course explores the foundations of theatre and dance. How the different elements of directing, costume design, scenic design, lighting design, dancing, and acting—combine to create a unified production for an audience. In the process, students will learn the vocabulary of the stage and develop a conceptual framework for creating a performance.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Fundamentals of Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is designed for students with little or no acting experience. By doing exercises in movement and voice production, reading, improvisation, and scenes, a student who is curious about the theatre may determine whether he or she has ability or interest in acting while learning something of the process of characterization — the major responsibility of the actor. The emphasis is on the variety of acting experiences rather than on a polished final product.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This intermediate course focuses on developing and supporting each actor’s unique approaches to performance making and ensemble-building. Vocal and physical training deepens techniques introduced in THR202, empowering students to explore a diverse selection of dramatic texts and develop skills in improvisation and devising. Students may work with “heightened” texts or improvisations that present new challenges in terms of language, physicality, characterization, style or content. Students rehearse, workshop and perform material for each other, becoming increasingly adept at communicating and synthesizing creative ideas.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course offers students the opportunity to build on performance skills acquired throughout their Xavier's career and immerse themselves in a rigorous, thoughtful ensemble process. The class will conduct intensive analysis and rehearsal of either the work of a playwright or devise new performance material together based on the interest of the group. It may culminate in a series of fully explored scenes or in a full-length production.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Choreography*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course investigates choreographing dances in a variety of genres and styles for the stage. Students will be led through explorations and formal exercises to learn how to generate and manipulate movement in clear and innovative fashions. Coursework will culminate in a final presentation of original compositions. Students will also examine and analyze works of professional choreographers to gain a deeper understanding of dance elements and choreographic tools. Ultimately, students will deepen their understanding of movement as a form of communication and expression.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Directing*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course offers the essential theory and practice of stage direction, with particular emphasis on the leadership skills needed to create a constructive ensemble rehearsal environment. Beginning with a series of independent exercises aimed at honing the director’s aesthetic sensibilities and style, the course then invites students to select and direct a short play of their choosing. Students proceed step by step through the entire production process: from play selection, script analysis and casting to the detailed work of a rehearsal period. Along the way, students develop skills in the areas of composition and use of space, picturization, textual interpretation, and collaboration and communication with actors. All plays receive a public performance at the end of the term.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Lighting<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces the fundamentals of lighting design for theatrical and dance productions. Students will learn to use a design concept to make choices about how to express the theme and mood of a play or dance to enhance the storytelling of a production. The course will also enable students to work hands-on with lighting equipment in Theatre and Dance Department spaces as they learn how to manipulate the controllable properties of light: direction, intensity, color, pattern, movement, diffusion, and composition. The course places a heavy emphasis on self and peer critique of work and on revising work.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Set Design<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the design process and elements that inform the scenic designer’s choices when designing for theatrical performances. Focus will be on the use of a conceptual approach to design scenery that coveys the themes and mood of a script and creates a cohesive and effective design for a show. To create designs, the class will use several creative tools, including computer drafting software and the resources of the makerspace. The design process will include several steps, such as written concept statements, visual research, sketching/drafting and model making. The course places a heavy emphasis on self and peer critique of work and on revising work.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Public Speaking<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course offers opportunities to practice speaking in community. Students experiment with writing, preparing and delivering effective and engaging speeches. While investigating communication strategies, students also explore somatic exercises to deepen their own physical and vocal awareness, and manage the anxiety that often accompanies public speaking. We emphasize attention to the dynamic relationship between speaker and audience, and students take an active role in each other’s growth. Students offer one another constructive feedback and gain greater insight into their own public speaking goals. The encouraging and supportive environment fosters greater self-confidence while developing both empathy and leadership skills.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | The Art of Comedy<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Come discover elements of Comedic theatre. Among other things we will explore stand‑up, slapstick and sketch comedy through radio, movies, theatre, performance and street artists. We will ask what humour really means to humanity and where its edges might be. What can we do with fear, excitement, posture, breath, props, light, and sound? During the class you will create a repertory for yourself. No theatre experience required, just a willingness to have deep fun.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Filmmaking<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides practical experience in basic cinematography without dialogue. Using digital video equipment, students learn about the history of filmmaking as well as the use of the camera and editing techniques to create their own short films. Student, amateur and professional film sequences are discussed and analyzed.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Drawing 1: Methods & Materials*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Drawing is fundamentally about learning how to see and how to translate that vision onto paper through a variety of mark-making techniques. Through in-class exercises and formal assignments, students learn the language of drawing and develop skills relating to contour, gesture, and fully rendered compositions. Course concepts include the depiction of three-dimensional form on a two-dimensional plane, use of light and dark contrast, and sighting. Assignments are designed to develop students’ skills in drawing representationally from direct observation and to encourage creative and expressive thinking.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Painting 1: Paint, Palette, and Process*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Develop skills with the basic elements of painting in acrylics as you explore different approaches to generate ideas for paintings. Learn how dots become complex abstract compositions or how the game of Pictionary prompts surreal spaces. Working from both the imagination and observation, specific projects are assigned to facilitate the study of fundamental paint handling, color mixing, and blending. Issues of form and space relationships, composition, and development of ideas are addressed in balance with the student’s desire for self-expression. Class critiques and visits to the Metropolitan Museum of Art complement the actual painting process.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Advanced Drawing, Painting, and Mixed Media*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course builds on the knowledge and skills developed in Drawing I and/or Painting I, while helping students find and express their artistic voice through one medium or a combination of 2D media. This class focuses on thematic subjects and continues to stress the development of concepts and skills. Using painting or drawing, students can create artworks from both the imagination and observation to broaden their definition of what painting or drawing can be. For those students interested in mixed media, they can combine traditional or experimental drawing or painting methods with collage and other techniques. During this course, students are encouraged to design their own projects and to build a portfolio of their artworks. Critiques and virtual visits to the Metropolitan Museum of Art are important components of this course.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Life Drawing*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Drawing realistically has been a revered art ever since the ancients used mark-making to create the illusion of depth on a two-dimensional surface. This course is designed for beginners who want to learn the basics of drawing from life. Students will develop their representational drawing skills using a variety of charcoal media. As the course progresses, students will draw from still life, photographic references, and finally live models. Through a series of demonstrations, in-class drawing, group critiques, and individual assistance from the instructor, students will develop their ability to draw convincingly from life. Focus topics include composition, proportion, value relationships, edge relationships, modeling, materials, and stylization. In-class drawing exercises and assignments will focus on subjects exposed to one-source lighting and will vary in length from quick studies to more developed compositions.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Advanced Studio Art: Portfolio Intensive*<br />
|style="background-color:#17684F;" | 3<br />
|style="background-color:#17684F;" | [[Jax]] & NPCs<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides experienced students a rich opportunity to pursue the successful completion of a professional portfolio of artwork featured in an end-of-term thesis exhibition in the Half Gallery in New York City, team-curated by the class with a contemporary favor. The meaningful study of 21st-century visual culture is infused in the course through visiting artists and the investigation of artists relevant to ongoing studio work in all mediums. Students focus on photography, printmaking, painting, drawing, ceramics and 3-D design. This multimedia studio course requires strong self-direction, a unique studio investment and creative motivation. Students focus on a particular art medium and create multiple works that explore a concept or idea. Under the guidance of the instructor, students will set qualitative and quantitative goals for the term in their chosen studio concentration. Weekly process critiques are an integral part of the course and support ongoing artistic growth. In addition, the instructors meet individually with students for more-specific feedback and to mentor the process. Useful feedback is given to students from Art Department faculty who specialize in their chosen studio discipline to help them develop ideas and offer suggestions. Students may also receive guidance in the development of an art portfolio suitable for college admission criteria.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Graphic Design*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Design shapes how we see and experience information. Those who visually communicate through design have the opportunity to shape the meaning of the images we consume. This course not only addresses the formal, sensory, conceptual, and technical aspects of design, it also encourages students to consider the ethics and design history that have shaped our contemporary visual experiences. Students will use design thinking principles and real-world scenarios to create pieces that will be shared with their communities.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Graphic Design II*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is divided into two parts: practical design application and personal projects. We will begin the course by examining the practices of designers working in today’s market. This includes engaging with visiting designers and illustrators and creating work for a real client. Part two of this class is dedicated to exploring one’s emerging design aesthetic using a breadth of digital media. Students pitch and create their personal projects, which can range from branding to book illustrations. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Architecture I<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce the basic principles of architectural design through a sequence of related projects in drawing, site analysis, and research into precedent, culminating in the design of a space or structure. The design projects will change from Term 1 to Term 3 and will address architectural design in different contexts so that a student wishing to continue with architecture at the advanced level can work with a variety of design issues. With hands-on sketches, drawings, and models, students will explore the issues of a well-planned structure and learn to see the environment in terms of human scale, materials, and the organization of space. Class time will include discussions and demonstrations as well as studio time. There will be a required evening lab. Students often find that this class requires more than the usual amount of homework time.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Architecture II*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Designed as a continuation of Architecture I for students who wish to develop and further expand their ideas. The sequence of projects throughout the term is designed to allow a student to study a range of architectural issues by addressing different contexts—a natural setting and an urban context. This course also will offer the possibility of developing a multidisciplinary project in coordination with work in another class.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Photography I: Appreciating Light, Color, and Theme*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course allows students to channel their excitement and passion for photography into a more intentional and sophisticated image-making process. Using digital cameras, students will gain a highly functional understanding of essential camera skills and<br />
photographic principles and learn to maintain proper exposure, focus, and creative control over the camera. Students will acquire skills in the digital studio including digital workfow management; online portfolio maintenance; Photoshop techniques and inkjet printing methods. Students will also develop their critique skills, learn to frame and present their work in a gallery, and practice writing artist statements. Each exploration challenges students to think conceptually, to shoot creatively, to develop an eye for strong composition and quality of light, and to make images that start conversations. Throughout the term, student photographers develop a vibrant online portfolio based on a series of thematic photo explorations, including identity-based portraiture, abstract, minimalism and Photoshop layers.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Photography II: Beyond the Camera*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Advanced Photography is designed to challenge students to go beyond technical skills and photographic principles to establish a conceptually strong personal photographic style and artistic voice. Through hands-on practice, in-depth critique and weekly assignments, students will develop a refined, concept-driven, professional online portfolio. In-studio learning exercises will continue to challenge students to build their digital camera skills, while out-of-studio assignments will become increasingly more in-depth and creatively challenging. A range of tools will be used including Photoshop, inkjet printers, and an array of studio lighting equipment. Students will produce original work, with special attention to ways in which their technical and aesthetic decisions can clarify their artistic intentions. Photoshop and iMovie are used to explore creative and experimental possibilities for enhancing and manipulating digital photos and video. The course culminates with a self-directed final project, allowing students to practice proposal writing, project development and final presentation, while pursuing work rooted in their own interests and experiences.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Film Photography*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course in analog photography concentrates on the use of 35mm cameras and chemical processing. Students are instructed in proper camera use, basic film exposure, and darkroom familiarity. Weekly meetings are divided into lab and classroom sessions. In the lab, students learn the fundamental tools and techniques of a traditional darkroom; in the classroom, students present their work to gain a fuller understanding of photography as a medium of expression and storytelling. Students can expect to examine the invention of photography and the “flaneur” tradition of 35mm photography as exemplified in the work of artists such as Henri Cartier-Bresson, Helen Levitt, Robert Frank, and many more. Film cameras will be provided for students to explore light-sensitive silver materials. Laboratory instruction in printing fine art images with variable contrast filters will be provided.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Ceramics I: Form & Function*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Xavier's Clay Studio introduces students to methods used to create unique sculpture and tableware. Developing their creative concepts, students will throw on the potter’s wheel, hand build forms, and create a series of pieces over the course of the term, which may include objects such as plates, cups, bowls, teapots and sculpture. Drawing inspiration from contemporary ceramic artists, the class will explore a variety of techniques for surface design, glazing and fring. The teacher will offer innovative and sophisticated approaches that will provide further opportunity for experimentation.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Ceramics II: Molding Meaning*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This advanced course offers a combination of assigned and self-directed projects with a further investigation of working with clay. Building of of skills gained in Ceramics I, students develop a more sophisticated approach to methods and techniques that are used to create forms with clay. Projects such as throwing, hand building, modeling and industrial slip casting will foster individual style and creativity. Students will focus on process and exploration of a broad range of contemporary clay works, functional, industrial and sculptural. Examples of contemporary artists’ pottery and sculpture are used as inspiration for studio assignments. Advanced Ceramics also offers the unique opportunity to study the science and chemistry behind glazing and firing. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Printmaking I: Pop Culture*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The printmaking course is a comprehensive studio experience that emphasizes experimentation and creativity while providing a strong technical basis. Students explore a variety of print processes, including screen printing, block carving, and monotype and letterpress printing. Using surfaces such as linoleum, woodblocks and silk screens, combined with a wide variety of carving tools and inks, students will create a substantial print portfolio that explores such concepts as image reversal, multiplicity, color theory, commercial applications and graphic design. Inspiration for projects includes fonts, portraits, still-life objects, photographs, media references and works by artists of the past and present. Inventive approaches, including T-shirt printing, will also be explored. Film clips and the examination of contemporary printmakers will enrich studio work.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Environmental Sculpture<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The course provides an opportunity to work and think about art on a large scale. Students create scale models of potential larger works that might require months to actually construct. They work outdoors on projects using simple "green" materials to create large pieces that are both objects and activate the space around them. Students are given a variety of prompts and requirements to address when creating their sculptures. For example, themes have been based on ideas about safety vs. danger and transitions. Students in the class are, sometimes for the first time, sawing and hauling logs, hefting rocks, digging holes and generally breaking a sweat to create their visions.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Wearable Art<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this course, students make art that can be worn on the body. Students use traditional jewelry making and sewing materials but also work with non-traditional materials, with a strong focus on concepts and the transformation of materials.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | The Moving Image<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Video art has been described as the “electronic canvas.” In this course, students will learn to use the moving image as an artwork unto itself. Students will be exposed to video art’s unique history, as well as the video art pioneers and contemporaries who have created work outside the traditions of the narrative and documentary. We will explore the technical aspects of video, including using the camera, the software, and the moving image in both traditional and experimental ways. Editing will be done using the digital process of Final Cut Pro, but students may also explore other methods of creating moving images. How, where, and when to present work will also be explored.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Drawing: Otherness & Social Justice<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]] & NPCs<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, students explore drawing using text as primary imagery. Students learn about design and text-based drawing strategies to explore human rights while developing a body of drawings addressing their study. The course is designed to provide students with opportunities to explore fundamental human rights and varying Western/non-Western viewpoints and perspectives through the exploration of art as a vehicle to promote and encourage social change. The course explores the history of political art blending both critique and debate learning opportunities with studio art practices. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Digital Literacy<br />
|style="background-color:#F8EF6C;" | 1<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this introductory course, students become familiar with the basic principles of a personal computer, including the internal hardware, operating system, and software applications. Students gain practice in using key applications such as word processing, spreadsheet, and presentation software, as well as understand literacy issues around the Internet, information, and security, including how to navigate sorting trustworthy sources from unreliable ones online.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Computing and Society<br />
|style="background-color:#F8EF6C;" | 1<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to algorithms and algorithmic thinking through the lens of social and public policy. Students explore the impact of algorithms and software on privacy, censorship and other sometimes contentious matters in the modern world. Students will learn programming as a tool for exploring these concepts.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Fundamentals of Computer Science<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course begins with an introduction to computational thinking, potentially including programming in a block-based language such as Scratch, and then moves to programming in Python, JavaScript, Processing, or another text-based programming language. Students will learn about variables, functions, conditional statements (if-else), and iterations (loops), and will design and code their own programming projects. The course may include additional units such as programming Finch robots or performing introductory data analysis using SQL.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Algorithms and Data Structures<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines classic data structures: lists, queues, stacks, binary trees and graphs, and hash tables. Standard algorithms for sorting and searching will be studied, and complexity analysis performed using big-oh notation. Students also develop a deeper understanding of software engineering principles as the course emphasizes reuse and generic programming.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Mobile App Development<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Within this course, we will explore mobile spaces by developing applications for one or more of the presently available platforms (Android, IOS, etc.). Students will explore development topics specific to mobile applications, device operations and user interaction. Throughout the term, sound software design and engineering practices in encapsulation and modularization will be emphasized.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Introduction to Artificial Intelligence<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Introduction to Artificial Intelligence (AI) course teaches students important programming concepts that enable the use of AI in computer science and society at large. Students learn the implications of AI on society and develop a series of projects that illustrate the variety of ways AI can be used to optimize and predict information. Students learn how AI has been used in gaming and other applications, create an unbeatable computer Tic Tac Toe player; learn how chatbots are developed to interact with humans and create an informational chatbot of their own; learn how to make predictive models using linear and logistical regression and clustering, and create their own predictive models using complex data sets.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | AP Computer Science<br />
|style="background-color:#F8EF6C;" | 3<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Three-term course in algorithms, object-oriented programming, and data structures, guided by the College Board’s AP Computer Science course description. The course covers Java language syntax and style, classes and interfaces, conditional and iterative<br />
statements, strings and arrays, Object-Oriented Programming (OOP), searching and sorting algorithms, recursion, data structures, and the design<br />
and implementation of larger programs, including group projects.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#CE2029;" | Expository Writing<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Participants learn how to read challenging texts and how to think and write about them clearly and coherently. Readings for the course are taken from various disciplines, such as literature, journalism, and social sciences. The course enables students to identify the strengths and weaknesses in their writing and to improve their skills through individual and group work, discussions, revisions, in-class exercises, and homework. We read and analyze works that exemplify good writing, and we learn how to define a thesis, organize an essay, and incorporate appropriate vocabulary.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | AP English Language & Composition<br />
|style="background-color:#B74BF5;" | 3<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Learn about the elements of argument and composition as you develop your critical-reading and writing skills. Students read and analyze nonfiction works from various periods and write essays with different aims: for example, to explain an idea, argue a point, or persuade your reader of something. Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-english-language-and-composition AP English Language] curriculum.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | AP English Literature & Composition<br />
|style="background-color:#B74BF5;" | 3<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Learn how to understand and evaluate works of fiction, poetry, and drama from various periods and cultures. You’ll read literary works and write essays to explain and support your analysis of them. Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-english-literature-and-composition AP English Literature] curriculum.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | American Immigrant Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to be an immigrant in the U.S.? What do individuals experience when they move from one country and settle in another? What do these immigrants gain in the process, and what do they lose? How do they deal with being “the other?” How do immigrants connect or disconnect with their American- born children? Students explore all these questions and more by analyzing short fiction and films by American immigrants. Throughout the mod, students read and respond to text on a nightly basis, gaining a better understanding of how difficult assimilation can often be for immigrants in their new abode. Students come ‘up close and personal’ with immigrant issues by interviewing an immigrant of their choice and writing up their interview in a People magazine manner. The course culminates with a final project which ties all the readings together thematically in a creative and artistic way, addressing the essential question: what is the immigrant experience?</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Nonfiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“The essay isn’t a retreat from the world but a way of encountering it,” writes Leslie Jamison in Best American Essays 2017. Throughout the term, we will explore the art of telling stories — ours and those of others — and learn how to translate personal experience and research into effective pieces of creative nonfiction. We will read and listen to essays on a range of topics: health care, bird watching, immigration, craft beer, hunting and Serena Williams (to name a few). Forms will vary from traditional to more contemporary and innovative — memoir, lyric essay, braided essay, graphic essay, podcast and video essay. We will discuss them as readers (digesting content) and as writers (analyzing form). Students will craft original pieces of creative nonfiction, experimenting with a variety of compositional elements and techniques. The writing process will be workshop-oriented: Students will receive peer and instructor feedback, work through multiple drafts and build a supportive writing community.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Writing: Poetry<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“Poetry,” wrote Robert Frost, “is a way of taking life by the throat.” From its origins in oral tradition and tribal lore, as well as its role in incantatory spiritual practice, poetry has carried in its rhythms the deep longings of humanity. In this course, students will dip into this current, writing poems with a view to aspects of craft modeled by poets in a diverse range of voices and writing traditions. In our workshops of one another’s poems, we will consider the relationship between content and form, as well as what differentiates poetry from other writing genres. Through experiments in received forms (traditional forms such as the sonnet and sestina), as well as more contemporary approaches (for example, writing in free verse or in prose poems), students will move toward the development of a distinctive voice and style.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Writing: Short Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This writing-intensive course invites students to explore fiction as both readers and writers. The short stories and novels read in class will serve as models for students to create their own fictional work, introducing them to the craft and mechanics of fiction and storytelling. This course traditionally offers an MFA-style workshop model, providing students an opportunity to both receive and offer constructive feedback, and to revise their work using this input. Assignments may include two or three short stories and an analytical essay over the course of the term.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Under the Fur: Animals in Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">According to thinker Gilles Deleuze, anyone who likes cats or dogs is a fool. But we live in a time when more than one cable television channel is entirely dedicated to animal programming, when whole weeks are given to sharks, and when people carry their dogs as an accessory. It seems we are not concerned about becoming fools for species not our own. This course explores both how animals and animal lives are represented in narrative and how the presence of animals allows us to understand in new ways how narrative and language function. For this reason, we will dip into several genres, disciplines, and media: memoirs, novels, short stories, poems, philosophical essays, critical theory, internet videos, lectures, and films. We will be asked by these works to question what it means to represent animals but also what it means to represent at all. How can representation be ethical? How can it respond to and provoke wider political, theoretical, and philosophical debate? How should we and can we care for the nonhuman world? What are the dangers, boundaries, and rewards of cross-species sympathy?</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | African Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This seminar course will challenge students to take a closer look at African literature by tracing its evolution and discussing its diversity in terms of genre and geographical setting. Class discussions, written assignments, blog postings, and oral presentations will be based on the texts and films recommended for the course. Students will pay particular attention to how literary works produced on the continent have over the ages represented the African identity and how this has been perceived in other parts of the world. Possible texts: ''The Thing Around Your Neck'' by Chimamanda Ngozi Adichie (Nigeria, West Africa); ''Betrayal in the City'' by Francis Imbuga (Kenya, East Africa); ''A Walk in the Night'' by Alex La Guma (Republic of S.A., South Africa); ''Miramar'' by Naguib Mahfouz (Egypt, North Africa); ''The Penguin Book of Modern African Poetry'', edited by Chikane & Moore (continent-wide). A selection of films and articles will complement the study of these texts.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | The Art of Protest: Revolutionary Writings<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines protest as a form of literary activism. From the grittiness of hip-hop lyrics to the density of civil disobedience tracts, this class will seek to explore distinct genres of vocalizing dissent. The approach is multicultural and interdisciplinary, and it seeks to inspect the role of literature, art, music and film in galvanizing communities and creating spaces to examine social justice. Students will be asked to write in various protest genres (poetry, epistolary witness, monologue and fiction) to compile a portfolio of their own literary activism.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Utopias and Dystopias in Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Fantastic societies have held a fascination for writers from Thomas More to the present day. Utopia, “no place,” represents an idealized society whose inhabitants willingly embrace its difference from our own world. Dystopic visions are the disturbing fip side of this coin. Both genres inevitably cause readers to draw parallels between their own experiences and those of the protagonists. Scientific and technological advances are often at the root of the utopic/dystopic discourse, and one of the main functions of this course is to explore the presentation of technology as narrative. The course seeks to examine some of these alternate worlds to explore the way writers of fiction and filmmakers have presented the effect of projected changes and developments on the fabric of society. We will build our visionary galaxy from the following: Thomas More, Aldous Huxley, George Orwell, Margaret Atwood, Cormac McCarthy, Alfonso Cuarón, Octavia Butler, and other contemporary writers and filmmakers. Students will write analytical and creative essays.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Theories of Children's Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC-Marlene Zudke<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course considers the role of the imagination in communicating and effecting cultural change. Students will be asked to apply a variety of critical theory for interpretation and discussion of the literature. Themes explored by this course will include alternative realities, the nature of dreams, the function of the subconscious, and the use of allegory. Probable selections include ''The Adventures of Alice in Wonderland'' and ''Through the Looking Glass'', by Lewis Carroll; ''Haroun and the Sea of Stories'', by Salman Rushdie; ''The Wind in the Willows'', by Kenneth Grahame; ''The Jungle Book'', by Rudyard Kipling; ''The Wizard of Oz'', by L. Frank Baum; ''The Pied Piper of Hamelin'', by Robert Browning; ''The Secret Garden'', by Frances Hodgson Burnett; ''A Child’s Garden of Verses'', by Robert Louis Stevenson; ''The Lion, the Witch and the Wardrobe'' and ''The Last Battle'', by C.S. Lewis; and ''Grimm’s Fairy Tales'', ''Mother Goose'', writings by Carlos Castaneda, and essays by Bettelheim and Zipes. Possible films include ''The Red Balloon'' and ''The Point''. </div></div><br />
|style="background-color:#B74BF5;" | This class sounds cute and easy and has a reputation for actually being extremely intense and challenging; the teacher is particularly demanding in expecting students to analyze works & engage in class & homework.<br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Gothic Literature: Living in the Tomb<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course traces trends in Gothic forms, from their origins in the damp and dark castles of Europe to the aridity of the contemporary American landscape. Students will identify gothic conventions and themes such as the haunted house, family dynamics, apparitions, entrapment, secrecy, and the sublime. They also will read novels, short stories, and poetry spanning roughly 200 years in order to explore questions about the supernatural, the psychology of horror and terror, the significance of fantasy and fear, the desire for moral closure, and the roles of gender, race, class, and sexuality. Probable selections include ''The Castle of Otranto'', by Horace Walpole; ''Faustus'', by Christopher Marlowe; ''Rebecca'', by Daphne du Maurier; ''Dracula'', by Bram Stoker; ''The Turn of the Screw'', by Henry James; stories by Poe, Faulkner, Gaskell, Irving, Hawthorne, Gilman, Jackson, Cheever, DeLillo, Carver, and Oates; and poetry by Christina Rossetti, Thomas Gray, William Cowper, Louise Glück, and Sylvia Plath. Possible films include ''Affliction'', ''The Royal Tenenbaums'', ''A Simple Plan'', ''Psycho'', and ''The Cabinet of Dr. Caligari''.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Contemporary Native American Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to be a Native American writer in the 21st century? In this course, students will explore life on and off the Native American reservation in works produced by writers from a wide variety of indigenous communities in the United States. The course will involve navigating issues/topics a propos to Native American studies, such as colonialism and genocide, cultural survival, and political and environmental activism. Possible writers to be studied: Luci Tapahonso, Evelina Zuni Lucero, Sherman Alexie, Paula Gunn Allen, Leslie Marmon Silko, Ramson Lomatewama, Simon Ortiz, nila northSun, Joy Harjo, Gerald Vizenor, Louise Erdrich, Diane Glancy, Winona LaDuke, Anton Treur, Wendy Rose, and Linda Hogan.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Inheritance, Exile, and the Jewish Literacy imagination.<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Primo Levi’s short story “Quaestio de Centauris” describes a centaur living in exile from others like him in the human world. In her discussion of this story for a series in The New Yorker, Jhumpa Lahiri describes Levi’s time in Auschwitz as “the most brutal form of exile” and later quotes Levi on the subject from The Truce when he writes: “This is the most immediate fruit of exile, of uprooting: the prevalence of the unreal over the real.”<br />
<br />
The imaginative worlds of writers are necessarily infuenced by their lived personal and inherited cultural experiences. In this class, we will consider the ways in which history, exile and intergenerational inheritance shape the artistic worlds Jewish writers create. While the readings in this course will focus on a particular literary tradition, the course is relevant and welcoming to students of all cultural backgrounds. Writing assignments will ask students to reflect on their own lives and heritage, and the ways that history, culture and diaspora hold meaning for them as community members, individuals, thinkers and artists. Assignments will range from the personal (poem, essay, short story, visual work) to the collaborative (interview, documentary, ekphrasis, collage), inviting students to consider the forces that infuence their own imaginations. Readings will include fiction by Clarice Lispector, Primo Levi, Grace Paley, Franz Kafka and Courtney Sender; poetry by Anthony Hecht, Adrienne Rich and Joseph Brodsky; and criticism by Walter Benjamin, Svetlana Boym and others. The course will include visiting lecturers from within and outside of the Xavier's community.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Blood Roots: Horror Literature and its History<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Author Carmen Maria Machado writes that, “Horror is an intimate, eerie, terrifying thing, and when it’s done well it can unmake you.” From historical hauntings to modern-day slashers, horror literature as a genre has existed for centuries. Beginning with Walpole’s 1765 medieval terror ''The Castle of Otranto'', we will study the field’s evolution from gothic horror to contemporary scary stories, exploring the distinctions between gothic, psychological, and supernatural horrors, among others. Machado goes on to say that horror “tells us a lot about who we are, what we are, and what we, individually and culturally, are afraid of,” a claim which will guide us as we dive into ghastly and macabre tales that captivate a culture and hold a mirror up to our truest selves.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Strange Worlds: Speculative Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Whether it is Tolkien’s Lord of the Rings or H. G. Wells’ The War of the Worlds, science fiction and fantasy can not only delight our imagination but also help us understand our real, present world more thoroughly. Students in this course will study a wide array of science fiction and fantasy. They’ll look at how fantasy provides commentary on race, gender and class through works such as Octavia Butler’s Fledgling or Ursula K. Le Guin’s The Left Hand of Darkness, and consider science fiction’s power to comment on technological and social quandaries, such as Frank Herbert’s prescient consideration of global warming in Dune or Philip K. Dick’s exploration of artificial intelligence and identity in Do Androids Dream of Electric Sheep? Students will write critical reflections, examining the intersection of these imagined worlds with real life as well as trying to craft science fiction or fantasy of their own.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Crime Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to early works in the development of the “detective story” (Edgar Allan Poe, Agatha Christie, Sir Arthur Conan Doyle) and the ways in which those early works help establish the foundations for a variety of “crime fictions” that have steadily grown in popularity throughout the 20th and 21st centuries. Students will learn to appreciate authors working in different times, places and settings and to explore the criminal mind and those tasked with solving criminal cases and fighting criminal activity (whether amateur detective, private eye or police officer). Along the way, students will try their hand at writing their own pieces of crime fiction and produce short analytical pieces examining the books and films they encounter.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Fictions of Finance<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What do we value? The pursuit of profit, surges in wealth and the suspect principles of the financier have intrigued authors since the 19th century. How do language, narrative style, structure and literary production transform with shifts in the marketplace? Through a careful investigation of literature, film and illustration, we will discuss how art imagines and redefines social and economic relations. We will supplement the literary works with historical documents or articles that shed light on the economic climate at the time of publication. We might consider how the imagined space of the novel presents the mystery of the financial market, which seems shrouded in a haze. We might also ponder how authors imagine worlds where money has no practical use and nothing has any purchasing power. Over the course of the term, students will write short analytical pieces and complete a creative independent project of their own design.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Humor<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Robert Frost called humor “the most engaging cowardice” and Percy Bysshe Shelley characterized laughter as a “heartless fiend,” but maybe they weren’t in on the joke. In this course, we’ll read literary humor writing—including comedy, satire, irony, and wit—in a variety of forms and genres in an effort to face a paradoxical (and not entirely unfunny) question: should we take humor seriously? Students should expect to contend with critical theory, read across genres and media, and attempt to write humor of their own.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Mid-Twentieth Century American Poetry<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce students to poets and movements that have shaped the direction and contours of American poetry since World War II. Students first study the Beat Movement and then explore the so-called “schools” of poetry—Black Mountain, New York, Confessional, et al. The course finishes with an exposure to poetry that is happening right now, which includes bicultural and multicultural poets. Most class time will be spent deriving themes through discussions of poets, poems, poetic movements, criticism, and theory. Poets include Ginsberg, Corso, Kerouac, Dylan, Waldman, Bukowski, Creeley, Olson, Levertov, Ashbury, O’Hara, Lowell, Plath, Berryman, Bishop, Rich, Dove, Hass, Kinnell, Hogan, Nye, Springsteen, and Colvin.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Epics and Heroes<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Great epics of the past tell us about the culture, history, religion and magic of a particular time. As Joseph Campbell wrote, they are “the wonderful song of the soul’s high adventure.” We will look at powerful stories, as well as their meaning for the period and for today. Possible readings include mythology from around the world, Hermann Hesse’s ''Siddhartha'', and an assortment of modern comic books.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Rememories: Trauma and Survival in 20th-Century Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In her novel Beloved, Toni Morrison coins the term “rememory” to describe a type of memory that won’t stay buried—ghosts of experiences that resurface across years, decades, even centuries, memories of trauma that continue to haunt literature to this day. This course will examine how narratives of trauma and survival have been represented (and re-presented) in 20th- and 21st-century literature. In our investigation of literature about war, terrorism, diaspora, and other cultural traumas, we will encounter authors writing from a variety of historical moments and perspectives. We will look closely at how trauma literature both delineates and breaks down divisions within individual, societal, and generational trauma experience. And we will engage with course texts by writing in a number of modes, both critical and creative. Thematic focuses will include the problematics of truth and testimony; the dismantling of traditional narrative structures and genres; individual vs. collective memory; societal regeneration; and the ways trauma literature engages with issues of race, class, gender, and national identity.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Asian-American Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This seminar explores the literary, historical, and broader sociocultural development of the complex and ever-expanding body of work that collectively (and not always neatly) contributes to what may be called “Asian/American” literature and film. We will engage with a wide range of written and visual texts, including poetry, fiction, memoir, cinema, and television, as well as with scholarly and other artistic forms of production, in order to fashion an analytical framework, informed perspective, and interpretive approach through which to reread and rethink the culture, politics, and history of the United States itself. A related goal is to understand the role of literature and other cultural forms in our nation’s struggles over identity, power, and resources. Focusing on the development and representation of Asian/America, we will unpack the social formation of race and the complexity of racial dynamics in the United States historically and today.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Theatre of the Marginalized<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Course previously titled "Theatre of the Unusual/Everyday Life." Students who took that class previously should not sign up for this one) Through literature of the theatre, students focus on differences in everyday lives. Students will have an opportunity to explore many issues of accessibility, physical and mental challenges through time, cultures, definitions, and values, and the everyday struggles individuals have relating to others. Plays may include: ''Elephant Man'', ''Children of a Lesser God'', ''Fences'', ''Getting Out'', and ''The Ballad of a Sad Café''. </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Beyond the Thousand and One Nights: Introduction to Arabic Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, students will learn of the development of Arabic literature from its inception in the medieval Arabic literary tradition, which begins in the sixth-century with nomadic Bedouin poetry and the Qur'an, through new literary forms adapted from Western imaginative literature. The aim of the course is to introduce students to key samples of modern Arabic literature, which trace major social, political, religious, cultural and linguistic developments in the Arab world, including North Africa. All readings will be in English translations. The class will also explore the politics of translation. Some questions that will be addressed, but not exclusively: How do some Arab writers conceive of "modernity"? How do they conceive of their relation to politics, and how do they understand the role of intellectuals in their societies? Who are the readers (actual or implied) of these texts? How do these authors relate to the Arabic, European, and American literary traditions? </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | South Asian Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will focus on different genres, contexts, time periods, and even languages (although all readings will be in English/translation) that fall under the broad category of ‘South Asian Literature.’ In one year, we might focus on the events surrounding the Partition of 1947 and how it inspired a generation of writers in Urdu. Another year, we might focus on Sanskrit literature: for example, poetry, drama, and/or short stories. In other iterations, the class might explore LGBTQ authors, the South Asian diaspora, and even the works of a particular author. The readings would focus mainly on shorter literary works, such as short stories and poems, but there would also be in most of these classes the opportunity to read full books (e.g. Bharati Mukherjee’s ''Miss New India'' and ''Wife'', the Sanskrit ''Vetālapañcaviṃśati'', Abha Dawesar’s ''Babyji'') or excerpts thereof. Within each version of the course, students would be able to research and learn about the historical context of the works as well as where they fall in the literary sphere.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Shakespeare Now<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Poet Ben Jonson said of Shakespeare that he “was not of his age, but for all time.” But what does a poet-playwright, dead now some 400 years, have to say that speaks to this moment of the human experience? In this class we will read and discuss the Bard’s plays in order to see how they were understood in their time as well as how they address modern sensibilities of race, gender, sexuality, economics and politics. How does Measure for Measure figure in the #MeToo movement What does a queer reading of Twelfth Night yield? How does The Tempest engage colonialism, race and the violence of language, or how does King Lear take on the betrayal of both the body and the body politic? How might Henry IV address cultural appropriation and entitlement or Henry V espouse or critique nationalism? Through discussing, writing about and even performing scenes from some of Shakespeare’s plays, we will test whether and how these works still resonate. </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#CE2029;" | Teen Health Matters (Formerly Health & Human Development)<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this first-term, age-appropriate course, required of all new students, students will discuss health issues such as sleep, time management, living and learning in a diverse community, mindfulness, positive psychology and stress management, media literacy, and social practices in a digital landscape. All topics will be addressed in the context of adjusting to a campus community, accessing resources and understanding school rules. Together, all new students will explore how to fully integrate into their new class and how to have a healthy, mindful transition to Xavier's. A special emphasis on decision-making as they become emerging adults will help students make decisions about their future that offer complexities of choice. In-depth conversations will enable new students to build self-efficacy skills and prepare for challenging health and lifestyle choices. The pass/no pass grading system encourages student participation, honesty and sharing in a supportive and more relaxed environment.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#CE2029;" | Thriving in Community (formerly Human Sexuality)<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | [[Jax]]<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, required for all high school students, students will discuss a variety of health issues, such as mental and psychological health, character development, cultural competency, gender, sexual behavior and sexuality, consent/healthy relationships, and alcohol/drugs. This course is focused on helping students navigate some of the most common health and relationship concerns for their age group. Class aims to enable students to build self-efficacy and prepare for challenging health and lifestyle choices. Intentionality is explored throughout the term so that students will develop effective decision-making skills with purpose and thought. In this class students will explore identity development and self-authorship, foundational aspects to a student’s transition from adolescence to young adulthood. The pass/no pass grading system encourages student participation, honesty and sharing in a supportive and more relaxed environment focused around a growth mindset.</div></div><br />
|style="background-color:#E6A2AD;" | Probably the class most complained-about by parents to administration each year; Jax is very open in talking with students about sexuality, gender and identity issues and Many Parents are concerned he will turn their students trans or something.<br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#E6A2AD;" | The Pursuit of Euphoria<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will explore the use of mind-altering substances throughout history, across cultures and within subcultures of the United States. From a biochemical, sociological and psychological standpoint we will probe the reasons why people seek to alter their state of being, whether through the use of drugs or through natural means. Readings will include selections such as: ''The Compass of Pleasure'' by David Linden; Flow: ''The Psychology of Optimal Experience'' by Mihaly Csikszentmihalyi; and ''Forces of Habit'' by David Courtwright.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#E6A2AD;" | The Power Within: Philosophy and Science of Optimal Health<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How can we best manage life’s competing challenges? How should we measure success? What are the most effective means to enhance one’s capabilities, strengths and health status? We will aim to answer these and other questions by studying traditional teachings and practices, as well as the insights and lessons offered by modern-day behavioral science and neuroscience. Through reading, research, reflection, personal practice and experimentation, students will investigate the theories, models and methods that have proven to enhance well-being.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP Art History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-art-history AP Art History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP European History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-european-history AP European History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP U.S. History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-united-states-history AP U.S. History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP World History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-world-history-modern AP World History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., Colonialism - 1861<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the formation of American values and institutions from the early English settlements of North America through the Revolution and Civil War. Emphasis is given to the cultural, economic and social diversity of early America, the tension between local and central authority during the struggle for independence, the establishment of the Constitution, economic and social change in the young republic, slavery, and the growing sectional confict that culminated in secession. Students will complete a library research project.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., 1861-1941<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course continues the survey of American history with the Civil War and follows with the attempt to rebuild the union during Reconstruction. Emphasis is given to economic and social changes of the late 19th century and the emergence of the United States as a world power. Topics include the transformation of the United States into an urban industrial society, the dilemma of race, the changing role of women, the Depression and the political response to these issues. The course ends with the advent of World War II. There will be a required library research paper this term.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., 1941-Present<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course begins with U.S. involvement in World War II. Emphasis is given to the Cold War and rising global involvement of the United States. Other topics include the Civil Rights movement, the social and political turmoil of the 1960s, the dual crises of Vietnam and Watergate, the Reagan revolution and issues of the contemporary world. A term paper, based on independent research, is required to pass the course.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Native Peoples of the Americas<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course surveys the history of indigenous groups from their prehistoric roots to the Post-Classic Period. Students gain exposure to anthropological, archaeological and historical resources to illuminate the Mesoamerican societies with a particular focus on the Mayan and Aztec Empires. Students also gain exposure to the evolution of independent cultural and social systems among indigenous tribes in North America. Among the subjects highlighted are the production of foodstuff, evolving patterns of tribal life, governance, warfare and economics. During the latter stages of the course, students examine the ways in which the lives of indigenous peoples were dramatically reconfigured as the economic systems of the Atlantic world forever changed tribal life.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Jailhouse Nation: U.S. History of Crime, Punishment, and Mass Incarceration<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Jailhouse Nation explores America’s long and troubled history with crime, punishment, and prisons. By first examining how both crime and thus the “criminal” are socially and historically constructed, students will consider the role of violence and systematic punishment in Puritan New England, the slave South, and later, the modern United States. The institution of slavery will provide an important framework to help students understand how new modes of punishment (namely, incarceration in jails and prisons) emerged alongside the abolition of slavery. Furthermore, we will examine the role of post-emancipation prison regimes in shaping popular (mis)understandings of “race” and the idea of “black criminality.” Lastly, we will discuss the rise of the carceral state in the twentieth and twenty-first centuries, noting long historical parallels and the roles of contemporary political and economic forces driving the prison boom. Throughout the course we will consider the distinct experiences of punishment for men, women, children, African Americans, whites, Latinos, sexual minorities and non-citizens in order to tease out the specific relationships between race, class, gender and punishment at various moments in American history. Within our broader exploration of state-based punishment policies, we will also consider community resistance to policing and incarceration and the rise of so-called prison abolitionists.<br />
|style="background-color:#1053E9;" | <br />
</div></div><br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Law and American Society<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides students with an introduction to the American legal system and to the development of American constitutional law. Historic Supreme Court decisions and legal case studies will be used to develop an in-depth understanding of the historical background and present-day constitutional controversies over such topics as free speech, censorship, abortion, workplace discrimination, affirmative action and the rights of the accused. Practitioners from the fields of law and criminal justice may provide an added dimension to the course. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Rocking the Schoolhouse: US History of Education<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This class will examine the history of American Education. From the one-room schoolhouse to Race to the Top, students will leave with a deep understanding of how America educates its k-12 students. Rocking the Schoolhouse does not look at a broken system, rather the students analyze why the system is purposely designed to educate some, and leave many behind. Public schools today are as racially segregated as they were in 1954. The class presents a thesis: “The US Public Education System is the greatest Civil Rights issue of the 21st Century.” From this thesis, arguments and evidence will be presented and students will be asked to analyze the data and take their own stand. The racial opportunity gap has been identified, and little has been done to remedy this built-in aspect of public education. The final project challenges the student to identify a need in public education, and design a school that will remedy the problem. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Youth Subcultures<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores the role of subcultures in contributing to the cultural spectrum of the United States between the 1920s and the twenty‑first century. Studying subcultures can reveal as much about the shadows of society in which they resided as it does the mainstream. Subcultures also represent a unique intersection of radical political ideologies and innovative artistic trends, often expressed through a group’s attachment to a specific genre of music, social outlet, and/or fashion. We will examine the value systems, and the broader historical contexts that gave rise to them, of: the flappers; hipsters, and beatniks; greasers; hippies; the hip‑hop and punk rock scenes, and street art. We will also focus on the ways in which society has repeatedly co‑opted these previously marginal movements, rendering them into yet another popular means of corporatized mass consumption.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Black Studies<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Black Studies is a broad field of study that can be approached from many disciplines. In this course, we survey African American history from the period of the Great Migration through the present. We explore the socio-economic, political, and cultural contributions of African Americans with an emphasis on movements for racial equality, the arts, and Black feminism. Texts include foundational writings in African American history and literature, including writings from W.E.B. Du Bois; James Weldon Johnson; Booker T. Washington; Martin Luther King Jr.; Malcolm X; Ida B. Wells; Angela Davis; Shirley Chisholm; Audre Lorde; Richard Wright; James Baldwin; Langston Hughes, and many others</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Environmental History<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How did European cattle wage war on the Wampanoag in colonial Massachusetts? How did the Bible’s Eden, a belief in magic, and a mapping mistake come together to lay the groundwork for race-based disenfranchisement and colonial incursion? How did soil make decisions about what slavery would look like in the Cotton South? How did capitalist ideas effect changes in the landscape of New England? How does the difference of 20 inches of rain per year lead to drastic differences in population, politics, and culture between eastern and western states? What myths do we tell ourselves when we visit our national parks? How are we, through globalization, forcing ourselves to change the way we talk about the natural world? What is truly natural and how do we use Nature as a weapon to destroy societies and the earth? With this introduction to the newest field of American History, we will learn to study history by looking at the roles humans play within ecosystems and the effects of those ecosystems on human society.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Constitution<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">US Constitution is a hands-on, project-based class that seeks to examine the roots and development of the Constitution and the Bill of Rights, and then asks students to apply the document practically to several real and fictional Supreme Court cases. Hence, students begin the module with factual readings, the Federalist Papers and smaller debates, and general discussion. The class looks at the way fundamental concepts and definitions of freedom, citizenship, and “for all” have been shaped, undermined, and refined through the Constitution and its interpretation by the US Supreme Court. As the mod progresses, the assignments become more difficult and intense (briefing cases like Marbury v. Madison and Tinker v. Des Moines School District), culminating in the preparation and presentation of oral arguments for a mock Supreme Court in two cases, and sitting as a justice for one. Much of the grading for the class is done in groups, rather than individually, and so students are asked to trust and depend on their peers while making sure to hold up their own end of the workload. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The Transatlantic World: Empire, Contact and Legacies<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the imperial interests, race and gender relations, and cultural influences and exchanges that manifested during the era known as Colonial America. Though the course, by the end, focuses on the colonies that would become the United States, it begins with the pre-contact experiences of Native Americans, Africans and Europeans and how their lives eventually converged. Relationships impacted by economic development, racism and religious fervor forged a complex, historical, multiethnic legacy that is still visible today.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Race: A Global History<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Scientists agree that there are few genetic differences between people of different races and ethnicities. Social scientists thus contend that racial distinctions are a product of society and culture rather than biology. At what point, then, did differences in skin color and other phenotypic traits become signifcant? This course will explore the history of race and racism by looking at examples across the world. We will consider how humans have been divided into different “groups” and the historical circumstances that have led to those divisions. We will also interrogate the use of scientific theories to justify racism and the more recent repudiation of these theories. Using both primary and secondary sources, students will apply the methods of historical thinking to understand the evolution of racial categories and the impact of history on modern-day issues related to race and ethnicity.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The 20th Century<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is an introduction to significant events in the 20th century. Students investigate cause, effect and change in places such as Europe, Africa and Asia (including the Middle East). One principal aim of the course is for students to develop a better understanding of the response of traditional societies to the impact of modernization on their values and customs. Another is to examine ideological conficts of the modern world. Students also research contemporary problems that originated in the 20th century that demand creative and thoughtful solutions. Analytical skills, synthesis of conficting viewpoints, conducting research in the Academy Library, participating in debates and writing historical essays are all emphasized in this course.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Classical Greece<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the archaeology, literature, history and society of the Greek city-states from 1000 to 300 BCE. From Homer and Sappho to the Acropolis of Athens, a variety of materials introduces students to the literature, art, material culture and everyday life of an expansive Greek world. This course encourages students to establish connections between the ancient world and today and question the modern reception of the classical past. It introduces and develops fundamental historical skills, particularly research and writing.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Classical Rome<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the archaeology, literature, history and society of the Roman world from the foundation of the city through Late Antiquity. Central themes include urbanism, architecture, imperialism, daily life and archaeology. The course introduces and develops fundamental historical skills, particularly writing and research. It encourages students to establish connections between the ancient world and today and question the modern reception of the classical past.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The Medieval Worlds<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In the wake of the fall of the Roman Empire, three distinct and dazzling civilizations emerged. This course examines the creation of the European, Byzantine and Islamic worlds from the end of antiquity to roughly 1350, exploring the political, cultural, social and religious changes in each society. We examine the rise of the Christian Church in Europe and Byzantium, the birth and rapid success of Islam, and the impact on the values and behaviors of medieval people. Key figures, themes and events are studied, including Charlemagne, Muhammad, Justinian, mysticism, scholasticism, the Reconquista and the Crusades. We also discuss how early interactions and conficts shaped the views each society held of the others. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Early Modern Europe, 1350-1660<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The centuries following the Black Death saw the beginnings of modern Europe. This course focuses on the rebirth of European society and the new values, optimism and cultural achievements of the Renaissance. It then examines the turbulence of the Reformation — the shattering of Christian unity and the wars fought in the name of religion. The course then explores the development of new politics and the Age of Exploration when Europeans set sail and changed the shape of the world.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Absolutism and Revolution, Europe 1660-1800<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Beginning with the reign of Louis XIV, students examine 18th-century European society. We explore how the Scientific Revolution and the Enlightenment challenged the ideas of the Old Regime and created new perceptions of humanity, society and government. The course concludes with an analysis of the French Revolution and the rise of Napoleon.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The European Century, 1800-1914<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Beginning with the study of Napoleon’s Empire and the Congress of Vienna, this course examines how the French Revolution of 1789 and the Industrial Revolution transformed European society and politics in the 19th century and established Europe’s global preeminence. The course concludes with an examination of World War I, the shattering event that culminated Europe’s dominance.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | World War and European Society, 1890-1945<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">At the pinnacle of its power and confidence at the start of the 20th century, Europe could not have imagined the crises, mainly of its own making, that it would face between 1914 and 1945. In this course, we examine the era when Europe was shattered by two world wars, an unprecedented international depression, and the rise of totalitarian states in the Soviet Union and Nazi Germany. We examine why Europeans cheered for the Great War when it began in 1914, and how four years of industrial warfare and diplomatic failures contributed to catastrophes that followed. We then explore European culture during the interwar period called the Age of Anxiety, the Russian Revolution under Lenin and Stalin, the foundering of the democracies, and the rise of Hitler and Mussolini.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Europe Since 1945<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Once the region of geopolitical domination, Europe after World War II was forced to rebuild and redefine its place in a rapidly shifting world. This course examines the change in Europe’s position as it contended with the Cold War’s series of freezes and thaws; economic, political and social developments, such as the student revolts of the 1960s; and the dramatic decade of the 1980s with Thatcherism, Gorbachev, the fall of the Berlin Wall and communism. Topics analyzed include modern leadership in Germany, Great Britain and France; the Soviet Union from Stalin through its collapse; Eastern Europe’s transition from communism, and the European Union. We will conclude by examining Europe’s current position in the contemporary world.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Capitalism and its Critics<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides a survey of the origins and evolution of capitalism in a global world up to the present, with emphasis on the political economies of the West. Students examine the ideas of the great political economists such as Adam Smith, David Ricardo, Thomas Robert Malthus, Karl Marx, J.M. Keynes and Friedrich von Hayek, as well as trace the progression of modern industrial economies in Europe and the United States. The course ends with an analysis of the 2008 financial crisis and the Occupy movement.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Understanding Violence, War and Peace<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores both the history of and theories related to violence, war and peace across the globe, from ancient to modern times. Readings may include selections from a variety of disciplines, such as anthropology, ethics, philosophy, psychology and sociology. Students may consider such questions as: Is there such a thing as a just war? Are humans naturally violent? How do societies avoid violence and maintain peace? What role does technology play in shaping violent behavior? Can justice be achieved through the use of violent means? Is peace a realistic possibility in a globalized world? Is there more to peace than an interim between wars?</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | China: The Last Dynasty<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores Chinese history with a focus on the Qing Dynasty period (1644-1912). Students will tackle such questions as: How can Buddhism, Confucianism and Daoism coexist in the same time? How did the role of the Qing Dynasty in global history shift across the centuries? What makes the Opium Wars (1839-1842, 1856-1860) and the Boxer Rebellion (1899-1901) turning points in modern Chinese history? How does Chinese history look different from the perspective of a rural female villager versus an emperor? What are the strongest motivating factors in these two individuals’ decision-making? To help us explore how lived experience of this vast history can vary based on where in China one lived, what role in society one fulfilled, and which events one lived through, we will analyze a range of sources including film, fiction and scholarly assessments.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern China<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines China’s dramatic recent history through multiple lenses: historical survey, biography, memoir, film and journalism. We begin by identifying key themes and questions to guide our study. Then we move back in time to the 19th century, when contact with Westerners provoked war and internal rebellions. We examine the decline and eventual collapse of the imperial dynastic system, the rise of warlordism, an experiment in weak republican government, the prolonged civil war, China’s role in World War II, the founding of the People’s Republic, the thought and governance of Mao Zedong, the economic and social reforms of Deng Xiaoping, and China’s entry into the global marketplace. The last part of the course utilizes a variety of current sources to address the majorissues facing China in the 21st century. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Contemporary Middle East<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The course begins with the breakup of the Ottoman Empire and examines the rise of Arab nationalism and the struggle against foreign domination. The strategic and economic importance of the region is studied along with the founding of Israel; the continuing confict among Jews, Arabs, and Christians; and the rise of Islamic fundamentalism. Particular emphasis is placed on understanding the Arab-Israeli confict. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Asia: Contested Histories<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How and why do different national histories define themselves in competition with those of their neighbors? This course will focus on how recent trends in the writing of history are applied to the context of contemporary Asia including China, India, Indonesia, Japan, Korea, Thailand and Vietnam. These topics will be explored through a range of sources including film, memoirs, fiction, periodicals and scholarly assessments that reflect the diversity of experiences across Asia. Topics will include Marxist history, cultural history, gender, memory, modernity and ethnicity. This course will rely on students to conduct independent research throughout the term in digging through contested topics and historical controversies, including but not limited to competing national histories of imperialism, colonization, and nationhood in the 20th century.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Precolonial Africa<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the complexity and dynamism of the African past, from antiquity to the dawn of the 20th century. The course begins with an examination of the Nile Valley civilizations in antiquity, the historical debates surrounding that era and the advent of Christianity in North Africa. Students then study the rise of Islam in Africa and the West African empires of Ghana, Mali and Songhai. Next, students examine the role played by slavery in the creation of the Atlantic World. The course ends with an analysis of the dynamics of the cultural clash that ensued from the European colonization of Africa.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Africa<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What do we mean by “modern,” and what does “modern Africa” look like? The story of modernity has often been told from a Eurocentric perspective — one that conveniently excludes Africa. In this course, we will investigate the ways in which Africa is tied to modernity and the world. Chronologically, the course will investigate the continent’s history, beginning with the abolition of slave trade; 19th-century imperialism and the “scramble” for the continent; anti-colonial movements and decolonization; as well as the post-independence social and political realities. For the most part, academic study of Africa in the Global North has been dominated by non-Africans. Alternatively, in this course, we re-center African voices — that is, scholarly, literary and political writings of notable Africans to help students challenge the conventional wisdom about the rise of the modern world and the role of Africa in the global arena. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Latin America<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines how modern social and political institutions developed in the region that includes Central and South America and the Caribbean. We begin by questioning why such diverse places are imagined as a single region. We explore how colonialism shaped the region and how independent nations emerged from European political control in the early 19th century. Through a series of case studies, we then examine selected social, political and economic issues that shaped Latin America in the 19th and 20th centuries.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern India<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the history of what is today the world’s largest democracy. It starts in roughly 1700 with a study of the Mughal Empire and its decline, followed by the rise of British India. We explore the East India Company and the impact of British imperialism on India. The 1857 rebellion, the beginning of direct British rule and the consequences of these major events are analyzed. We explore the development and role of the Indian National Congress, explore the emergence of Indian nationalism, and assess Gandhi and other Indian leaders, as well as the forces around independence in 1947. In the last part of the course we study India’s identity from independence to today and the current issues and conflicts confronting this increasingly prominent nation.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Japan: Tradition to Modernity<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is an overview of Japanese history and considers how changes in political institutions, economic patterns, social organizations, and cultural practices took shape to transform the lives of individuals across the archipelago. We will explore questions that contemporary scholars grapple with to this day: How did the role of the emperor transform from the 16th to the 18th century? Why is the samurai such a powerful symbol? How did a region poor in resources and largely isolated from the West emerge economically vital in the last hundred years? Why did the concept of progress become such a pivotal concern for the leaders of Meiji Japan in the late 19th century? What are the consequences for rapid industrial revolution? With an emphasis on primary sources, students will analyze this history in terms of those who lived it. We will read from the perspectives of a daimyo reformer and a low-ranking samurai, from an impoverished farmer and an afuent merchant, the emperor and a housewife.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Japan: Post-war to the Akihabara Generation<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Akihabara district of Tokyo, Japan houses the world’s largest collection of everything that is associated with anime and the otaku culture and industry. It provides us with the goal and opportunity to examine Japan’s emersion from World War II into a thriving economic revival, democratic politics, and a new social order. With a particular focus on the creation of Otaku culture, we follow Japanese history through the 20th and into the 21st century, its cultural expansion and impact on not only the neighboring countries but the Western world as well. Post-war Japan has navigated its way through challenging encounters with its past, this course looks at those encounters and examines what role the otaku culture plays in the definition of 21st century Japan. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Humans and the Environment<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What drives human history? Do the pivotal factors lie beyond human control, such as climate, geography, ecosystems and microbes? This course examines the interactions between people and the natural world over time. In struggling to master an often hostile environment, human societies have had an ever-increasing impact on the planet, and apparent success has often ended in failure. The course begins with the emergence of humans in the Paleolithic period and then explores the invention of agriculture, the emergence of global trade and migration networks, colonialism and the Industrial Revolution. Students examine in depth an instance of humans managing — or mismanaging — a natural resource and conclude the course with a close look at 20th-century trends and the future we collectively face.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Genocide in the Modern World<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course studies the history of genocide in the 20th and 21st centuries, exploring both the patterns and unique circumstances of this important global issue. Students read and hear from historians, victims and perpetrators. Likely case studies are the Holocaust, Cambodia, the Balkans, and Rwanda, with time set aside for research into events determined by student interest. Students study root causes, including economic, political and social factors that permit the occurrence of genocide; assess international responses; and evaluate attempts at reconciliation, including justice systems and community reactions. The comparative nature of the course creates a framework to draw broad lessons about what leads to genocide in the modern world; enables us to assess the behavior, actions and inaction of the various groups involved; and pushes us to consider how these lessons could be applied to prevent such crimes in the future.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Totalitarianism: Past & Present<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course takes students on a fascinating exploration of the totalitarian and fascistic tendencies that have proven to be alluring alternatives to the democratic states and societies. These movements were often shrouded with utopian promises against a backdrop of apocalyptic struggles, regardless of the temporal or geographic location of the totalitarian movement. We begin by examining five national case studies drawn from Europe and Asia between the 1920s and 1960s. We then investigate more modern iterations of fundamentalism, including political, racial, and religious fundamentalism. The class concludes by focusing on the nature and appeal of cults. A final project invites students to tie the course’s main themes together.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Revolutions<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | [[Tian-shin]]<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | ASL Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC - Nadia Dirie<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the American Sign Language track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency, but also touches on history, culture, sociology, and other aspects of the ASL-using world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Arabic Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Arabic language track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Arabic-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Chinese - Mandarin Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | [[Tian-shin]]<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Mandarin track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Mandarin-speaking world. Written instruction is in pinyin Simplified Chinese script. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | English as a Second Language Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPCs<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the English as a Second Language track: Beginning (1), Intermediate (2), and Advanced (3), each with highly modular curricula that instructors adapt to the needs of current ELL students. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the English-speaking world. At all levels, half of each class is given over to one-on-one tutoring, supervised independent study, or other instruction recommended by students' IEP assessments. Students may test into any level and take any number of these classes, in any sequence.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | French track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | [[Matt]], NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the French track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Francophone world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | German track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the German track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the German-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Ancient Greek track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the Ancient Greek track: Beginning (1), Intermediate (2), and Advanced (3), usually scheduled to cycle over the course of a school year. Coursework focuses on literacy but contain significant elements of history, literature, sociology, and topics relevant to the Classics and the ancient world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Latin track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the Latin track: Beginning (1), Intermediate (2), and Advanced (3), usually scheduled to cycle over the course of a school year. Coursework focuses on literacy but contain significant elements of history, literature, sociology, and topics relevant to the Classics and the ancient world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Japanese track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Japanese track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Japan-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Russian track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Russian track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Russian-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Spanish track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Spanish track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Spanish-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Chinese Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-chinese-language-and-culture AP Chinese Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP French Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-french-language-and-culture AP French Language and Culture] curriculum.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP German Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-german-language-and-culture AP German Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Japanese Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-japanese-language-and-culture AP Japanese Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Latin<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-latin AP Latin] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Spanish Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-spanish-language-and-culture AP Spanish Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Spanish Literature and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-spanish-literature-and-culture AP Spanish Literature and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Transitional Mathematics<br />
|style="background-color:#6BADF9;" | variable<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Transitional mathematics courses are offered to help merge new students into the mathematics program at Xavier's. Courses are designed to help students adjust to seminar-table methodology and problem-based curriculum, and to fill gaps and cope with varied backgrounds in mathetmatics prior to Xavier's. Introductory courses give students and instructors additional information to determine placement for the following term. Typically, transitional courses last one term, but some extend for two or even three terms. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Algebra<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">These courses develop facility in working with numbers, tables, equations, inequalities and graphs. The focus is on solving word problems and reading carefully, and thus the building of algebra skills stems from the need to solve problems in a context, rather than from drill and practice for its own sake. Students learn how to use the graphing calculator appropriately as an effective problem- solving tool. In addition, students may do a number of hands-on labs that require them to collect data, make conjectures and draw conclusions. Topics covered include equations and graphs that are linear and quadratic, distinguishing linear data from nonlinear data, inequalities, the basic rules of exponents, and other traditional Algebra I topics.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Geometry<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Geometry develops logical thinking through proofs and attention to definitions. It gives students a new way of looking at the world by analyzing the symmetries and patterns around them, and it develops practical skills through applications. This course covers the standard topics in a college-preparatory course in Geometry. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Trigonometry & Precalculus<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | [[Kyinha]]<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An exploration of the circular functions: sine, cosine, and tangent. Topics include right triangle trigonometry, simple harmonic motion, applications, and proofs of trigonometric identities.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Integrated Mathematics<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The purpose of these courses is to enable students to expand their view of algebra and geometry to include nonlinear motion and nonlinear functions. The investigation encompasses circular motion and the functions that describe it, ellipses and hyperbolas, exponential and logarithmic functions, dot products and matrices, and geometry on the surface of the Earth. In particular, logarithms are used to straighten nonlinear data; and matrices are used to describe geometric transformations and various patterns of growth. In preparation for higher level mathematics, two strands are introduced: first, combinatorics and recursion, leading to the binomial theorem; second, approximation behavior, especially instantaneous rates of change and slopes of nonlinear graphs.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Linear Algebra<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class students will use matrices to learn how linear algebra is being applied in various fields. The class will cover content including matrix operations, row-reductions, determinants, vector space, eigenvalues, and transformations. From this course students will be able to further their understanding of the connection between geometry and algebra. In addition, students will further their logical thinking while being introduced to different abstract topics in mathematics. This course will expose students to higher-level mathematics that will better prepare them for the rigors of a college math program.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Multivariable Calculus<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students will learn how to differentiate and integrate functions with multiple variables. In this class students will cover topics such as vector functions, partial derivatives, multiple integrals, and vector calculus. As a result of this class, students will be able to better understand the connection between single-variable calculus and multivariable calculus. Students will further their logical thinking while also being introduced to different abstract topics in mathematics. Students will be exposed to higher-level mathematics that will better prepare them for the rigors of a college math program.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Calculus AB<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | [[Kyinha]]<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-calculus-ab AB Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Calculus BC<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-calculus-bc BC Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Statistics<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-statistics Statistics Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Personal Finance<br />
|style="background-color:#6BADF9;" | 1<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Personal finance is a term that covers managing your money as well as saving and investing. It encompasses budgeting, banking, insurance, mortgages, and investments. Students will be introduced to the basic understanding of debit and credit, track their spending and even analyze some of the more challenging probability concepts that govern the trading of options on the stock market. The approach to this class will be project based with students able to work on a project that they find meaningful in the world of personal finance. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Economics in the World<br />
|style="background-color:#6BADF9;" | 1<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to live in a global economy? In this class students will be introduced to an overview of Micro Economics and Macro Economics. By analyzing market trends associated with historical events between the 1900’s and the present time, students will learn how changes in policies have shaped global economies.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | Bioethics: Humanity in the Post-Genomic Era<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines current biological topics that challenge our understanding of humanity and provides a brief introduction to ethics and philosophical anthropology and their roles in setting public policy.<br />
<br />
We live in a modern age in which major scientific advances are the norm. Bombarded with stories in the news regarding ethical dilemmas pertaining to novel biomedical interventions, it is often difficult for us to make sense of competing arguments without having a basic command of the biological and philosophical issues involved. Questions to be addressed include: What is a stem cell? When does a developing human being first experience sensation? Show evidence of cognitive abilities? Acquire moral status? <br />
<br />
How does our modern, post-genomic understanding of human biology influence our philosophical understanding of what it is to be human? Which biological enhancements are ethical? Which are unethical? To what extent (if at all) should the use of biotechnology be regulated in our society? Historical and current readings will be assigned, and lively discussions encouraged. Students will be graded through a variety of assessments, including papers, presentations, journals, and class participation.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | Power and Social Responsibility<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | The Ethics of Power<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Charles]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"></div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Introduction to Ethics<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this discussion course will be introduced to a variety of approaches to ethical reflection. Through the use of classical texts and personal and literary stories, students will develop a common vocabulary with which to understand and critically evaluate their moral experience. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Ethics & the Environment<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">We are facing unprecedented environmental challenges to climate, life forms, human health and population, and essential resources. We tend to treat such issues simply as scientific or political problems. In reality, ecological controversies raise fundamental questions about what we human beings value, the kind of beings we are, the kinds of lives we should lead, and our place in nature. Sustainability is not possible without a deep change of values and commitment. In short, environmental problems raise fundamental questions of ethics and philosophy. This course seeks to provide a systematic introduction to those questions.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Social Ethics: Values in a Changing America<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Whether you read the paper, scroll Instagram or follow trends on TikTok, you will see people disagreeing about how to resolve some of society’s conficts. In this course, students examine various contemporary social issues such as pornography, reproductive rights, trans rights, immigration, the death penalty, CRISPR, mutant rights, privacy rights, political extremism, drug legalization and climate change. Through engagement with current events and contemporary public conversations, the course provides students with ethical frameworks, conceptual tools and contextualized understanding necessary to evaluate and respond to the social issues of an ever-changing world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Global Ethics: What's Wrong with the World?<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Terrorism, wars, genocide, refugee crises, economic disparities, economic exploitation, propaganda including “fake news,” drug resistant pathogens, natural disasters, global warming, and so on — what kind of world do we live in? What kind of world ought we live in? How can we move from what is to what ought to be our world? These are the basic questions of global ethics. With consideration for a range of ethical theories, students study current global events in order to better understand why the world is the way that it is and what can be done about it. The course includes readings in anthropology, sociology, political theory, philosophy and the sciences, and it makes use of current news sources, investigative journalism, documentary and feature films, and new media. The course culminates with student projects on any topic concerning the world as it is and might be — or what we can do to get there.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Ethics: Medicine<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Modern medical research and practice present society with new opportunities and significant challenges. Students in this course will look at various case studies at the intersection of medicine, scientific research, health care, and ethics. Possible case studies may include debates about abortion, euthanasia, animal rights, mutant rights and experimentation, and broader environmental implications of scientific and material progress in the 21st century. Classical and contemporary philosophers will be read as part of our investigation into these topics. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Nonviolence & Moral Leadership<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Charles]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will examine major figures within nonviolent movements for social change, with a focus on the capacities of moral leadership possessed by these individuals. What characterizes an effective moral leader? How do these leaders motivate others in the face of injustice and oppression? Must moral leadership necessarily be nonviolent? What does 'nonviolence' even mean? Through a study of autobiography, letters, speeches, and case studies, students will come to a more complete understanding of nonviolent movements and the decisions made by individuals who led them. In addition to Gandhi and King, individuals studied may include Nelson Mandela, Desmond Tutu, the Dalai Lama, Aung San Suu Kyi, Thich Nhat Hanh, Paul Farmer, Greg Mortenson. Critics of nonviolence will also be studied. The course will culminate in a substantial independent research project.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Law and Morality<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Tian-shin]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">A critical examination of issues that arise out of the relationship between law and morality. Questions of concern include the following: For what reasons, if any, should an individual obey or disobey the laws of society? Which kinds of governments (monarchy, aristocracy, democracy, etc.), if any, are legitimate? To what degree should society restrict the freedom of individuals through laws on matters like abortion, pornography, race, and sexual relations? Class discussions and written exercises are designed to encourage participants to develop views of their own against a background of basic understanding of the readings. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Introduction to Philosophy<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is really real? How do I know what I know? Do I have free will? What is the good? These and other speculative questions have troubled the Western mind for millennia. This course follows a topical approach to the history of Western philosophy and focuses on such issues as metaphysics, epistemology, the problem of evil, the existence of God and the philosophical roots of ethics. Students will read from the works of ancient and modern writers such as Plato, Aristotle, Aquinas, Kant, Hume, Bentham, Locke, Arendt and Hill Collins to assist them in coming to their own understanding of these topics. Students will discover what philosophy is and how philosophers question and reason.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Justice and Globalization<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does justice demand of us (as individuals and collectives) and how does it apply internationally? In this course, we will explore the following topics: (a) the possibility of individual and collective responsibility in the face of the polarities of great wealth and great suffering across our planet; (b) cosmopolitanism and internationalism as compared to nationalism as underlying different responses to global inequity and conflict; (c) colonialism and imperialism, and responses to them; (d) the arguments for colonial or environmental reparations; and finally (e) consideration and assessment of competing political-economic approaches to globalization and development. In all of this, we will ask ourselves what principles, practices, and institutions hold the most promise for securing a more desirable and just future. Through reading, writing, and collaborative discussion, participants will work together to develop a deeper understanding of how we should approach justice at a global scale. In short, we will explore what we owe others wherever they are on Earth.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Proof and Persuasion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> A practical introduction to informal logic and to the philosophical study of language. Some of the questions raised are the following: What is the difference between a good argument and a poor one? What are the common fallacies of thought? What are the limitations of logic? What are the meaning of “meaning” and the truth about “truth?” The course stresses the development of individual skill in argument and includes a critical examination of the patterns of thought one encounters every day in magazines, in newspapers, and on television.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Philosophy of Sport<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> Through common readings, journal entries, reflection papers, prepared essays, visitors to class, presentations, and open discussion, we explore answers to questions including: What is the contribution of sports to human flourishing?; How do sports contribute to the construction of individual, group, and national identities?; What role does aesthetic appreciation play in our response to sports as participants and observers?; What does the experience of flow—“being in the zone”—in sports reveal about possibilities of transcendence for humans?</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Christianities<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Christianity? How has Christianity changed over time? Why are there so many diferent Christian groups? How are Christianity and power politics connected? This course explores these questions and others, with particular attention paid to diferent ways that Christian groups define themselves in relation to the wider culture, from the ancient world to today and from the Mediterranean through Asia, Africa, Europe, and South and North America. Students will have the opportunity over the term to study in more depth an area of interest. In addition to reading and discussion, the course will potentially include site visits, meetings with religious leaders and films.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Global Islams<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">With nearly two billion practitioners, Islam is one of the fastest growing religious traditions in the world today. Yet, with less than 1 percent of the American population identifying as Muslim, it is also one of the most misunderstood here in the United States. What is Islam? What is not Islam? And who gets to decide? This course aims to introduce students to the vast internal complexities of the Islamic tradition through an exploration of history, scripture, law, film, comic books, and social media. We will investigate and contextualize controversial (and popularly misunderstood) elements of Islamic tradition such as jihad, sharia, and veiling. From Malcolm X to ''Midnight Mass'', and from China to Cairo to Chicago, students will examine the practices, lives, and legacies of Muslims in history and today.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Judaism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Judaism? Contemporary Jewish communities forge unique identities, religious practices and spiritual paths in religiously and culturally diverse ways. This course introduces Judaism in a variety of forms and explores some of the many questions, challenges and affirmations of the many facets of Jewish identity, practices, core beliefs and ethics in the 21st century. For instance, Jews might practice yoga; sport tattoos; eat organic instead of kosher foods; grow up in an interfaith family celebrating Christmas and Hanukkah; become a rabbi; attend a Jewish LGBTQ wedding; identify as “spiritual” rather than “religious”; only attend synagogue during the Jewish high holidays; or voice doubts about Israeli politics. The class will explore these or other possibilities as a case study of how the Jewish people balance tradition and innovation to remain vibrant in a changing world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Religions of the Book<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce students to the world of scripture and interpretation in Judaism, Christianity, and Islam. Students will explore the ways that communities look to sacred writings to answer questions such as: How does God communicate with humanity? How does one live a holy life (and why bother)? Is there life after death? What happened at the beginning of time? What will happen at the end? We will examine the scriptures themselves, but also documentaries, music, comic books, art, and films from religious communities around the world, and reflect on how the Bible and Qur’an created and shaped these three interconnected and diverse religious traditions encompassing more than half the world’s population.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Hinduism and Buddhism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC-Lauren Briggs<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Hinduism? What is Buddhism? This course explores Sanatana Dharma — the duties, practices and traditions that define a Hindu way of life — as well as the traditions, beliefs and spiritual practices based on original teachings attributed to Siddhartha Gautama, the Buddha. As students explore these timeless ways of being and learn about people who embody them, they will encounter concepts of ultimate reality, the (non)self and the purpose of human life that have informed diverse ethical systems and cultures in India, China, Tibet, Korea, Japan and Southeast Asia. Historical and philosophical studies of prominent fgures, such as Mahatma Gandhi and the Dalai Lama, will provide students spaces to refect on their own senses of what it means to live a devoted life. Students will also explore certain ways these religious traditions appear — through ideas, symbols and practices — in America and Europe, as they wonder about contemporary cultural representations of yoga and meditation in the West.</div></div><br />
|style="background-color:#C0F791;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Paganism Through History<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Matt]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"></div></div><br />
|style="background-color:#C0F791;" | Has a reputation as a bit of a bird course; Matt a very easy teacher to sidetrack onto tangents and a very lenient grader.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | East Asian Ways of Knowing: Zen Buddhism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC-Lauren Briggs<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Zen Buddhism opens up to rich and varied practices of knowing and living. Through reading primary sources, both ancient and modern, and engagement with a range of Zen practices, students in this course gain an appreciation for the religious tradition and its history, as well as the types of knowing that it engenders. Students study koans (Zen training riddles) such as “What is the sound of one hand clapping?” and “What was your original face before your parents were born?” and other manifestations of Zen Buddhism across cultures and times, including contemporary derivations of “Zen” memes in popular culture and social media. </div></div><br />
|style="background-color:#C0F791;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Mysticism and the Contemplative Traditions<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How does it feel to commune with the Infnite? What ecstasies can humans experience? What personal and communal transformations result? These are questions of mysticism. It has been said that all religions converge in the contemplative tradition — the great world illuminated by the swamis and yogis of Hinduism, the core meditation practices of the Buddha, the Kabbalist teachers of Judaism, the Sufs of Islam, and the Christian mystics. What can we learn by reflecting on their teachings and their practices? How do they connect with current research on the mind-body connection? How do these make possible a deeper sense of self, or what we might call the “unique self ”? What does it mean to speak of wisdom as a kind of knowledge? We will consider selections from a range of faiths, from the ancient texts of the Upanishads to the poets Rumi and Meister Eckhart to modern writers such as Thomas Merton, Howard Thurman and Pema Chodron.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Criticizing Religion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Is there a destructive side to religion? Religion and religions have undoubtedly shaped the lives of individuals and communities around the globe for millennia for the better, but would the world be a better place if we imagined, with John Lennon, a world with no religion? Contemporary examples of the destructive side of religion fill the news on a daily basis. On the other hand, religions around the world have been a driving force for peace, for justice, for compassion, for leading a purposeful life. Many people turn to religion to find resources that provide them with community, values and meaning in their lives. Is religion’s checkered past and present leading to increased secularism? Will science ultimately replace religion? The course will explore scientifc, economic, political, feminist and queer critiques of religion — and their responses — from thinkers such as Friedrich Nietzsche, Fyodor Dostoyevsky, Karl Marx, Mikhail Bakunin, Sigmund Freud, Ayn Rand, Mary Daly, Anthony Pinn, Dan Brown, Ursula LeGuin, A.C. Grayling, and the New Atheists (Richard Dawkins, Christopher Hitchens Sam Harris, and Daniel Dennett), as well as films such as ''Spotlight'' and ''Jesus Camp''.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | One Nation Under God?: Religious Traditions in America<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The United States has always been a mix of various peoples and faiths. This course examines the religious traditions that make up the American religious and cultural landscape, focusing on Judaism, Christianity, Islam, Buddhism, Hinduism, etc. The distinctive ethos and practices of each are explored, along with their presence in the daily news. To assist students in experiencing and examining these religious traditions, the course will use make use of visual materials, guest speakers, and church and potentially other site visits, as well as firsthand experiences such as observing Buddhist meditation, a Passover Seder or a Muslim prayer service. Attention is given to students’ understanding of their own background in relation to the diversity of religious expression today.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Comparative Religion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Religion is consistently a news item in our world today; it factors into conflicts in North America, Europe, the Middle East, and India, among other places. Catholics are divided on the wisdom of the pope, Jews on the policies of Israel, and Muslims on their relation to modern secularism. But none of these divisions makes sense to outsiders without a basic understanding of the religions involved. In this course, gain a basic understanding of the beliefs and practices of the world’s major religions. Explore the meaning of religious experience, the distinction between myth and history, and the appeal—or not—of ritual. We also will discuss important questions: Why do religious communities split, for example, Sunni and Shiite Islam? What does “law” mean to observant Jews? What do Christians mean by the “Trinity”? Can “nothing” be “something” in Hindu and Buddhist contexts? Is Confucianism a religion at all? These questions and more will enliven our explorations into the major religions of the world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#CE2029;" | Psionic Self-Defence<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | [[Charles]]<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The psionic self-defense class at XS is geared for all people, not just those with psionic abilities. While it is generally not possible for someone without psionic abilities to thwart a determined psionic assault, it is the case in this class -- as in many self-defense classes -- that the best protection is never getting into the fight in the first place. Given that it is not going to be possible for non-psionics to ''stop'' a psionic intrusion, the aim of this class is to help teach students mental discipline and techniques helpful for avoiding notice and keeping unwanted thoughts from surfacing too strongly.<br />
<br />
This class's goals are to help students order their minds enough to minimize stray surface thoughts that may be overheard by psionic eavesdroppers, to help keep thoughts under control so as not to attract mental scrutiny, to recognize the signs of psionic manipulation, and to learn grounding techniques for maintaining emotional stability in the face of mild psionic influence. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Principles of Fitness<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The Principles of Fitness course is designed for students of all physical abilities. The goal of this course is to provide students with lifelong fitness habits. Students will gain an understanding of the effects of exercise on health and well-being while being able to apply the learned skills to their everyday life. This will be accomplished by introducing students to facilities, equipment and resources that are available on campus. Topics will include resistance training, cardiovascular fitness, warm-up/cool-down, plyometrics and flexibility. Classes will be built around individual and group workouts.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Running*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The PE running program is designed for students who want to run for fitness. Beginning runners will receive thorough introduction to distance running. Experienced runners will further develop their speed and stamina. Daily runs of 2 to 5 miles will compose the bulk of the training, but alternate modes of training and drills that are essential to strong, injury-free running will also be part of the course.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Strength Training & Conditioning*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In the strength and conditioning class, students are encouraged to define one or more training goals for the term. What is strength and conditioning? Strength is the ability to produce force, and it is a more durable adaptation than Conditioning, which is comparably transient, and is more concerned with work capacity- how much physical work can be done in a given time period. These two very different physical adaptations require different types of training. You can do either or both, but you must have a plan to improve them. The most important aspects of your goal-setting to consider are Specific, Measurable, and Timely. Students are expected to come to class in exercise clothing, ready to train. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Self Defense*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This self-defense course is open to all students. This course teaches practical self‑defense skills that give students the experience of facing their fears and finding their power. In this class, students are taught how to avoid altercations, resist intimidation, communicate assertively, and escape potential assaults. Students learn how to set verbal boundaries and de‑escalate potentially dangerous situations. The course will also teach ways to physically defend against a number of threatening scenarios including front confrontations, attacks from the rear, attempted sexual assault, and ground fighting. Scenarios will be empowering, practical, and useful.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Pilates*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In our Pilates class, students are introduced to beginner level Pilates mat and reformer exercises, with emphasis placed on learning proper Pilates breathing, and developing “core” connection, strength, flexibility, and proper alignment. The class learns how to access their “powerhouse” muscles and how to maintain that engagement throughout movement. Students also become familiar with beginning safe ranges of motion and how to determine when they are ready to increase the challenge by increasing their range of motion. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Bouldering*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Bouldering is rock climbing stripped down to its raw essentials. Leaving behind ropes and harnesses and just using climbing shoes and a bag of chalk over safety mats. Your challenge is to climb short but tricky bouldering "problems" (a route, or sequence of moves) using balance, technique, and strength. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Cardio-Boxing*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Cardio-Boxing is a fun and energetic class where students use choreographed cardio-boxing combinations combined with calisthenics and jumping rope to obtain a great aerobic workout. In our state-of-the-art Health and Fitness Center, students go from being taught how to wrap their hands to eventually completing a boxing circuit of approximately 10 rounds using standalone punching bags. Be ready to feel the burn!</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Swimming*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Aquatics are a means to achieve cardiovascular fitness through stroke development and participation in a variety of swimming workout methods.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Indoor Cycling*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is designed to increase muscle strength and improve cardiovascular endurance using state-of-the-art bikes. Students will experience rolling hills, sprints and other drills to give them a great interval workout.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Horseback Riding*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Outdoor Challenge*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Outdoor Challenge is a group-oriented, teambuilding program for those who want to be active in the outdoors. Depending on weather conditions, activities may include snowshoeing, cross-country skiing, mountain biking, hiking, canoeing, trail running, high- and low-ropes challenges, obstacle activities, outdoor survival education, camping skills and orienteering. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Biology<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-biology AP Biology] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Chemistry<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-chemistry AP Chemistry] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Environmental Science<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-environmental-science AP Environmental Science] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics 1 (Algebra Based)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-1-algebra-based AP Physics 1] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics 2 (Algebra Based)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-2-algebra-based AP Physics 2] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics C (Electricity and Magnetism)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-c-electricity-and-magnetism AP Physics C] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics C (Mechanics)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-c-mechanics AP Physics C] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Animal Behavior<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Why do some animals live in groups, and others singly? Why are some animals monogamous while others have multiple mates? Who cares for the young? Why do birds sing and wolves howl? In this course, we will begin to answer these questions. We will read a text that provides an introduction to all areas of animal behavior, as well as selected articles. Our focus will be on social behaviors. Using films, we will observe the social behaviors of animals as diverse as termites and wolves. We will use fieldwork to study the role of society in the foraging behavior of honeybees. Students will be required to write a research paper on a topic of their choice.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Astronomy<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Astronomy is the scientific study of the origin, structure, and evolution of the universe and the objects in it. Topics may include patterns and motions in the sky, gravity and orbits, telescopes and light, planetary systems, the birth and death of stars, galaxies, the Big Bang, the search for extraterrestrial life, and the fate of the universe. This class includes a 45-minute lab period one night a week at the Ptolemy Observatory, located on the Xavier's campus. When the lab period is used, compensation time will be given during a daytime class period.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Astronomy Research<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this course students will spend extensive time in the Xavier's Academy Ptolemy Observatory, where they will learn to operate the telescope, dome, and CCD camera. Students will learn techniques for visual observing, astrophotography, and photometry. Students will engage in research projects designed to provide an introduction to research techniques in astronomy. When appropriate, results will be submitted for publication. In addition to conducting ongoing research projects, the class will take time out to observe interesting current events (observing the pass of a near-Earth asteroid, a recent supernova flare-up, a transit of the ISS across the moon, etc.). In addition, students will be expected to spend several hours a week in the observatory (due to weather constraints, observing nights will vary.)</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Biology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is theme-based and focused on major biological topics. Studying a core text will be supplemented with other readings, writing assignments, and data analysis and interpretation. Students will learn a variety of study skills and will have an introduction to library research tools. Laboratory experiments and fieldwork are designed to acquaint students with fundamental biological principles and to build skills in the methods and techniques used to elucidate those principles.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Chemistry<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An introduction to the chemical view of the material world, including atomic theory, atomic structure, chemical reactions, the nature of solids, liquids, gases, and solutions, general equilibria, acid-base theories. Emphasis is placed on developing problem-solving skills as well as on making connections between chemical principles and everyday life. A college-level text is used, but the pace of this course is adjusted to ensure that students have ample opportunity to ask questions and work through problems. Laboratory work is an integral part of the course.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Ecology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Ecology is a field of biology dedicated to the interactions that organisms have with each other and with the nonliving components of their environment. The discipline of ecology helps to explain the abundance and distribution of organisms and issues of biodiversity and extinction and is grounded in evolutionary principles. In this course we will examine how ecological ideas play out in aquatic and terrestrial environments and students will develop skills in experimental design, data analysis and statistics, scientific literacy, and complex systems thinking. Students will also consider the impact of global climate change and other human impacts on the environment and they will have the opportunity to pursue an area of their own interest. </div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Electronics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This introduction to electronics is a hands-on, project-oriented course. Students will build a variety of simple devices, including timing circuits, alarms, flashers, amplifers and counters. By designing, building and analyzing these circuits, students will gain a firsthand knowledge of a variety of basic electronic components, including resistors, capacitors, switches, relays, transformers, diodes, transistors and several integrated circuits. Students will use Arduinos throughout the course for analyzing and testing, and as a central piece of their circuit design. Though some experience in programming is helpful, it is not required for this course.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Introductory Genetics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course considers the classical and contemporary views of the nature, transmission and function of the hereditary material. Laboratory investigations in plant and animal genetics supplement class discussion. </div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Molecular Genetics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This advanced course examines the biochemistry of the gene in greater detail and considers the underlying principles of recombinant DNA technology. Because DNA science is experimental, much of the time available in this course will be devoted to laboratory work learning techniques of DNA isolation, analysis and manipulation.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Marine Biology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The goal of this class is to give students a field research experience in which they come to understand how to work as a team to conduct experimental studies in marine science. Students will frequently be off campus, where they will be involved in a variety of new and ongoing projects. They will study the structure of intertidal communities, develop hypotheses, and then implement a research study that will provide baseline data for future work in the area. The students will also study lobster biology and the historic management of the fishery so they can start to look critically at the current state of the Maine lobster industry. In the larval settlement project, students will study organisms that recruit on docks and in the intertidal of Penobscot Bay, and consider the role of invasive species and climate change in affecting biodiversity.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Mechanics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course study of the natural laws relating space, time, matter, and energy. Topics include measurement, motion, forces, energy, momentum, and rotation. We want students to understand the behavior of matter, and to become aware of the importance of the physical laws of nature. The approach to the material is highly mathematical. Students will use spreadsheets and graphing programs to analyze laboratory data.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Biology of Cancer<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Cancer is the second leading cause of death in the United States and this disease affects many families. The profound impact of cancer on society has been the driving force behind major research advances and led to a better understanding of cell biology. Understanding the basic biology of cancer and its impact on the human body has led to more effective treatments, enhanced detection methods, and the development of prevention strategies. This course will provide an overview of the biology of cancer. The course will focus on the genetic and molecular basis of cancer. We will explore the role of mutations in cancer cells and how they lead to the deregulation of essential biological processes such as cell division, programmed cell death, and differentiation. We will also examine the interface of cancer and medicine. Classical treatment methods will be compared with newer treatment modalities, such as targeted therapies. The challenges associated with diagnosing cancers, preventing cancers, and curing cancers will also be discussed in light of current technological advances such as genomics and bio‑informatics.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Evolution<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Evolutionary biologist Theodosius Dobzhansky wrote in 1973 that “Nothing in biology makes sense except in the light of evolution,” and his statement still holds true today. Students in this course will read Jonathan Weiner’s Pulitzer Prize-winning book ''The Beak of the Finch'', which documents an ongoing study of evolution in Darwin’s finches on the Galapagos Islands. They will also read selected chapters from Sean Carroll’s text on the burgeoning field of Evolutionary Developmental Biology (Evo Devo), ''Endless Forms Most Beautiful''. We will also consider Darwinian fitness in human populations. Labs will include an investigation of avian comparative anatomy and a study of students’ own mitochondrial DNA using molecular techniques such as PCR and gel electrophoresis.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Fluid Mechanics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students taking this course will learn about fluid statics and dynamics. Dimensional analysis and derivation of Bernoulli and Navier-Stokes equations will provide the methods necessary for solving problems.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Comparative Government & Politics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | [[Tian-shin]]<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-comparative-government-and-politics AP Comparative Government & Politics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Macroeconomics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-macroeconomics AP Macroeconomics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Microeconomics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-microeconomics AP Microeconomics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Psychology<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-psychology AP Psychology] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP US Government & Politics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-united-states-government-and-politics AP US Government & Politics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Cultural Anthropology<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Anthropologists study humans as both biological and cultural creatures. This scholarly orientation raises many fascinating questions. To what degree does culture shape our actions and ideas? Are we primarily products of biological nature or cultural nurture? Can cultural norms make rational people act irrationally? Are there universal human rights or do cultures dictate what we think is ethical? These debates are critical for understanding human interaction and have significant application in fields ranging from law to medicine. Among the topics considered are: “the mind” and epistemology; discipline, law and rules; human bodies and communication; social taboos; ritual patterns of meaning; notions of cleanliness and defilement; festivals; and mythology. These elements of cultural life will be explored in social settings spanning the globe, but also within our own community at Xavier's. Much of the course attempts to contextualize 20th- century anthropological methods against the foil of postmodern critiques.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Intro Psychology<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this course study a range of explanations for human thought, behavior and emotion. Readings, projects, demonstrations and class discussions facilitate exploration of this fascinating and evolving field. Specifc areas of focus include: the nervous system and brain functions; human development; emotion; learning and memory; social psychology; and addiction. Case studies of psychopathology, as well as the diagnosis and treatment of mental illness, round out the course. Independent research and projects allow students to focus on specifc topics of interest. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Environmental Economics<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is a case-based introduction to using economics to look at some of the major environmental problems in the 21st century. In this topic-driven course, students will learn about the role of market failure in environmental issues, the challenges of pricing environmental goods, and ways in which economic theory can be used to help solve these problems. Topics such as overfishing, global warming, water pollution, and others will be covered from the angles of science and economics. Special consideration of the unique role that social justice plays in many of the topics will be considered as well. Students will be assessed on problem sets, essays, in-class discussions, and an individual research project. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Women's, Gender, and Sexuality Studies<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Pink is for boys and blue is for girls. At least it used to be. We will explore the ways that our everyday lives are guided by socially prescribed gender norms. Through the study of the historical production and contemporary interpretation of the categories of “woman” and “man,” “female” and “male,” “heterosexual” and “homosexual,” we will seek to better under- stand how gender-based inequalities have evolved and are both supported and simultaneously contested in societies across the world. In addition, we will seek to gain a better understanding of the ways that gender, sex, and sexuality inform local, national, and global efforts to improve the lives of individuals and to achieve social justice for entire communities. We also will explore the intersection of sexuality, gender, sex, race, ethnicity, class, and other forms of identity. Through a variety of sources—written documents, social media, film—this course will introduce students to a wide variety of issues across disciplines, including historical, anthropological, medical, legal, and popular culture. We also will explore contemporary uses of social media as sites of research, activism, and networking. </div></div><br />
|style="background-color:#F58104;" | Class is SUPER popular with a Certain brand of young feminist-leaning students but do Not take it if you are trans it is like a small incubator for baby terfs.<br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Critical Race Theory: The American Dream Deferred<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Historically, American society does not recognize race as the language of class. In this discussion-based seminar, students will examine ways in which race and class intersect. Critical race theory eschews the goal of assimilation into current social structure and instead looks at the experience of the “outsider” as a lighthouse that illuminates structural problems within American Society. Students will use Critical Race Theory to analyze historical legal cases—including the nation’s first successful school desegregation in 1931 where Mexican Americans sued San Diego, CA public schools for access and the famous 1957 court-ordered desegre- gation of Little Rock, AR High school—in addition to contemporary legal cases of “reverse discrimination” such as Fisher v. The University of Texas in 2012. Students will ultimately explore the question, “Is the American dream a structural fallacy that has explanation for success but none for failure?” Assignments will consist of selected readings, reflection pieces, article reviews, and a research paper. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Urban Crisis<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“All politics,” Tip O’Neill concluded, “is local.” In this seminar, students will put this oft-cited sentiment to the test by examining the dynamic relationship between local, state, and federal politics. American cities—the key sites of contestation for many policy debates in the decades following WWII—will serve as the lens through which students access the lived experience and ramifications of broader national political trends, events, crises, and movements. Students will deploy the methodological tools of urban history to contemplate the cultural, spatial, and social reality of urban environments, and examine the contingent historical development—and impact—of urban policies on social and economic inequality in modern American cities. Some of the issues covered include suburbanization in Detroit, the War on Poverty in Las Vegas, the War on Crime in New York, and the War on Drugs in Los Angeles.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | The Olympics<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will examine the origins and evolution of the modern Olympic games via the following topics: impact on politics and society, equity and ethics, controversies and scandals, inspirational stories and the role of athletes as national icons, and lessons of sportsmanship. Students will engage with a variety of sources across disciplines. Independent research and analytical writing skills will be emphasized</div></div><br />
|style="background-color:#F58104;" |<br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Collision Repair, Paint, and Refinishing* <br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> Students meet two hours daily for classroom and laboratory instruction. The students receive training in the fundamental and manipulative skills related to auto body repair and acquire the knowledge to become competent in the field of auto body repair. Areas covered are body frames, fender and bumper, removing windows and repairing damaged panels, replacing windows and windshields, welding light metals, filling with lead or plastic, estimating and pricing repair work, and spray painting. This course can be taken a maximum of twice for credit. This course provides instruction and training necessary for I-CAR student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Automotive Technology I: Maintenance and Light Repair<br />
|style="background-color:#D291BC;" | 2<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The course offers students theory and experience in most all phases of automotive drive-train<br />
repair. Students spend approximately 75 percent of their time with hands-on training and the remaining time is devoted to classroom instruction. Shop management and youth leadership are also incorporated into the course of study. This course provides instruction and training necessary for ASE student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Automotive Technology II: Automotive Service<br />
|style="background-color:#D291BC;" | 2<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course is a continuation of Automotive Technology but also includes new concepts and innovations, new engine types, studies of anti-pollutant equipment on automobile engines, and computerized engine analysis. This course provides instruction and training necessary for ASE student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Welding<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course will allow students to fortify and increase their knowledge of welding procedures and skills used in project construction through class assignments and projects. Topics covered may include: oxyfuel cutting/heating/welding, Shielded Metal Arc Welding (SMAW), Gas Metal Arc Welding (GMAW), Flux-cored Arc Welding (FCAW), plasma arc cutting, safety, and metal fabrication. In addition, record keeping, communication, employability, and human relation skills will be<br />
taught. This course will allow students to gain knowledge and skills that promote personal development and career success through involvement in the FFA. This course provides instruction and training necessary for the ASW Certified Welder certification. </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Metal Fabrication*<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This hands-on course will build on skills developed in Welding in the form of guided fabrication projects. Course hours will be split between classroom instruction in reading and creating shop drawings and independent work on instructor approved projects. </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Advanced students in this course are often connected with potential employers in New York City and surrounding areas. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Carpentry<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Drafting<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Bicycle Maintenance and Repair<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Culinary Arts: Desserts and Baked Goods<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Jax]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Culinary Arts: From Soups to Steaks<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Horticulture (Decorative)<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Horticulture (Edible)<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Beekeeping<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History and Religion<br />
|style="background-color:#899499;" | Paganism Through History<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Matt]]<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History and Social Science<br />
|style="background-color:#899499;" | Fashion in History<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“There is something about fashion that can make people very nervous,” remarks Anna Wintour in the 2009 film The September Issue. Fashion studies is an interdisciplinary field, but one that retains a study of the past as central. It asks the question, “Does what people wear matter?” More than any other facet of material culture, an interest in fashion is often dismissed as trivial or seen as an emblem of superficiality. However, clothing represents far more than narcissism or the physiological need to cover oneself for warmth and safety. From headwear to footwear, fashion can communicate what we do, who we think we are or would like to be, where we are from, and what we care about. Fashion can be used as a lens to consider change. Using iconic fashion items from history, this course will explore what they communicate about global cultures, historical moments, social and political status, economic clout, gender, and identity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Vo. Tech<br />
|style="background-color:#899499;" | Regenerative Agriculture<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will explore agricultural practices that aim to have positive environmental impacts, such as improving soil heath, increasing native species diversity and sequestering carbon. It will also explore agricultural practices that aim to have positive social impacts, such as reducing food insecurity, honoring ancestral farming practices and promoting economic wellbeing of local communities. Scientific topics such as conventional versus organic systems, seed banks, closed loop food production, permaculture, soil science, nitrogen cycles and plant physiology will be investigated. Emphasis will be placed on experiential learning on local farms and campus. The course includes a service learning component and potential for research projects. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Ethics<br />
|style="background-color:#899499;" | Medicinal Drugs<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Medicinal chemistry provides a bridge from the periodic table to the array of natural and synthesized biologically active agents available today. The ongoing development of medicinal drugs aims to integrate new scientific discoveries with precision-based strategies for treating individuals as well as large populations. A key goal in the design of new drugs for the pharmaceutical industry is to treat symptoms without the harm of side efects. Moreover, the scale-up and production of medicines are dependent on public health investment, while social and economic factors underpin access. This course will take a deeper look at the major classes of pharmaceutical drugs, including hypertension, high cholesterol, oncology, depression, diabetes, asthma and vaccines. How companies currently distribute drugs, determine pricing and ensure equity of access will be examined. Widely used compounds such as nicotine, nonsteroidal anti-infammatory agents, contraceptives, cannabinoids and pain suppressors will be explored based on their chemical structure and its relationship to function. Lab activities will provide experience with computational drug design, controlled-release drug delivery systems, pharmacokinetics and nuclear medicine.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Nuclear Semiotics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Highly radioactive nuclear materials are an accumulating component of our physical world. These materials will be actively decaying and affecting living things for thousands of years to come, possibly even millions of years. Nuclear semiotics is about the semantics of nuclear science to answer the question: how can humans of the 21st Century warn humans thousands of years from now about the location and nature of these materials? Though this question has been asked since the late 1980’s, by minds including Carl Sagan, there is no conclusive answer to this. Solving the nuclear semiotics problem may involve combining knowledge of materials science, nuclear particle physics, linguistics, symbols and cryptography, artistic expression, data science, engineering, and sociology. This course seeks to explore the fusion of these concepts and develop ideas of how to answer the question: how do we warn our future selves about our current choices? </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Computer Science<br />
|style="background-color:#899499;" | Robotics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this course will learn to use a microcomputer to control output devices and interpret input sensors. Students will complete a series of small projects that will culminate with a working autonomous robot. The initial focus of the course requires students to build and analyze several micro-controlled devices. Students will learn fundamental engineering skills such as programming the microcomputer and building simple electronic circuits. The middle portion of the course will feature the construction of an autonomous robot that uses a microcomputer and several sensors to make navigational decisions. The final weeks of the course will require students to independently research, design and implement a system or systems that will increase the capabilities of their robot. Previous programming experience is recommended, but not required.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Ethics<br />
|style="background-color:#899499;" | Water: The Science and Story of Water Around the World<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How has water and humanity intersected around the world? Using an interdisciplinary lens, explore the science and ethics behind water scarcity and access, the chemistry and ecology of water systems, and the role water plays in literature, art and religion of populations around the world. Students will use current data and news sources to understand the pressing issues surrounding water rights and the intersection with rights for marginalized groups, study primary sources from around the world to examine the way water weaves through religious ritual and artistic expression, and create their own water based installations. Students may also travel to see an Aga Khan exhibit centered on the role of water in Islamic culture. The course will culminate in a final independent project exploring one aspect of water from multiple lenses.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Vo. Tech<br />
|style="background-color:#899499;" | Molecular Gastronomy: The Science of Food<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The “science of food” food may seem like a new fad, but it is really the logical extension of centuries of the study. The understanding of how grapes are transformed into wine and champagne has been known for centuries. The production of cheese by the use of acids, enzymes, and bacteria has likewise been handed down through generations and has only recently been both “lost,” and then “rediscovered.” This class will investigate both the traditional aspects of food science—like how cheese is made or bread is baked—as well as cutting edge ideas such as how apple juice can be made into “caviar” and how shrimp can be made into “noodles.” A significant lab component will allow students to create many of these foods, and laboratories will be held in the school kitchen so that results can be tasted.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Science as Story: Communicating Science in the 21st Century<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is science communication, and how can science storytelling both educate and entertain an audience? In this course, students will learn to define, recognize, and critique common science communication media ranging from TikToks to Ted Talks. Students will practice essential science communication skills including idea/topic generation, script writing and editing, graphics and video design, and hosting/presenting. In each of these skills, research methods will form the foundation of the exploration as students gain expertise in their particular field of science being communicated. Through discussions and readings, students will also work through the ethical framing of these media and engage in case studies involving equity on both the audience and creator sides of the field. By the end of the mod, students will have produced a science communication portfolio by working independently and in small groups, and will share these media products with an online audience platform of their choosing.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Astrobiology: Life Among the Stars<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">We invite you to embark on a journey to explore the field of astrobiology, the study of the origin, evolution, and distribution of life in the universe, on and beyond planet Earth. We will begin our exploration by studying the fundamentals of relevant sciences—physics, astronomy, chemistry, and biology—and will then apply these sciences to understand the potential requirements and limitations of life on Earth as well as on other planets and moons in our solar system. As we learn about historical and current efforts to detect life on these bodies, we will consider objects resident in our own solar system, including Mars, the moons of Jupiter, the moons of Saturn, and other solar system bodies such as Ceres and Pluto. Next, we will expand our view to include other possible abodes of life outside of our solar system as discovered by modern astronomers and modern instrumentation (i.e., the Hubble and Kepler space telescopes). Finally, we will examine the role of fictional alien biology on the human imagination through literature, film, and music.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Performance<br />
|style="background-color:#899499;" | Applied Anatomy in Motion<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course combines the structural dynamics of physiology and dance as a means to investigate how the two disciplines interact. By approaching movement from the perspectives of both science and dance, the student will examine how anatomy informs dance and how dance is an expression of human structures and systems.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Art<br />
|style="background-color:#899499;" | Anatomy and Physiology<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This upper-level biology class explores the complexity of human physiology. Students will be asked to use visual arts and graphic design skills to document many aspects of the mystery and wonder of the human body systems. The course will involve independent research on the systems of students’ choosing, using visual and creative ways to present the information they find. Students will research one of the body systems in its entirety or in detail. The systems to be considered are the nervous, the cardiovascular, the respiratory, the skeletal, the endocrine and muscle, or the digestive, reproductive, and lymphatic systems. Students are required to think independently and devise a final project of their own design that incorporates very clear scientific understanding of the body systems and their form and function.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Phys. Ed<br />
|style="background-color:#899499;" | Yoga as Meditation*<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC - Lauren Briggs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Yoga at Xavier's is taught in several ways, and choosing one is a matter of preference. Yoga is an individual practice and all students are welcome regardless of previous experience. In both types of yoga, joints, muscles and internal organs beneft from movements that stimulate often-neglected areas of the body. You can expect to improve overall mobility, strength and balance and will probably enjoy stress reduction and a greater sense of well-being, too. Yoga as Meditation, a style sometimes referred to as “gentle yoga,” focuses on learning and holding classic asanas (poses), working with the breath (pranayama) and practicing mediation skills in a calm and peaceful environment, allowing the mind and body to quiet. Vinyasa Yoga is for the student who is seeking the same overall benefts as listed above but through a more active sequence of movements.</div></div><br />
|style="background-color:#899499;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot. Noticeably hesistant to correct form of physical mutants in the class. <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Phys. Ed<br />
|style="background-color:#899499;" | Vinyasa Yoga*<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC - Lauren Briggs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Yoga at Xavier's is taught in several ways, and choosing one is a matter of preference. Yoga is an individual practice and all students are welcome regardless of previous experience. In both types of yoga, joints, muscles and internal organs beneft from movements that stimulate often-neglected areas of the body. You can expect to improve overall mobility, strength and balance and will probably enjoy stress reduction and a greater sense of well-being, too. Yoga as Meditation, a style sometimes referred to as “gentle yoga,” focuses on learning and holding classic asanas (poses), working with the breath (pranayama) and practicing mediation skills in a calm and peaceful environment, allowing the mind and body to quiet. Vinyasa Yoga is for the student who is seeking the same overall benefts as listed above but through a more active sequence of movements.</div></div><br />
|style="background-color:#899499;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot. Noticeably hesistant to correct form of physical mutants in the class. <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | The Old Testament<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“In the beginning, God created the heavens and the earth. ...” So begins one of the most infuential books in human history. From ancient times until the present, Jews, Christians and Muslims have grappled with the cosmic questions, universal myths, compelling laws and dramatic narratives of the Hebrew Bible, also known as the Old Testament. It is a book that is both timeless and timely. In this course, students will gain an appreciation of the historical, political and social context from which the Hebrew Bible emerged, and will explore the narratives’ eternal themes, such as creation and destruction, rivalry and loyalty, love and betrayal, doubt and faith, freedom and captivity, and forgiveness and revenge, as well as delve into the ethical and legal teachings that have served as a major foundation of Western civilization.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | The New Testament<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The New Testament, which has been called “the most widely read, quoted, debated, maligned and believed book in Western civilization,” will be the focus of this course. Students will read and explore the New Testament; study the life of Jesus, the travels and letters of Paul, and the book of Revelation; and consider these both in their historical context and in contemporary literature and films.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science & Religion<br />
|style="background-color:#899499;" | Epistemology<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Epistemology is a philosophical term meaning “the study of knowledge.” This course explores how we know what we know about the world around us and within us. Questions engaged over the term include: What is knowledge? What differentiates and connects scientifc, literary, philosophical and artistic ways of knowing? What makes someone good at “knowing”? For that matter, what does it mean to be a student? The class explores how different modes of inquiry and experience can be distinguished from each other and then integrated into our understanding of knowledge. Class materials include readings from the Western philosophical tradition of reason (Plato, Descartes and Kant), the scientifc revolution (Galileo, Newton and Einstein), postmodernism (Illich and Abram) and literature (Dostoyevsky and Woolf). Students will also experience the visual and performing arts, take a night trip to the observatory, and engage in contemplative or meditative traditions, including practices known as “mindfulness” or “mind-body work” (Zen Roshi Jan Chozen Bays).</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | Religion and Popular Culture<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Images, ideas, stereotypes and symbol systems of religion surround us in popular culture, whether in movies, television shows, sports, fashion, the internet, music or literature. From Disney and Harry Potter to Black Panther, from rock ‘n’ roll to hip-hop, the materials for this course will be drawn from a wide range of media. Through the lens of American popular culture, this course introduces students to the academic study of religion by exploring the world’s religions and such topics as the problem of evil, the afterlife, myth and the nature of the sacred. The course will conclude by inviting students to explore an expression of religion and popular culture that deeply interests them.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | Faith and Doubt<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course invites students to an exploration through fiction and personal narrative of the depth and complexity of religious experience in its many forms from traditional belief through skepticism. The texts we will read range from some classics in this field to contemporary cultural selections. We will explore the timeless questions of the human condition, such as self-discovery, sufering, mortality, goodness, faith and doubt, the quest for meaning and the development of a spiritual self. At the end of the term, students will have the opportunity to expound on these themes in their own lives as they write a mini-meditation or spiritual autobiography for their final class paper.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Science<br />
|style="background-color:#899499;" | Science as a Human Activity<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Though often seen as a vast, impersonal enterprise, science depends upon the effort and intelligence of human beings. In this course we will ask fundamental questions about how and why people pursue scientific inquiry. To this end, we will read the works of Francis Bacon, Rene Descartes, and Baruch Spinoza, as well as works by scientists and scholars like Albert Einstein, Sigmund Freud, and Max Weber. We also will consult historians of science such as Thomas Kuhn and Steven Shapin in order to understand science as a social enterprise. In these ways, we will examine the moral and intellectual aspirations of scientific work and the nature of science, above all, as a human activity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Science<br />
|style="background-color:#899499;" | Pox & Pestilence: Disease and Medicine in the United States<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In recent years, historians have begun to understand the impact of disease on the human story and have incorporated it into the more traditional narratives. In common with other parts of the world, the history of the United States has been profoundly influenced by infectious disease. In this course we invite you to come along on a multi-disciplinary journey to explore the impact of disease on the American experience in the 19th and 20th centuries. After exploring the pre-contact situation in the Americas, we will focus on syphilis, smallpox, bacterial sepsis, cholera, yellow fever, malaria, tuberculosis, influenza, polio, HIV/AIDS, COVID-19 and bioterrorism agents such as anthrax. Students will research the role these diseases played in the social, military, and political history of the United States together with the science and medicine that developed in response to them. This is a research seminar and students will use a variety of sources to write a term paper. There is no final examination.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Ethics & Social Sciences<br />
|style="background-color:#899499;" | Feminist Philosophies<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will address feminist moral and political theories. There is no singular ‘feminism’, and feminists disagree with each other on the answers to many of those moral and political claims. We will survey a variety of feminisms, including liberal and radical feminisms, womanism, and others. The course will also cover topics including sex and gender, the nature of oppression, intersectionality (including discussions of race, disability, gender identity, and class), and sexual ethics. Special topics will be chosen by students for further focus, but could include topics such as body shaming, trafficking, or understandings of masculinity</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Ethics & Computer Science<br />
|style="background-color:#899499;" | Silicon Valley Ethics: Case Studies in the High-Tech World<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In a world where technology permeates almost every aspect of our lives — the internet, smartphones, thousands of apps, cloud-based voice systems, screens in our classrooms, artificial intelligence, robotics, the gig economy, video gaming, virtual reality, and numerous other products and applications currently under development — what ethical challenges are raised by their ubiquity? Through a series of case studies in an industry where a well-known motto is “move fast and break things,” this course will explore whether ethical considerations have kept pace with evolving technologies. Where does goodness fit in the knowledge revolution? If we have “outsourced our brain to Google,” as some would claim, have we also outsourced our ethics to it and other big tech companies? When we do a Google search, is Google also searching us? What are the ethical considerations of what companies do with our information in this so-called “surveillance economy”? What are the ethical consequences associated with posting personal information on social media such as Facebook, Instagram, Snapchat or WeChat, and who has access to that information and for what purposes? Using specific case studies drawn from the vast and complicated world of technology, this course will assist students in identifying these various ethical issues and in developing strategies to deal with them. To assist students in identifying some of the ethical challenges that technology presents, the course explores chapters from works such as Ruha Benjamin’s ''Race After Technology'', Safya Noble’s ''Algorithms of Oppression'' or Cathy O’Neil’s ''Weapons of Math Destruction''.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Mathematics & Social Sciences<br />
|style="background-color:#899499;" | Media as a Mirror: A Statistical and Visual Approach to Deconstructing False Narratives<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Who does the media say we are? What does it mean if we are seeing our reflections in a false media mirror? How can we analyze and describe the types of distortions that we are seeing?<br />
<br />
Students will use a statistical and visual art approach to explore the portrayal of various demographics in the media. How are non-dominant groups such as women, racial and ethnic minorities and LGBT people in the media portrayed? How are dominant groups portrayed? How do these stories shape the narratives in which we all live?<br />
<br />
Students will examine metrics such as screen time, dialogue, and casting through statistical tools such as t-tests, chi-square tests, and linear regressions to reveal the underlying distortions in what we see. They will then use visual art techniques such as compilation, montage, and the film essay to explore and deconstruct clichés and stereotypes and create graphs of discovered data, trends and patterns to explore and process the data. The final project will be a self-portrait that explores the ideas of false mirrors versus authentic narrative.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Math & Visual Art<br />
|style="background-color:#899499;" | Ordering Chaos<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This class is an Integrated Studies course designed to explore the connections and overlap between math and art. Using math and visual arts skills, students will explore a variety of questions, assumptions, projects, and theories that challenge stereotypes about math and art. This class aims to build resilience in young scholars who enjoy problem-solving. Students are asked to take academic and intellectual risks by exploring ideas and approaches that are out of their comfort zone and to practice self-motivation by staying engaged with the class activities and homework assignments. This class is open to students of all grades. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Math & Computer Science<br />
|style="background-color:#899499;" | Math Modeling<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The aim of this class is to introduce students to the basic concepts of applied statistics and data science. Students will learn how to clean and filter data, analyze large data sets, how to utilize math modeling programs, data visualizations techniques, and how to create and interpret math models. Though coding will be utilized in this course, no experience with coding is required. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Spanish<br />
|style="background-color:#899499;" | The Sky Is Falling: Magical Realism in Latin American Literature and Beyond<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What if you entered a library with infinite titles, endless corridors, and duplicate copies? What if a speck in the sky turned out to be a ceiling, one that got lower and lower with each passing day? What if your new next-door neighbor seemed remarkably—even eerily—like a future version of yourself? In this course, we will explore the broad umbrella of magical realism, a literary genre in which primarily realistic stories contain some element of magic, as well as varying alternative fictions. Each of our texts will take the recognizable world and add unsolved mysteries, the supernatural, or unexplained phenomena to complicate our understanding of reality, as well as our characters’ experiences and emotional states. We will explore how and why authors choose to manipulate reality and examine the effects on our understanding of a character’s motive and identity. Using a broad scope of writers and traditions, we will address Sigmund Freud’s “uncanny,” as well as Da <br />
Chaon’s “spooky” and Margaret Atwood’s “speculative fiction.” In keeping with magical realism’s roots, we will begin the term with midcentury Latin American writers such as Jorge Luis Borges and Gabriel Garcia Marquez, and then expand our scope to include Kelly Link, Shirley Jackson, and Jean Rhys, among many others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Social Sciences<br />
|style="background-color:#899499;" | Borders: Immigration, Migration and National Boundaries<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines how borders shape our world. Whether these are internal or external, societal or national, we all encounter barriers, but we do not all experience them in the same way. From the establishment of Europe to the discovery of the North American continent, from the Scramble for Africa to the Islamic State, and from the declarations of independence by former colonies, the development of borders has played a key role in geopolitical, religious, racial, and cultural matters. The course looks at nationality, identity, and the meaning of nationalism. It examines the lines drawn by politics, race, religion, class, and education, that lead to the creation of separate communities. This course addresses the nature of rights; natural, national, and human that emanate from the recognition of borders and that determine their legitimacy. Rights give rise to conflict, and when it comes to living spaces, these disputes are even more contentious. <br />
</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Social Sciences<br />
|style="background-color:#899499;" | Decolonizing Women: Shattering Oppression<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the colonization of women in disparate societies around the globe. Whether by imperialist forces, colonial occupation, war, patriarchy, dictatorship, or political movements among others, women have encountered a super-imposed culture that has warranted adaptations and transformations. This in turn has given rise to internal and external resistance. This course seeks to examine the origins and nature of these movements across the globe that have been generated by women for women. Incorporating their specific national, cultural, and traditional histories, this course will enable our students to learn about the impact colonization has had, and in some cases continues to have, on the development of women’s rights in regions far removed from their own. They will be able to make comparisons between their own (native) women’s movements, whether national or regional and establish underlying connections between the movements on the whole. This course will also focus on the question of location; how does the location of a women’s movement influence its success? What relevance do culturally specific laws, common law, and traditional societies have on the emergence of women’s rights and movements from within their communities?</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | Revolutionary Russia<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines Russian history from the Decembrist uprising of 1825 to Stalin’s show trials and the destruction of the Old Bolsheviks in the late 1930s. After a brief survey of autocracy and orthodoxy in Old Russia and westernization under Peter the Great, students focus on the 19th and early 20th centuries, with emphasis on the French Revolution and the Napoleonic Wars, the development of the revolutionary tradition, the rise of Marxism, the Bolshevik Revolution, the Civil War, Marxist-Leninist theory in practice, and Stalin’s dictatorship. Special attention is given to Russian literature, with works by Pushkin, Gogol, Turgenev, Dostoyevsky, Tolstoy, Chekhov and Koestler.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & World Languages<br />
|style="background-color:#899499;" | Roman History for Latin Students<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides a deeper historical background to the world of the authors that students will read in their Latin courses. Beginning with Roman state and urban formation of the early Iron Age, students will use primary and secondary sources to study in depth a selection of topics from the first millennium BCE. Students will also read primary sources in the original Latin language and finish the term with a role-playing opportunity examining the collapse of the Roman Republic.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Religion<br />
|style="background-color:#899499;" | The Holocaust: The Human Capacity for Good and Evil<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How did the Holocaust happen? How could some people commit such heinous crimes, while others remained bystanders, and still others risked their lives to save innocent people? We will consider these questions and many more as we examine the Holocaust from the perspective of the human capacity for good and evil. Discussions of human psychology and behavior, as well as the religious and historical sources of anti-Semitism, will be examined as background to the events of the 1930s and 1940s. We will also consider the memory of the Holocaust in survivor testimony and in more contemporary efforts to memorialize, represent and reckon with the historical events. The course will culminate with a project of each student’s own design.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Queer Literature & Identities<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course approaches American literature with an emphasis on the ways in which non-heterosexual and non-cisgender identities and experiences have been represented in post-Stonewall (post-1969) writing. Despite the actual lived range and combination of gender identity, sexual orientation, and sexual practice, mainstream heterosexuality attempts to confine sexuality to a rigid duality where observation of a person’s secondary sex characteristics are supposed to infer hir (gender neutral pronoun) gender identity and sexual practice. In this context, the term “queer” is invoked to describe any possible combination of gender identity, sexual orientation, and sexual practice that challenges the norm presented by heterosexuality. By reading essays and literature by self-identified queer writers, we will challenge and redefine the concepts of sex, gender, masculinity, femininity, diversity, oppression, and empowerment. By the end of this mod, we will have developed a greater awareness of issues concerning gender and sexual identity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Lockdown<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Prisons are a growth industry today in the United States. This course, through a blending of literature, film, and social sciences, will examine incarceration. By reading novels, memoirs, and poetry and viewing a few films, we can gain a greater appreciation of the psychological effects of these institutions and the power of art as a means of coping with them (touching then on witnessing and testimonials). We will ask questions about ethics and justice, about self-expression, and about social control. The course will include some experiential learning in the form of trips to a nearby jail and a nearby youth court. Some possible titles may include: ''Orange Is the New Black'', ''Gould’s Book of Fish'', ''The Trial'', ''Brothers and Keepers'', ''A Place to Stand'', ''One Day in the Life of Ivan Denisovich'', and ''Zeitoun''.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | Change Agents: Examining Advocacy, Audience, and Impact in Literature and the Arts<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course will focus on the intersection of literature and activism. After defining our key terms in relation to questions of representation, propaganda, branding, and witnessing, we will delve into case studies involving civil rights and social justice, and environmental activism. We will read fiction, poetry, and drama—thinking about questions of audience and impact. In addition, music, performance, and visual arts may provide further contexts to understanding the relationship between literature and activism. Writers may include James Baldwin, Don L. Lee, Alice Walker, Richard Powers, Annie Dillard, etc. Students will choose a cause and investigate a range of artistic acts of activism—and perhaps produce some of their own. Projects may include the potential for collaborations here on campus and beyond.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | History & Literature of the Haitian Revolution<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Few events have been as transformative and far reaching in effect—yet so untaught and unlearned across the humanities—as the Haitian Revolution, which occurred from 1791 to 1804. This interdisciplinary course will investigate the revolution and its legacy and attempt to address, at least in part, the monumental significance of the only successful large-scale slave rebellion in the Atlantic World. By 1804, the newly independent Haitians, freed by their own hands, had won for themselves a unique inheritance: theirs was a society born of the Age of Revolutions and animated by the Enlightenment-inspired language of liberty, but equally theirs was a society deeply rooted in African and Afro-Caribbean slave culture. In its independence, Haiti became the center of a transnational black diaspora as it defended its existence at a time when the United States and European colonial powers viewed racial slavery as the pillar of their burgeoning capital economies. This elective aims to explore these complicated ideas through a variety of texts, digital archives, fiction and nonfiction, literature, and history.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Crossing the Line: U.S.-Mexico Border Literature and Contemporary Politics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What does it mean to live on or near a border, and more importantly, what does it mean to read and write literature about border experiences? In this course, students will explore the U.S.-Mexico border and literature produced “on the line,” what Gloria Anzaldúa describes as “La Frontera.” Students will read works that identify as “border literature” and will be introduced to border studies, discussing themes such as immigration, hybridity, border militarization, and in general, issues concerning U.S-Mexico border politics. Possible authors to be studied: Yuri Herrera, Cormac McCarthy, Nicholas Mainieri, Cristina Henríquez, Luís Albero Urrea, Emma Pérez, Lucretia Guerrero, Sandra Cisneros, Reyna Grande, and Ana Castillo.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Philosophy<br />
|style="background-color:#899499;" | Existentialism<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Existentialist philosophy asks us to think about what it really means to have control over who we are and what we do. In this course, we’ll look at some of the key texts of existentialism, both fictional and nonfictional, focusing on Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. We’ll grapple with some of the biggest questions humans can ask themselves: What makes us who we are? How much choice and control do we have over our lives? What does it even mean to be a person who can think for themselves and interact with the surrounding world? You’ll leave the class not only with a clearer understanding of complex philosophy, but also with a way of thinking about yourself and the world that you can apply every single day.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Music & Performace<br />
|style="background-color:#899499;" | American Musical Theatre<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Musical Theatre is an interdisciplinary and experiential class that will explore both the history and performance elements of American Musical Theatre. Beginning with the 1920s and culminating with present day, students will explore the historical context of a significant musical in a particular decade each week. Students also will perform a number from that musical each week, challenging themselves in the discipline of performance. Over the course of the term, students will gain knowledge of American history through the lens of the performing arts and gain experience in performing in the three elements of musical theatre (song, dance, and spoken word). Public performances will occur throughout the term, including a final project. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Performace<br />
|style="background-color:#899499;" | Play Writing<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Creating the literature of the theatre requires a good ear for the way people communicate, a keen sense of imagination, an understanding of how theatre works, writing skills to give voice to one’s ideas, and speaking ability to give verbal life to written plays. The process demands the general willingness to venture into this specific genre of literature, patience, revisions, and humor. Plays created by this class may be selected by student directors and performed. This course will include reading, writing and theatre exercises to explore themes and topics.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Performace<br />
|style="background-color:#899499;" | Social and Political Theatre<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students study important social and political literature of the theatre that addresses social justice issues, including experiences of war, personal and political freedom, assumptions, stereotypes, and responsibility. Readings may include the works of well‑known playwrights and contemporary playwrights as well some lesser known artists. Classes will include an exploration of how we use the world of theatre to analyze text and character, bringing text to life, and open discussions and reflections about how we can use theatre to bring important topics to light. We will explore our own relationship to themes we discover in the work we read and write as well as the possible meaning to society as a whole. This course will include reading, writing and theatre exercises to explore themes and topics.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performance & Vocational Tech<br />
|style="background-color:#899499;" | Costuming<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An introductory exploration into the areas of costume design and costume construction, this course will highlight primary design elements utilized in costume design for the stage and screen (i.e., line, color, tone, texture, movement, mood composition, balance, and focus). The course will examine historical period silhouette and the art and craft of the stage costume. Practical experience will be given in areas including construction, flat patterning, draping, and fabric manipulation.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Philosophy<br />
|style="background-color:#899499;" | Costuming<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Existentialist philosophy asks us to think about what it really means to have control over who we are and what we do. In this course, we’ll look at some of the key texts of existentialism, both fictional and nonfictional, focusing on Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. We’ll grapple with some of the biggest questions humans can ask themselves: What makes us who we are? How much choice and control do we have over our lives? What does it even mean to be a person who can think for themselves and interact with the surrounding world? You’ll leave the class not only with a clearer understanding of complex philosophy, but also with a way of thinking about yourself and the world that you can apply every single day.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Visual Art<br />
|style="background-color:#899499;" | Graphic Narrative<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The graphic novel is an extended comic book with similar subject matter to—and the sophistication of—traditional novels. By its very nature, the graphic novel challenges our assumptions of what a narrative and novel can be. For those tied to words, the comic offers a challenging visual text that forces us to read in new and surprising ways; much of this course will be about reframing our visual and narrative habits and expectations. While the graphic novel is increasingly mainstream, it often has offered voices from the margins about the margins. Its subject has been everything from the coming-of-age novel to historical memoir to cross-cultural conflict to the darker side of the superhero. We will read a variety of texts with the rigor accorded to more traditional texts while also stretching ourselves to understand the aesthetic visual choices the artist makes. By the end of the term, we will even attempt our own small comics. Texts may include Alan Moore’s ''Watchmen'', Chris Ware’s ''Jimmy: The Smartest Kid on Earth'', Marjane Satrapi’s ''The Complete Persepolis'', Art Spiegelman’s ''The Complete Maus'', Frank Miller’s ''Batman: The Dark Knight Returns'', and others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | The Great Migration<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“They traveled deep into far-flung regions of their own country and in some cases clear across the continent. Thus the Great Migration had more in common with the vast movements of refugees from famine, war, and genocide in other parts of the world, where oppressed people, whether fleeing twenty-first-century Darfur or nineteenth-century Ireland, go great distances, journey across rivers, desserts, and oceans or as far as it takes to reach safety with the hope that life will be better wherever they land.” Isabel Wilkerson, The Warmth of Other Suns: The Epic Story of America’s Great Migration. Students will engage with art, film, literature, and music about the African American exodus from Southern regions of the United States into the northern cities of Chicago, Cleveland, New York City, and others. A few writers that students can expect to read are James Baldwin, Lorraine Hansberry, Toni Morrison, August Wilson, Richard Wright, among others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performance Arts & Vocational Tech<br />
|style="background-color:#899499;" | Puppetry and Props<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This hands-on laboratory course investigates the history, styles, tools, materials and techniques of puppetry. Students will bring imaginative ideas to life by engineering and constructing various puppets forms, experimenting with performative objects, and exploring puppet manipulation as a performer. Note: as part of this class, students will learn the use of small hand and power tools. <br />
</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | Screenwriting<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In recognizing the important role that film has in the life of our culture today, this course focuses on the skills particular to writing in that medium. Using the Robert McKee classic text Story as our guide, we learn about elements of story substance and structure, and we look at principles of story design and style in screenwriting. We also analyze the way these principles reveal themselves in significant modern and classic films, as we read and discuss screenplays ranging from Casablanca to Fruitvale Station. Viewings of these films accompany class discussions. Students complete the course with a portfolio of scenes and the treatment and outline for their own original film.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | Identity<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course explores the intersection of writing and performance through an investigation of personal identity and will be taught collaboratively by instructors who specialize in each area. The course will culminate in a performance of a devised theatre piece of the student’s creation before a live audience. Designed for students with acting experience and a serious commitment to the art form, students will build off their existing skills through in-depth character work and scene study and push their understanding of themselves and acting by exploring their own identity. Students will be encouraged to think theatrically, engaging in a search for the connection between literary themes, historical context, and personal identity. Over the term, the class will gain insight into the roles that race, class, gender, sexual orientation, and faith affects our daily existence and live performance. Lastly, students will experience and examine how live performance interacts with public discourse, civil disobedience, and art.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | The Playwright's Playground<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Theater-making often begins with the playwright’s script — and ends with the work of an entire community of collaborators: directors and actors, literary directors and dramaturgs, designers and stage managers, producers and marketers, community organizations and advocates, and more. Students will consider the following questions in discussions and writing: How do we stage a production in an ethical and responsible way about a community that is not one’s own nor represented by our audiences? Should it be done? Which collaborators are essential to preserving the integrity of the play’s meaning? How do we engage the playwright? How do we engage the communities represented as theater-makers and artists? Students will read plays by and about BIPOC characters, be in conversation with the playwright, and direct readings of Sahar Ullah’s plays, including ''Hijabi Monologues'' and ''The Loudest Voices''</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Vocational Tech<br />
|style="background-color:#899499;" | History Through Food<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
From the Neolithic Revolution through the emergence of the global food markets of the 20th century, this course examines the changing relationship between humans and food. Through a combination of readings, tastings and hands-on cooking, we will examine how food can help us understand various aspects of the<br />
past around the world. Topics include the relationship between food and the economy, food and identity, food and empire, and food and the environment. Come hungry to learn and to eat. We will be reading about, writing about, cooking and tasting food that can help us understand how humans shape what they eat, and how what we eat shapes us.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Music<br />
|style="background-color:#899499;" | Beats, Rhymes, and Narrative<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Hip-hop music’s infuence on popular culture, literature, entertainment and politics is undeniable. This course will examine the relationship between hip-hop and storytelling. Course texts will consist of weekly listening sessions, scholarly articles on hip-hop theory and definitive text on hip-hop culture. We will listen to selected songs by a diverse array of artists and analyze their structures and traditional literary elements. A section of the course will be devoted to the study of a chosen album. Class discussions will examine hip-hop as a modern-day social justice tool and a narrative genre that explores gender, race, spirituality, class and resistance. Writing assignments will consist of original rap songs, which include recordings, and a final epistolary project. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Music<br />
|style="background-color:#899499;" | The Harlem Rennaisance<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Harlem, New York. 1920s. A constellation of African American writers, artists, performers and thinkers are changing American and world culture, pollinating African American art and literature. Between WWI and the Great Depression, Harlem was distinctly in vogue. The Harlem Renaissance became a landmark of American literary, artistic and intellectual history: the emergence of a distinctive modern black literature, a clustering of black artists who sought to give expression to the ambiguous and complex African American experience. The course centers on the distinctive voices and styles of Claude McKay, Jean Toomer, Nellie Larsen, Zora Neale Hurston, James Weldon Johnson, Countee Cullen, Langston Hughes and others. We will honor African American achievements in music and visual arts during that period and examine the Harlem Renaissance’s legacy within the evolution of African American literature and American, Afro-Caribbean and global art and literature. Class will include a field trip to a performance at the Apollo Theatre.</div></div><br />
|style="background-color:#899499;" | <br />
|}<br />
</div></div><br />
<br />
==Extracurriculars ==<br />
<br />
Life at Xavier's is not all classwork and training. Between sports* and student organizations, the students have a wealth of opportunities to choose from to enrich themselves outside the classroom.<br />
<br />
Athletics (The Xavier Titans)<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Fall Season'''<br />
<div class="mw-collapsible-content"><br />
*Cross Country (BV/GV)<br />
*Field Hockey (V)<br />
*Football (V)<br />
*Soccer (BV/GV) (''Coach: [[Kyinha]]'')<br />
*Volleyball (GV)<br />
*Water Polo (BV)<br />
*Fencing (BV/GV)</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Winter Season'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Basketball (BV/GV)<br />
*Ice Hockey (BV/GV) (''Coach: [[Scott]]'')<br />
*Swimming & Diving (BV/GV)<br />
*Wrestling (V)</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Spring Season'''<br />
<div class="mw-collapsible-content"><br />
*Baseball (BV)<br />
*Crew (BV/GV)<br />
*Cycling (V)<br />
*Lacross (BV/GV)<br />
*Softball (GV)<br />
*Tennis (BV/GV)<br />
*Track (BV/GV)<br />
*Water Polo (GV)<br />
*Gymnastics<br />
*Ultimate Frisbee</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Student Organizations'''<br />
<div class="mw-collapsible-content"><br />
<br />
This is a sampling of student organizations that have been found among Xavier's students in the past. Feel free to add new ones that your char might be interested in or organize your own!<br />
<br />
*Classics Club (''Sponsor: [[Matt]]'')<br />
*Science & Tech Club<br />
*Math Club (''Sponsor: [[Kyinha]]'')<br />
*Chess Club (''Sponsor: [[Matt]]'')<br />
*GSA<br />
*Cryptology Club<br />
*Rock Climbing Society ''(Sponsor: [[Jackson]])''<br />
*Robotics Club<br />
*Jewish Student Union<br />
*Christian Fellowship ''(Sponsor: [[Jackson]])''<br />
*Muslim Student Union<br />
*Alianza Latina<br />
*Asian Student Alliance ''(Teacher: [[Tian-shin]])''<br />
*French Club (''Sponsor: [[Matt]]'')<br />
*German Club<br />
*Board Gaming Club <br />
*Women's Forum<br />
*Drumline<br />
*Unaccompanied Minors (a capella group)<br />
*Model UN<br />
*Astronomy Club<br />
*Debate Team<br />
*Mock Trial ''(Teacher: [[Tian-shin]])''<br />
*Peer Tutoring<br />
*Odyssey of the Mind<br />
*Culinary Society<br />
*Movie Club<br />
*Student Council<br />
*Yearbook <br />
*Phoebe's Oracle (Student Newspaper)<br />
*Literary and Arts Magazine <br />
*Archery Club<br />
*Martial Arts Club<br />
*Table-Tennis Club<br />
*Tabletop Society <br />
*Photography Club<br />
*Hiking/Nature Club<br />
*Wonderbolts (Equestrian Club) ''(Sponsor: [[Jackson]])''<br />
*Xavier's Players (Theatre Club)<br />
*Dance Dance Evolution (Dance Team)<br />
*Society for Creative Anachronism Student Group<br />
*Peer Support Group<br />
</div></div><br />
<br />
*Note that because of the vast discrepancy in abilities among the student body, joining an athletic team must be approved both in tryouts and by the Xavier's Ethics board.<br />
<br />
== XS Life ==<br />
<br />
=== XS Dorms ===<br />
<br />
Student dorms at Xavier's are segregated into two wings based on binary identified gender. Students who do not identify with a binary gender, regrettably, have to pick one of the two wings to live in.<br />
<br />
Nearly all dorm rooms are currently set up for two people; in some cases due to availability or extreme power related considerations, students may be assigned a dorm by themselves. <br />
<br />
The dorms at Xavier's are, as dorm rooms go, fairly comfortable. They are quite spacious, and come standard with a pair each of twin beds, dressers, nightstands, desks with bookshelf/hutch, and large closets. There is ample room in the dorms for students to customize their own half of their rooms as they like so long as it does not violate any school regulations.<br />
<br />
Bathrooms in the student dorms are shared with the wing; they have long rows of sinks and toilets on one side and, separately, the rows of showers, in their own enclosed booths with plenty enough space to bring all clothes and toiletries in and have them stay dry.<br />
<br />
The teachers' wing is on a different floor. Teachers who choose to live on campus get their own suites; they vary in size but all come with their own in suite bathrooms and some have small kitchenettes or small sitting areas as well.<br />
<br />
==== Roommate Assignments ====<br />
<br />
ICly, roommates at Xavier's are assigned by the administration, and cannot be specifically requested. Sometimes roommates do not get along; sometimes friction occurs -- usually these students will simply be told to learn how to get along. In cases of '''serious''', persistent hostility/incompatibility that is impacting the students' ability to thrive, the students may request a change of roommate, though they may still not request a ''specific'' new roommate. As of fall term 2023, rooms are triples, not doubles. <br />
<br />
OOCly, though, roommates at Xavier's are not assigned and are handled wholly and entirely by OOC agreement between players. Nobody will ever ''assign'' you a roommate here, so please do not ask. If you would like a PC roommate, you will need to a) see if there is someone who has a PC living in the same wing as yours who does not yet have a roommate and b) see if they are interested in being your roommate. If nobody is available, please either assume your PC has an NPC roommate or, if they are brand-new, may be one of the lucky few who has the double room to themselves until someone new shows up!<br />
<br />
Current PC room assignments at XS ('''check here to see if anyone is free/unassigned if you are looking for a roommate'''):<br />
<br />
*Girls' Wing:<br />
**[[Kelawini]]/[[Nessie]]<br />
**[[Naomi]]/[[Nahida]]<br />
**[[Ashlinn]]<br />
**[[Echo]]/[[Sriyani]]<br />
**[[Emilia]]<br />
**[[Kieow]]<br />
**[[Nevaeh]]<br />
**[[Rhydian]]<br />
**[[Sera]]<br />
**[[Cassy]]<br />
<br />
*Boys' Wing:<br />
**[[Harm]]<br />
**[[Lael]]/[[Avi]]/[[Bryce]]<br />
**[[Spencer]]/[[Dallen]]/[[Roscoe]]<br />
**[[Asva]]<br />
**[[Ford]]<br />
**[[Lucas]]<br />
**[[Marc]]<br />
**[[Quentin]]<br />
<br />
=== Advising at XS ===<br />
<br />
ICly, every student at Xavier's is paired soon upon arrival with an advisor. The job of the advisor is to make sure the student's needs at the school are being met and the student is being properly prepared for graduation/life after Xavier's. This means: helping them figure out their goals after high school, helping them a class and extracurriculars schedule that is manageable for them and will prepare them for a successful graduation, arranging that they get whatever access to coaching and therapy they might require (whether this is powers-based, medical, or psychological.)<br />
<br />
Please note that their advisor is '''not''' required to be the person who gives them powers-based coaching if it is needed, and advisors at Xavier's are, as a general rule, '''not''' selected based on similar powersets to students. When possible, students are matched with advisors based on personality and cultural competency -- meaning they try hard to pair students to advisors they think they'll get along with and talk to, not just advisors who can train them to use their powers.<br />
<br />
OOCly, similarly to roommates, advisors at Xavier's are not assigned and are handled wholly and entirely by OOC agreement between players. Nobody will ever ''assign'' you an advisor here, so please do not ask. If you would like a PC advisor, you will need to see if there is someone who has a PC faculty or X-Man who is interested in being your student's advisor. If nobody is available, '''please assume your PC has an NPC advisor''' -- there is no situation, period, where a student will not have an advisor, so do not RP that they have not been assigned one.<br />
<br />
When asking about advisor/advisee relationships, it is a good idea to check in OOCly and make sure you are on the same page about what you all want OOCly out of that RP relationship -- some people might want to actually roleplay out advising sessions on camera while other people are not interested in that genre of scenes and might only want that as a background to inform your characters' relationship for other types of scenes, and it is better not to set yourself up for frustration if you want very different things!<br />
<br />
Mentor Assignments:<br />
<br />
*[[Jax]] - [[Harm]], [[Lael]]<br />
*[[Joshua]] - [[Spencer]], [[Roscoe]]<br />
*[[Kyinha]] - [[Avi]], [[Nessie]]<br />
*[[Maya]] - [[Naomi]]<br />
<br />
(OOCly) Unassigned Students (remember that ICly, these students will still have an advisor, they will just be an NPC until you choose to pair with a PC advisor):<br />
<br />
*[[Ashlinn]]<br />
*[[Asva]]<br />
*[[Bryce]]<br />
*[[Cassy]]<br />
*[[Dallen]]<br />
*[[Echo]]<br />
*[[Emilia]]<br />
*[[Ford]]<br />
*[[Kelawini]]<br />
*[[Kieow]]<br />
*[[Lucas]]<br />
*[[Marc]]<br />
*[[Nahida]]<br />
*[[Nevaeh]]<br />
*[[Quentin]]<br />
*[[Rhydian]]<br />
*[[Sera]]<br />
*[[Sriyani]]<br />
<br />
=== Dining at XS ===<br />
<br />
The kitchen is run by Savita Chavan, who has been the cook for many, many years at XS. She is fully human; her daughter was a mutant who graduated long ago.<br />
<br />
Meals happen on a set schedule (breakfast at 7 am, lunch around 12/1p, dinner around 6:30; shifted an hour later on weekends), but there are always plenty of snacks and leftovers kept around the extensive pantry for students who need more food in between meals.<br />
<br />
Xavier's does its best to cater to the wide variety of cultural and physiological needs of its students. The dining hall is NOT a restaurant or cafeteria with a full menu that kids can order from it's a school dining hall. <br />
<br />
Mealtimes generally include one meat and one vegan entree with a number of sides that students can pick and choose from to make their own meal as best suits them. Entrees and sides at a given meal will generally all be along a similar cuisine for ease of mixing and matching, with a wide range of dietary choices represented among the available options. While Savita's specialty is South Indian food, she tends to ''try'' and cater her cooking to the (predominately whiter, more American) palate of the school body; though there's a wide variety of recipes on rotation, they skew towards Things That An Uncertain Immigrant Thinks Would Be Inoffensive To A Wide Audience Of American Kids. Less often palak paneer, more often ravioli.<br />
<br />
=== XS Tech ===<br />
<br />
*There is wifi everywhere throughout the mansion and covering a good portion of the grounds around the mansion. It reaches down to the boathouse and docks, but peters out soon into the woods.<br />
*The computer lab is open 24/7, with many machines available for students who do not have their own personal computers. It is well-equipped with computers, scanners, and printers for all students' computing needs.<br />
*All students are required to have smartphones. Students may not use cell phones during class, but must keep their phones with them at all times when they are signed out to leave school grounds. They are expected to use the cell phones in emergencies; they are all equipped with a 'panic button' which will send an alert with the student's location to the school, dispatching available X-types to respond. Hitting the panic button OUTSIDE of actual crises is a severe infraction and will result in disciplinary action.<br />
**Students are welcome to see the school's IT department if they have their own appropriately capable cellphone they would prefer to keep and use; they will install a similar panic-button app for them. Students who do not have/cannot afford their own phone will be provided one by the school.<br />
*All students, staff, and faculty receive Xavier's email addresses. The default format is first initial-lastname at xaviers.edu . So, e.g., Daiki Komatsu is dkomatsu@xaviers.edu. Alumnae keep their Xavier's email address for as long as they stay active with it; they can contact the school sysadmin to reinstate it if they let it go idle and it is deleted.<br />
**Staff, faculty, and alumnae are allowed to pick up to two mail aliases for their email as well. So, e.g., Jackson, in addition to being jholland@xaviers.edu, can also be reached by jax@xaviers.edu or littlemisssunshine@xaviers.edu. Mail aliases must have some modicum of propriety; nothing vulgar or profane will be allowed.<br />
*Xavier's internal network has extensive online support for all academics. Students can log in to check their class syllabus, assignments, announcements from teachers (which will generally also come with email notification), class discussions, lecture notes, grades, calendars, and any other media that the teacher has posted to help with class.<br />
**All teachers of academic classes are given instruction in how to use this system when they start teaching; it is pretty simple and intuitive and does not require much tech savvy. Teachers are ''required'' to post their syllabus and assignments, at the least, here.<br />
**For this reason, not knowing about assignments is never an excuse; if class is missed, the week's assignments and topics are posted online and all students have plenty of internet access. A teacher forgetting to post an assignment, however, ''is'' an excuse, so teachers should get used to being on the ball with this.<br />
*Xavier's sysadmin is very On The Ball, although nobody seems to ever have seen him. Any and all network problems can be directed to cerebro@xaviers.edu, though, and tend to be answered uncannily quickly. The network does not inherently have any constraints on it for things like file sharing and porn and general Misbehavior, but students will find that things outside of the school's Acceptable Use Policy (things like: attempted hacking, illegal activity, using obnoxious amounts of bandwith nonessentially, etc. ) are quickly discovered and quashed.<br />
*Students -- or malicious outsiders! -- will also find that their network is ''remarkably'' secure and resistant to malicious tampering and intrusion. Students attempting to test the network's security will even occasionally receive an email offering advice, and explaining what they did wrong, along with a suggestion that should they wish to practice their "1337 haxx0r skillz" they should take one of the many CS classes offered by the school.<br />
<br />
=== The Neighborhood, and Beyond ===<br />
<br />
Xavier's School is located in the town of Salem Center, a town of around 5000 people in Westchester county. Salem is a small and close-knit community, the type of place guidebooks probably call "charming" or "quaint". Its town center makes a deliberate effort to retain the same general feel it has kept for generations, old-fashioned storefronts and cobbled streets with a lot of eye for aesthetic and very little thought for accessibility. While there are some things to do in town -- an arcade, a diner that's popular with the students, a roller skating rink, a small movie theatre -- in honesty the primary recreational activities of the youth who live there are Getting High Behind the roller skating rink, movie theatre, etc. The Weirdo School up at the old Xavier place is something of an open secret in town; while people don't know for sure the full scope of the school they are well aware that there's a Higher Proportion Than Usual of freaks that come into town from there and have grown to a grudging mutual tolerance.<br />
<br />
At just under a mile from campus, getting to the town center is a middling walk on a pleasant day, or a very quick bike or car trip. <br />
<br />
Westchester County is just north of the Bronx. In zero-traffic conditions, it takes approximately an hour by car to get from the school to Manhattan -- in most ''actual'' New York City congestion situations, tack ''at least'' an extra half an hour onto that. Public transit is a more hit or miss prospect -- the school is served by commuter rail; the schedule is geared around people getting to and from day jobs in the city and not to the needs or desires of people wanting to get FROM Westchester TO the city on an after-school/weekend schedule. <br />
<br />
Timed correctly, the trip from Salem Center to Grand Central Station by train is often quicker than sitting in traffic and will run about an hour as well -- however on top of that needs to be factored in time to get ''from'' downtown Manhattan to wherever people ''actually'' want to be, as well as the fact that the train runs extremely intermittently on weekends and does not run late at night. The trip by buses (which are necessary to get back in between trains) requires several transfers and can take well over 2 hours from downtown, depending on transfer times and how behind the buses are.<br />
<br />
===Additional Trivia===<br />
The school colours are blue and yellow, though Xavier's branded apparel comes in different colours as well. <br />
<br />
The school teams are the Titans -- the mascot, when it is brought out, does not look ''much'' like a Greek god, but that's how it goes.<br />
<br />
The school motto is ''mutatis mutandis''. <br />
<br />
== Roster ==<br />
<br />
These are the current PCs who have some affiliation with Xavier's.<br />
<br />
*Faculty<br />
**[[Maya]] Mukhopadhyay<br />
*Faculty/X-Men<br />
**[[Charles]] Xavier<br />
**[[Jax]] Holland '10<br />
**Roberto "[[Kyinha]]" da Costa<br />
**[[Matt]] Tessier<br />
**[[Scott]] Summers '95<br />
**Hua [[Tian-shin]]<br />
*Staff<br />
**[[Cerebro]]<br />
*Students<br />
**[[Ashlinn]] Karibeanas<br />
**[[Asva]] Runí Tøro<br />
**[[Avi]] Micah Williams<br />
**[[Emilia]] Romanova<br />
**Rutherford "[[Ford]]" Reagan Rand Stonegate II<br />
**[[Leonidas]] Beauregard Thigpen<br />
**[[Bryce]] Layton Allred<br />
**[[Cassy]] Villeneuve<br />
**[[Dallen]] Elijah Allred<br />
**Ziyin "[[Echo]]" Lin<br />
**[[Harm]] Sun<br />
**[[Kelawini]] Māhoe<br />
**Sumalee "[[Kieow]]" Suphamongkhon<br />
**[[Lael]] Isaiah Winters<br />
**[[Lucas]] DiLaurentis<br />
**Marcellus Momprimier Marquette ([[Marc]])<br />
**[[Naomi]] Winters<br />
**[[Nessie]] Grace Pelayo<br />
**[[Paz]] Sepulveda<br />
**Quintavius Quirinius "[[Quentin]]" Quire<br />
**[[Roscoe]] Brendan Vo<br />
**[[Rhydian]] Lovkwood<br />
**[[Sera]] Tessier<br />
**[[Spencer]] Holland<br />
*X-Men<br />
**Clarice Ferguson ([[Blink]])<br />
**[[Daiki]] Komatsu '15<br />
**[[Joshua]] Salinas<br />
**[[Kitty]] Pryde '12<br />
**[[Shane]] Holland '16<br />
*Former Students<br />
**[[Anette]] Eccleston '10<br />
**Victor Borkowski ([[Anole]]) '16<br />
**[[B]] Holland '16<br />
**[[Desi]] Tessier '16<br />
**[[Gaétan]] Tessier<br />
**[[Kavalam]] Ramakrishna Neelakantan<br />
**[[K.C.]] Love '20<br />
**[[Kisha]] Dorogoi '17<br />
**[[Lyric]] Sagal Dirie '17<br />
**Taylor [[Marinov]] '20<br />
**[[Nanami]] Māhoe<br />
**[[Nick]] Thanh Gleason '17<br />
**[[Peter]] Parker '16<br />
**[[Rasa]] Djalili '15<br />
**[[Taylor]] Allen '17<br />
<br />
[[Category:Factions]][[Category:Xavier's School]][[Category:Information]] [[Category:In-Game Universe]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Xavier%27s_School&diff=25974Xavier's School2024-03-25T20:47:40Z<p>Borg: /* Advising at XS */</p>
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== Purpose ==<br />
<br />
Located outside Salem Center in Westchester County, New York, Xavier's School for Gifted Youngsters is publicly known as a prestigious boarding school, founded in 1992 and providing an outstanding college preparatory education to middle- and high-school students. With a rigorous academic curriculum and a low student-to-teacher ratio, Xavier's sends its students on to the best colleges in the country.<br />
<br />
The school's true purpose is much more secretive -- Founded by its current headmaster, Charles Xavier, in his family's ancestral home, the school serves as a safe haven and training ground for young mutants to learn to cope with and control their powers. Alongside more typical high school classes, Xavier's students receive instruction and guidance from the faculty in responsible use of powers, the ethics of living with them, and how to eventually make their way back out into the world.<br />
<br />
== Recruitment ==<br />
<br />
Xavier's is ''not'' publicly known to be a mutant school, and its students as welll as its faculty are found by proactive recruitment.<br />
<br />
The school is intended to help students who ''cannot'' attend school due to the danger posed from their mutations. Please keep that in mind when crafting your characters' backstory -- the overwhelming majority of their students are there because they need help to learn to control their powers, and were unable to go to their previous schools. If your character has a mutation that is under control and is not experiencing difficulties at their school, it is ''very unlikely'' that they would be offered a place at Xavier's.<br />
<br />
The sole exceptions are: <br />
<br />
a) mutant students from very wealthy families, who are, occasionally, offered spots at Xavier's even if their powers are not posing them any trouble -- with nearly all their students on scholarship, it's helpful to have a ''few'' students who are actually paying tuition.<br />
<br />
b) immediate family of ''current faculty'' (children, siblings) who are -- if they wish -- allowed to attend the school even if they do not require its specialized accomodations. Weirdly enough, very few human relatives actively ''want'' to go to Freak School, so this is rare.<br />
<br />
Faculty tend to be recruited on recommendation/word of mouth. It is ''not'' required to be a mutant to teach at Xavier's, but, obviously, it is required to be positively disposed towards them.<br />
<br />
OOC Note: Keep in mind that Xavier's is a middle/high school, ''not'' a shelter for wayward or distressed mutants. If you would like a character who is taking ''refuge'' at Xavier's, getting help learning to control their powers at Xavier's, etc. '''you need to make a teenage, student character'''. Your adult ''will not'' be accepted to train and learn at Xavier's, regardless of their own perceived need.<br />
<br />
== Schedule ==<br />
<br />
The school year at [[Xavier's School|Xavier's]] is divided into three terms. Breaks fall between terms, with summer term falling for two months beginning in early June. Though classes are not in session, the school is open residentially through all breaks. Students must have permission from their legal guardians to remain at school during breaks and holidays, including summer term. During summer term, an abbreviated class schedule is in place for those students needing remedial/make-up classes, or those enrolled in elective summer school courses.<br />
<br />
====Daily Class Schedule====<br />
<br />
<div class="mw-collapsible mw-collapsed">Class Schedule<br />
<div class="mw-collapsible-content"><br />
{| cellpadding="10" class="wikitable"<br />
!style="color:#FFFFFF; background-color:#000000;" | Monday<br />
!style="color:#FFFFFF; background-color:#000000;" | Tuesday<br />
!style="color:#FFFFFF; background-color:#000000;" | Wednesday<br />
!style="color:#FFFFFF; background-color:#000000;" | Thursday<br />
!style="color:#FFFFFF; background-color:#000000;" | Friday<br />
|-<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|-<br />
|style="background-color:#CDB5CD;" | 8:00 - 8:45<br />
Class A<br />
|style="background-color:#CDB5CD;" rowspan="2" | 8:00 - 9:15<br />
Class A<br />
|style="background-color:#74BBFB;" rowspan="2" | 8:00 - 9:15<br />
Class C<br />
|style="background-color:#CDB5CD;" rowspan="2" | 8:00 - 9:15<br />
Class A<br />
|style="background-color:#74BBFB;" rowspan="2" | 8:00 - 9:15<br />
Class C<br />
|-<br />
|style="background-color:#7BCC70;" | 8:55 - 9:40<br />
Class B<br />
|-<br />
|style="background-color:#B0B0B0;" | 9:45-10:15<br />
Study/Break<br />
|style="background-color:#7BCC70;" rowspan="2" | 9:25 - 10:40<br />
Class B<br />
|style="background-color:#FBA16C;" rowspan="2" | 9:25 - 10:40<br />
Class D<br />
|style="background-color:#7BCC70;" rowspan="2" | 9:25 - 10:40<br />
Class B<br />
|style="background-color:#FBA16C;" rowspan="2" | 9:25 - 10:40<br />
Class D<br />
|-<br />
|style="background-color:#74BBFB;" | 10:20 - 11:05<br />
Class C<br />
|-<br />
|style="background-color:#FBA16C;" | 11:15 - 12:00<br />
Class D<br />
|style="background-color:#B0B0B0;" | 9:45-10:15<br />
Assembly/Break<br />
|style="background-color:#B0B0B0;" | 10:50 - 11:35<br />
Study/Break<br />
|style="background-color:#B0B0B0;" | 10:50 - 11:35<br />
Assembly/Break<br />
|style="background-color:#B0B0B0;" | 9:45 - 10:15<br />
Advising<br />
|-<br />
|style="background-color:#B0B0B0;" | 12:10 - 12:55<br />
Lunch<br />
|style="background-color:#FFCC11;" rowspan="2" | 11:45 - 13:00<br />
Class F<br />
|style="background-color:#D44942;" rowspan="2" | 11:45 - 13:00<br />
Class E<br />
|style="background-color:#FFCC11;" rowspan="2" | 11:45 - 13:00<br />
Class F<br />
|style="background-color:#D44942;" rowspan="2" | 11:45 - 13:00<br />
Class E<br />
|-<br />
|style="background-color:#D44942;" | 13:05 - 13:50<br />
Class E<br />
|-<br />
|style="background-color:#FFCC11;" | 14:00 - 14:45<br />
Class F<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|-<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:00 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:00 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|-<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|}<br />
</div></div><br />
<br />
====Academic Calendar, 2023-2024====<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Summer Term 2023'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
June 26 (Monday) - Summer session faculty arrival<br />
June 27 (Tuesday) - Summer session students return<br />
June 28 (Wednesday) - Summer session classes begin<br />
August 21-25 (Monday-Friday) - Exam week; special class schedule for exam period<br />
August 25 (Friday) - Summer term ends<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Fall Term 2023'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
August 28-19 (Monday-Tuesday) - New faculty orientation<br />
August 31- September 1 (Thursday-Friday) - Faculty meetings<br />
September 2-3 (Saturday-Sunday) - New Student Orientation<br />
September 4 (Monday) - Labor Day; Returning Students Must Check-in (by 6 pm)<br />
September 5 (Tuesday) - Required Opening of School Assembly; Classes Begin<br />
September 15 (Monday) - classes as usual - Rosh Hoshanah begins at sundown <br />
September 25 (Monday) - No classes - Yom Kippur (begins at sundown on Sept. 24)<br />
October 6-8 (Friday-Monday) - Family Weekend (No classes Monday)<br />
October 12-13 (Thursday-Friday) - Midterms<br />
October 28 (Saturday) - Halloween Dance (Casual)<br />
November 10 (Friday) - Last day of Fall Term classes<br />
November 13-17 (Monday-Friday) - Exam week; special class schedule for exam period<br />
November 17 (Friday) - Last day of Fall Term; Thanksgiving vacation begins<br />
November 21 (Tuesday) - Fall term grades/reports due (Faculty)<br />
November 22 (Wednesday) - Fall term academic review meeting, 9:00-13:00 (Faculty)<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Winter Term 2023-2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
December 3 (Sunday) - Thanksgiving vacation ends; students must return and check in before 6 pm.<br />
December 4 (Monday) - Winter term classes begin<br />
December 16 (Thursday) - Winter Ball (Formal)<br />
December 15 (Friday) - Half-day of classes; Winter vacation begins after classes end<br />
January 2 (Tuesday) - Winter vacation ends; students must return and check in before 6 pm.<br />
January 3 (Wednesday) - Classes resume<br />
January 11-12 (Thursday-Friday) - Midterms<br />
January 15 (Monday) - No Classes - Martin Luther King, Jr. Day. Mandatory all-school assembly, 9:45-10:45.<br />
February 5-6 (Monday-Tuesday) - No Classes - Mid-Winter Holiday<br />
February 10 (Saturday) - Valentine's Dance (Semi-Formal)<br />
March 8 (Friday) - Last day of Winter Term Classes<br />
March 11-15 (Monday-Friday) - Exam week; special class schedule for exam period<br />
March 15 (Friday) - Last day of winter term; break begins once exams end<br />
March 19 (Tuesday) - Winter term grades/reports due (Faculty)<br />
March 20 (Wednesday) - Winter term academic review meeting, 9:00-13:00 (Faculty)<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Spring Term 2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
March 25 (Monday) - Spring vacation ends; students must return and check in before 6 pm.<br />
March 26 (Tuesday) - Spring term classes begin<br />
April 1 (Monday) - Mid spring holiday, no classes<br />
April 26-27 (Thursday-Friday) - Midterms<br />
May 6-10 (Monday-Friday) - AP exams<br />
May 13-17 (Monday-Friday) - AP exams<br />
May 24 (Friday) - Spring Ball (Formal)<br />
May 24 (Friday) - Last day of Spring Term Classes<br />
May 27-June 31 (Monday-Friday) - Exam week; special class schedule for exam period<br />
May 31 (Friday) - Vacation begins after exams end.<br />
June 1 (Saturday) - Senior-Faculty Dinner<br />
June 1 (Saturday) - Senior academic review meeting, 9:00-13:00 (Faculty)<br />
June 2 (Sunday) - Commencement<br />
June 4 (Tuesday) - Spring term grades/reports due (Faculty)<br />
June 5 (Wednesday) - Spring term academic review meeting, 9:00-13:00 (Faculty)<br />
June 7-9 (Friday-Sunday) - Alumni reunions<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Summer Term 2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
June 24 (Monday) - Summer session faculty arrival<br />
June 25 (Tuesday) - Summer session students return<br />
June 26 (Wednesday) - Summer session classes begin<br />
August 19-23 (Monday-Friday) - Exam week; special class schedule for exam period<br />
August 23 (Friday) - Summer term ends<br />
</pre><br />
</div></div><br />
<br />
== XS School Rules ==<br />
<br />
ICly, all students at Xavier's are expected to be familiar with the rules and follow them while they are living at and attending the school. OOCly, clearly, people break rules and we do not expect all characters to be studious and well-behaved at all times! Just keep in mind that they have teachers who are telepaths, and boarding schools are highly prone to a busily turning gossip mill. There are things that are easy to get away with and things that are likely to be discovered; don't be surprised if your char's frequent class-skipping or curfew-breaking or bullying lands them in hot water with the school administration.<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Major Infractions'''<br />
<div class="mw-collapsible-content"><br />
<br />
'''Major infractions will result in more severe disciplinary action. Choosing to remain present while violations of any school policies are occurring may also result in disciplinary action.'''<br />
<br />
*A large part of Xavier's safety lies in its discretion. Under no circumstances should information about the school's mutant status or the X-Men or the mutations of anyone associated with the school be divulged. If students believe they have found other children who would benefit from schooling at Xavier's, they should bring this to faculty attention rather than extending any sort of information or invitation themselves.<br />
<br />
*Violence of any sort is prohibited at Xavier's.<br />
<br />
*Hazing or bullying of any kind will not be tolerated at Xavier's. Hazing is defined as harassing, intimidating, bullying, or coercing another student with the purpose or result of embarrassment, disturbance, or humiliation. Bullying or discriminatory behaviour will not be tolerated. <br />
<br />
*Leaving school grounds without permission. All students must sign out with and be cleared by the faculty member on-duty before leaving school grounds at any time. There is no requirement for a chaperone when leaving campus under normal circumstances. However, if there is a crisis students must be attended by a faculty chaperone or a guardian.<br />
<br />
*Purchasing, possessing, using, or distributing any illicit or illegal drug, any prescription drug in a manner inconsistent with the instructions of the prescribing physician, or legal over-the-counter drugs for purposes other than legitimate medical treatment.<br />
<br />
*Purchasing, possessing, drinking or being under the influence of alcoholic beverages.<br />
<br />
*Dishonest acts of any kind, including cheating, plagiarizing, and other forms of academic dishonesty.<br />
<br />
*Xavier's is a safe location for mutants to live and explore their powers free of the judgement and hostility encountered in the rest of the world. Students are encouraged to train and practice and explore responsible use of their powers while at the school. Use of mutant powers in malicious or destructive manners, whether towards persons, creatures, or property, is never acceptable and will be dealt with strictly.<br />
<br />
*ALL out of school visitors, including family members, must be cleared by a faculty member and signed in with security while they are on school grounds.<br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Additional Policies'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Students are not permitted to possess weapons or firearms of any sort, including BB guns. Permitted use of weapons during athletic activities and training sessions is allowed only under the supervision of a faculty member.<br />
<br />
*Gambling for money is prohibited.<br />
<br />
*Students are required to attend all their scheduled appointments punctually, including classes, assemblies, athletic sessions, or meetings with their adviser. Students who are ill and unable to attend their appointments must report to the medical bay; only Health Services staff may excuse students for medical purposes. Students with other schedule conflicts must receive a note, in writing, from a faculty member excusing them from their school duties.<br />
<br />
*All Xavier's students are issued a cellphone for emergency use. Students leaving school grounds must bring their school-issued cell phone with them at all times. Xavier's cellphones come with a 'panic button' that alerts the school if students find themselves in trouble. Students are expected to utilize this if they are in danger: casual misuse of the panic button outside of emergencies will result in disciplinary action.<br />
<br />
*All students are allowed access to the equipment in the computer lab and, for those with their own computers, internet connections are available in all dorms and wireless internet throughout the school grounds. All students utilizing school technology resources must comply with the acceptable use policy at all times. (Typical regulations about responsible use, prohibiting fraud, pirating, account sharing, malicious hacking, any illegal activities.)<br />
<br />
*Sunday through Thursday, students under the age of 16 are required to be on school grounds by 8 p.m. and in the mansion building by 10:30 p.m. Students over the age of 16 are required to be on school grounds by 9 p.m. and in the mansion building by midnight. On Friday and Saturday nights, students over the age of 16 have no curfew but are still required to follow appropriate sign-out/permission procedures at all times. For students under the age of 16, Friday and Saturday night curfew is extended; students are required to be on campus by midnight, with no requirement to stay in the building. After curfew, students may not leave again before 5 a.m.<br />
<br />
*There is no formal dress code at Xavier's; students are expected to exercise good judgement in the appropriateness of their attire, both in terms of offensiveness and of modesty. Students must change if requested to by a faculty member.<br />
<br />
*Students are not permitted in Cerebro at any time. Students are not permitted anywhere on the second basement level without a faculty escort.<br />
<br />
*Students possessing a valid driver's license are allowed to keep one personal vehicle in the school garage, if they first obtain the written permission from the faculty.<br />
</div></div><br />
<div class="mw-collapsible mw-collapsed">'''Dormitory Rules'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Dormitories have quiet hours to allow students to sleep and study: any period of the day when classes are in session, and after 10 p.m. every night except Fridays and Saturdays.<br />
<br />
*No out-of-school visitors will be allowed on the dormitory floor after 10 p.m. Approved visitors staying overnight at Xavier's will be given a room in the guest wing.<br />
<br />
*Students may only be in their OWN dormitories after curfew. Exceptions may be made only by faculty and RAs.<br />
<br />
*Open flames are not allowed in student dorms, to include candles, matches, incense, lighters, or uses of mutant powers that produce flames. Highly flammable materials may not be stored or used in student dorms. Students may not tamper with smoke detectors or fire alarm systems.<br />
<br />
*Student rooms are required to be kept neat and orderly. Inspections for cleanliness will occur on a regular basis; inspection beyond simple observation is considered a room search and will not occur without dean approval.<br />
<br />
*Pets are permitted to students only with faculty approval. Approved pets are the responsibility of the student to care for and oversee. Approval may be revoked for considerations of hygiene, student safety, and animal welfare.<br />
</div></div><br />
<br />
== Academics ==<br />
<br />
Xavier's School runs on trimesters, with an optional summer term for students who wish to stay at school over the summer. In order to graduate, students must complete at least 60 credits of courses through their four years; in almost all cases, classes count as one credit per trimester. Students must enroll in a minimum of four and maximum of six classes per term, except for summer term.<br />
<br />
*Art - 3 term credits; Must study at least two different disciplines (visual arts, performance, or music.) Normally non-credit performance extracurriculars (e.g. Xavier's Players, Band, Chorus) can fulfill a discipline requirement. Visual arts requirements can be waived by permission of the [[Jax|arts department head]].<br />
*Computer Science: 3 term credits; alternatively can test out. <br />
*English - 11 term credits <br />
*History - 6 term credits; three of which must be U.S. history and three of which must be non-U.S. history.<br />
*Health & Human Development: 2 term credits.<br />
*Language - 9 term credits of one language or 5 each of two; alternatively, can test out. <br />
*Mathematics - 9 term credits <br />
*Philosophy, Ethics, and Religion: 6 term credits<br />
*Physical Education: 2 term credits per year; can use a season of athletics as one term of phys. ed. requirement.<br />
*Science - 6 term credits<br />
*Social Sciences - 1 term credits<br />
*Vocational Tech - 1 term credit<br />
<br />
Additionally, students must successfully complete sixty hours of community service activities through the course of four years. Faculty advisors are available to help students find appropriate service projects. <br />
<br />
'''Note''': The following courses, highlit in red in the course list, are mandatory for all students:<br />
*English - Expository Writing<br />
*Health & Human Development - Teen Health Matters (formerly Health & Human Development. Must be taken first term upon enrolling at Xavier's)<br />
*Health & Human Development - Thriving in Community (formerly Human Sexuality)<br />
*Philosophy, Ethics & Religion - Bioethics - Humanity in a Post-Genomic Era<br />
*Philosophy, Ethics & Religion - Power & Social Responsibility<br />
*Philosophy, Ethics & Religion - The Ethics of Power<br />
*Phys. Ed - Psionic Self-Defense<br />
<br />
'''Note''': Classes marked with an asterisk* can be repeated for credit. Classes without an asterisk may only be taken for credit once. Any classes may always be audited (for no credit) as fits the students' schedule, with permission from the instructor.<br />
<br />
'''Note''': Students taking interdisciplinary classes may choose ''one'' department to apply their credit to. Credit will not be awarded in multiple disciplines for the same class.<br />
<br />
<div class="mw-collapsible mw-collapsed">Xavier's Academic Offerings<br />
<div class="mw-collapsible-content"><br />
{| cellpadding="10" class="wikitable" style="width: 90%;"<br />
!style="color:#FFFFFF; background-color:#000000;" | Department<br />
!style="color:#FFFFFF; background-color:#000000;" | Course<br />
!style="color:#FFFFFF; background-color:#000000;" | Term Length<br />
!style="color:#FFFFFF; background-color:#000000;" | Teacher<br />
!style="color:#FFFFFF; background-color:#000000;" | Class Description<br />
!style="color:#FFFFFF; background-color:#000000;" | Notes<br />
|- <br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Introductory Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Fall)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is designed to give students a vocabulary to further understand and describe the music they will encounter. After beginning the year learning hand-written musical notation, the study of scales, intervals, tonality, harmony, melodic organization, voice leading in two parts, and harmonic dictation ensues. After this study is complete, students will be in a position to knowledgeably describe every aspect of a typical piece of music that they may come across. Ear-training skills are developed through dictation and sight singing. Those taking this course in the fall are encouraged to combine it with Intermediate and Advanced Theory and Composition to form a three-term Advanced Placement Music Theory sequence. Students will begin composing near the end of the term, but it should be noted that most compositional activity will occur in the intermediate & advanced classes.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Intermediate Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Winter)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Continuing from where Introductory Theory & Composition leaves off, this course begins the students’ hands-on compositional development. Small pieces are composed almost nightly as students now begin to demonstrate what they previously learned to recognize and describe. Also in this term, students will compose several larger pieces that will be written for and recorded by classmates. As the term progresses, the chords of Western music are incorporated into their musical vocabulary one by one. Further study in sight singing and ear training help to continue that development. In most years, this term includes a field trip to see the New York Philharmonic in concert.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Advanced Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Spring)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Completing the music theory sequence, the focus for the beginning of this term is on preparation for the AP exam in May. Students study non-dominant seventh chords, applied dominant seventh chords, and musical form before a week of AP prep. After the AP exam, a larger project is decided upon. Past projects have included studying Chopin’s piano preludes, examining poetic meaning in Schubert’s songs, and composing a 3–5 minute work.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Becoming Musical<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course examines the elements that are universal in music and develops the practical skills needed to become functioning musicians. Rhythm, pitch, scales, keys, intervals, and triads are the basic material of the course. By studying a variety of both popular and classical styles, students will discover how composers employ the elements of music to create varied moods and expression. The practical skills of ear training, sight-singing, and dictation as well as the notation of music are integrated into the course. The department encourages students to take private lessons along with this course.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | The Nature of Music<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course offers a basic introduction to music literature, theory, performance, and composition. Music from various cultures and historical periods is examined in an attempt to increase student awareness of the musical languages and practices. Students compose several original compositions, and they also receive instruction on musical instruments. No previous experience in music is required.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Western Music History<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
A one-term survey of Western music history. The course progresses chronologically from classical antiquity to the music of today, exploring along the way the religious, social, historical, and human issues surrounding music and its composition.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | World Music<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In this performing/writing course, we will explore, connect, and engage cultures from different corners of the world through music composition and improvisation. Students will have access to the many traditional instruments owned by the Xavier's Music Department. All participants will share equally in the creative process and an end-of-the-mod performance will highlight the experience.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Popular Music in America<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What is American popular music? How does the rich variety of American popular music styles reflect trends in American society and the major events of American history? Through a series of readings and recordings, students will trace the history of popular music in America across three extended time spans: 1840-1920 (beginning roughly with Stephen Foster and the advent of minstrelsy through ragtime and early blues forms); 1910-1950 (to include New Orleans jazz, syncopated song and dance music, big band, swing and bop, and Chicago jazz); 1950-1980 (including cool jazz, rock and roll, rhythm and blues, British rock, rock, soul, Latin music, and contemporary jazz). Emphasis will be placed on developing understanding and perception of the musical elements of instrumentation, rhythm, melody, harmony, dynamics, texture and form through study of classic recordings from a wide spectrum of popular artists.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Your Musical Brain<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What playlists do you create to accompany you through the parts of your day? How does the music we choose shape the personal and communal tapestry of our daily lives? The Musical Brain explores why music matters so much to us as individuals and as a species. Through reading assignments, listening assignments, and classroom activities we’ll explore the rapidly evolving field of inquiry and research in music perception and cognition. Topics will include the science of sound, the biological origins of music, relationships between music and language, and the sources of music’s emotional impact. </div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Film Scoring<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In this course, students will study film music primarily through compositional exercises, as well as analysis of films from various genres and time periods. The course will begin with an introduction to a wide variety of compositional styles and techniques employed throughout the history of film, including changes resulting from increased technological resources throughout the 20th century. Students will then compose music for film scenes from different genres, such as drama, horror, romance, and action/adventure. Though this course will primarily focus on music from the 20th century to the present, students also will learn about how certain composers connected music to visual images in classical concert music prior to 1900.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Jazz History<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course begins by examining jazz’s mixture of African and European traditions and the subsequent pre-jazz styles of spiritual, blues, and ragtime. It then proceeds with a study of 20th-century jazz styles, beginning with New Orleans and culminating with the multifaceted creations of today’s artists. Along the way the course pays tribute to the work of some of jazz’s most influential innovators, including Louis Armstrong, Duke Ellington, Count Basie, Billie Holiday, Charlie Parker, and Miles Davis. Original recordings, photographs, and videos are used extensively throughout the term.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Songwriting Workshop<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Popular music plays an important role in our modern culture: it can provide an escape from our daily lives and influence our thoughts and actions. MUS480 will begin by exploring popular songs from artists such as Ryan Black, Lady Gaga, Miranda Lambert and Rihanna as well as those of other artists from Motown to the present day. We will study songs from a variety of genres—including jazz, blues, rock, R&B, folk, and country western—as a way of building a foundational understanding of popular music. In addition to frequent songwriting exercises, students will create three original songs in the genre of their choice with particular focus on the musical attributes needed to support both the genre and the specific topic of each song. Students interested in all musical genres are welcome; however, it is expected that all students will be capable and willing to perform at a basic level using their own voice and/or an instrument and/or technology.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Modern Music Making*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is a workshop for students interested in making modern styles of music, primarily through technology. Students will develop their technique, their aesthetic and their ears by working on multiple collaborative and independent projects across a spectrum of musical genres including (but not limited to) pop, hip-hop, EDM, ambient and experimental. There will also be opportunities for live performances, cross-disciplinary collaboration and student-initiated projects. The in-class studio environment will be one of creativity, curiosity and collaboration as students work both together and alongside each other in pursuit of their musical goals.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Music Recording and Mixing*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course will give students hands-on instruction in the craft of recording and mixing music across multiple genres. Through focused discussion, experiential recording and in-depth mixing projects, students will learn the following: foundations of acoustics; aspects of digital recording using a DAW; microphone techniques in a variety of musical circumstances; design and implementation of signal chains in a multi-track environment; proper gain staging techniques; effective use of effects and signal processing; mixing best practices; and the interpersonal nuances of recording. Mixing projects will utilize audio recorded by the class, recordings made at on-campus music events, and stems from professionally recorded studio sessions.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Band*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Band provides students an opportunity to begin and continue instrumental development. Students new to string instruments must take the fall term course "Introduction to Orchestra" before auditioning for placement in an appropriate level of rehearsal: Concert (beginners and intermediate repertoire) and Symphonic (intermediate and advanced repertoire). Percussion Ensemble runs when there are sufficient percussion students and will combine with the other courses for recitals. Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Orchestra*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Orchestra provides students an opportunity to begin and continue instrumental development. Students new to string instruments must take the fall term course "Introduction to Instrumental Music" before auditioning for placement in an appropriate level of rehearsal: String (beginners and intermediate repertoire), Philharmonic (intermediate repertoire), and Symphony (advanced repertoire). Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Chorus*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Chorus provides students an opportunity to begin and continue vocal development. Students new to choral singing must take the fall term course "Introduction to Reading Music" as well as audition for placement in an appropriate level of rehearsal: Treble Choir (beginners and intermediate repertoire, women's voices only), Tenor/Bass (beginners and intermediate repertoire, mens's voices only, does not run all years), and Concert (advanced repertoire, mixed voices). Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | Instructor engages in blatant favoritism, both among classes and within classes. Students who can sight sing are often appointed section leader with no other qualifications. Consistently assigns more rep than can be reasonably learned and memorized, and drops selections within the week of the final concert. <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Jazz Ensemble*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC (instruments) & NPC (vocalists) <br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> This audition-only course is for those students interested in pursuing the study and performance of jazz/popular music. Instrumentalists and vocalists will rehearse separately to master jazz techniques before coming together to work on group improvisation and performance. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the winter term performance and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | Instructor engages in blatant favoritism, both among classes and within classes. Students who can sight sing are often appointed section leader with no other qualifications. Consistently assigns more rep than can be reasonably learned and memorized, and drops selections within the week of the final concert. <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Beginning Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Dance<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
All peoples and cultures dance. This course investigates why we dance as a representation of culture, as a form of communication and expression, and as a way of understanding our world. Students will look at various forms of dance generally and then delve more specifically into works of art that shape American concert and pop culture dance. Students will watch and analyze dance, research dance pioneers, and learn examples of significant and pivotal choreography. The class will learn about and do various forms of dance and will culminate with students using techniques and theories learned to develop their own composition. No prior dance experience needed.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course introduces students to four primary disciplines: ballet, modern, jazz and hip-hop. Basic composition and improvisation skills will be introduced. Little or no previous dance training required.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course focuses on Western concert dance disciplines: ballet, modern and jazz. Composition and improvisation skills will be developed. Previous dance training, which must include ballet, is required. </div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This accelerated course provides advanced dancers with intensive training in concert dance disciplines (ballet, modern, contemporary and jazz). Classes will consist of a warmup, technique and complex choreographed phrases, along with composition and improvisation. Prerequisite: instructor permission. Extensive dance training, which must<br />
include ballet, is required.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to Street Styles*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course introduces students to the culture of hip-hop and a variety of street dance styles under the hip-hop umbrella. Disciplines may include party/social dances, breaking, house, vogue and waacking. Classes will consist of a warmup, historical context, technique and some choreography. </div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | West African Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
The content of this course gives an introduction to basic West African movement, rhythms, and songs. Each class begins with a warm-up to prepare the body for this particular style of movement, followed by movements across the floor, and finally work on specific dances. Students will learn several dances from West Africa, primarily from Nigeria, Mali, Guinea, and the Senegambia regions. Classes are accompanied by live drumming, giving the students the opportunity to understand the unique connection between polyrhythmic timing and the body in motion. While the class focuses on the dances of West Africa it is also a means for understanding the culture of the people.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Moving Your Way<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is a creative movement class designed to introduce the novice dancer to dance in a comfortable learning environment while allowing the experienced dancer to further develop their choreographic tool box. Both novice and experienced dancers will explore and develop creative thinking skills, useful to the learning process. We will look at the different impetus of motion that can be initiated by the stimulus of sound and imagery, as well as external energy forces outside of the kinesthetic realm of the body. The course relies heavily on improvisation as a primary tool for finding one’s own authentic movement quality and is structured to liberate the way we move through space and communicate with each other by freeing up habitual patterns that may be restricting our unconscious and kinesthetic flow of energy.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to the Theatre<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Why do we make live performances? What does it take to create a production? This course explores the foundations of theatre and dance. How the different elements of directing, costume design, scenic design, lighting design, dancing, and acting—combine to create a unified production for an audience. In the process, students will learn the vocabulary of the stage and develop a conceptual framework for creating a performance.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Fundamentals of Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is designed for students with little or no acting experience. By doing exercises in movement and voice production, reading, improvisation, and scenes, a student who is curious about the theatre may determine whether he or she has ability or interest in acting while learning something of the process of characterization — the major responsibility of the actor. The emphasis is on the variety of acting experiences rather than on a polished final product.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This intermediate course focuses on developing and supporting each actor’s unique approaches to performance making and ensemble-building. Vocal and physical training deepens techniques introduced in THR202, empowering students to explore a diverse selection of dramatic texts and develop skills in improvisation and devising. Students may work with “heightened” texts or improvisations that present new challenges in terms of language, physicality, characterization, style or content. Students rehearse, workshop and perform material for each other, becoming increasingly adept at communicating and synthesizing creative ideas.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course offers students the opportunity to build on performance skills acquired throughout their Xavier's career and immerse themselves in a rigorous, thoughtful ensemble process. The class will conduct intensive analysis and rehearsal of either the work of a playwright or devise new performance material together based on the interest of the group. It may culminate in a series of fully explored scenes or in a full-length production.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Choreography*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course investigates choreographing dances in a variety of genres and styles for the stage. Students will be led through explorations and formal exercises to learn how to generate and manipulate movement in clear and innovative fashions. Coursework will culminate in a final presentation of original compositions. Students will also examine and analyze works of professional choreographers to gain a deeper understanding of dance elements and choreographic tools. Ultimately, students will deepen their understanding of movement as a form of communication and expression.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Directing*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course offers the essential theory and practice of stage direction, with particular emphasis on the leadership skills needed to create a constructive ensemble rehearsal environment. Beginning with a series of independent exercises aimed at honing the director’s aesthetic sensibilities and style, the course then invites students to select and direct a short play of their choosing. Students proceed step by step through the entire production process: from play selection, script analysis and casting to the detailed work of a rehearsal period. Along the way, students develop skills in the areas of composition and use of space, picturization, textual interpretation, and collaboration and communication with actors. All plays receive a public performance at the end of the term.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Lighting<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces the fundamentals of lighting design for theatrical and dance productions. Students will learn to use a design concept to make choices about how to express the theme and mood of a play or dance to enhance the storytelling of a production. The course will also enable students to work hands-on with lighting equipment in Theatre and Dance Department spaces as they learn how to manipulate the controllable properties of light: direction, intensity, color, pattern, movement, diffusion, and composition. The course places a heavy emphasis on self and peer critique of work and on revising work.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Set Design<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the design process and elements that inform the scenic designer’s choices when designing for theatrical performances. Focus will be on the use of a conceptual approach to design scenery that coveys the themes and mood of a script and creates a cohesive and effective design for a show. To create designs, the class will use several creative tools, including computer drafting software and the resources of the makerspace. The design process will include several steps, such as written concept statements, visual research, sketching/drafting and model making. The course places a heavy emphasis on self and peer critique of work and on revising work.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Public Speaking<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course offers opportunities to practice speaking in community. Students experiment with writing, preparing and delivering effective and engaging speeches. While investigating communication strategies, students also explore somatic exercises to deepen their own physical and vocal awareness, and manage the anxiety that often accompanies public speaking. We emphasize attention to the dynamic relationship between speaker and audience, and students take an active role in each other’s growth. Students offer one another constructive feedback and gain greater insight into their own public speaking goals. The encouraging and supportive environment fosters greater self-confidence while developing both empathy and leadership skills.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | The Art of Comedy<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Come discover elements of Comedic theatre. Among other things we will explore stand‑up, slapstick and sketch comedy through radio, movies, theatre, performance and street artists. We will ask what humour really means to humanity and where its edges might be. What can we do with fear, excitement, posture, breath, props, light, and sound? During the class you will create a repertory for yourself. No theatre experience required, just a willingness to have deep fun.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Filmmaking<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides practical experience in basic cinematography without dialogue. Using digital video equipment, students learn about the history of filmmaking as well as the use of the camera and editing techniques to create their own short films. Student, amateur and professional film sequences are discussed and analyzed.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Drawing 1: Methods & Materials*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Drawing is fundamentally about learning how to see and how to translate that vision onto paper through a variety of mark-making techniques. Through in-class exercises and formal assignments, students learn the language of drawing and develop skills relating to contour, gesture, and fully rendered compositions. Course concepts include the depiction of three-dimensional form on a two-dimensional plane, use of light and dark contrast, and sighting. Assignments are designed to develop students’ skills in drawing representationally from direct observation and to encourage creative and expressive thinking.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Painting 1: Paint, Palette, and Process*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Develop skills with the basic elements of painting in acrylics as you explore different approaches to generate ideas for paintings. Learn how dots become complex abstract compositions or how the game of Pictionary prompts surreal spaces. Working from both the imagination and observation, specific projects are assigned to facilitate the study of fundamental paint handling, color mixing, and blending. Issues of form and space relationships, composition, and development of ideas are addressed in balance with the student’s desire for self-expression. Class critiques and visits to the Metropolitan Museum of Art complement the actual painting process.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Advanced Drawing, Painting, and Mixed Media*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course builds on the knowledge and skills developed in Drawing I and/or Painting I, while helping students find and express their artistic voice through one medium or a combination of 2D media. This class focuses on thematic subjects and continues to stress the development of concepts and skills. Using painting or drawing, students can create artworks from both the imagination and observation to broaden their definition of what painting or drawing can be. For those students interested in mixed media, they can combine traditional or experimental drawing or painting methods with collage and other techniques. During this course, students are encouraged to design their own projects and to build a portfolio of their artworks. Critiques and virtual visits to the Metropolitan Museum of Art are important components of this course.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Life Drawing*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Drawing realistically has been a revered art ever since the ancients used mark-making to create the illusion of depth on a two-dimensional surface. This course is designed for beginners who want to learn the basics of drawing from life. Students will develop their representational drawing skills using a variety of charcoal media. As the course progresses, students will draw from still life, photographic references, and finally live models. Through a series of demonstrations, in-class drawing, group critiques, and individual assistance from the instructor, students will develop their ability to draw convincingly from life. Focus topics include composition, proportion, value relationships, edge relationships, modeling, materials, and stylization. In-class drawing exercises and assignments will focus on subjects exposed to one-source lighting and will vary in length from quick studies to more developed compositions.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Advanced Studio Art: Portfolio Intensive*<br />
|style="background-color:#17684F;" | 3<br />
|style="background-color:#17684F;" | [[Jax]] & NPCs<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides experienced students a rich opportunity to pursue the successful completion of a professional portfolio of artwork featured in an end-of-term thesis exhibition in the Half Gallery in New York City, team-curated by the class with a contemporary favor. The meaningful study of 21st-century visual culture is infused in the course through visiting artists and the investigation of artists relevant to ongoing studio work in all mediums. Students focus on photography, printmaking, painting, drawing, ceramics and 3-D design. This multimedia studio course requires strong self-direction, a unique studio investment and creative motivation. Students focus on a particular art medium and create multiple works that explore a concept or idea. Under the guidance of the instructor, students will set qualitative and quantitative goals for the term in their chosen studio concentration. Weekly process critiques are an integral part of the course and support ongoing artistic growth. In addition, the instructors meet individually with students for more-specific feedback and to mentor the process. Useful feedback is given to students from Art Department faculty who specialize in their chosen studio discipline to help them develop ideas and offer suggestions. Students may also receive guidance in the development of an art portfolio suitable for college admission criteria.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Graphic Design*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Design shapes how we see and experience information. Those who visually communicate through design have the opportunity to shape the meaning of the images we consume. This course not only addresses the formal, sensory, conceptual, and technical aspects of design, it also encourages students to consider the ethics and design history that have shaped our contemporary visual experiences. Students will use design thinking principles and real-world scenarios to create pieces that will be shared with their communities.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Graphic Design II*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is divided into two parts: practical design application and personal projects. We will begin the course by examining the practices of designers working in today’s market. This includes engaging with visiting designers and illustrators and creating work for a real client. Part two of this class is dedicated to exploring one’s emerging design aesthetic using a breadth of digital media. Students pitch and create their personal projects, which can range from branding to book illustrations. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Architecture I<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce the basic principles of architectural design through a sequence of related projects in drawing, site analysis, and research into precedent, culminating in the design of a space or structure. The design projects will change from Term 1 to Term 3 and will address architectural design in different contexts so that a student wishing to continue with architecture at the advanced level can work with a variety of design issues. With hands-on sketches, drawings, and models, students will explore the issues of a well-planned structure and learn to see the environment in terms of human scale, materials, and the organization of space. Class time will include discussions and demonstrations as well as studio time. There will be a required evening lab. Students often find that this class requires more than the usual amount of homework time.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Architecture II*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Designed as a continuation of Architecture I for students who wish to develop and further expand their ideas. The sequence of projects throughout the term is designed to allow a student to study a range of architectural issues by addressing different contexts—a natural setting and an urban context. This course also will offer the possibility of developing a multidisciplinary project in coordination with work in another class.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Photography I: Appreciating Light, Color, and Theme*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course allows students to channel their excitement and passion for photography into a more intentional and sophisticated image-making process. Using digital cameras, students will gain a highly functional understanding of essential camera skills and<br />
photographic principles and learn to maintain proper exposure, focus, and creative control over the camera. Students will acquire skills in the digital studio including digital workfow management; online portfolio maintenance; Photoshop techniques and inkjet printing methods. Students will also develop their critique skills, learn to frame and present their work in a gallery, and practice writing artist statements. Each exploration challenges students to think conceptually, to shoot creatively, to develop an eye for strong composition and quality of light, and to make images that start conversations. Throughout the term, student photographers develop a vibrant online portfolio based on a series of thematic photo explorations, including identity-based portraiture, abstract, minimalism and Photoshop layers.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Photography II: Beyond the Camera*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Advanced Photography is designed to challenge students to go beyond technical skills and photographic principles to establish a conceptually strong personal photographic style and artistic voice. Through hands-on practice, in-depth critique and weekly assignments, students will develop a refined, concept-driven, professional online portfolio. In-studio learning exercises will continue to challenge students to build their digital camera skills, while out-of-studio assignments will become increasingly more in-depth and creatively challenging. A range of tools will be used including Photoshop, inkjet printers, and an array of studio lighting equipment. Students will produce original work, with special attention to ways in which their technical and aesthetic decisions can clarify their artistic intentions. Photoshop and iMovie are used to explore creative and experimental possibilities for enhancing and manipulating digital photos and video. The course culminates with a self-directed final project, allowing students to practice proposal writing, project development and final presentation, while pursuing work rooted in their own interests and experiences.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Film Photography*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course in analog photography concentrates on the use of 35mm cameras and chemical processing. Students are instructed in proper camera use, basic film exposure, and darkroom familiarity. Weekly meetings are divided into lab and classroom sessions. In the lab, students learn the fundamental tools and techniques of a traditional darkroom; in the classroom, students present their work to gain a fuller understanding of photography as a medium of expression and storytelling. Students can expect to examine the invention of photography and the “flaneur” tradition of 35mm photography as exemplified in the work of artists such as Henri Cartier-Bresson, Helen Levitt, Robert Frank, and many more. Film cameras will be provided for students to explore light-sensitive silver materials. Laboratory instruction in printing fine art images with variable contrast filters will be provided.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Ceramics I: Form & Function*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Xavier's Clay Studio introduces students to methods used to create unique sculpture and tableware. Developing their creative concepts, students will throw on the potter’s wheel, hand build forms, and create a series of pieces over the course of the term, which may include objects such as plates, cups, bowls, teapots and sculpture. Drawing inspiration from contemporary ceramic artists, the class will explore a variety of techniques for surface design, glazing and fring. The teacher will offer innovative and sophisticated approaches that will provide further opportunity for experimentation.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Ceramics II: Molding Meaning*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This advanced course offers a combination of assigned and self-directed projects with a further investigation of working with clay. Building of of skills gained in Ceramics I, students develop a more sophisticated approach to methods and techniques that are used to create forms with clay. Projects such as throwing, hand building, modeling and industrial slip casting will foster individual style and creativity. Students will focus on process and exploration of a broad range of contemporary clay works, functional, industrial and sculptural. Examples of contemporary artists’ pottery and sculpture are used as inspiration for studio assignments. Advanced Ceramics also offers the unique opportunity to study the science and chemistry behind glazing and firing. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Printmaking I: Pop Culture*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The printmaking course is a comprehensive studio experience that emphasizes experimentation and creativity while providing a strong technical basis. Students explore a variety of print processes, including screen printing, block carving, and monotype and letterpress printing. Using surfaces such as linoleum, woodblocks and silk screens, combined with a wide variety of carving tools and inks, students will create a substantial print portfolio that explores such concepts as image reversal, multiplicity, color theory, commercial applications and graphic design. Inspiration for projects includes fonts, portraits, still-life objects, photographs, media references and works by artists of the past and present. Inventive approaches, including T-shirt printing, will also be explored. Film clips and the examination of contemporary printmakers will enrich studio work.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Environmental Sculpture<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The course provides an opportunity to work and think about art on a large scale. Students create scale models of potential larger works that might require months to actually construct. They work outdoors on projects using simple "green" materials to create large pieces that are both objects and activate the space around them. Students are given a variety of prompts and requirements to address when creating their sculptures. For example, themes have been based on ideas about safety vs. danger and transitions. Students in the class are, sometimes for the first time, sawing and hauling logs, hefting rocks, digging holes and generally breaking a sweat to create their visions.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Wearable Art<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this course, students make art that can be worn on the body. Students use traditional jewelry making and sewing materials but also work with non-traditional materials, with a strong focus on concepts and the transformation of materials.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | The Moving Image<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Video art has been described as the “electronic canvas.” In this course, students will learn to use the moving image as an artwork unto itself. Students will be exposed to video art’s unique history, as well as the video art pioneers and contemporaries who have created work outside the traditions of the narrative and documentary. We will explore the technical aspects of video, including using the camera, the software, and the moving image in both traditional and experimental ways. Editing will be done using the digital process of Final Cut Pro, but students may also explore other methods of creating moving images. How, where, and when to present work will also be explored.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Drawing: Otherness & Social Justice<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]] & NPCs<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, students explore drawing using text as primary imagery. Students learn about design and text-based drawing strategies to explore human rights while developing a body of drawings addressing their study. The course is designed to provide students with opportunities to explore fundamental human rights and varying Western/non-Western viewpoints and perspectives through the exploration of art as a vehicle to promote and encourage social change. The course explores the history of political art blending both critique and debate learning opportunities with studio art practices. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Digital Literacy<br />
|style="background-color:#F8EF6C;" | 1<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this introductory course, students become familiar with the basic principles of a personal computer, including the internal hardware, operating system, and software applications. Students gain practice in using key applications such as word processing, spreadsheet, and presentation software, as well as understand literacy issues around the Internet, information, and security, including how to navigate sorting trustworthy sources from unreliable ones online.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Computing and Society<br />
|style="background-color:#F8EF6C;" | 1<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to algorithms and algorithmic thinking through the lens of social and public policy. Students explore the impact of algorithms and software on privacy, censorship and other sometimes contentious matters in the modern world. Students will learn programming as a tool for exploring these concepts.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Fundamentals of Computer Science<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course begins with an introduction to computational thinking, potentially including programming in a block-based language such as Scratch, and then moves to programming in Python, JavaScript, Processing, or another text-based programming language. Students will learn about variables, functions, conditional statements (if-else), and iterations (loops), and will design and code their own programming projects. The course may include additional units such as programming Finch robots or performing introductory data analysis using SQL.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Algorithms and Data Structures<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines classic data structures: lists, queues, stacks, binary trees and graphs, and hash tables. Standard algorithms for sorting and searching will be studied, and complexity analysis performed using big-oh notation. Students also develop a deeper understanding of software engineering principles as the course emphasizes reuse and generic programming.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Mobile App Development<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Within this course, we will explore mobile spaces by developing applications for one or more of the presently available platforms (Android, IOS, etc.). Students will explore development topics specific to mobile applications, device operations and user interaction. Throughout the term, sound software design and engineering practices in encapsulation and modularization will be emphasized.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Introduction to Artificial Intelligence<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Introduction to Artificial Intelligence (AI) course teaches students important programming concepts that enable the use of AI in computer science and society at large. Students learn the implications of AI on society and develop a series of projects that illustrate the variety of ways AI can be used to optimize and predict information. Students learn how AI has been used in gaming and other applications, create an unbeatable computer Tic Tac Toe player; learn how chatbots are developed to interact with humans and create an informational chatbot of their own; learn how to make predictive models using linear and logistical regression and clustering, and create their own predictive models using complex data sets.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | AP Computer Science<br />
|style="background-color:#F8EF6C;" | 3<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Three-term course in algorithms, object-oriented programming, and data structures, guided by the College Board’s AP Computer Science course description. The course covers Java language syntax and style, classes and interfaces, conditional and iterative<br />
statements, strings and arrays, Object-Oriented Programming (OOP), searching and sorting algorithms, recursion, data structures, and the design<br />
and implementation of larger programs, including group projects.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#CE2029;" | Expository Writing<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Participants learn how to read challenging texts and how to think and write about them clearly and coherently. Readings for the course are taken from various disciplines, such as literature, journalism, and social sciences. The course enables students to identify the strengths and weaknesses in their writing and to improve their skills through individual and group work, discussions, revisions, in-class exercises, and homework. We read and analyze works that exemplify good writing, and we learn how to define a thesis, organize an essay, and incorporate appropriate vocabulary.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | AP English Language & Composition<br />
|style="background-color:#B74BF5;" | 3<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Learn about the elements of argument and composition as you develop your critical-reading and writing skills. Students read and analyze nonfiction works from various periods and write essays with different aims: for example, to explain an idea, argue a point, or persuade your reader of something. Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-english-language-and-composition AP English Language] curriculum.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | AP English Literature & Composition<br />
|style="background-color:#B74BF5;" | 3<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Learn how to understand and evaluate works of fiction, poetry, and drama from various periods and cultures. You’ll read literary works and write essays to explain and support your analysis of them. Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-english-literature-and-composition AP English Literature] curriculum.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | American Immigrant Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to be an immigrant in the U.S.? What do individuals experience when they move from one country and settle in another? What do these immigrants gain in the process, and what do they lose? How do they deal with being “the other?” How do immigrants connect or disconnect with their American- born children? Students explore all these questions and more by analyzing short fiction and films by American immigrants. Throughout the mod, students read and respond to text on a nightly basis, gaining a better understanding of how difficult assimilation can often be for immigrants in their new abode. Students come ‘up close and personal’ with immigrant issues by interviewing an immigrant of their choice and writing up their interview in a People magazine manner. The course culminates with a final project which ties all the readings together thematically in a creative and artistic way, addressing the essential question: what is the immigrant experience?</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Nonfiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“The essay isn’t a retreat from the world but a way of encountering it,” writes Leslie Jamison in Best American Essays 2017. Throughout the term, we will explore the art of telling stories — ours and those of others — and learn how to translate personal experience and research into effective pieces of creative nonfiction. We will read and listen to essays on a range of topics: health care, bird watching, immigration, craft beer, hunting and Serena Williams (to name a few). Forms will vary from traditional to more contemporary and innovative — memoir, lyric essay, braided essay, graphic essay, podcast and video essay. We will discuss them as readers (digesting content) and as writers (analyzing form). Students will craft original pieces of creative nonfiction, experimenting with a variety of compositional elements and techniques. The writing process will be workshop-oriented: Students will receive peer and instructor feedback, work through multiple drafts and build a supportive writing community.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Writing: Poetry<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“Poetry,” wrote Robert Frost, “is a way of taking life by the throat.” From its origins in oral tradition and tribal lore, as well as its role in incantatory spiritual practice, poetry has carried in its rhythms the deep longings of humanity. In this course, students will dip into this current, writing poems with a view to aspects of craft modeled by poets in a diverse range of voices and writing traditions. In our workshops of one another’s poems, we will consider the relationship between content and form, as well as what differentiates poetry from other writing genres. Through experiments in received forms (traditional forms such as the sonnet and sestina), as well as more contemporary approaches (for example, writing in free verse or in prose poems), students will move toward the development of a distinctive voice and style.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Writing: Short Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This writing-intensive course invites students to explore fiction as both readers and writers. The short stories and novels read in class will serve as models for students to create their own fictional work, introducing them to the craft and mechanics of fiction and storytelling. This course traditionally offers an MFA-style workshop model, providing students an opportunity to both receive and offer constructive feedback, and to revise their work using this input. Assignments may include two or three short stories and an analytical essay over the course of the term.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Under the Fur: Animals in Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">According to thinker Gilles Deleuze, anyone who likes cats or dogs is a fool. But we live in a time when more than one cable television channel is entirely dedicated to animal programming, when whole weeks are given to sharks, and when people carry their dogs as an accessory. It seems we are not concerned about becoming fools for species not our own. This course explores both how animals and animal lives are represented in narrative and how the presence of animals allows us to understand in new ways how narrative and language function. For this reason, we will dip into several genres, disciplines, and media: memoirs, novels, short stories, poems, philosophical essays, critical theory, internet videos, lectures, and films. We will be asked by these works to question what it means to represent animals but also what it means to represent at all. How can representation be ethical? How can it respond to and provoke wider political, theoretical, and philosophical debate? How should we and can we care for the nonhuman world? What are the dangers, boundaries, and rewards of cross-species sympathy?</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | African Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This seminar course will challenge students to take a closer look at African literature by tracing its evolution and discussing its diversity in terms of genre and geographical setting. Class discussions, written assignments, blog postings, and oral presentations will be based on the texts and films recommended for the course. Students will pay particular attention to how literary works produced on the continent have over the ages represented the African identity and how this has been perceived in other parts of the world. Possible texts: ''The Thing Around Your Neck'' by Chimamanda Ngozi Adichie (Nigeria, West Africa); ''Betrayal in the City'' by Francis Imbuga (Kenya, East Africa); ''A Walk in the Night'' by Alex La Guma (Republic of S.A., South Africa); ''Miramar'' by Naguib Mahfouz (Egypt, North Africa); ''The Penguin Book of Modern African Poetry'', edited by Chikane & Moore (continent-wide). A selection of films and articles will complement the study of these texts.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | The Art of Protest: Revolutionary Writings<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines protest as a form of literary activism. From the grittiness of hip-hop lyrics to the density of civil disobedience tracts, this class will seek to explore distinct genres of vocalizing dissent. The approach is multicultural and interdisciplinary, and it seeks to inspect the role of literature, art, music and film in galvanizing communities and creating spaces to examine social justice. Students will be asked to write in various protest genres (poetry, epistolary witness, monologue and fiction) to compile a portfolio of their own literary activism.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Utopias and Dystopias in Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Fantastic societies have held a fascination for writers from Thomas More to the present day. Utopia, “no place,” represents an idealized society whose inhabitants willingly embrace its difference from our own world. Dystopic visions are the disturbing fip side of this coin. Both genres inevitably cause readers to draw parallels between their own experiences and those of the protagonists. Scientific and technological advances are often at the root of the utopic/dystopic discourse, and one of the main functions of this course is to explore the presentation of technology as narrative. The course seeks to examine some of these alternate worlds to explore the way writers of fiction and filmmakers have presented the effect of projected changes and developments on the fabric of society. We will build our visionary galaxy from the following: Thomas More, Aldous Huxley, George Orwell, Margaret Atwood, Cormac McCarthy, Alfonso Cuarón, Octavia Butler, and other contemporary writers and filmmakers. Students will write analytical and creative essays.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Theories of Children's Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC-Marlene Zudke<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course considers the role of the imagination in communicating and effecting cultural change. Students will be asked to apply a variety of critical theory for interpretation and discussion of the literature. Themes explored by this course will include alternative realities, the nature of dreams, the function of the subconscious, and the use of allegory. Probable selections include ''The Adventures of Alice in Wonderland'' and ''Through the Looking Glass'', by Lewis Carroll; ''Haroun and the Sea of Stories'', by Salman Rushdie; ''The Wind in the Willows'', by Kenneth Grahame; ''The Jungle Book'', by Rudyard Kipling; ''The Wizard of Oz'', by L. Frank Baum; ''The Pied Piper of Hamelin'', by Robert Browning; ''The Secret Garden'', by Frances Hodgson Burnett; ''A Child’s Garden of Verses'', by Robert Louis Stevenson; ''The Lion, the Witch and the Wardrobe'' and ''The Last Battle'', by C.S. Lewis; and ''Grimm’s Fairy Tales'', ''Mother Goose'', writings by Carlos Castaneda, and essays by Bettelheim and Zipes. Possible films include ''The Red Balloon'' and ''The Point''. </div></div><br />
|style="background-color:#B74BF5;" | This class sounds cute and easy and has a reputation for actually being extremely intense and challenging; the teacher is particularly demanding in expecting students to analyze works & engage in class & homework.<br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Gothic Literature: Living in the Tomb<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course traces trends in Gothic forms, from their origins in the damp and dark castles of Europe to the aridity of the contemporary American landscape. Students will identify gothic conventions and themes such as the haunted house, family dynamics, apparitions, entrapment, secrecy, and the sublime. They also will read novels, short stories, and poetry spanning roughly 200 years in order to explore questions about the supernatural, the psychology of horror and terror, the significance of fantasy and fear, the desire for moral closure, and the roles of gender, race, class, and sexuality. Probable selections include ''The Castle of Otranto'', by Horace Walpole; ''Faustus'', by Christopher Marlowe; ''Rebecca'', by Daphne du Maurier; ''Dracula'', by Bram Stoker; ''The Turn of the Screw'', by Henry James; stories by Poe, Faulkner, Gaskell, Irving, Hawthorne, Gilman, Jackson, Cheever, DeLillo, Carver, and Oates; and poetry by Christina Rossetti, Thomas Gray, William Cowper, Louise Glück, and Sylvia Plath. Possible films include ''Affliction'', ''The Royal Tenenbaums'', ''A Simple Plan'', ''Psycho'', and ''The Cabinet of Dr. Caligari''.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Contemporary Native American Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to be a Native American writer in the 21st century? In this course, students will explore life on and off the Native American reservation in works produced by writers from a wide variety of indigenous communities in the United States. The course will involve navigating issues/topics a propos to Native American studies, such as colonialism and genocide, cultural survival, and political and environmental activism. Possible writers to be studied: Luci Tapahonso, Evelina Zuni Lucero, Sherman Alexie, Paula Gunn Allen, Leslie Marmon Silko, Ramson Lomatewama, Simon Ortiz, nila northSun, Joy Harjo, Gerald Vizenor, Louise Erdrich, Diane Glancy, Winona LaDuke, Anton Treur, Wendy Rose, and Linda Hogan.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Inheritance, Exile, and the Jewish Literacy imagination.<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Primo Levi’s short story “Quaestio de Centauris” describes a centaur living in exile from others like him in the human world. In her discussion of this story for a series in The New Yorker, Jhumpa Lahiri describes Levi’s time in Auschwitz as “the most brutal form of exile” and later quotes Levi on the subject from The Truce when he writes: “This is the most immediate fruit of exile, of uprooting: the prevalence of the unreal over the real.”<br />
<br />
The imaginative worlds of writers are necessarily infuenced by their lived personal and inherited cultural experiences. In this class, we will consider the ways in which history, exile and intergenerational inheritance shape the artistic worlds Jewish writers create. While the readings in this course will focus on a particular literary tradition, the course is relevant and welcoming to students of all cultural backgrounds. Writing assignments will ask students to reflect on their own lives and heritage, and the ways that history, culture and diaspora hold meaning for them as community members, individuals, thinkers and artists. Assignments will range from the personal (poem, essay, short story, visual work) to the collaborative (interview, documentary, ekphrasis, collage), inviting students to consider the forces that infuence their own imaginations. Readings will include fiction by Clarice Lispector, Primo Levi, Grace Paley, Franz Kafka and Courtney Sender; poetry by Anthony Hecht, Adrienne Rich and Joseph Brodsky; and criticism by Walter Benjamin, Svetlana Boym and others. The course will include visiting lecturers from within and outside of the Xavier's community.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Blood Roots: Horror Literature and its History<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Author Carmen Maria Machado writes that, “Horror is an intimate, eerie, terrifying thing, and when it’s done well it can unmake you.” From historical hauntings to modern-day slashers, horror literature as a genre has existed for centuries. Beginning with Walpole’s 1765 medieval terror ''The Castle of Otranto'', we will study the field’s evolution from gothic horror to contemporary scary stories, exploring the distinctions between gothic, psychological, and supernatural horrors, among others. Machado goes on to say that horror “tells us a lot about who we are, what we are, and what we, individually and culturally, are afraid of,” a claim which will guide us as we dive into ghastly and macabre tales that captivate a culture and hold a mirror up to our truest selves.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Strange Worlds: Speculative Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Whether it is Tolkien’s Lord of the Rings or H. G. Wells’ The War of the Worlds, science fiction and fantasy can not only delight our imagination but also help us understand our real, present world more thoroughly. Students in this course will study a wide array of science fiction and fantasy. They’ll look at how fantasy provides commentary on race, gender and class through works such as Octavia Butler’s Fledgling or Ursula K. Le Guin’s The Left Hand of Darkness, and consider science fiction’s power to comment on technological and social quandaries, such as Frank Herbert’s prescient consideration of global warming in Dune or Philip K. Dick’s exploration of artificial intelligence and identity in Do Androids Dream of Electric Sheep? Students will write critical reflections, examining the intersection of these imagined worlds with real life as well as trying to craft science fiction or fantasy of their own.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Crime Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to early works in the development of the “detective story” (Edgar Allan Poe, Agatha Christie, Sir Arthur Conan Doyle) and the ways in which those early works help establish the foundations for a variety of “crime fictions” that have steadily grown in popularity throughout the 20th and 21st centuries. Students will learn to appreciate authors working in different times, places and settings and to explore the criminal mind and those tasked with solving criminal cases and fighting criminal activity (whether amateur detective, private eye or police officer). Along the way, students will try their hand at writing their own pieces of crime fiction and produce short analytical pieces examining the books and films they encounter.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Fictions of Finance<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What do we value? The pursuit of profit, surges in wealth and the suspect principles of the financier have intrigued authors since the 19th century. How do language, narrative style, structure and literary production transform with shifts in the marketplace? Through a careful investigation of literature, film and illustration, we will discuss how art imagines and redefines social and economic relations. We will supplement the literary works with historical documents or articles that shed light on the economic climate at the time of publication. We might consider how the imagined space of the novel presents the mystery of the financial market, which seems shrouded in a haze. We might also ponder how authors imagine worlds where money has no practical use and nothing has any purchasing power. Over the course of the term, students will write short analytical pieces and complete a creative independent project of their own design.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Humor<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Robert Frost called humor “the most engaging cowardice” and Percy Bysshe Shelley characterized laughter as a “heartless fiend,” but maybe they weren’t in on the joke. In this course, we’ll read literary humor writing—including comedy, satire, irony, and wit—in a variety of forms and genres in an effort to face a paradoxical (and not entirely unfunny) question: should we take humor seriously? Students should expect to contend with critical theory, read across genres and media, and attempt to write humor of their own.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Mid-Twentieth Century American Poetry<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce students to poets and movements that have shaped the direction and contours of American poetry since World War II. Students first study the Beat Movement and then explore the so-called “schools” of poetry—Black Mountain, New York, Confessional, et al. The course finishes with an exposure to poetry that is happening right now, which includes bicultural and multicultural poets. Most class time will be spent deriving themes through discussions of poets, poems, poetic movements, criticism, and theory. Poets include Ginsberg, Corso, Kerouac, Dylan, Waldman, Bukowski, Creeley, Olson, Levertov, Ashbury, O’Hara, Lowell, Plath, Berryman, Bishop, Rich, Dove, Hass, Kinnell, Hogan, Nye, Springsteen, and Colvin.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Epics and Heroes<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Great epics of the past tell us about the culture, history, religion and magic of a particular time. As Joseph Campbell wrote, they are “the wonderful song of the soul’s high adventure.” We will look at powerful stories, as well as their meaning for the period and for today. Possible readings include mythology from around the world, Hermann Hesse’s ''Siddhartha'', and an assortment of modern comic books.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Rememories: Trauma and Survival in 20th-Century Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In her novel Beloved, Toni Morrison coins the term “rememory” to describe a type of memory that won’t stay buried—ghosts of experiences that resurface across years, decades, even centuries, memories of trauma that continue to haunt literature to this day. This course will examine how narratives of trauma and survival have been represented (and re-presented) in 20th- and 21st-century literature. In our investigation of literature about war, terrorism, diaspora, and other cultural traumas, we will encounter authors writing from a variety of historical moments and perspectives. We will look closely at how trauma literature both delineates and breaks down divisions within individual, societal, and generational trauma experience. And we will engage with course texts by writing in a number of modes, both critical and creative. Thematic focuses will include the problematics of truth and testimony; the dismantling of traditional narrative structures and genres; individual vs. collective memory; societal regeneration; and the ways trauma literature engages with issues of race, class, gender, and national identity.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Asian-American Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This seminar explores the literary, historical, and broader sociocultural development of the complex and ever-expanding body of work that collectively (and not always neatly) contributes to what may be called “Asian/American” literature and film. We will engage with a wide range of written and visual texts, including poetry, fiction, memoir, cinema, and television, as well as with scholarly and other artistic forms of production, in order to fashion an analytical framework, informed perspective, and interpretive approach through which to reread and rethink the culture, politics, and history of the United States itself. A related goal is to understand the role of literature and other cultural forms in our nation’s struggles over identity, power, and resources. Focusing on the development and representation of Asian/America, we will unpack the social formation of race and the complexity of racial dynamics in the United States historically and today.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Theatre of the Marginalized<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Course previously titled "Theatre of the Unusual/Everyday Life." Students who took that class previously should not sign up for this one) Through literature of the theatre, students focus on differences in everyday lives. Students will have an opportunity to explore many issues of accessibility, physical and mental challenges through time, cultures, definitions, and values, and the everyday struggles individuals have relating to others. Plays may include: ''Elephant Man'', ''Children of a Lesser God'', ''Fences'', ''Getting Out'', and ''The Ballad of a Sad Café''. </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Beyond the Thousand and One Nights: Introduction to Arabic Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, students will learn of the development of Arabic literature from its inception in the medieval Arabic literary tradition, which begins in the sixth-century with nomadic Bedouin poetry and the Qur'an, through new literary forms adapted from Western imaginative literature. The aim of the course is to introduce students to key samples of modern Arabic literature, which trace major social, political, religious, cultural and linguistic developments in the Arab world, including North Africa. All readings will be in English translations. The class will also explore the politics of translation. Some questions that will be addressed, but not exclusively: How do some Arab writers conceive of "modernity"? How do they conceive of their relation to politics, and how do they understand the role of intellectuals in their societies? Who are the readers (actual or implied) of these texts? How do these authors relate to the Arabic, European, and American literary traditions? </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | South Asian Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will focus on different genres, contexts, time periods, and even languages (although all readings will be in English/translation) that fall under the broad category of ‘South Asian Literature.’ In one year, we might focus on the events surrounding the Partition of 1947 and how it inspired a generation of writers in Urdu. Another year, we might focus on Sanskrit literature: for example, poetry, drama, and/or short stories. In other iterations, the class might explore LGBTQ authors, the South Asian diaspora, and even the works of a particular author. The readings would focus mainly on shorter literary works, such as short stories and poems, but there would also be in most of these classes the opportunity to read full books (e.g. Bharati Mukherjee’s ''Miss New India'' and ''Wife'', the Sanskrit ''Vetālapañcaviṃśati'', Abha Dawesar’s ''Babyji'') or excerpts thereof. Within each version of the course, students would be able to research and learn about the historical context of the works as well as where they fall in the literary sphere.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Shakespeare Now<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Poet Ben Jonson said of Shakespeare that he “was not of his age, but for all time.” But what does a poet-playwright, dead now some 400 years, have to say that speaks to this moment of the human experience? In this class we will read and discuss the Bard’s plays in order to see how they were understood in their time as well as how they address modern sensibilities of race, gender, sexuality, economics and politics. How does Measure for Measure figure in the #MeToo movement What does a queer reading of Twelfth Night yield? How does The Tempest engage colonialism, race and the violence of language, or how does King Lear take on the betrayal of both the body and the body politic? How might Henry IV address cultural appropriation and entitlement or Henry V espouse or critique nationalism? Through discussing, writing about and even performing scenes from some of Shakespeare’s plays, we will test whether and how these works still resonate. </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#CE2029;" | Teen Health Matters (Formerly Health & Human Development)<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this first-term, age-appropriate course, required of all new students, students will discuss health issues such as sleep, time management, living and learning in a diverse community, mindfulness, positive psychology and stress management, media literacy, and social practices in a digital landscape. All topics will be addressed in the context of adjusting to a campus community, accessing resources and understanding school rules. Together, all new students will explore how to fully integrate into their new class and how to have a healthy, mindful transition to Xavier's. A special emphasis on decision-making as they become emerging adults will help students make decisions about their future that offer complexities of choice. In-depth conversations will enable new students to build self-efficacy skills and prepare for challenging health and lifestyle choices. The pass/no pass grading system encourages student participation, honesty and sharing in a supportive and more relaxed environment.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#CE2029;" | Thriving in Community (formerly Human Sexuality)<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | [[Jax]]<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, required for all high school students, students will discuss a variety of health issues, such as mental and psychological health, character development, cultural competency, gender, sexual behavior and sexuality, consent/healthy relationships, and alcohol/drugs. This course is focused on helping students navigate some of the most common health and relationship concerns for their age group. Class aims to enable students to build self-efficacy and prepare for challenging health and lifestyle choices. Intentionality is explored throughout the term so that students will develop effective decision-making skills with purpose and thought. In this class students will explore identity development and self-authorship, foundational aspects to a student’s transition from adolescence to young adulthood. The pass/no pass grading system encourages student participation, honesty and sharing in a supportive and more relaxed environment focused around a growth mindset.</div></div><br />
|style="background-color:#E6A2AD;" | Probably the class most complained-about by parents to administration each year; Jax is very open in talking with students about sexuality, gender and identity issues and Many Parents are concerned he will turn their students trans or something.<br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#E6A2AD;" | The Pursuit of Euphoria<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will explore the use of mind-altering substances throughout history, across cultures and within subcultures of the United States. From a biochemical, sociological and psychological standpoint we will probe the reasons why people seek to alter their state of being, whether through the use of drugs or through natural means. Readings will include selections such as: ''The Compass of Pleasure'' by David Linden; Flow: ''The Psychology of Optimal Experience'' by Mihaly Csikszentmihalyi; and ''Forces of Habit'' by David Courtwright.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#E6A2AD;" | The Power Within: Philosophy and Science of Optimal Health<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How can we best manage life’s competing challenges? How should we measure success? What are the most effective means to enhance one’s capabilities, strengths and health status? We will aim to answer these and other questions by studying traditional teachings and practices, as well as the insights and lessons offered by modern-day behavioral science and neuroscience. Through reading, research, reflection, personal practice and experimentation, students will investigate the theories, models and methods that have proven to enhance well-being.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP Art History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-art-history AP Art History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP European History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-european-history AP European History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP U.S. History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-united-states-history AP U.S. History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP World History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-world-history-modern AP World History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., Colonialism - 1861<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the formation of American values and institutions from the early English settlements of North America through the Revolution and Civil War. Emphasis is given to the cultural, economic and social diversity of early America, the tension between local and central authority during the struggle for independence, the establishment of the Constitution, economic and social change in the young republic, slavery, and the growing sectional confict that culminated in secession. Students will complete a library research project.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., 1861-1941<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course continues the survey of American history with the Civil War and follows with the attempt to rebuild the union during Reconstruction. Emphasis is given to economic and social changes of the late 19th century and the emergence of the United States as a world power. Topics include the transformation of the United States into an urban industrial society, the dilemma of race, the changing role of women, the Depression and the political response to these issues. The course ends with the advent of World War II. There will be a required library research paper this term.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., 1941-Present<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course begins with U.S. involvement in World War II. Emphasis is given to the Cold War and rising global involvement of the United States. Other topics include the Civil Rights movement, the social and political turmoil of the 1960s, the dual crises of Vietnam and Watergate, the Reagan revolution and issues of the contemporary world. A term paper, based on independent research, is required to pass the course.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Native Peoples of the Americas<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course surveys the history of indigenous groups from their prehistoric roots to the Post-Classic Period. Students gain exposure to anthropological, archaeological and historical resources to illuminate the Mesoamerican societies with a particular focus on the Mayan and Aztec Empires. Students also gain exposure to the evolution of independent cultural and social systems among indigenous tribes in North America. Among the subjects highlighted are the production of foodstuff, evolving patterns of tribal life, governance, warfare and economics. During the latter stages of the course, students examine the ways in which the lives of indigenous peoples were dramatically reconfigured as the economic systems of the Atlantic world forever changed tribal life.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Jailhouse Nation: U.S. History of Crime, Punishment, and Mass Incarceration<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Jailhouse Nation explores America’s long and troubled history with crime, punishment, and prisons. By first examining how both crime and thus the “criminal” are socially and historically constructed, students will consider the role of violence and systematic punishment in Puritan New England, the slave South, and later, the modern United States. The institution of slavery will provide an important framework to help students understand how new modes of punishment (namely, incarceration in jails and prisons) emerged alongside the abolition of slavery. Furthermore, we will examine the role of post-emancipation prison regimes in shaping popular (mis)understandings of “race” and the idea of “black criminality.” Lastly, we will discuss the rise of the carceral state in the twentieth and twenty-first centuries, noting long historical parallels and the roles of contemporary political and economic forces driving the prison boom. Throughout the course we will consider the distinct experiences of punishment for men, women, children, African Americans, whites, Latinos, sexual minorities and non-citizens in order to tease out the specific relationships between race, class, gender and punishment at various moments in American history. Within our broader exploration of state-based punishment policies, we will also consider community resistance to policing and incarceration and the rise of so-called prison abolitionists.<br />
|style="background-color:#1053E9;" | <br />
</div></div><br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Law and American Society<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides students with an introduction to the American legal system and to the development of American constitutional law. Historic Supreme Court decisions and legal case studies will be used to develop an in-depth understanding of the historical background and present-day constitutional controversies over such topics as free speech, censorship, abortion, workplace discrimination, affirmative action and the rights of the accused. Practitioners from the fields of law and criminal justice may provide an added dimension to the course. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Rocking the Schoolhouse: US History of Education<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This class will examine the history of American Education. From the one-room schoolhouse to Race to the Top, students will leave with a deep understanding of how America educates its k-12 students. Rocking the Schoolhouse does not look at a broken system, rather the students analyze why the system is purposely designed to educate some, and leave many behind. Public schools today are as racially segregated as they were in 1954. The class presents a thesis: “The US Public Education System is the greatest Civil Rights issue of the 21st Century.” From this thesis, arguments and evidence will be presented and students will be asked to analyze the data and take their own stand. The racial opportunity gap has been identified, and little has been done to remedy this built-in aspect of public education. The final project challenges the student to identify a need in public education, and design a school that will remedy the problem. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Youth Subcultures<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores the role of subcultures in contributing to the cultural spectrum of the United States between the 1920s and the twenty‑first century. Studying subcultures can reveal as much about the shadows of society in which they resided as it does the mainstream. Subcultures also represent a unique intersection of radical political ideologies and innovative artistic trends, often expressed through a group’s attachment to a specific genre of music, social outlet, and/or fashion. We will examine the value systems, and the broader historical contexts that gave rise to them, of: the flappers; hipsters, and beatniks; greasers; hippies; the hip‑hop and punk rock scenes, and street art. We will also focus on the ways in which society has repeatedly co‑opted these previously marginal movements, rendering them into yet another popular means of corporatized mass consumption.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Black Studies<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Black Studies is a broad field of study that can be approached from many disciplines. In this course, we survey African American history from the period of the Great Migration through the present. We explore the socio-economic, political, and cultural contributions of African Americans with an emphasis on movements for racial equality, the arts, and Black feminism. Texts include foundational writings in African American history and literature, including writings from W.E.B. Du Bois; James Weldon Johnson; Booker T. Washington; Martin Luther King Jr.; Malcolm X; Ida B. Wells; Angela Davis; Shirley Chisholm; Audre Lorde; Richard Wright; James Baldwin; Langston Hughes, and many others</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Environmental History<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How did European cattle wage war on the Wampanoag in colonial Massachusetts? How did the Bible’s Eden, a belief in magic, and a mapping mistake come together to lay the groundwork for race-based disenfranchisement and colonial incursion? How did soil make decisions about what slavery would look like in the Cotton South? How did capitalist ideas effect changes in the landscape of New England? How does the difference of 20 inches of rain per year lead to drastic differences in population, politics, and culture between eastern and western states? What myths do we tell ourselves when we visit our national parks? How are we, through globalization, forcing ourselves to change the way we talk about the natural world? What is truly natural and how do we use Nature as a weapon to destroy societies and the earth? With this introduction to the newest field of American History, we will learn to study history by looking at the roles humans play within ecosystems and the effects of those ecosystems on human society.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Constitution<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">US Constitution is a hands-on, project-based class that seeks to examine the roots and development of the Constitution and the Bill of Rights, and then asks students to apply the document practically to several real and fictional Supreme Court cases. Hence, students begin the module with factual readings, the Federalist Papers and smaller debates, and general discussion. The class looks at the way fundamental concepts and definitions of freedom, citizenship, and “for all” have been shaped, undermined, and refined through the Constitution and its interpretation by the US Supreme Court. As the mod progresses, the assignments become more difficult and intense (briefing cases like Marbury v. Madison and Tinker v. Des Moines School District), culminating in the preparation and presentation of oral arguments for a mock Supreme Court in two cases, and sitting as a justice for one. Much of the grading for the class is done in groups, rather than individually, and so students are asked to trust and depend on their peers while making sure to hold up their own end of the workload. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The Transatlantic World: Empire, Contact and Legacies<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the imperial interests, race and gender relations, and cultural influences and exchanges that manifested during the era known as Colonial America. Though the course, by the end, focuses on the colonies that would become the United States, it begins with the pre-contact experiences of Native Americans, Africans and Europeans and how their lives eventually converged. Relationships impacted by economic development, racism and religious fervor forged a complex, historical, multiethnic legacy that is still visible today.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Race: A Global History<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Scientists agree that there are few genetic differences between people of different races and ethnicities. Social scientists thus contend that racial distinctions are a product of society and culture rather than biology. At what point, then, did differences in skin color and other phenotypic traits become signifcant? This course will explore the history of race and racism by looking at examples across the world. We will consider how humans have been divided into different “groups” and the historical circumstances that have led to those divisions. We will also interrogate the use of scientific theories to justify racism and the more recent repudiation of these theories. Using both primary and secondary sources, students will apply the methods of historical thinking to understand the evolution of racial categories and the impact of history on modern-day issues related to race and ethnicity.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The 20th Century<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is an introduction to significant events in the 20th century. Students investigate cause, effect and change in places such as Europe, Africa and Asia (including the Middle East). One principal aim of the course is for students to develop a better understanding of the response of traditional societies to the impact of modernization on their values and customs. Another is to examine ideological conficts of the modern world. Students also research contemporary problems that originated in the 20th century that demand creative and thoughtful solutions. Analytical skills, synthesis of conficting viewpoints, conducting research in the Academy Library, participating in debates and writing historical essays are all emphasized in this course.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Classical Greece<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the archaeology, literature, history and society of the Greek city-states from 1000 to 300 BCE. From Homer and Sappho to the Acropolis of Athens, a variety of materials introduces students to the literature, art, material culture and everyday life of an expansive Greek world. This course encourages students to establish connections between the ancient world and today and question the modern reception of the classical past. It introduces and develops fundamental historical skills, particularly research and writing.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Classical Rome<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the archaeology, literature, history and society of the Roman world from the foundation of the city through Late Antiquity. Central themes include urbanism, architecture, imperialism, daily life and archaeology. The course introduces and develops fundamental historical skills, particularly writing and research. It encourages students to establish connections between the ancient world and today and question the modern reception of the classical past.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The Medieval Worlds<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In the wake of the fall of the Roman Empire, three distinct and dazzling civilizations emerged. This course examines the creation of the European, Byzantine and Islamic worlds from the end of antiquity to roughly 1350, exploring the political, cultural, social and religious changes in each society. We examine the rise of the Christian Church in Europe and Byzantium, the birth and rapid success of Islam, and the impact on the values and behaviors of medieval people. Key figures, themes and events are studied, including Charlemagne, Muhammad, Justinian, mysticism, scholasticism, the Reconquista and the Crusades. We also discuss how early interactions and conficts shaped the views each society held of the others. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Early Modern Europe, 1350-1660<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The centuries following the Black Death saw the beginnings of modern Europe. This course focuses on the rebirth of European society and the new values, optimism and cultural achievements of the Renaissance. It then examines the turbulence of the Reformation — the shattering of Christian unity and the wars fought in the name of religion. The course then explores the development of new politics and the Age of Exploration when Europeans set sail and changed the shape of the world.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Absolutism and Revolution, Europe 1660-1800<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Beginning with the reign of Louis XIV, students examine 18th-century European society. We explore how the Scientific Revolution and the Enlightenment challenged the ideas of the Old Regime and created new perceptions of humanity, society and government. The course concludes with an analysis of the French Revolution and the rise of Napoleon.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The European Century, 1800-1914<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Beginning with the study of Napoleon’s Empire and the Congress of Vienna, this course examines how the French Revolution of 1789 and the Industrial Revolution transformed European society and politics in the 19th century and established Europe’s global preeminence. The course concludes with an examination of World War I, the shattering event that culminated Europe’s dominance.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | World War and European Society, 1890-1945<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">At the pinnacle of its power and confidence at the start of the 20th century, Europe could not have imagined the crises, mainly of its own making, that it would face between 1914 and 1945. In this course, we examine the era when Europe was shattered by two world wars, an unprecedented international depression, and the rise of totalitarian states in the Soviet Union and Nazi Germany. We examine why Europeans cheered for the Great War when it began in 1914, and how four years of industrial warfare and diplomatic failures contributed to catastrophes that followed. We then explore European culture during the interwar period called the Age of Anxiety, the Russian Revolution under Lenin and Stalin, the foundering of the democracies, and the rise of Hitler and Mussolini.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Europe Since 1945<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Once the region of geopolitical domination, Europe after World War II was forced to rebuild and redefine its place in a rapidly shifting world. This course examines the change in Europe’s position as it contended with the Cold War’s series of freezes and thaws; economic, political and social developments, such as the student revolts of the 1960s; and the dramatic decade of the 1980s with Thatcherism, Gorbachev, the fall of the Berlin Wall and communism. Topics analyzed include modern leadership in Germany, Great Britain and France; the Soviet Union from Stalin through its collapse; Eastern Europe’s transition from communism, and the European Union. We will conclude by examining Europe’s current position in the contemporary world.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Capitalism and its Critics<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides a survey of the origins and evolution of capitalism in a global world up to the present, with emphasis on the political economies of the West. Students examine the ideas of the great political economists such as Adam Smith, David Ricardo, Thomas Robert Malthus, Karl Marx, J.M. Keynes and Friedrich von Hayek, as well as trace the progression of modern industrial economies in Europe and the United States. The course ends with an analysis of the 2008 financial crisis and the Occupy movement.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Understanding Violence, War and Peace<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores both the history of and theories related to violence, war and peace across the globe, from ancient to modern times. Readings may include selections from a variety of disciplines, such as anthropology, ethics, philosophy, psychology and sociology. Students may consider such questions as: Is there such a thing as a just war? Are humans naturally violent? How do societies avoid violence and maintain peace? What role does technology play in shaping violent behavior? Can justice be achieved through the use of violent means? Is peace a realistic possibility in a globalized world? Is there more to peace than an interim between wars?</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | China: The Last Dynasty<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores Chinese history with a focus on the Qing Dynasty period (1644-1912). Students will tackle such questions as: How can Buddhism, Confucianism and Daoism coexist in the same time? How did the role of the Qing Dynasty in global history shift across the centuries? What makes the Opium Wars (1839-1842, 1856-1860) and the Boxer Rebellion (1899-1901) turning points in modern Chinese history? How does Chinese history look different from the perspective of a rural female villager versus an emperor? What are the strongest motivating factors in these two individuals’ decision-making? To help us explore how lived experience of this vast history can vary based on where in China one lived, what role in society one fulfilled, and which events one lived through, we will analyze a range of sources including film, fiction and scholarly assessments.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern China<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines China’s dramatic recent history through multiple lenses: historical survey, biography, memoir, film and journalism. We begin by identifying key themes and questions to guide our study. Then we move back in time to the 19th century, when contact with Westerners provoked war and internal rebellions. We examine the decline and eventual collapse of the imperial dynastic system, the rise of warlordism, an experiment in weak republican government, the prolonged civil war, China’s role in World War II, the founding of the People’s Republic, the thought and governance of Mao Zedong, the economic and social reforms of Deng Xiaoping, and China’s entry into the global marketplace. The last part of the course utilizes a variety of current sources to address the majorissues facing China in the 21st century. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Contemporary Middle East<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The course begins with the breakup of the Ottoman Empire and examines the rise of Arab nationalism and the struggle against foreign domination. The strategic and economic importance of the region is studied along with the founding of Israel; the continuing confict among Jews, Arabs, and Christians; and the rise of Islamic fundamentalism. Particular emphasis is placed on understanding the Arab-Israeli confict. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Asia: Contested Histories<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How and why do different national histories define themselves in competition with those of their neighbors? This course will focus on how recent trends in the writing of history are applied to the context of contemporary Asia including China, India, Indonesia, Japan, Korea, Thailand and Vietnam. These topics will be explored through a range of sources including film, memoirs, fiction, periodicals and scholarly assessments that reflect the diversity of experiences across Asia. Topics will include Marxist history, cultural history, gender, memory, modernity and ethnicity. This course will rely on students to conduct independent research throughout the term in digging through contested topics and historical controversies, including but not limited to competing national histories of imperialism, colonization, and nationhood in the 20th century.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Precolonial Africa<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the complexity and dynamism of the African past, from antiquity to the dawn of the 20th century. The course begins with an examination of the Nile Valley civilizations in antiquity, the historical debates surrounding that era and the advent of Christianity in North Africa. Students then study the rise of Islam in Africa and the West African empires of Ghana, Mali and Songhai. Next, students examine the role played by slavery in the creation of the Atlantic World. The course ends with an analysis of the dynamics of the cultural clash that ensued from the European colonization of Africa.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Africa<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What do we mean by “modern,” and what does “modern Africa” look like? The story of modernity has often been told from a Eurocentric perspective — one that conveniently excludes Africa. In this course, we will investigate the ways in which Africa is tied to modernity and the world. Chronologically, the course will investigate the continent’s history, beginning with the abolition of slave trade; 19th-century imperialism and the “scramble” for the continent; anti-colonial movements and decolonization; as well as the post-independence social and political realities. For the most part, academic study of Africa in the Global North has been dominated by non-Africans. Alternatively, in this course, we re-center African voices — that is, scholarly, literary and political writings of notable Africans to help students challenge the conventional wisdom about the rise of the modern world and the role of Africa in the global arena. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Latin America<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines how modern social and political institutions developed in the region that includes Central and South America and the Caribbean. We begin by questioning why such diverse places are imagined as a single region. We explore how colonialism shaped the region and how independent nations emerged from European political control in the early 19th century. Through a series of case studies, we then examine selected social, political and economic issues that shaped Latin America in the 19th and 20th centuries.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern India<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the history of what is today the world’s largest democracy. It starts in roughly 1700 with a study of the Mughal Empire and its decline, followed by the rise of British India. We explore the East India Company and the impact of British imperialism on India. The 1857 rebellion, the beginning of direct British rule and the consequences of these major events are analyzed. We explore the development and role of the Indian National Congress, explore the emergence of Indian nationalism, and assess Gandhi and other Indian leaders, as well as the forces around independence in 1947. In the last part of the course we study India’s identity from independence to today and the current issues and conflicts confronting this increasingly prominent nation.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Japan: Tradition to Modernity<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is an overview of Japanese history and considers how changes in political institutions, economic patterns, social organizations, and cultural practices took shape to transform the lives of individuals across the archipelago. We will explore questions that contemporary scholars grapple with to this day: How did the role of the emperor transform from the 16th to the 18th century? Why is the samurai such a powerful symbol? How did a region poor in resources and largely isolated from the West emerge economically vital in the last hundred years? Why did the concept of progress become such a pivotal concern for the leaders of Meiji Japan in the late 19th century? What are the consequences for rapid industrial revolution? With an emphasis on primary sources, students will analyze this history in terms of those who lived it. We will read from the perspectives of a daimyo reformer and a low-ranking samurai, from an impoverished farmer and an afuent merchant, the emperor and a housewife.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Japan: Post-war to the Akihabara Generation<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Akihabara district of Tokyo, Japan houses the world’s largest collection of everything that is associated with anime and the otaku culture and industry. It provides us with the goal and opportunity to examine Japan’s emersion from World War II into a thriving economic revival, democratic politics, and a new social order. With a particular focus on the creation of Otaku culture, we follow Japanese history through the 20th and into the 21st century, its cultural expansion and impact on not only the neighboring countries but the Western world as well. Post-war Japan has navigated its way through challenging encounters with its past, this course looks at those encounters and examines what role the otaku culture plays in the definition of 21st century Japan. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Humans and the Environment<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What drives human history? Do the pivotal factors lie beyond human control, such as climate, geography, ecosystems and microbes? This course examines the interactions between people and the natural world over time. In struggling to master an often hostile environment, human societies have had an ever-increasing impact on the planet, and apparent success has often ended in failure. The course begins with the emergence of humans in the Paleolithic period and then explores the invention of agriculture, the emergence of global trade and migration networks, colonialism and the Industrial Revolution. Students examine in depth an instance of humans managing — or mismanaging — a natural resource and conclude the course with a close look at 20th-century trends and the future we collectively face.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Genocide in the Modern World<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course studies the history of genocide in the 20th and 21st centuries, exploring both the patterns and unique circumstances of this important global issue. Students read and hear from historians, victims and perpetrators. Likely case studies are the Holocaust, Cambodia, the Balkans, and Rwanda, with time set aside for research into events determined by student interest. Students study root causes, including economic, political and social factors that permit the occurrence of genocide; assess international responses; and evaluate attempts at reconciliation, including justice systems and community reactions. The comparative nature of the course creates a framework to draw broad lessons about what leads to genocide in the modern world; enables us to assess the behavior, actions and inaction of the various groups involved; and pushes us to consider how these lessons could be applied to prevent such crimes in the future.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Totalitarianism: Past & Present<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course takes students on a fascinating exploration of the totalitarian and fascistic tendencies that have proven to be alluring alternatives to the democratic states and societies. These movements were often shrouded with utopian promises against a backdrop of apocalyptic struggles, regardless of the temporal or geographic location of the totalitarian movement. We begin by examining five national case studies drawn from Europe and Asia between the 1920s and 1960s. We then investigate more modern iterations of fundamentalism, including political, racial, and religious fundamentalism. The class concludes by focusing on the nature and appeal of cults. A final project invites students to tie the course’s main themes together.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Revolutions<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | [[Tian-shin]]<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | ASL Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC - Nadia Dirie<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the American Sign Language track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency, but also touches on history, culture, sociology, and other aspects of the ASL-using world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Arabic Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Arabic language track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Arabic-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Chinese - Mandarin Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | [[Tian-shin]]<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Mandarin track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Mandarin-speaking world. Written instruction is in pinyin Simplified Chinese script. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | English as a Second Language Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPCs<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the English as a Second Language track: Beginning (1), Intermediate (2), and Advanced (3), each with highly modular curricula that instructors adapt to the needs of current ELL students. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the English-speaking world. At all levels, half of each class is given over to one-on-one tutoring, supervised independent study, or other instruction recommended by students' IEP assessments. Students may test into any level and take any number of these classes, in any sequence.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | French track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | [[Matt]], NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the French track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Francophone world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | German track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the German track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the German-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Ancient Greek track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the Ancient Greek track: Beginning (1), Intermediate (2), and Advanced (3), usually scheduled to cycle over the course of a school year. Coursework focuses on literacy but contain significant elements of history, literature, sociology, and topics relevant to the Classics and the ancient world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Latin track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the Latin track: Beginning (1), Intermediate (2), and Advanced (3), usually scheduled to cycle over the course of a school year. Coursework focuses on literacy but contain significant elements of history, literature, sociology, and topics relevant to the Classics and the ancient world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Japanese track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Japanese track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Japan-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Russian track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Russian track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Russian-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Spanish track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Spanish track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Spanish-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Chinese Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-chinese-language-and-culture AP Chinese Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP French Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-french-language-and-culture AP French Language and Culture] curriculum.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP German Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-german-language-and-culture AP German Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Japanese Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-japanese-language-and-culture AP Japanese Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Latin<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-latin AP Latin] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Spanish Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-spanish-language-and-culture AP Spanish Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Spanish Literature and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-spanish-literature-and-culture AP Spanish Literature and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Transitional Mathematics<br />
|style="background-color:#6BADF9;" | variable<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Transitional mathematics courses are offered to help merge new students into the mathematics program at Xavier's. Courses are designed to help students adjust to seminar-table methodology and problem-based curriculum, and to fill gaps and cope with varied backgrounds in mathetmatics prior to Xavier's. Introductory courses give students and instructors additional information to determine placement for the following term. Typically, transitional courses last one term, but some extend for two or even three terms. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Algebra<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">These courses develop facility in working with numbers, tables, equations, inequalities and graphs. The focus is on solving word problems and reading carefully, and thus the building of algebra skills stems from the need to solve problems in a context, rather than from drill and practice for its own sake. Students learn how to use the graphing calculator appropriately as an effective problem- solving tool. In addition, students may do a number of hands-on labs that require them to collect data, make conjectures and draw conclusions. Topics covered include equations and graphs that are linear and quadratic, distinguishing linear data from nonlinear data, inequalities, the basic rules of exponents, and other traditional Algebra I topics.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Geometry<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Geometry develops logical thinking through proofs and attention to definitions. It gives students a new way of looking at the world by analyzing the symmetries and patterns around them, and it develops practical skills through applications. This course covers the standard topics in a college-preparatory course in Geometry. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Trigonometry & Precalculus<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | [[Kyinha]]<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An exploration of the circular functions: sine, cosine, and tangent. Topics include right triangle trigonometry, simple harmonic motion, applications, and proofs of trigonometric identities.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Integrated Mathematics<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The purpose of these courses is to enable students to expand their view of algebra and geometry to include nonlinear motion and nonlinear functions. The investigation encompasses circular motion and the functions that describe it, ellipses and hyperbolas, exponential and logarithmic functions, dot products and matrices, and geometry on the surface of the Earth. In particular, logarithms are used to straighten nonlinear data; and matrices are used to describe geometric transformations and various patterns of growth. In preparation for higher level mathematics, two strands are introduced: first, combinatorics and recursion, leading to the binomial theorem; second, approximation behavior, especially instantaneous rates of change and slopes of nonlinear graphs.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Linear Algebra<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class students will use matrices to learn how linear algebra is being applied in various fields. The class will cover content including matrix operations, row-reductions, determinants, vector space, eigenvalues, and transformations. From this course students will be able to further their understanding of the connection between geometry and algebra. In addition, students will further their logical thinking while being introduced to different abstract topics in mathematics. This course will expose students to higher-level mathematics that will better prepare them for the rigors of a college math program.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Multivariable Calculus<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students will learn how to differentiate and integrate functions with multiple variables. In this class students will cover topics such as vector functions, partial derivatives, multiple integrals, and vector calculus. As a result of this class, students will be able to better understand the connection between single-variable calculus and multivariable calculus. Students will further their logical thinking while also being introduced to different abstract topics in mathematics. Students will be exposed to higher-level mathematics that will better prepare them for the rigors of a college math program.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Calculus AB<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | [[Kyinha]]<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-calculus-ab AB Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Calculus BC<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-calculus-bc BC Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Statistics<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-statistics Statistics Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Personal Finance<br />
|style="background-color:#6BADF9;" | 1<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Personal finance is a term that covers managing your money as well as saving and investing. It encompasses budgeting, banking, insurance, mortgages, and investments. Students will be introduced to the basic understanding of debit and credit, track their spending and even analyze some of the more challenging probability concepts that govern the trading of options on the stock market. The approach to this class will be project based with students able to work on a project that they find meaningful in the world of personal finance. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Economics in the World<br />
|style="background-color:#6BADF9;" | 1<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to live in a global economy? In this class students will be introduced to an overview of Micro Economics and Macro Economics. By analyzing market trends associated with historical events between the 1900’s and the present time, students will learn how changes in policies have shaped global economies.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | Bioethics: Humanity in the Post-Genomic Era<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines current biological topics that challenge our understanding of humanity and provides a brief introduction to ethics and philosophical anthropology and their roles in setting public policy.<br />
<br />
We live in a modern age in which major scientific advances are the norm. Bombarded with stories in the news regarding ethical dilemmas pertaining to novel biomedical interventions, it is often difficult for us to make sense of competing arguments without having a basic command of the biological and philosophical issues involved. Questions to be addressed include: What is a stem cell? When does a developing human being first experience sensation? Show evidence of cognitive abilities? Acquire moral status? <br />
<br />
How does our modern, post-genomic understanding of human biology influence our philosophical understanding of what it is to be human? Which biological enhancements are ethical? Which are unethical? To what extent (if at all) should the use of biotechnology be regulated in our society? Historical and current readings will be assigned, and lively discussions encouraged. Students will be graded through a variety of assessments, including papers, presentations, journals, and class participation.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | Power and Social Responsibility<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | The Ethics of Power<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Charles]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"></div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Introduction to Ethics<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this discussion course will be introduced to a variety of approaches to ethical reflection. Through the use of classical texts and personal and literary stories, students will develop a common vocabulary with which to understand and critically evaluate their moral experience. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Ethics & the Environment<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">We are facing unprecedented environmental challenges to climate, life forms, human health and population, and essential resources. We tend to treat such issues simply as scientific or political problems. In reality, ecological controversies raise fundamental questions about what we human beings value, the kind of beings we are, the kinds of lives we should lead, and our place in nature. Sustainability is not possible without a deep change of values and commitment. In short, environmental problems raise fundamental questions of ethics and philosophy. This course seeks to provide a systematic introduction to those questions.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Social Ethics: Values in a Changing America<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Whether you read the paper, scroll Instagram or follow trends on TikTok, you will see people disagreeing about how to resolve some of society’s conficts. In this course, students examine various contemporary social issues such as pornography, reproductive rights, trans rights, immigration, the death penalty, CRISPR, mutant rights, privacy rights, political extremism, drug legalization and climate change. Through engagement with current events and contemporary public conversations, the course provides students with ethical frameworks, conceptual tools and contextualized understanding necessary to evaluate and respond to the social issues of an ever-changing world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Global Ethics: What's Wrong with the World?<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Terrorism, wars, genocide, refugee crises, economic disparities, economic exploitation, propaganda including “fake news,” drug resistant pathogens, natural disasters, global warming, and so on — what kind of world do we live in? What kind of world ought we live in? How can we move from what is to what ought to be our world? These are the basic questions of global ethics. With consideration for a range of ethical theories, students study current global events in order to better understand why the world is the way that it is and what can be done about it. The course includes readings in anthropology, sociology, political theory, philosophy and the sciences, and it makes use of current news sources, investigative journalism, documentary and feature films, and new media. The course culminates with student projects on any topic concerning the world as it is and might be — or what we can do to get there.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Ethics: Medicine<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Modern medical research and practice present society with new opportunities and significant challenges. Students in this course will look at various case studies at the intersection of medicine, scientific research, health care, and ethics. Possible case studies may include debates about abortion, euthanasia, animal rights, mutant rights and experimentation, and broader environmental implications of scientific and material progress in the 21st century. Classical and contemporary philosophers will be read as part of our investigation into these topics. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Nonviolence & Moral Leadership<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Charles]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will examine major figures within nonviolent movements for social change, with a focus on the capacities of moral leadership possessed by these individuals. What characterizes an effective moral leader? How do these leaders motivate others in the face of injustice and oppression? Must moral leadership necessarily be nonviolent? What does 'nonviolence' even mean? Through a study of autobiography, letters, speeches, and case studies, students will come to a more complete understanding of nonviolent movements and the decisions made by individuals who led them. In addition to Gandhi and King, individuals studied may include Nelson Mandela, Desmond Tutu, the Dalai Lama, Aung San Suu Kyi, Thich Nhat Hanh, Paul Farmer, Greg Mortenson. Critics of nonviolence will also be studied. The course will culminate in a substantial independent research project.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Law and Morality<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Tian-shin]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">A critical examination of issues that arise out of the relationship between law and morality. Questions of concern include the following: For what reasons, if any, should an individual obey or disobey the laws of society? Which kinds of governments (monarchy, aristocracy, democracy, etc.), if any, are legitimate? To what degree should society restrict the freedom of individuals through laws on matters like abortion, pornography, race, and sexual relations? Class discussions and written exercises are designed to encourage participants to develop views of their own against a background of basic understanding of the readings. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Introduction to Philosophy<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is really real? How do I know what I know? Do I have free will? What is the good? These and other speculative questions have troubled the Western mind for millennia. This course follows a topical approach to the history of Western philosophy and focuses on such issues as metaphysics, epistemology, the problem of evil, the existence of God and the philosophical roots of ethics. Students will read from the works of ancient and modern writers such as Plato, Aristotle, Aquinas, Kant, Hume, Bentham, Locke, Arendt and Hill Collins to assist them in coming to their own understanding of these topics. Students will discover what philosophy is and how philosophers question and reason.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Justice and Globalization<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does justice demand of us (as individuals and collectives) and how does it apply internationally? In this course, we will explore the following topics: (a) the possibility of individual and collective responsibility in the face of the polarities of great wealth and great suffering across our planet; (b) cosmopolitanism and internationalism as compared to nationalism as underlying different responses to global inequity and conflict; (c) colonialism and imperialism, and responses to them; (d) the arguments for colonial or environmental reparations; and finally (e) consideration and assessment of competing political-economic approaches to globalization and development. In all of this, we will ask ourselves what principles, practices, and institutions hold the most promise for securing a more desirable and just future. Through reading, writing, and collaborative discussion, participants will work together to develop a deeper understanding of how we should approach justice at a global scale. In short, we will explore what we owe others wherever they are on Earth.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Proof and Persuasion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> A practical introduction to informal logic and to the philosophical study of language. Some of the questions raised are the following: What is the difference between a good argument and a poor one? What are the common fallacies of thought? What are the limitations of logic? What are the meaning of “meaning” and the truth about “truth?” The course stresses the development of individual skill in argument and includes a critical examination of the patterns of thought one encounters every day in magazines, in newspapers, and on television.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Philosophy of Sport<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> Through common readings, journal entries, reflection papers, prepared essays, visitors to class, presentations, and open discussion, we explore answers to questions including: What is the contribution of sports to human flourishing?; How do sports contribute to the construction of individual, group, and national identities?; What role does aesthetic appreciation play in our response to sports as participants and observers?; What does the experience of flow—“being in the zone”—in sports reveal about possibilities of transcendence for humans?</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Christianities<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Christianity? How has Christianity changed over time? Why are there so many diferent Christian groups? How are Christianity and power politics connected? This course explores these questions and others, with particular attention paid to diferent ways that Christian groups define themselves in relation to the wider culture, from the ancient world to today and from the Mediterranean through Asia, Africa, Europe, and South and North America. Students will have the opportunity over the term to study in more depth an area of interest. In addition to reading and discussion, the course will potentially include site visits, meetings with religious leaders and films.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Global Islams<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">With nearly two billion practitioners, Islam is one of the fastest growing religious traditions in the world today. Yet, with less than 1 percent of the American population identifying as Muslim, it is also one of the most misunderstood here in the United States. What is Islam? What is not Islam? And who gets to decide? This course aims to introduce students to the vast internal complexities of the Islamic tradition through an exploration of history, scripture, law, film, comic books, and social media. We will investigate and contextualize controversial (and popularly misunderstood) elements of Islamic tradition such as jihad, sharia, and veiling. From Malcolm X to ''Midnight Mass'', and from China to Cairo to Chicago, students will examine the practices, lives, and legacies of Muslims in history and today.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Judaism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Judaism? Contemporary Jewish communities forge unique identities, religious practices and spiritual paths in religiously and culturally diverse ways. This course introduces Judaism in a variety of forms and explores some of the many questions, challenges and affirmations of the many facets of Jewish identity, practices, core beliefs and ethics in the 21st century. For instance, Jews might practice yoga; sport tattoos; eat organic instead of kosher foods; grow up in an interfaith family celebrating Christmas and Hanukkah; become a rabbi; attend a Jewish LGBTQ wedding; identify as “spiritual” rather than “religious”; only attend synagogue during the Jewish high holidays; or voice doubts about Israeli politics. The class will explore these or other possibilities as a case study of how the Jewish people balance tradition and innovation to remain vibrant in a changing world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Religions of the Book<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce students to the world of scripture and interpretation in Judaism, Christianity, and Islam. Students will explore the ways that communities look to sacred writings to answer questions such as: How does God communicate with humanity? How does one live a holy life (and why bother)? Is there life after death? What happened at the beginning of time? What will happen at the end? We will examine the scriptures themselves, but also documentaries, music, comic books, art, and films from religious communities around the world, and reflect on how the Bible and Qur’an created and shaped these three interconnected and diverse religious traditions encompassing more than half the world’s population.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Hinduism and Buddhism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC-Lauren Briggs<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Hinduism? What is Buddhism? This course explores Sanatana Dharma — the duties, practices and traditions that define a Hindu way of life — as well as the traditions, beliefs and spiritual practices based on original teachings attributed to Siddhartha Gautama, the Buddha. As students explore these timeless ways of being and learn about people who embody them, they will encounter concepts of ultimate reality, the (non)self and the purpose of human life that have informed diverse ethical systems and cultures in India, China, Tibet, Korea, Japan and Southeast Asia. Historical and philosophical studies of prominent fgures, such as Mahatma Gandhi and the Dalai Lama, will provide students spaces to refect on their own senses of what it means to live a devoted life. Students will also explore certain ways these religious traditions appear — through ideas, symbols and practices — in America and Europe, as they wonder about contemporary cultural representations of yoga and meditation in the West.</div></div><br />
|style="background-color:#C0F791;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Paganism Through History<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Matt]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"></div></div><br />
|style="background-color:#C0F791;" | Has a reputation as a bit of a bird course; Matt a very easy teacher to sidetrack onto tangents and a very lenient grader.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | East Asian Ways of Knowing: Zen Buddhism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC-Lauren Briggs<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Zen Buddhism opens up to rich and varied practices of knowing and living. Through reading primary sources, both ancient and modern, and engagement with a range of Zen practices, students in this course gain an appreciation for the religious tradition and its history, as well as the types of knowing that it engenders. Students study koans (Zen training riddles) such as “What is the sound of one hand clapping?” and “What was your original face before your parents were born?” and other manifestations of Zen Buddhism across cultures and times, including contemporary derivations of “Zen” memes in popular culture and social media. </div></div><br />
|style="background-color:#C0F791;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Mysticism and the Contemplative Traditions<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How does it feel to commune with the Infnite? What ecstasies can humans experience? What personal and communal transformations result? These are questions of mysticism. It has been said that all religions converge in the contemplative tradition — the great world illuminated by the swamis and yogis of Hinduism, the core meditation practices of the Buddha, the Kabbalist teachers of Judaism, the Sufs of Islam, and the Christian mystics. What can we learn by reflecting on their teachings and their practices? How do they connect with current research on the mind-body connection? How do these make possible a deeper sense of self, or what we might call the “unique self ”? What does it mean to speak of wisdom as a kind of knowledge? We will consider selections from a range of faiths, from the ancient texts of the Upanishads to the poets Rumi and Meister Eckhart to modern writers such as Thomas Merton, Howard Thurman and Pema Chodron.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Criticizing Religion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Is there a destructive side to religion? Religion and religions have undoubtedly shaped the lives of individuals and communities around the globe for millennia for the better, but would the world be a better place if we imagined, with John Lennon, a world with no religion? Contemporary examples of the destructive side of religion fill the news on a daily basis. On the other hand, religions around the world have been a driving force for peace, for justice, for compassion, for leading a purposeful life. Many people turn to religion to find resources that provide them with community, values and meaning in their lives. Is religion’s checkered past and present leading to increased secularism? Will science ultimately replace religion? The course will explore scientifc, economic, political, feminist and queer critiques of religion — and their responses — from thinkers such as Friedrich Nietzsche, Fyodor Dostoyevsky, Karl Marx, Mikhail Bakunin, Sigmund Freud, Ayn Rand, Mary Daly, Anthony Pinn, Dan Brown, Ursula LeGuin, A.C. Grayling, and the New Atheists (Richard Dawkins, Christopher Hitchens Sam Harris, and Daniel Dennett), as well as films such as ''Spotlight'' and ''Jesus Camp''.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | One Nation Under God?: Religious Traditions in America<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The United States has always been a mix of various peoples and faiths. This course examines the religious traditions that make up the American religious and cultural landscape, focusing on Judaism, Christianity, Islam, Buddhism, Hinduism, etc. The distinctive ethos and practices of each are explored, along with their presence in the daily news. To assist students in experiencing and examining these religious traditions, the course will use make use of visual materials, guest speakers, and church and potentially other site visits, as well as firsthand experiences such as observing Buddhist meditation, a Passover Seder or a Muslim prayer service. Attention is given to students’ understanding of their own background in relation to the diversity of religious expression today.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Comparative Religion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Religion is consistently a news item in our world today; it factors into conflicts in North America, Europe, the Middle East, and India, among other places. Catholics are divided on the wisdom of the pope, Jews on the policies of Israel, and Muslims on their relation to modern secularism. But none of these divisions makes sense to outsiders without a basic understanding of the religions involved. In this course, gain a basic understanding of the beliefs and practices of the world’s major religions. Explore the meaning of religious experience, the distinction between myth and history, and the appeal—or not—of ritual. We also will discuss important questions: Why do religious communities split, for example, Sunni and Shiite Islam? What does “law” mean to observant Jews? What do Christians mean by the “Trinity”? Can “nothing” be “something” in Hindu and Buddhist contexts? Is Confucianism a religion at all? These questions and more will enliven our explorations into the major religions of the world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#CE2029;" | Psionic Self-Defence<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | [[Charles]]<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The psionic self-defense class at XS is geared for all people, not just those with psionic abilities. While it is generally not possible for someone without psionic abilities to thwart a determined psionic assault, it is the case in this class -- as in many self-defense classes -- that the best protection is never getting into the fight in the first place. Given that it is not going to be possible for non-psionics to ''stop'' a psionic intrusion, the aim of this class is to help teach students mental discipline and techniques helpful for avoiding notice and keeping unwanted thoughts from surfacing too strongly.<br />
<br />
This class's goals are to help students order their minds enough to minimize stray surface thoughts that may be overheard by psionic eavesdroppers, to help keep thoughts under control so as not to attract mental scrutiny, to recognize the signs of psionic manipulation, and to learn grounding techniques for maintaining emotional stability in the face of mild psionic influence. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Principles of Fitness<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The Principles of Fitness course is designed for students of all physical abilities. The goal of this course is to provide students with lifelong fitness habits. Students will gain an understanding of the effects of exercise on health and well-being while being able to apply the learned skills to their everyday life. This will be accomplished by introducing students to facilities, equipment and resources that are available on campus. Topics will include resistance training, cardiovascular fitness, warm-up/cool-down, plyometrics and flexibility. Classes will be built around individual and group workouts.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Running*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The PE running program is designed for students who want to run for fitness. Beginning runners will receive thorough introduction to distance running. Experienced runners will further develop their speed and stamina. Daily runs of 2 to 5 miles will compose the bulk of the training, but alternate modes of training and drills that are essential to strong, injury-free running will also be part of the course.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Strength Training & Conditioning*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In the strength and conditioning class, students are encouraged to define one or more training goals for the term. What is strength and conditioning? Strength is the ability to produce force, and it is a more durable adaptation than Conditioning, which is comparably transient, and is more concerned with work capacity- how much physical work can be done in a given time period. These two very different physical adaptations require different types of training. You can do either or both, but you must have a plan to improve them. The most important aspects of your goal-setting to consider are Specific, Measurable, and Timely. Students are expected to come to class in exercise clothing, ready to train. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Self Defense*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This self-defense course is open to all students. This course teaches practical self‑defense skills that give students the experience of facing their fears and finding their power. In this class, students are taught how to avoid altercations, resist intimidation, communicate assertively, and escape potential assaults. Students learn how to set verbal boundaries and de‑escalate potentially dangerous situations. The course will also teach ways to physically defend against a number of threatening scenarios including front confrontations, attacks from the rear, attempted sexual assault, and ground fighting. Scenarios will be empowering, practical, and useful.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Pilates*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In our Pilates class, students are introduced to beginner level Pilates mat and reformer exercises, with emphasis placed on learning proper Pilates breathing, and developing “core” connection, strength, flexibility, and proper alignment. The class learns how to access their “powerhouse” muscles and how to maintain that engagement throughout movement. Students also become familiar with beginning safe ranges of motion and how to determine when they are ready to increase the challenge by increasing their range of motion. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Bouldering*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Bouldering is rock climbing stripped down to its raw essentials. Leaving behind ropes and harnesses and just using climbing shoes and a bag of chalk over safety mats. Your challenge is to climb short but tricky bouldering "problems" (a route, or sequence of moves) using balance, technique, and strength. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Cardio-Boxing*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Cardio-Boxing is a fun and energetic class where students use choreographed cardio-boxing combinations combined with calisthenics and jumping rope to obtain a great aerobic workout. In our state-of-the-art Health and Fitness Center, students go from being taught how to wrap their hands to eventually completing a boxing circuit of approximately 10 rounds using standalone punching bags. Be ready to feel the burn!</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Swimming*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Aquatics are a means to achieve cardiovascular fitness through stroke development and participation in a variety of swimming workout methods.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Indoor Cycling*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is designed to increase muscle strength and improve cardiovascular endurance using state-of-the-art bikes. Students will experience rolling hills, sprints and other drills to give them a great interval workout.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Horseback Riding*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Outdoor Challenge*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Outdoor Challenge is a group-oriented, teambuilding program for those who want to be active in the outdoors. Depending on weather conditions, activities may include snowshoeing, cross-country skiing, mountain biking, hiking, canoeing, trail running, high- and low-ropes challenges, obstacle activities, outdoor survival education, camping skills and orienteering. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Biology<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-biology AP Biology] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Chemistry<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-chemistry AP Chemistry] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Environmental Science<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-environmental-science AP Environmental Science] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics 1 (Algebra Based)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-1-algebra-based AP Physics 1] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics 2 (Algebra Based)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-2-algebra-based AP Physics 2] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics C (Electricity and Magnetism)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-c-electricity-and-magnetism AP Physics C] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics C (Mechanics)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-c-mechanics AP Physics C] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Animal Behavior<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Why do some animals live in groups, and others singly? Why are some animals monogamous while others have multiple mates? Who cares for the young? Why do birds sing and wolves howl? In this course, we will begin to answer these questions. We will read a text that provides an introduction to all areas of animal behavior, as well as selected articles. Our focus will be on social behaviors. Using films, we will observe the social behaviors of animals as diverse as termites and wolves. We will use fieldwork to study the role of society in the foraging behavior of honeybees. Students will be required to write a research paper on a topic of their choice.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Astronomy<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Astronomy is the scientific study of the origin, structure, and evolution of the universe and the objects in it. Topics may include patterns and motions in the sky, gravity and orbits, telescopes and light, planetary systems, the birth and death of stars, galaxies, the Big Bang, the search for extraterrestrial life, and the fate of the universe. This class includes a 45-minute lab period one night a week at the Ptolemy Observatory, located on the Xavier's campus. When the lab period is used, compensation time will be given during a daytime class period.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Astronomy Research<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this course students will spend extensive time in the Xavier's Academy Ptolemy Observatory, where they will learn to operate the telescope, dome, and CCD camera. Students will learn techniques for visual observing, astrophotography, and photometry. Students will engage in research projects designed to provide an introduction to research techniques in astronomy. When appropriate, results will be submitted for publication. In addition to conducting ongoing research projects, the class will take time out to observe interesting current events (observing the pass of a near-Earth asteroid, a recent supernova flare-up, a transit of the ISS across the moon, etc.). In addition, students will be expected to spend several hours a week in the observatory (due to weather constraints, observing nights will vary.)</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Biology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is theme-based and focused on major biological topics. Studying a core text will be supplemented with other readings, writing assignments, and data analysis and interpretation. Students will learn a variety of study skills and will have an introduction to library research tools. Laboratory experiments and fieldwork are designed to acquaint students with fundamental biological principles and to build skills in the methods and techniques used to elucidate those principles.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Chemistry<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An introduction to the chemical view of the material world, including atomic theory, atomic structure, chemical reactions, the nature of solids, liquids, gases, and solutions, general equilibria, acid-base theories. Emphasis is placed on developing problem-solving skills as well as on making connections between chemical principles and everyday life. A college-level text is used, but the pace of this course is adjusted to ensure that students have ample opportunity to ask questions and work through problems. Laboratory work is an integral part of the course.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Ecology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Ecology is a field of biology dedicated to the interactions that organisms have with each other and with the nonliving components of their environment. The discipline of ecology helps to explain the abundance and distribution of organisms and issues of biodiversity and extinction and is grounded in evolutionary principles. In this course we will examine how ecological ideas play out in aquatic and terrestrial environments and students will develop skills in experimental design, data analysis and statistics, scientific literacy, and complex systems thinking. Students will also consider the impact of global climate change and other human impacts on the environment and they will have the opportunity to pursue an area of their own interest. </div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Electronics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This introduction to electronics is a hands-on, project-oriented course. Students will build a variety of simple devices, including timing circuits, alarms, flashers, amplifers and counters. By designing, building and analyzing these circuits, students will gain a firsthand knowledge of a variety of basic electronic components, including resistors, capacitors, switches, relays, transformers, diodes, transistors and several integrated circuits. Students will use Arduinos throughout the course for analyzing and testing, and as a central piece of their circuit design. Though some experience in programming is helpful, it is not required for this course.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Introductory Genetics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course considers the classical and contemporary views of the nature, transmission and function of the hereditary material. Laboratory investigations in plant and animal genetics supplement class discussion. </div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Molecular Genetics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This advanced course examines the biochemistry of the gene in greater detail and considers the underlying principles of recombinant DNA technology. Because DNA science is experimental, much of the time available in this course will be devoted to laboratory work learning techniques of DNA isolation, analysis and manipulation.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Marine Biology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The goal of this class is to give students a field research experience in which they come to understand how to work as a team to conduct experimental studies in marine science. Students will frequently be off campus, where they will be involved in a variety of new and ongoing projects. They will study the structure of intertidal communities, develop hypotheses, and then implement a research study that will provide baseline data for future work in the area. The students will also study lobster biology and the historic management of the fishery so they can start to look critically at the current state of the Maine lobster industry. In the larval settlement project, students will study organisms that recruit on docks and in the intertidal of Penobscot Bay, and consider the role of invasive species and climate change in affecting biodiversity.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Mechanics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course study of the natural laws relating space, time, matter, and energy. Topics include measurement, motion, forces, energy, momentum, and rotation. We want students to understand the behavior of matter, and to become aware of the importance of the physical laws of nature. The approach to the material is highly mathematical. Students will use spreadsheets and graphing programs to analyze laboratory data.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Biology of Cancer<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Cancer is the second leading cause of death in the United States and this disease affects many families. The profound impact of cancer on society has been the driving force behind major research advances and led to a better understanding of cell biology. Understanding the basic biology of cancer and its impact on the human body has led to more effective treatments, enhanced detection methods, and the development of prevention strategies. This course will provide an overview of the biology of cancer. The course will focus on the genetic and molecular basis of cancer. We will explore the role of mutations in cancer cells and how they lead to the deregulation of essential biological processes such as cell division, programmed cell death, and differentiation. We will also examine the interface of cancer and medicine. Classical treatment methods will be compared with newer treatment modalities, such as targeted therapies. The challenges associated with diagnosing cancers, preventing cancers, and curing cancers will also be discussed in light of current technological advances such as genomics and bio‑informatics.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Evolution<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Evolutionary biologist Theodosius Dobzhansky wrote in 1973 that “Nothing in biology makes sense except in the light of evolution,” and his statement still holds true today. Students in this course will read Jonathan Weiner’s Pulitzer Prize-winning book ''The Beak of the Finch'', which documents an ongoing study of evolution in Darwin’s finches on the Galapagos Islands. They will also read selected chapters from Sean Carroll’s text on the burgeoning field of Evolutionary Developmental Biology (Evo Devo), ''Endless Forms Most Beautiful''. We will also consider Darwinian fitness in human populations. Labs will include an investigation of avian comparative anatomy and a study of students’ own mitochondrial DNA using molecular techniques such as PCR and gel electrophoresis.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Fluid Mechanics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students taking this course will learn about fluid statics and dynamics. Dimensional analysis and derivation of Bernoulli and Navier-Stokes equations will provide the methods necessary for solving problems.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Comparative Government & Politics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | [[Tian-shin]]<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-comparative-government-and-politics AP Comparative Government & Politics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Macroeconomics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-macroeconomics AP Macroeconomics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Microeconomics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-microeconomics AP Microeconomics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Psychology<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-psychology AP Psychology] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP US Government & Politics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-united-states-government-and-politics AP US Government & Politics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Cultural Anthropology<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Anthropologists study humans as both biological and cultural creatures. This scholarly orientation raises many fascinating questions. To what degree does culture shape our actions and ideas? Are we primarily products of biological nature or cultural nurture? Can cultural norms make rational people act irrationally? Are there universal human rights or do cultures dictate what we think is ethical? These debates are critical for understanding human interaction and have significant application in fields ranging from law to medicine. Among the topics considered are: “the mind” and epistemology; discipline, law and rules; human bodies and communication; social taboos; ritual patterns of meaning; notions of cleanliness and defilement; festivals; and mythology. These elements of cultural life will be explored in social settings spanning the globe, but also within our own community at Xavier's. Much of the course attempts to contextualize 20th- century anthropological methods against the foil of postmodern critiques.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Intro Psychology<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this course study a range of explanations for human thought, behavior and emotion. Readings, projects, demonstrations and class discussions facilitate exploration of this fascinating and evolving field. Specifc areas of focus include: the nervous system and brain functions; human development; emotion; learning and memory; social psychology; and addiction. Case studies of psychopathology, as well as the diagnosis and treatment of mental illness, round out the course. Independent research and projects allow students to focus on specifc topics of interest. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Environmental Economics<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is a case-based introduction to using economics to look at some of the major environmental problems in the 21st century. In this topic-driven course, students will learn about the role of market failure in environmental issues, the challenges of pricing environmental goods, and ways in which economic theory can be used to help solve these problems. Topics such as overfishing, global warming, water pollution, and others will be covered from the angles of science and economics. Special consideration of the unique role that social justice plays in many of the topics will be considered as well. Students will be assessed on problem sets, essays, in-class discussions, and an individual research project. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Women's, Gender, and Sexuality Studies<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Pink is for boys and blue is for girls. At least it used to be. We will explore the ways that our everyday lives are guided by socially prescribed gender norms. Through the study of the historical production and contemporary interpretation of the categories of “woman” and “man,” “female” and “male,” “heterosexual” and “homosexual,” we will seek to better under- stand how gender-based inequalities have evolved and are both supported and simultaneously contested in societies across the world. In addition, we will seek to gain a better understanding of the ways that gender, sex, and sexuality inform local, national, and global efforts to improve the lives of individuals and to achieve social justice for entire communities. We also will explore the intersection of sexuality, gender, sex, race, ethnicity, class, and other forms of identity. Through a variety of sources—written documents, social media, film—this course will introduce students to a wide variety of issues across disciplines, including historical, anthropological, medical, legal, and popular culture. We also will explore contemporary uses of social media as sites of research, activism, and networking. </div></div><br />
|style="background-color:#F58104;" | Class is SUPER popular with a Certain brand of young feminist-leaning students but do Not take it if you are trans it is like a small incubator for baby terfs.<br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Critical Race Theory: The American Dream Deferred<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Historically, American society does not recognize race as the language of class. In this discussion-based seminar, students will examine ways in which race and class intersect. Critical race theory eschews the goal of assimilation into current social structure and instead looks at the experience of the “outsider” as a lighthouse that illuminates structural problems within American Society. Students will use Critical Race Theory to analyze historical legal cases—including the nation’s first successful school desegregation in 1931 where Mexican Americans sued San Diego, CA public schools for access and the famous 1957 court-ordered desegre- gation of Little Rock, AR High school—in addition to contemporary legal cases of “reverse discrimination” such as Fisher v. The University of Texas in 2012. Students will ultimately explore the question, “Is the American dream a structural fallacy that has explanation for success but none for failure?” Assignments will consist of selected readings, reflection pieces, article reviews, and a research paper. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Urban Crisis<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“All politics,” Tip O’Neill concluded, “is local.” In this seminar, students will put this oft-cited sentiment to the test by examining the dynamic relationship between local, state, and federal politics. American cities—the key sites of contestation for many policy debates in the decades following WWII—will serve as the lens through which students access the lived experience and ramifications of broader national political trends, events, crises, and movements. Students will deploy the methodological tools of urban history to contemplate the cultural, spatial, and social reality of urban environments, and examine the contingent historical development—and impact—of urban policies on social and economic inequality in modern American cities. Some of the issues covered include suburbanization in Detroit, the War on Poverty in Las Vegas, the War on Crime in New York, and the War on Drugs in Los Angeles.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | The Olympics<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will examine the origins and evolution of the modern Olympic games via the following topics: impact on politics and society, equity and ethics, controversies and scandals, inspirational stories and the role of athletes as national icons, and lessons of sportsmanship. Students will engage with a variety of sources across disciplines. Independent research and analytical writing skills will be emphasized</div></div><br />
|style="background-color:#F58104;" |<br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Collision Repair, Paint, and Refinishing* <br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> Students meet two hours daily for classroom and laboratory instruction. The students receive training in the fundamental and manipulative skills related to auto body repair and acquire the knowledge to become competent in the field of auto body repair. Areas covered are body frames, fender and bumper, removing windows and repairing damaged panels, replacing windows and windshields, welding light metals, filling with lead or plastic, estimating and pricing repair work, and spray painting. This course can be taken a maximum of twice for credit. This course provides instruction and training necessary for I-CAR student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Automotive Technology I: Maintenance and Light Repair<br />
|style="background-color:#D291BC;" | 2<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The course offers students theory and experience in most all phases of automotive drive-train<br />
repair. Students spend approximately 75 percent of their time with hands-on training and the remaining time is devoted to classroom instruction. Shop management and youth leadership are also incorporated into the course of study. This course provides instruction and training necessary for ASE student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Automotive Technology II: Automotive Service<br />
|style="background-color:#D291BC;" | 2<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course is a continuation of Automotive Technology but also includes new concepts and innovations, new engine types, studies of anti-pollutant equipment on automobile engines, and computerized engine analysis. This course provides instruction and training necessary for ASE student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Welding<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course will allow students to fortify and increase their knowledge of welding procedures and skills used in project construction through class assignments and projects. Topics covered may include: oxyfuel cutting/heating/welding, Shielded Metal Arc Welding (SMAW), Gas Metal Arc Welding (GMAW), Flux-cored Arc Welding (FCAW), plasma arc cutting, safety, and metal fabrication. In addition, record keeping, communication, employability, and human relation skills will be<br />
taught. This course will allow students to gain knowledge and skills that promote personal development and career success through involvement in the FFA. This course provides instruction and training necessary for the ASW Certified Welder certification. </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Metal Fabrication*<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This hands-on course will build on skills developed in Welding in the form of guided fabrication projects. Course hours will be split between classroom instruction in reading and creating shop drawings and independent work on instructor approved projects. </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Advanced students in this course are often connected with potential employers in New York City and surrounding areas. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Carpentry<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Drafting<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Bicycle Maintenance and Repair<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Culinary Arts: Desserts and Baked Goods<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Jax]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Culinary Arts: From Soups to Steaks<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Horticulture (Decorative)<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Horticulture (Edible)<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Beekeeping<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History and Religion<br />
|style="background-color:#899499;" | Paganism Through History<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Matt]]<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History and Social Science<br />
|style="background-color:#899499;" | Fashion in History<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“There is something about fashion that can make people very nervous,” remarks Anna Wintour in the 2009 film The September Issue. Fashion studies is an interdisciplinary field, but one that retains a study of the past as central. It asks the question, “Does what people wear matter?” More than any other facet of material culture, an interest in fashion is often dismissed as trivial or seen as an emblem of superficiality. However, clothing represents far more than narcissism or the physiological need to cover oneself for warmth and safety. From headwear to footwear, fashion can communicate what we do, who we think we are or would like to be, where we are from, and what we care about. Fashion can be used as a lens to consider change. Using iconic fashion items from history, this course will explore what they communicate about global cultures, historical moments, social and political status, economic clout, gender, and identity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Vo. Tech<br />
|style="background-color:#899499;" | Regenerative Agriculture<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will explore agricultural practices that aim to have positive environmental impacts, such as improving soil heath, increasing native species diversity and sequestering carbon. It will also explore agricultural practices that aim to have positive social impacts, such as reducing food insecurity, honoring ancestral farming practices and promoting economic wellbeing of local communities. Scientific topics such as conventional versus organic systems, seed banks, closed loop food production, permaculture, soil science, nitrogen cycles and plant physiology will be investigated. Emphasis will be placed on experiential learning on local farms and campus. The course includes a service learning component and potential for research projects. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Ethics<br />
|style="background-color:#899499;" | Medicinal Drugs<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Medicinal chemistry provides a bridge from the periodic table to the array of natural and synthesized biologically active agents available today. The ongoing development of medicinal drugs aims to integrate new scientific discoveries with precision-based strategies for treating individuals as well as large populations. A key goal in the design of new drugs for the pharmaceutical industry is to treat symptoms without the harm of side efects. Moreover, the scale-up and production of medicines are dependent on public health investment, while social and economic factors underpin access. This course will take a deeper look at the major classes of pharmaceutical drugs, including hypertension, high cholesterol, oncology, depression, diabetes, asthma and vaccines. How companies currently distribute drugs, determine pricing and ensure equity of access will be examined. Widely used compounds such as nicotine, nonsteroidal anti-infammatory agents, contraceptives, cannabinoids and pain suppressors will be explored based on their chemical structure and its relationship to function. Lab activities will provide experience with computational drug design, controlled-release drug delivery systems, pharmacokinetics and nuclear medicine.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Nuclear Semiotics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Highly radioactive nuclear materials are an accumulating component of our physical world. These materials will be actively decaying and affecting living things for thousands of years to come, possibly even millions of years. Nuclear semiotics is about the semantics of nuclear science to answer the question: how can humans of the 21st Century warn humans thousands of years from now about the location and nature of these materials? Though this question has been asked since the late 1980’s, by minds including Carl Sagan, there is no conclusive answer to this. Solving the nuclear semiotics problem may involve combining knowledge of materials science, nuclear particle physics, linguistics, symbols and cryptography, artistic expression, data science, engineering, and sociology. This course seeks to explore the fusion of these concepts and develop ideas of how to answer the question: how do we warn our future selves about our current choices? </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Computer Science<br />
|style="background-color:#899499;" | Robotics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this course will learn to use a microcomputer to control output devices and interpret input sensors. Students will complete a series of small projects that will culminate with a working autonomous robot. The initial focus of the course requires students to build and analyze several micro-controlled devices. Students will learn fundamental engineering skills such as programming the microcomputer and building simple electronic circuits. The middle portion of the course will feature the construction of an autonomous robot that uses a microcomputer and several sensors to make navigational decisions. The final weeks of the course will require students to independently research, design and implement a system or systems that will increase the capabilities of their robot. Previous programming experience is recommended, but not required.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Ethics<br />
|style="background-color:#899499;" | Water: The Science and Story of Water Around the World<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How has water and humanity intersected around the world? Using an interdisciplinary lens, explore the science and ethics behind water scarcity and access, the chemistry and ecology of water systems, and the role water plays in literature, art and religion of populations around the world. Students will use current data and news sources to understand the pressing issues surrounding water rights and the intersection with rights for marginalized groups, study primary sources from around the world to examine the way water weaves through religious ritual and artistic expression, and create their own water based installations. Students may also travel to see an Aga Khan exhibit centered on the role of water in Islamic culture. The course will culminate in a final independent project exploring one aspect of water from multiple lenses.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Vo. Tech<br />
|style="background-color:#899499;" | Molecular Gastronomy: The Science of Food<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The “science of food” food may seem like a new fad, but it is really the logical extension of centuries of the study. The understanding of how grapes are transformed into wine and champagne has been known for centuries. The production of cheese by the use of acids, enzymes, and bacteria has likewise been handed down through generations and has only recently been both “lost,” and then “rediscovered.” This class will investigate both the traditional aspects of food science—like how cheese is made or bread is baked—as well as cutting edge ideas such as how apple juice can be made into “caviar” and how shrimp can be made into “noodles.” A significant lab component will allow students to create many of these foods, and laboratories will be held in the school kitchen so that results can be tasted.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Science as Story: Communicating Science in the 21st Century<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is science communication, and how can science storytelling both educate and entertain an audience? In this course, students will learn to define, recognize, and critique common science communication media ranging from TikToks to Ted Talks. Students will practice essential science communication skills including idea/topic generation, script writing and editing, graphics and video design, and hosting/presenting. In each of these skills, research methods will form the foundation of the exploration as students gain expertise in their particular field of science being communicated. Through discussions and readings, students will also work through the ethical framing of these media and engage in case studies involving equity on both the audience and creator sides of the field. By the end of the mod, students will have produced a science communication portfolio by working independently and in small groups, and will share these media products with an online audience platform of their choosing.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Astrobiology: Life Among the Stars<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">We invite you to embark on a journey to explore the field of astrobiology, the study of the origin, evolution, and distribution of life in the universe, on and beyond planet Earth. We will begin our exploration by studying the fundamentals of relevant sciences—physics, astronomy, chemistry, and biology—and will then apply these sciences to understand the potential requirements and limitations of life on Earth as well as on other planets and moons in our solar system. As we learn about historical and current efforts to detect life on these bodies, we will consider objects resident in our own solar system, including Mars, the moons of Jupiter, the moons of Saturn, and other solar system bodies such as Ceres and Pluto. Next, we will expand our view to include other possible abodes of life outside of our solar system as discovered by modern astronomers and modern instrumentation (i.e., the Hubble and Kepler space telescopes). Finally, we will examine the role of fictional alien biology on the human imagination through literature, film, and music.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Performance<br />
|style="background-color:#899499;" | Applied Anatomy in Motion<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course combines the structural dynamics of physiology and dance as a means to investigate how the two disciplines interact. By approaching movement from the perspectives of both science and dance, the student will examine how anatomy informs dance and how dance is an expression of human structures and systems.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Art<br />
|style="background-color:#899499;" | Anatomy and Physiology<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This upper-level biology class explores the complexity of human physiology. Students will be asked to use visual arts and graphic design skills to document many aspects of the mystery and wonder of the human body systems. The course will involve independent research on the systems of students’ choosing, using visual and creative ways to present the information they find. Students will research one of the body systems in its entirety or in detail. The systems to be considered are the nervous, the cardiovascular, the respiratory, the skeletal, the endocrine and muscle, or the digestive, reproductive, and lymphatic systems. Students are required to think independently and devise a final project of their own design that incorporates very clear scientific understanding of the body systems and their form and function.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Phys. Ed<br />
|style="background-color:#899499;" | Yoga as Meditation*<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC - Lauren Briggs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Yoga at Xavier's is taught in several ways, and choosing one is a matter of preference. Yoga is an individual practice and all students are welcome regardless of previous experience. In both types of yoga, joints, muscles and internal organs beneft from movements that stimulate often-neglected areas of the body. You can expect to improve overall mobility, strength and balance and will probably enjoy stress reduction and a greater sense of well-being, too. Yoga as Meditation, a style sometimes referred to as “gentle yoga,” focuses on learning and holding classic asanas (poses), working with the breath (pranayama) and practicing mediation skills in a calm and peaceful environment, allowing the mind and body to quiet. Vinyasa Yoga is for the student who is seeking the same overall benefts as listed above but through a more active sequence of movements.</div></div><br />
|style="background-color:#899499;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot. Noticeably hesistant to correct form of physical mutants in the class. <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Phys. Ed<br />
|style="background-color:#899499;" | Vinyasa Yoga*<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC - Lauren Briggs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Yoga at Xavier's is taught in several ways, and choosing one is a matter of preference. Yoga is an individual practice and all students are welcome regardless of previous experience. In both types of yoga, joints, muscles and internal organs beneft from movements that stimulate often-neglected areas of the body. You can expect to improve overall mobility, strength and balance and will probably enjoy stress reduction and a greater sense of well-being, too. Yoga as Meditation, a style sometimes referred to as “gentle yoga,” focuses on learning and holding classic asanas (poses), working with the breath (pranayama) and practicing mediation skills in a calm and peaceful environment, allowing the mind and body to quiet. Vinyasa Yoga is for the student who is seeking the same overall benefts as listed above but through a more active sequence of movements.</div></div><br />
|style="background-color:#899499;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot. Noticeably hesistant to correct form of physical mutants in the class. <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | The Old Testament<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“In the beginning, God created the heavens and the earth. ...” So begins one of the most infuential books in human history. From ancient times until the present, Jews, Christians and Muslims have grappled with the cosmic questions, universal myths, compelling laws and dramatic narratives of the Hebrew Bible, also known as the Old Testament. It is a book that is both timeless and timely. In this course, students will gain an appreciation of the historical, political and social context from which the Hebrew Bible emerged, and will explore the narratives’ eternal themes, such as creation and destruction, rivalry and loyalty, love and betrayal, doubt and faith, freedom and captivity, and forgiveness and revenge, as well as delve into the ethical and legal teachings that have served as a major foundation of Western civilization.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | The New Testament<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The New Testament, which has been called “the most widely read, quoted, debated, maligned and believed book in Western civilization,” will be the focus of this course. Students will read and explore the New Testament; study the life of Jesus, the travels and letters of Paul, and the book of Revelation; and consider these both in their historical context and in contemporary literature and films.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science & Religion<br />
|style="background-color:#899499;" | Epistemology<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Epistemology is a philosophical term meaning “the study of knowledge.” This course explores how we know what we know about the world around us and within us. Questions engaged over the term include: What is knowledge? What differentiates and connects scientifc, literary, philosophical and artistic ways of knowing? What makes someone good at “knowing”? For that matter, what does it mean to be a student? The class explores how different modes of inquiry and experience can be distinguished from each other and then integrated into our understanding of knowledge. Class materials include readings from the Western philosophical tradition of reason (Plato, Descartes and Kant), the scientifc revolution (Galileo, Newton and Einstein), postmodernism (Illich and Abram) and literature (Dostoyevsky and Woolf). Students will also experience the visual and performing arts, take a night trip to the observatory, and engage in contemplative or meditative traditions, including practices known as “mindfulness” or “mind-body work” (Zen Roshi Jan Chozen Bays).</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | Religion and Popular Culture<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Images, ideas, stereotypes and symbol systems of religion surround us in popular culture, whether in movies, television shows, sports, fashion, the internet, music or literature. From Disney and Harry Potter to Black Panther, from rock ‘n’ roll to hip-hop, the materials for this course will be drawn from a wide range of media. Through the lens of American popular culture, this course introduces students to the academic study of religion by exploring the world’s religions and such topics as the problem of evil, the afterlife, myth and the nature of the sacred. The course will conclude by inviting students to explore an expression of religion and popular culture that deeply interests them.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | Faith and Doubt<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course invites students to an exploration through fiction and personal narrative of the depth and complexity of religious experience in its many forms from traditional belief through skepticism. The texts we will read range from some classics in this field to contemporary cultural selections. We will explore the timeless questions of the human condition, such as self-discovery, sufering, mortality, goodness, faith and doubt, the quest for meaning and the development of a spiritual self. At the end of the term, students will have the opportunity to expound on these themes in their own lives as they write a mini-meditation or spiritual autobiography for their final class paper.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Science<br />
|style="background-color:#899499;" | Science as a Human Activity<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Though often seen as a vast, impersonal enterprise, science depends upon the effort and intelligence of human beings. In this course we will ask fundamental questions about how and why people pursue scientific inquiry. To this end, we will read the works of Francis Bacon, Rene Descartes, and Baruch Spinoza, as well as works by scientists and scholars like Albert Einstein, Sigmund Freud, and Max Weber. We also will consult historians of science such as Thomas Kuhn and Steven Shapin in order to understand science as a social enterprise. In these ways, we will examine the moral and intellectual aspirations of scientific work and the nature of science, above all, as a human activity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Science<br />
|style="background-color:#899499;" | Pox & Pestilence: Disease and Medicine in the United States<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In recent years, historians have begun to understand the impact of disease on the human story and have incorporated it into the more traditional narratives. In common with other parts of the world, the history of the United States has been profoundly influenced by infectious disease. In this course we invite you to come along on a multi-disciplinary journey to explore the impact of disease on the American experience in the 19th and 20th centuries. After exploring the pre-contact situation in the Americas, we will focus on syphilis, smallpox, bacterial sepsis, cholera, yellow fever, malaria, tuberculosis, influenza, polio, HIV/AIDS, COVID-19 and bioterrorism agents such as anthrax. Students will research the role these diseases played in the social, military, and political history of the United States together with the science and medicine that developed in response to them. This is a research seminar and students will use a variety of sources to write a term paper. There is no final examination.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Ethics & Social Sciences<br />
|style="background-color:#899499;" | Feminist Philosophies<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will address feminist moral and political theories. There is no singular ‘feminism’, and feminists disagree with each other on the answers to many of those moral and political claims. We will survey a variety of feminisms, including liberal and radical feminisms, womanism, and others. The course will also cover topics including sex and gender, the nature of oppression, intersectionality (including discussions of race, disability, gender identity, and class), and sexual ethics. Special topics will be chosen by students for further focus, but could include topics such as body shaming, trafficking, or understandings of masculinity</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Ethics & Computer Science<br />
|style="background-color:#899499;" | Silicon Valley Ethics: Case Studies in the High-Tech World<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In a world where technology permeates almost every aspect of our lives — the internet, smartphones, thousands of apps, cloud-based voice systems, screens in our classrooms, artificial intelligence, robotics, the gig economy, video gaming, virtual reality, and numerous other products and applications currently under development — what ethical challenges are raised by their ubiquity? Through a series of case studies in an industry where a well-known motto is “move fast and break things,” this course will explore whether ethical considerations have kept pace with evolving technologies. Where does goodness fit in the knowledge revolution? If we have “outsourced our brain to Google,” as some would claim, have we also outsourced our ethics to it and other big tech companies? When we do a Google search, is Google also searching us? What are the ethical considerations of what companies do with our information in this so-called “surveillance economy”? What are the ethical consequences associated with posting personal information on social media such as Facebook, Instagram, Snapchat or WeChat, and who has access to that information and for what purposes? Using specific case studies drawn from the vast and complicated world of technology, this course will assist students in identifying these various ethical issues and in developing strategies to deal with them. To assist students in identifying some of the ethical challenges that technology presents, the course explores chapters from works such as Ruha Benjamin’s ''Race After Technology'', Safya Noble’s ''Algorithms of Oppression'' or Cathy O’Neil’s ''Weapons of Math Destruction''.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Mathematics & Social Sciences<br />
|style="background-color:#899499;" | Media as a Mirror: A Statistical and Visual Approach to Deconstructing False Narratives<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Who does the media say we are? What does it mean if we are seeing our reflections in a false media mirror? How can we analyze and describe the types of distortions that we are seeing?<br />
<br />
Students will use a statistical and visual art approach to explore the portrayal of various demographics in the media. How are non-dominant groups such as women, racial and ethnic minorities and LGBT people in the media portrayed? How are dominant groups portrayed? How do these stories shape the narratives in which we all live?<br />
<br />
Students will examine metrics such as screen time, dialogue, and casting through statistical tools such as t-tests, chi-square tests, and linear regressions to reveal the underlying distortions in what we see. They will then use visual art techniques such as compilation, montage, and the film essay to explore and deconstruct clichés and stereotypes and create graphs of discovered data, trends and patterns to explore and process the data. The final project will be a self-portrait that explores the ideas of false mirrors versus authentic narrative.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Math & Visual Art<br />
|style="background-color:#899499;" | Ordering Chaos<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This class is an Integrated Studies course designed to explore the connections and overlap between math and art. Using math and visual arts skills, students will explore a variety of questions, assumptions, projects, and theories that challenge stereotypes about math and art. This class aims to build resilience in young scholars who enjoy problem-solving. Students are asked to take academic and intellectual risks by exploring ideas and approaches that are out of their comfort zone and to practice self-motivation by staying engaged with the class activities and homework assignments. This class is open to students of all grades. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Math & Computer Science<br />
|style="background-color:#899499;" | Math Modeling<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The aim of this class is to introduce students to the basic concepts of applied statistics and data science. Students will learn how to clean and filter data, analyze large data sets, how to utilize math modeling programs, data visualizations techniques, and how to create and interpret math models. Though coding will be utilized in this course, no experience with coding is required. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Spanish<br />
|style="background-color:#899499;" | The Sky Is Falling: Magical Realism in Latin American Literature and Beyond<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What if you entered a library with infinite titles, endless corridors, and duplicate copies? What if a speck in the sky turned out to be a ceiling, one that got lower and lower with each passing day? What if your new next-door neighbor seemed remarkably—even eerily—like a future version of yourself? In this course, we will explore the broad umbrella of magical realism, a literary genre in which primarily realistic stories contain some element of magic, as well as varying alternative fictions. Each of our texts will take the recognizable world and add unsolved mysteries, the supernatural, or unexplained phenomena to complicate our understanding of reality, as well as our characters’ experiences and emotional states. We will explore how and why authors choose to manipulate reality and examine the effects on our understanding of a character’s motive and identity. Using a broad scope of writers and traditions, we will address Sigmund Freud’s “uncanny,” as well as Da <br />
Chaon’s “spooky” and Margaret Atwood’s “speculative fiction.” In keeping with magical realism’s roots, we will begin the term with midcentury Latin American writers such as Jorge Luis Borges and Gabriel Garcia Marquez, and then expand our scope to include Kelly Link, Shirley Jackson, and Jean Rhys, among many others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Social Sciences<br />
|style="background-color:#899499;" | Borders: Immigration, Migration and National Boundaries<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines how borders shape our world. Whether these are internal or external, societal or national, we all encounter barriers, but we do not all experience them in the same way. From the establishment of Europe to the discovery of the North American continent, from the Scramble for Africa to the Islamic State, and from the declarations of independence by former colonies, the development of borders has played a key role in geopolitical, religious, racial, and cultural matters. The course looks at nationality, identity, and the meaning of nationalism. It examines the lines drawn by politics, race, religion, class, and education, that lead to the creation of separate communities. This course addresses the nature of rights; natural, national, and human that emanate from the recognition of borders and that determine their legitimacy. Rights give rise to conflict, and when it comes to living spaces, these disputes are even more contentious. <br />
</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Social Sciences<br />
|style="background-color:#899499;" | Decolonizing Women: Shattering Oppression<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the colonization of women in disparate societies around the globe. Whether by imperialist forces, colonial occupation, war, patriarchy, dictatorship, or political movements among others, women have encountered a super-imposed culture that has warranted adaptations and transformations. This in turn has given rise to internal and external resistance. This course seeks to examine the origins and nature of these movements across the globe that have been generated by women for women. Incorporating their specific national, cultural, and traditional histories, this course will enable our students to learn about the impact colonization has had, and in some cases continues to have, on the development of women’s rights in regions far removed from their own. They will be able to make comparisons between their own (native) women’s movements, whether national or regional and establish underlying connections between the movements on the whole. This course will also focus on the question of location; how does the location of a women’s movement influence its success? What relevance do culturally specific laws, common law, and traditional societies have on the emergence of women’s rights and movements from within their communities?</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | Revolutionary Russia<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines Russian history from the Decembrist uprising of 1825 to Stalin’s show trials and the destruction of the Old Bolsheviks in the late 1930s. After a brief survey of autocracy and orthodoxy in Old Russia and westernization under Peter the Great, students focus on the 19th and early 20th centuries, with emphasis on the French Revolution and the Napoleonic Wars, the development of the revolutionary tradition, the rise of Marxism, the Bolshevik Revolution, the Civil War, Marxist-Leninist theory in practice, and Stalin’s dictatorship. Special attention is given to Russian literature, with works by Pushkin, Gogol, Turgenev, Dostoyevsky, Tolstoy, Chekhov and Koestler.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & World Languages<br />
|style="background-color:#899499;" | Roman History for Latin Students<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides a deeper historical background to the world of the authors that students will read in their Latin courses. Beginning with Roman state and urban formation of the early Iron Age, students will use primary and secondary sources to study in depth a selection of topics from the first millennium BCE. Students will also read primary sources in the original Latin language and finish the term with a role-playing opportunity examining the collapse of the Roman Republic.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Religion<br />
|style="background-color:#899499;" | The Holocaust: The Human Capacity for Good and Evil<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How did the Holocaust happen? How could some people commit such heinous crimes, while others remained bystanders, and still others risked their lives to save innocent people? We will consider these questions and many more as we examine the Holocaust from the perspective of the human capacity for good and evil. Discussions of human psychology and behavior, as well as the religious and historical sources of anti-Semitism, will be examined as background to the events of the 1930s and 1940s. We will also consider the memory of the Holocaust in survivor testimony and in more contemporary efforts to memorialize, represent and reckon with the historical events. The course will culminate with a project of each student’s own design.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Queer Literature & Identities<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course approaches American literature with an emphasis on the ways in which non-heterosexual and non-cisgender identities and experiences have been represented in post-Stonewall (post-1969) writing. Despite the actual lived range and combination of gender identity, sexual orientation, and sexual practice, mainstream heterosexuality attempts to confine sexuality to a rigid duality where observation of a person’s secondary sex characteristics are supposed to infer hir (gender neutral pronoun) gender identity and sexual practice. In this context, the term “queer” is invoked to describe any possible combination of gender identity, sexual orientation, and sexual practice that challenges the norm presented by heterosexuality. By reading essays and literature by self-identified queer writers, we will challenge and redefine the concepts of sex, gender, masculinity, femininity, diversity, oppression, and empowerment. By the end of this mod, we will have developed a greater awareness of issues concerning gender and sexual identity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Lockdown<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Prisons are a growth industry today in the United States. This course, through a blending of literature, film, and social sciences, will examine incarceration. By reading novels, memoirs, and poetry and viewing a few films, we can gain a greater appreciation of the psychological effects of these institutions and the power of art as a means of coping with them (touching then on witnessing and testimonials). We will ask questions about ethics and justice, about self-expression, and about social control. The course will include some experiential learning in the form of trips to a nearby jail and a nearby youth court. Some possible titles may include: ''Orange Is the New Black'', ''Gould’s Book of Fish'', ''The Trial'', ''Brothers and Keepers'', ''A Place to Stand'', ''One Day in the Life of Ivan Denisovich'', and ''Zeitoun''.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | Change Agents: Examining Advocacy, Audience, and Impact in Literature and the Arts<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course will focus on the intersection of literature and activism. After defining our key terms in relation to questions of representation, propaganda, branding, and witnessing, we will delve into case studies involving civil rights and social justice, and environmental activism. We will read fiction, poetry, and drama—thinking about questions of audience and impact. In addition, music, performance, and visual arts may provide further contexts to understanding the relationship between literature and activism. Writers may include James Baldwin, Don L. Lee, Alice Walker, Richard Powers, Annie Dillard, etc. Students will choose a cause and investigate a range of artistic acts of activism—and perhaps produce some of their own. Projects may include the potential for collaborations here on campus and beyond.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | History & Literature of the Haitian Revolution<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Few events have been as transformative and far reaching in effect—yet so untaught and unlearned across the humanities—as the Haitian Revolution, which occurred from 1791 to 1804. This interdisciplinary course will investigate the revolution and its legacy and attempt to address, at least in part, the monumental significance of the only successful large-scale slave rebellion in the Atlantic World. By 1804, the newly independent Haitians, freed by their own hands, had won for themselves a unique inheritance: theirs was a society born of the Age of Revolutions and animated by the Enlightenment-inspired language of liberty, but equally theirs was a society deeply rooted in African and Afro-Caribbean slave culture. In its independence, Haiti became the center of a transnational black diaspora as it defended its existence at a time when the United States and European colonial powers viewed racial slavery as the pillar of their burgeoning capital economies. This elective aims to explore these complicated ideas through a variety of texts, digital archives, fiction and nonfiction, literature, and history.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Crossing the Line: U.S.-Mexico Border Literature and Contemporary Politics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What does it mean to live on or near a border, and more importantly, what does it mean to read and write literature about border experiences? In this course, students will explore the U.S.-Mexico border and literature produced “on the line,” what Gloria Anzaldúa describes as “La Frontera.” Students will read works that identify as “border literature” and will be introduced to border studies, discussing themes such as immigration, hybridity, border militarization, and in general, issues concerning U.S-Mexico border politics. Possible authors to be studied: Yuri Herrera, Cormac McCarthy, Nicholas Mainieri, Cristina Henríquez, Luís Albero Urrea, Emma Pérez, Lucretia Guerrero, Sandra Cisneros, Reyna Grande, and Ana Castillo.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Philosophy<br />
|style="background-color:#899499;" | Existentialism<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Existentialist philosophy asks us to think about what it really means to have control over who we are and what we do. In this course, we’ll look at some of the key texts of existentialism, both fictional and nonfictional, focusing on Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. We’ll grapple with some of the biggest questions humans can ask themselves: What makes us who we are? How much choice and control do we have over our lives? What does it even mean to be a person who can think for themselves and interact with the surrounding world? You’ll leave the class not only with a clearer understanding of complex philosophy, but also with a way of thinking about yourself and the world that you can apply every single day.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Music & Performace<br />
|style="background-color:#899499;" | American Musical Theatre<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Musical Theatre is an interdisciplinary and experiential class that will explore both the history and performance elements of American Musical Theatre. Beginning with the 1920s and culminating with present day, students will explore the historical context of a significant musical in a particular decade each week. Students also will perform a number from that musical each week, challenging themselves in the discipline of performance. Over the course of the term, students will gain knowledge of American history through the lens of the performing arts and gain experience in performing in the three elements of musical theatre (song, dance, and spoken word). Public performances will occur throughout the term, including a final project. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Performace<br />
|style="background-color:#899499;" | Play Writing<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Creating the literature of the theatre requires a good ear for the way people communicate, a keen sense of imagination, an understanding of how theatre works, writing skills to give voice to one’s ideas, and speaking ability to give verbal life to written plays. The process demands the general willingness to venture into this specific genre of literature, patience, revisions, and humor. Plays created by this class may be selected by student directors and performed. This course will include reading, writing and theatre exercises to explore themes and topics.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Performace<br />
|style="background-color:#899499;" | Social and Political Theatre<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students study important social and political literature of the theatre that addresses social justice issues, including experiences of war, personal and political freedom, assumptions, stereotypes, and responsibility. Readings may include the works of well‑known playwrights and contemporary playwrights as well some lesser known artists. Classes will include an exploration of how we use the world of theatre to analyze text and character, bringing text to life, and open discussions and reflections about how we can use theatre to bring important topics to light. We will explore our own relationship to themes we discover in the work we read and write as well as the possible meaning to society as a whole. This course will include reading, writing and theatre exercises to explore themes and topics.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performance & Vocational Tech<br />
|style="background-color:#899499;" | Costuming<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An introductory exploration into the areas of costume design and costume construction, this course will highlight primary design elements utilized in costume design for the stage and screen (i.e., line, color, tone, texture, movement, mood composition, balance, and focus). The course will examine historical period silhouette and the art and craft of the stage costume. Practical experience will be given in areas including construction, flat patterning, draping, and fabric manipulation.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Philosophy<br />
|style="background-color:#899499;" | Costuming<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Existentialist philosophy asks us to think about what it really means to have control over who we are and what we do. In this course, we’ll look at some of the key texts of existentialism, both fictional and nonfictional, focusing on Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. We’ll grapple with some of the biggest questions humans can ask themselves: What makes us who we are? How much choice and control do we have over our lives? What does it even mean to be a person who can think for themselves and interact with the surrounding world? You’ll leave the class not only with a clearer understanding of complex philosophy, but also with a way of thinking about yourself and the world that you can apply every single day.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Visual Art<br />
|style="background-color:#899499;" | Graphic Narrative<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The graphic novel is an extended comic book with similar subject matter to—and the sophistication of—traditional novels. By its very nature, the graphic novel challenges our assumptions of what a narrative and novel can be. For those tied to words, the comic offers a challenging visual text that forces us to read in new and surprising ways; much of this course will be about reframing our visual and narrative habits and expectations. While the graphic novel is increasingly mainstream, it often has offered voices from the margins about the margins. Its subject has been everything from the coming-of-age novel to historical memoir to cross-cultural conflict to the darker side of the superhero. We will read a variety of texts with the rigor accorded to more traditional texts while also stretching ourselves to understand the aesthetic visual choices the artist makes. By the end of the term, we will even attempt our own small comics. Texts may include Alan Moore’s ''Watchmen'', Chris Ware’s ''Jimmy: The Smartest Kid on Earth'', Marjane Satrapi’s ''The Complete Persepolis'', Art Spiegelman’s ''The Complete Maus'', Frank Miller’s ''Batman: The Dark Knight Returns'', and others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | The Great Migration<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“They traveled deep into far-flung regions of their own country and in some cases clear across the continent. Thus the Great Migration had more in common with the vast movements of refugees from famine, war, and genocide in other parts of the world, where oppressed people, whether fleeing twenty-first-century Darfur or nineteenth-century Ireland, go great distances, journey across rivers, desserts, and oceans or as far as it takes to reach safety with the hope that life will be better wherever they land.” Isabel Wilkerson, The Warmth of Other Suns: The Epic Story of America’s Great Migration. Students will engage with art, film, literature, and music about the African American exodus from Southern regions of the United States into the northern cities of Chicago, Cleveland, New York City, and others. A few writers that students can expect to read are James Baldwin, Lorraine Hansberry, Toni Morrison, August Wilson, Richard Wright, among others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performance Arts & Vocational Tech<br />
|style="background-color:#899499;" | Puppetry and Props<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This hands-on laboratory course investigates the history, styles, tools, materials and techniques of puppetry. Students will bring imaginative ideas to life by engineering and constructing various puppets forms, experimenting with performative objects, and exploring puppet manipulation as a performer. Note: as part of this class, students will learn the use of small hand and power tools. <br />
</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | Screenwriting<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In recognizing the important role that film has in the life of our culture today, this course focuses on the skills particular to writing in that medium. Using the Robert McKee classic text Story as our guide, we learn about elements of story substance and structure, and we look at principles of story design and style in screenwriting. We also analyze the way these principles reveal themselves in significant modern and classic films, as we read and discuss screenplays ranging from Casablanca to Fruitvale Station. Viewings of these films accompany class discussions. Students complete the course with a portfolio of scenes and the treatment and outline for their own original film.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | Identity<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course explores the intersection of writing and performance through an investigation of personal identity and will be taught collaboratively by instructors who specialize in each area. The course will culminate in a performance of a devised theatre piece of the student’s creation before a live audience. Designed for students with acting experience and a serious commitment to the art form, students will build off their existing skills through in-depth character work and scene study and push their understanding of themselves and acting by exploring their own identity. Students will be encouraged to think theatrically, engaging in a search for the connection between literary themes, historical context, and personal identity. Over the term, the class will gain insight into the roles that race, class, gender, sexual orientation, and faith affects our daily existence and live performance. Lastly, students will experience and examine how live performance interacts with public discourse, civil disobedience, and art.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | The Playwright's Playground<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Theater-making often begins with the playwright’s script — and ends with the work of an entire community of collaborators: directors and actors, literary directors and dramaturgs, designers and stage managers, producers and marketers, community organizations and advocates, and more. Students will consider the following questions in discussions and writing: How do we stage a production in an ethical and responsible way about a community that is not one’s own nor represented by our audiences? Should it be done? Which collaborators are essential to preserving the integrity of the play’s meaning? How do we engage the playwright? How do we engage the communities represented as theater-makers and artists? Students will read plays by and about BIPOC characters, be in conversation with the playwright, and direct readings of Sahar Ullah’s plays, including ''Hijabi Monologues'' and ''The Loudest Voices''</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Vocational Tech<br />
|style="background-color:#899499;" | History Through Food<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
From the Neolithic Revolution through the emergence of the global food markets of the 20th century, this course examines the changing relationship between humans and food. Through a combination of readings, tastings and hands-on cooking, we will examine how food can help us understand various aspects of the<br />
past around the world. Topics include the relationship between food and the economy, food and identity, food and empire, and food and the environment. Come hungry to learn and to eat. We will be reading about, writing about, cooking and tasting food that can help us understand how humans shape what they eat, and how what we eat shapes us.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Music<br />
|style="background-color:#899499;" | Beats, Rhymes, and Narrative<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Hip-hop music’s infuence on popular culture, literature, entertainment and politics is undeniable. This course will examine the relationship between hip-hop and storytelling. Course texts will consist of weekly listening sessions, scholarly articles on hip-hop theory and definitive text on hip-hop culture. We will listen to selected songs by a diverse array of artists and analyze their structures and traditional literary elements. A section of the course will be devoted to the study of a chosen album. Class discussions will examine hip-hop as a modern-day social justice tool and a narrative genre that explores gender, race, spirituality, class and resistance. Writing assignments will consist of original rap songs, which include recordings, and a final epistolary project. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Music<br />
|style="background-color:#899499;" | The Harlem Rennaisance<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Harlem, New York. 1920s. A constellation of African American writers, artists, performers and thinkers are changing American and world culture, pollinating African American art and literature. Between WWI and the Great Depression, Harlem was distinctly in vogue. The Harlem Renaissance became a landmark of American literary, artistic and intellectual history: the emergence of a distinctive modern black literature, a clustering of black artists who sought to give expression to the ambiguous and complex African American experience. The course centers on the distinctive voices and styles of Claude McKay, Jean Toomer, Nellie Larsen, Zora Neale Hurston, James Weldon Johnson, Countee Cullen, Langston Hughes and others. We will honor African American achievements in music and visual arts during that period and examine the Harlem Renaissance’s legacy within the evolution of African American literature and American, Afro-Caribbean and global art and literature. Class will include a field trip to a performance at the Apollo Theatre.</div></div><br />
|style="background-color:#899499;" | <br />
|}<br />
</div></div><br />
<br />
==Extracurriculars ==<br />
<br />
Life at Xavier's is not all classwork and training. Between sports* and student organizations, the students have a wealth of opportunities to choose from to enrich themselves outside the classroom.<br />
<br />
Athletics (The Xavier Titans)<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Fall Season'''<br />
<div class="mw-collapsible-content"><br />
*Cross Country (BV/GV)<br />
*Field Hockey (V)<br />
*Football (V)<br />
*Soccer (BV/GV) (''Coach: [[Kyinha]]'')<br />
*Volleyball (GV)<br />
*Water Polo (BV)<br />
*Fencing (BV/GV)</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Winter Season'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Basketball (BV/GV)<br />
*Ice Hockey (BV/GV) (''Coach: [[Scott]]'')<br />
*Swimming & Diving (BV/GV)<br />
*Wrestling (V)</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Spring Season'''<br />
<div class="mw-collapsible-content"><br />
*Baseball (BV)<br />
*Crew (BV/GV)<br />
*Cycling (V)<br />
*Lacross (BV/GV)<br />
*Softball (GV)<br />
*Tennis (BV/GV)<br />
*Track (BV/GV)<br />
*Water Polo (GV)<br />
*Gymnastics<br />
*Ultimate Frisbee</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Student Organizations'''<br />
<div class="mw-collapsible-content"><br />
<br />
This is a sampling of student organizations that have been found among Xavier's students in the past. Feel free to add new ones that your char might be interested in or organize your own!<br />
<br />
*Classics Club (''Sponsor: [[Matt]]'')<br />
*Science & Tech Club<br />
*Math Club (''Sponsor: [[Kyinha]]'')<br />
*Chess Club (''Sponsor: [[Matt]]'')<br />
*GSA<br />
*Cryptology Club<br />
*Rock Climbing Society ''(Sponsor: [[Jackson]])''<br />
*Robotics Club<br />
*Jewish Student Union<br />
*Christian Fellowship ''(Sponsor: [[Jackson]])''<br />
*Muslim Student Union<br />
*Alianza Latina<br />
*Asian Student Alliance ''(Teacher: [[Tian-shin]])''<br />
*French Club (''Sponsor: [[Matt]]'')<br />
*German Club<br />
*Board Gaming Club <br />
*Women's Forum<br />
*Drumline<br />
*Unaccompanied Minors (a capella group)<br />
*Model UN<br />
*Astronomy Club<br />
*Debate Team<br />
*Mock Trial ''(Teacher: [[Tian-shin]])''<br />
*Peer Tutoring<br />
*Odyssey of the Mind<br />
*Culinary Society<br />
*Movie Club<br />
*Student Council<br />
*Yearbook <br />
*Phoebe's Oracle (Student Newspaper)<br />
*Literary and Arts Magazine <br />
*Archery Club<br />
*Martial Arts Club<br />
*Table-Tennis Club<br />
*Tabletop Society <br />
*Photography Club<br />
*Hiking/Nature Club<br />
*Wonderbolts (Equestrian Club) ''(Sponsor: [[Jackson]])''<br />
*Xavier's Players (Theatre Club)<br />
*Dance Dance Evolution (Dance Team)<br />
*Society for Creative Anachronism Student Group<br />
*Peer Support Group<br />
</div></div><br />
<br />
*Note that because of the vast discrepancy in abilities among the student body, joining an athletic team must be approved both in tryouts and by the Xavier's Ethics board.<br />
<br />
== XS Life ==<br />
<br />
=== XS Dorms ===<br />
<br />
Student dorms at Xavier's are segregated into two wings based on binary identified gender. Students who do not identify with a binary gender, regrettably, have to pick one of the two wings to live in.<br />
<br />
Nearly all dorm rooms are currently set up for two people; in some cases due to availability or extreme power related considerations, students may be assigned a dorm by themselves. <br />
<br />
The dorms at Xavier's are, as dorm rooms go, fairly comfortable. They are quite spacious, and come standard with a pair each of twin beds, dressers, nightstands, desks with bookshelf/hutch, and large closets. There is ample room in the dorms for students to customize their own half of their rooms as they like so long as it does not violate any school regulations.<br />
<br />
Bathrooms in the student dorms are shared with the wing; they have long rows of sinks and toilets on one side and, separately, the rows of showers, in their own enclosed booths with plenty enough space to bring all clothes and toiletries in and have them stay dry.<br />
<br />
The teachers' wing is on a different floor. Teachers who choose to live on campus get their own suites; they vary in size but all come with their own in suite bathrooms and some have small kitchenettes or small sitting areas as well.<br />
<br />
==== Roommate Assignments ====<br />
<br />
ICly, roommates at Xavier's are assigned by the administration, and cannot be specifically requested. Sometimes roommates do not get along; sometimes friction occurs -- usually these students will simply be told to learn how to get along. In cases of '''serious''', persistent hostility/incompatibility that is impacting the students' ability to thrive, the students may request a change of roommate, though they may still not request a ''specific'' new roommate. As of fall term 2023, rooms are triples, not doubles. <br />
<br />
OOCly, though, roommates at Xavier's are not assigned and are handled wholly and entirely by OOC agreement between players. Nobody will ever ''assign'' you a roommate here, so please do not ask. If you would like a PC roommate, you will need to a) see if there is someone who has a PC living in the same wing as yours who does not yet have a roommate and b) see if they are interested in being your roommate. If nobody is available, please either assume your PC has an NPC roommate or, if they are brand-new, may be one of the lucky few who has the double room to themselves until someone new shows up!<br />
<br />
Current PC room assignments at XS ('''check here to see if anyone is free/unassigned if you are looking for a roommate'''):<br />
<br />
*Girls' Wing:<br />
**[[Kelawini]]/[[Nessie]]<br />
**[[Naomi]]/[[Nahida]]<br />
**[[Ashlinn]]<br />
**[[Echo]]/[[Sriyani]]<br />
**[[Emilia]]<br />
**[[Kieow]]<br />
**[[Nevaeh]]<br />
**[[Rhydian]]<br />
**[[Sera]]<br />
**[[Cassy]]<br />
<br />
*Boys' Wing:<br />
**[[Harm]]<br />
**[[Lael]]/[[Avi]]/[[Bryce]]<br />
**[[Spencer]]/[[Dallen]]/[[Roscoe]]<br />
**[[Asva]]<br />
**[[Ford]]<br />
**[[Lucas]]<br />
**[[Marc]]<br />
**[[Quentin]]<br />
<br />
=== Advising at XS ===<br />
<br />
ICly, every student at Xavier's is paired soon upon arrival with an advisor. The job of the advisor is to make sure the student's needs at the school are being met and the student is being properly prepared for graduation/life after Xavier's. This means: helping them figure out their goals after high school, helping them a class and extracurriculars schedule that is manageable for them and will prepare them for a successful graduation, arranging that they get whatever access to coaching and therapy they might require (whether this is powers-based, medical, or psychological.)<br />
<br />
Please note that their advisor is '''not''' required to be the person who gives them powers-based coaching if it is needed, and advisors at Xavier's are, as a general rule, '''not''' selected based on similar powersets to students. When possible, students are matched with advisors based on personality and cultural competency -- meaning they try hard to pair students to advisors they think they'll get along with and talk to, not just advisors who can train them to use their powers.<br />
<br />
OOCly, similarly to roommates, advisors at Xavier's are not assigned and are handled wholly and entirely by OOC agreement between players. Nobody will ever ''assign'' you an advisor here, so please do not ask. If you would like a PC advisor, you will need to see if there is someone who has a PC faculty or X-Man who is interested in being your student's advisor. If nobody is available, '''please assume your PC has an NPC advisor''' -- there is no situation, period, where a student will not have an advisor, so do not RP that they have not been assigned one.<br />
<br />
When asking about advisor/advisee relationships, it is a good idea to check in OOCly and make sure you are on the same page about what you all want OOCly out of that RP relationship -- some people might want to actually roleplay out advising sessions on camera while other people are not interested in that genre of scenes and might only want that as a background to inform your characters' relationship for other types of scenes, and it is better not to set yourself up for frustration if you want very different things!<br />
<br />
Mentor Assignments:<br />
<br />
*[[Jax]] - [[Harm]], [[Lael]]<br />
*[[Joshua]] - [[Spencer]], [[Roscoe]]<br />
*[[Kyinha]] - [[Avi]], [[Nessie]]<br />
*[[Maya]] - [[Naomi]]<br />
<br />
(OOCly) Unassigned Students (remember that ICly, these students will still have an advisor, they will just be an NPC until you choose to pair with a PC advisor):<br />
<br />
*[[Ashlinn]]<br />
*[[Asva]]<br />
*[[Bryce]]<br />
*[[Cassy]]<br />
*[[Dallen]]<br />
*[[Echo]]<br />
*[[Emilia]]<br />
*[[Ford]]<br />
*[[Kelawini]]<br />
*[[Kieow]]<br />
*[[Lucas]]<br />
*[[Marc]]<br />
*[[Nahida]]<br />
*[[Nevaeh]]<br />
*[[Quentin]]<br />
*[[Rhydian]]<br />
*[[Sera]]<br />
*[[Sriyani]]<br />
<br />
=== Dining at XS ===<br />
<br />
The kitchen is run by Savita Chavan, who has been the cook for many, many years at XS. She is fully human; her daughter was a mutant who graduated long ago.<br />
<br />
Meals happen on a set schedule (breakfast at 7 am, lunch around 12/1p, dinner around 6:30; shifted an hour later on weekends), but there are always plenty of snacks and leftovers kept around the extensive pantry for students who need more food in between meals.<br />
<br />
Xavier's does its best to cater to the wide variety of cultural and physiological needs of its students. The dining hall is NOT a restaurant or cafeteria with a full menu that kids can order from it's a school dining hall. <br />
<br />
Mealtimes generally include one meat and one vegan entree with a number of sides that students can pick and choose from to make their own meal as best suits them. Entrees and sides at a given meal will generally all be along a similar cuisine for ease of mixing and matching, with a wide range of dietary choices represented among the available options. While Savita's specialty is South Indian food, she tends to ''try'' and cater her cooking to the (predominately whiter, more American) palate of the school body; though there's a wide variety of recipes on rotation, they skew towards Things That An Uncertain Immigrant Thinks Would Be Inoffensive To A Wide Audience Of American Kids. Less often palak paneer, more often ravioli.<br />
<br />
=== XS Tech ===<br />
<br />
*There is wifi everywhere throughout the mansion and covering a good portion of the grounds around the mansion. It reaches down to the boathouse and docks, but peters out soon into the woods.<br />
*The computer lab is open 24/7, with many machines available for students who do not have their own personal computers. It is well-equipped with computers, scanners, and printers for all students' computing needs.<br />
*All students are required to have smartphones. Students may not use cell phones during class, but must keep their phones with them at all times when they are signed out to leave school grounds. They are expected to use the cell phones in emergencies; they are all equipped with a 'panic button' which will send an alert with the student's location to the school, dispatching available X-types to respond. Hitting the panic button OUTSIDE of actual crises is a severe infraction and will result in disciplinary action.<br />
**Students are welcome to see the school's IT department if they have their own appropriately capable cellphone they would prefer to keep and use; they will install a similar panic-button app for them. Students who do not have/cannot afford their own phone will be provided one by the school.<br />
*All students, staff, and faculty receive Xavier's email addresses. The default format is first initial-lastname at xaviers.edu . So, e.g., Daiki Komatsu is dkomatsu@xaviers.edu. Alumnae keep their Xavier's email address for as long as they stay active with it; they can contact the school sysadmin to reinstate it if they let it go idle and it is deleted.<br />
**Staff, faculty, and alumnae are allowed to pick up to two mail aliases for their email as well. So, e.g., Jackson, in addition to being jholland@xaviers.edu, can also be reached by jax@xaviers.edu or littlemisssunshine@xaviers.edu. Mail aliases must have some modicum of propriety; nothing vulgar or profane will be allowed.<br />
*Xavier's internal network has extensive online support for all academics. Students can log in to check their class syllabus, assignments, announcements from teachers (which will generally also come with email notification), class discussions, lecture notes, grades, calendars, and any other media that the teacher has posted to help with class.<br />
**All teachers of academic classes are given instruction in how to use this system when they start teaching; it is pretty simple and intuitive and does not require much tech savvy. Teachers are ''required'' to post their syllabus and assignments, at the least, here.<br />
**For this reason, not knowing about assignments is never an excuse; if class is missed, the week's assignments and topics are posted online and all students have plenty of internet access. A teacher forgetting to post an assignment, however, ''is'' an excuse, so teachers should get used to being on the ball with this.<br />
*Xavier's sysadmin is very On The Ball, although nobody seems to ever have seen him. Any and all network problems can be directed to cerebro@xaviers.edu, though, and tend to be answered uncannily quickly. The network does not inherently have any constraints on it for things like file sharing and porn and general Misbehavior, but students will find that things outside of the school's Acceptable Use Policy (things like: attempted hacking, illegal activity, using obnoxious amounts of bandwith nonessentially, etc. ) are quickly discovered and quashed.<br />
*Students -- or malicious outsiders! -- will also find that their network is ''remarkably'' secure and resistant to malicious tampering and intrusion. Students attempting to test the network's security will even occasionally receive an email offering advice, and explaining what they did wrong, along with a suggestion that should they wish to practice their "1337 haxx0r skillz" they should take one of the many CS classes offered by the school.<br />
<br />
=== The Neighborhood, and Beyond ===<br />
<br />
Xavier's School is located in the town of Salem Center, a town of around 5000 people in Westchester county. Salem is a small and close-knit community, the type of place guidebooks probably call "charming" or "quaint". Its town center makes a deliberate effort to retain the same general feel it has kept for generations, old-fashioned storefronts and cobbled streets with a lot of eye for aesthetic and very little thought for accessibility. While there are some things to do in town -- an arcade, a diner that's popular with the students, a roller skating rink, a small movie theatre -- in honesty the primary recreational activities of the youth who live there are Getting High Behind the roller skating rink, movie theatre, etc. The Weirdo School up at the old Xavier place is something of an open secret in town; while people don't know for sure the full scope of the school they are well aware that there's a Higher Proportion Than Usual of freaks that come into town from there and have grown to a grudging mutual tolerance.<br />
<br />
At just under a mile from campus, getting to the town center is a middling walk on a pleasant day, or a very quick bike or car trip. <br />
<br />
Westchester County is just north of the Bronx. In zero-traffic conditions, it takes approximately an hour by car to get from the school to Manhattan -- in most ''actual'' New York City congestion situations, tack ''at least'' an extra half an hour onto that. Public transit is a more hit or miss prospect -- the school is served by commuter rail; the schedule is geared around people getting to and from day jobs in the city and not to the needs or desires of people wanting to get FROM Westchester TO the city on an after-school/weekend schedule. <br />
<br />
Timed correctly, the trip from Salem Center to Grand Central Station by train is often quicker than sitting in traffic and will run about an hour as well -- however on top of that needs to be factored in time to get ''from'' downtown Manhattan to wherever people ''actually'' want to be, as well as the fact that the train runs extremely intermittently on weekends and does not run late at night. The trip by buses (which are necessary to get back in between trains) requires several transfers and can take well over 2 hours from downtown, depending on transfer times and how behind the buses are.<br />
<br />
===Additional Trivia===<br />
The school colours are blue and yellow, though Xavier's branded apparel comes in different colours as well. <br />
<br />
The school teams are the Titans -- the mascot, when it is brought out, does not look ''much'' like a Greek god, but that's how it goes.<br />
<br />
The school motto is ''mutatis mutandis''. <br />
<br />
== Roster ==<br />
<br />
These are the current PCs who have some affiliation with Xavier's.<br />
<br />
*Faculty<br />
**[[Maya]] Mukhopadhyay<br />
*Faculty/X-Men<br />
**[[Charles]] Xavier<br />
**[[Jax]] Holland '10<br />
**Roberto "[[Kyinha]]" da Costa<br />
**[[Matt]] Tessier<br />
**[[Scott]] Summers '95<br />
**Hua [[Tian-shin]]<br />
*Staff<br />
**[[Cerebro]]<br />
*Students<br />
**[[Ashlinn]] Karibeanas<br />
**[[Asva]] Runí Tøro<br />
**[[Avi]] Micah Williams<br />
**[[Emilia]] Romanova<br />
**Rutherford "[[Ford]]" Reagan Rand Stonegate II<br />
**[[Giselle]] Desrosiers<br />
**[[Leonidas]] Beauregard Thigpen<br />
**[[Bryce]] Layton Allred<br />
**[[Cassy]] Villeneuve<br />
**[[Dallen]] Elijah Allred<br />
**Ziyin "[[Echo]]" Lin<br />
**[[Harm]] Sun<br />
**[[Kelawini]] Māhoe<br />
**Sumalee "[[Kieow]]" Suphamongkhon<br />
**[[Lael]] Isaiah Winters<br />
**[[Lucas]] DiLaurentis<br />
**Marcellus Momprimier Marquette ([[Marc]])<br />
**[[Naomi]] Winters<br />
**[[Nessie]] Grace Pelayo<br />
**[[Paz]] Sepulveda<br />
**Quintavius Quirinius "[[Quentin]]" Quire<br />
**[[Roscoe]] Brendan Vo<br />
**[[Rhydian]] Lovkwood<br />
**[[Sera]] Tessier<br />
**[[Spencer]] Holland<br />
*X-Men<br />
**Clarice Ferguson ([[Blink]])<br />
**[[Daiki]] Komatsu '15<br />
**[[Joshua]] Salinas<br />
**[[Kitty]] Pryde '12<br />
**[[Shane]] Holland '16<br />
*Former Students<br />
**[[Anette]] Eccleston '10<br />
**Victor Borkowski ([[Anole]]) '16<br />
**[[B]] Holland '16<br />
**[[Desi]] Tessier '16<br />
**[[Gaétan]] Tessier<br />
**[[Kavalam]] Ramakrishna Neelakantan<br />
**[[K.C.]] Love '20<br />
**[[Kisha]] Dorogoi '17<br />
**[[Lyric]] Sagal Dirie '17<br />
**Taylor [[Marinov]] '20<br />
**[[Nanami]] Māhoe<br />
**[[Nick]] Thanh Gleason '17<br />
**[[Peter]] Parker '16<br />
**[[Rasa]] Djalili '15<br />
**[[Taylor]] Allen '17<br />
<br />
[[Category:Factions]][[Category:Xavier's School]][[Category:Information]] [[Category:In-Game Universe]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Xavier%27s_School&diff=25973Xavier's School2024-03-25T20:47:06Z<p>Borg: /* Roommate Assignments */</p>
<hr />
<div>{| width="100%"<br />
| colspan="2" |<br />
|-<br />
| width="100%" |<br />
{| width="100%"<br />
|<br />
== Purpose ==<br />
<br />
Located outside Salem Center in Westchester County, New York, Xavier's School for Gifted Youngsters is publicly known as a prestigious boarding school, founded in 1992 and providing an outstanding college preparatory education to middle- and high-school students. With a rigorous academic curriculum and a low student-to-teacher ratio, Xavier's sends its students on to the best colleges in the country.<br />
<br />
The school's true purpose is much more secretive -- Founded by its current headmaster, Charles Xavier, in his family's ancestral home, the school serves as a safe haven and training ground for young mutants to learn to cope with and control their powers. Alongside more typical high school classes, Xavier's students receive instruction and guidance from the faculty in responsible use of powers, the ethics of living with them, and how to eventually make their way back out into the world.<br />
<br />
== Recruitment ==<br />
<br />
Xavier's is ''not'' publicly known to be a mutant school, and its students as welll as its faculty are found by proactive recruitment.<br />
<br />
The school is intended to help students who ''cannot'' attend school due to the danger posed from their mutations. Please keep that in mind when crafting your characters' backstory -- the overwhelming majority of their students are there because they need help to learn to control their powers, and were unable to go to their previous schools. If your character has a mutation that is under control and is not experiencing difficulties at their school, it is ''very unlikely'' that they would be offered a place at Xavier's.<br />
<br />
The sole exceptions are: <br />
<br />
a) mutant students from very wealthy families, who are, occasionally, offered spots at Xavier's even if their powers are not posing them any trouble -- with nearly all their students on scholarship, it's helpful to have a ''few'' students who are actually paying tuition.<br />
<br />
b) immediate family of ''current faculty'' (children, siblings) who are -- if they wish -- allowed to attend the school even if they do not require its specialized accomodations. Weirdly enough, very few human relatives actively ''want'' to go to Freak School, so this is rare.<br />
<br />
Faculty tend to be recruited on recommendation/word of mouth. It is ''not'' required to be a mutant to teach at Xavier's, but, obviously, it is required to be positively disposed towards them.<br />
<br />
OOC Note: Keep in mind that Xavier's is a middle/high school, ''not'' a shelter for wayward or distressed mutants. If you would like a character who is taking ''refuge'' at Xavier's, getting help learning to control their powers at Xavier's, etc. '''you need to make a teenage, student character'''. Your adult ''will not'' be accepted to train and learn at Xavier's, regardless of their own perceived need.<br />
<br />
== Schedule ==<br />
<br />
The school year at [[Xavier's School|Xavier's]] is divided into three terms. Breaks fall between terms, with summer term falling for two months beginning in early June. Though classes are not in session, the school is open residentially through all breaks. Students must have permission from their legal guardians to remain at school during breaks and holidays, including summer term. During summer term, an abbreviated class schedule is in place for those students needing remedial/make-up classes, or those enrolled in elective summer school courses.<br />
<br />
====Daily Class Schedule====<br />
<br />
<div class="mw-collapsible mw-collapsed">Class Schedule<br />
<div class="mw-collapsible-content"><br />
{| cellpadding="10" class="wikitable"<br />
!style="color:#FFFFFF; background-color:#000000;" | Monday<br />
!style="color:#FFFFFF; background-color:#000000;" | Tuesday<br />
!style="color:#FFFFFF; background-color:#000000;" | Wednesday<br />
!style="color:#FFFFFF; background-color:#000000;" | Thursday<br />
!style="color:#FFFFFF; background-color:#000000;" | Friday<br />
|-<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|-<br />
|style="background-color:#CDB5CD;" | 8:00 - 8:45<br />
Class A<br />
|style="background-color:#CDB5CD;" rowspan="2" | 8:00 - 9:15<br />
Class A<br />
|style="background-color:#74BBFB;" rowspan="2" | 8:00 - 9:15<br />
Class C<br />
|style="background-color:#CDB5CD;" rowspan="2" | 8:00 - 9:15<br />
Class A<br />
|style="background-color:#74BBFB;" rowspan="2" | 8:00 - 9:15<br />
Class C<br />
|-<br />
|style="background-color:#7BCC70;" | 8:55 - 9:40<br />
Class B<br />
|-<br />
|style="background-color:#B0B0B0;" | 9:45-10:15<br />
Study/Break<br />
|style="background-color:#7BCC70;" rowspan="2" | 9:25 - 10:40<br />
Class B<br />
|style="background-color:#FBA16C;" rowspan="2" | 9:25 - 10:40<br />
Class D<br />
|style="background-color:#7BCC70;" rowspan="2" | 9:25 - 10:40<br />
Class B<br />
|style="background-color:#FBA16C;" rowspan="2" | 9:25 - 10:40<br />
Class D<br />
|-<br />
|style="background-color:#74BBFB;" | 10:20 - 11:05<br />
Class C<br />
|-<br />
|style="background-color:#FBA16C;" | 11:15 - 12:00<br />
Class D<br />
|style="background-color:#B0B0B0;" | 9:45-10:15<br />
Assembly/Break<br />
|style="background-color:#B0B0B0;" | 10:50 - 11:35<br />
Study/Break<br />
|style="background-color:#B0B0B0;" | 10:50 - 11:35<br />
Assembly/Break<br />
|style="background-color:#B0B0B0;" | 9:45 - 10:15<br />
Advising<br />
|-<br />
|style="background-color:#B0B0B0;" | 12:10 - 12:55<br />
Lunch<br />
|style="background-color:#FFCC11;" rowspan="2" | 11:45 - 13:00<br />
Class F<br />
|style="background-color:#D44942;" rowspan="2" | 11:45 - 13:00<br />
Class E<br />
|style="background-color:#FFCC11;" rowspan="2" | 11:45 - 13:00<br />
Class F<br />
|style="background-color:#D44942;" rowspan="2" | 11:45 - 13:00<br />
Class E<br />
|-<br />
|style="background-color:#D44942;" | 13:05 - 13:50<br />
Class E<br />
|-<br />
|style="background-color:#FFCC11;" | 14:00 - 14:45<br />
Class F<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|-<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:00 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:00 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|-<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|}<br />
</div></div><br />
<br />
====Academic Calendar, 2023-2024====<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Summer Term 2023'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
June 26 (Monday) - Summer session faculty arrival<br />
June 27 (Tuesday) - Summer session students return<br />
June 28 (Wednesday) - Summer session classes begin<br />
August 21-25 (Monday-Friday) - Exam week; special class schedule for exam period<br />
August 25 (Friday) - Summer term ends<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Fall Term 2023'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
August 28-19 (Monday-Tuesday) - New faculty orientation<br />
August 31- September 1 (Thursday-Friday) - Faculty meetings<br />
September 2-3 (Saturday-Sunday) - New Student Orientation<br />
September 4 (Monday) - Labor Day; Returning Students Must Check-in (by 6 pm)<br />
September 5 (Tuesday) - Required Opening of School Assembly; Classes Begin<br />
September 15 (Monday) - classes as usual - Rosh Hoshanah begins at sundown <br />
September 25 (Monday) - No classes - Yom Kippur (begins at sundown on Sept. 24)<br />
October 6-8 (Friday-Monday) - Family Weekend (No classes Monday)<br />
October 12-13 (Thursday-Friday) - Midterms<br />
October 28 (Saturday) - Halloween Dance (Casual)<br />
November 10 (Friday) - Last day of Fall Term classes<br />
November 13-17 (Monday-Friday) - Exam week; special class schedule for exam period<br />
November 17 (Friday) - Last day of Fall Term; Thanksgiving vacation begins<br />
November 21 (Tuesday) - Fall term grades/reports due (Faculty)<br />
November 22 (Wednesday) - Fall term academic review meeting, 9:00-13:00 (Faculty)<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Winter Term 2023-2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
December 3 (Sunday) - Thanksgiving vacation ends; students must return and check in before 6 pm.<br />
December 4 (Monday) - Winter term classes begin<br />
December 16 (Thursday) - Winter Ball (Formal)<br />
December 15 (Friday) - Half-day of classes; Winter vacation begins after classes end<br />
January 2 (Tuesday) - Winter vacation ends; students must return and check in before 6 pm.<br />
January 3 (Wednesday) - Classes resume<br />
January 11-12 (Thursday-Friday) - Midterms<br />
January 15 (Monday) - No Classes - Martin Luther King, Jr. Day. Mandatory all-school assembly, 9:45-10:45.<br />
February 5-6 (Monday-Tuesday) - No Classes - Mid-Winter Holiday<br />
February 10 (Saturday) - Valentine's Dance (Semi-Formal)<br />
March 8 (Friday) - Last day of Winter Term Classes<br />
March 11-15 (Monday-Friday) - Exam week; special class schedule for exam period<br />
March 15 (Friday) - Last day of winter term; break begins once exams end<br />
March 19 (Tuesday) - Winter term grades/reports due (Faculty)<br />
March 20 (Wednesday) - Winter term academic review meeting, 9:00-13:00 (Faculty)<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Spring Term 2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
March 25 (Monday) - Spring vacation ends; students must return and check in before 6 pm.<br />
March 26 (Tuesday) - Spring term classes begin<br />
April 1 (Monday) - Mid spring holiday, no classes<br />
April 26-27 (Thursday-Friday) - Midterms<br />
May 6-10 (Monday-Friday) - AP exams<br />
May 13-17 (Monday-Friday) - AP exams<br />
May 24 (Friday) - Spring Ball (Formal)<br />
May 24 (Friday) - Last day of Spring Term Classes<br />
May 27-June 31 (Monday-Friday) - Exam week; special class schedule for exam period<br />
May 31 (Friday) - Vacation begins after exams end.<br />
June 1 (Saturday) - Senior-Faculty Dinner<br />
June 1 (Saturday) - Senior academic review meeting, 9:00-13:00 (Faculty)<br />
June 2 (Sunday) - Commencement<br />
June 4 (Tuesday) - Spring term grades/reports due (Faculty)<br />
June 5 (Wednesday) - Spring term academic review meeting, 9:00-13:00 (Faculty)<br />
June 7-9 (Friday-Sunday) - Alumni reunions<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Summer Term 2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
June 24 (Monday) - Summer session faculty arrival<br />
June 25 (Tuesday) - Summer session students return<br />
June 26 (Wednesday) - Summer session classes begin<br />
August 19-23 (Monday-Friday) - Exam week; special class schedule for exam period<br />
August 23 (Friday) - Summer term ends<br />
</pre><br />
</div></div><br />
<br />
== XS School Rules ==<br />
<br />
ICly, all students at Xavier's are expected to be familiar with the rules and follow them while they are living at and attending the school. OOCly, clearly, people break rules and we do not expect all characters to be studious and well-behaved at all times! Just keep in mind that they have teachers who are telepaths, and boarding schools are highly prone to a busily turning gossip mill. There are things that are easy to get away with and things that are likely to be discovered; don't be surprised if your char's frequent class-skipping or curfew-breaking or bullying lands them in hot water with the school administration.<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Major Infractions'''<br />
<div class="mw-collapsible-content"><br />
<br />
'''Major infractions will result in more severe disciplinary action. Choosing to remain present while violations of any school policies are occurring may also result in disciplinary action.'''<br />
<br />
*A large part of Xavier's safety lies in its discretion. Under no circumstances should information about the school's mutant status or the X-Men or the mutations of anyone associated with the school be divulged. If students believe they have found other children who would benefit from schooling at Xavier's, they should bring this to faculty attention rather than extending any sort of information or invitation themselves.<br />
<br />
*Violence of any sort is prohibited at Xavier's.<br />
<br />
*Hazing or bullying of any kind will not be tolerated at Xavier's. Hazing is defined as harassing, intimidating, bullying, or coercing another student with the purpose or result of embarrassment, disturbance, or humiliation. Bullying or discriminatory behaviour will not be tolerated. <br />
<br />
*Leaving school grounds without permission. All students must sign out with and be cleared by the faculty member on-duty before leaving school grounds at any time. There is no requirement for a chaperone when leaving campus under normal circumstances. However, if there is a crisis students must be attended by a faculty chaperone or a guardian.<br />
<br />
*Purchasing, possessing, using, or distributing any illicit or illegal drug, any prescription drug in a manner inconsistent with the instructions of the prescribing physician, or legal over-the-counter drugs for purposes other than legitimate medical treatment.<br />
<br />
*Purchasing, possessing, drinking or being under the influence of alcoholic beverages.<br />
<br />
*Dishonest acts of any kind, including cheating, plagiarizing, and other forms of academic dishonesty.<br />
<br />
*Xavier's is a safe location for mutants to live and explore their powers free of the judgement and hostility encountered in the rest of the world. Students are encouraged to train and practice and explore responsible use of their powers while at the school. Use of mutant powers in malicious or destructive manners, whether towards persons, creatures, or property, is never acceptable and will be dealt with strictly.<br />
<br />
*ALL out of school visitors, including family members, must be cleared by a faculty member and signed in with security while they are on school grounds.<br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Additional Policies'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Students are not permitted to possess weapons or firearms of any sort, including BB guns. Permitted use of weapons during athletic activities and training sessions is allowed only under the supervision of a faculty member.<br />
<br />
*Gambling for money is prohibited.<br />
<br />
*Students are required to attend all their scheduled appointments punctually, including classes, assemblies, athletic sessions, or meetings with their adviser. Students who are ill and unable to attend their appointments must report to the medical bay; only Health Services staff may excuse students for medical purposes. Students with other schedule conflicts must receive a note, in writing, from a faculty member excusing them from their school duties.<br />
<br />
*All Xavier's students are issued a cellphone for emergency use. Students leaving school grounds must bring their school-issued cell phone with them at all times. Xavier's cellphones come with a 'panic button' that alerts the school if students find themselves in trouble. Students are expected to utilize this if they are in danger: casual misuse of the panic button outside of emergencies will result in disciplinary action.<br />
<br />
*All students are allowed access to the equipment in the computer lab and, for those with their own computers, internet connections are available in all dorms and wireless internet throughout the school grounds. All students utilizing school technology resources must comply with the acceptable use policy at all times. (Typical regulations about responsible use, prohibiting fraud, pirating, account sharing, malicious hacking, any illegal activities.)<br />
<br />
*Sunday through Thursday, students under the age of 16 are required to be on school grounds by 8 p.m. and in the mansion building by 10:30 p.m. Students over the age of 16 are required to be on school grounds by 9 p.m. and in the mansion building by midnight. On Friday and Saturday nights, students over the age of 16 have no curfew but are still required to follow appropriate sign-out/permission procedures at all times. For students under the age of 16, Friday and Saturday night curfew is extended; students are required to be on campus by midnight, with no requirement to stay in the building. After curfew, students may not leave again before 5 a.m.<br />
<br />
*There is no formal dress code at Xavier's; students are expected to exercise good judgement in the appropriateness of their attire, both in terms of offensiveness and of modesty. Students must change if requested to by a faculty member.<br />
<br />
*Students are not permitted in Cerebro at any time. Students are not permitted anywhere on the second basement level without a faculty escort.<br />
<br />
*Students possessing a valid driver's license are allowed to keep one personal vehicle in the school garage, if they first obtain the written permission from the faculty.<br />
</div></div><br />
<div class="mw-collapsible mw-collapsed">'''Dormitory Rules'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Dormitories have quiet hours to allow students to sleep and study: any period of the day when classes are in session, and after 10 p.m. every night except Fridays and Saturdays.<br />
<br />
*No out-of-school visitors will be allowed on the dormitory floor after 10 p.m. Approved visitors staying overnight at Xavier's will be given a room in the guest wing.<br />
<br />
*Students may only be in their OWN dormitories after curfew. Exceptions may be made only by faculty and RAs.<br />
<br />
*Open flames are not allowed in student dorms, to include candles, matches, incense, lighters, or uses of mutant powers that produce flames. Highly flammable materials may not be stored or used in student dorms. Students may not tamper with smoke detectors or fire alarm systems.<br />
<br />
*Student rooms are required to be kept neat and orderly. Inspections for cleanliness will occur on a regular basis; inspection beyond simple observation is considered a room search and will not occur without dean approval.<br />
<br />
*Pets are permitted to students only with faculty approval. Approved pets are the responsibility of the student to care for and oversee. Approval may be revoked for considerations of hygiene, student safety, and animal welfare.<br />
</div></div><br />
<br />
== Academics ==<br />
<br />
Xavier's School runs on trimesters, with an optional summer term for students who wish to stay at school over the summer. In order to graduate, students must complete at least 60 credits of courses through their four years; in almost all cases, classes count as one credit per trimester. Students must enroll in a minimum of four and maximum of six classes per term, except for summer term.<br />
<br />
*Art - 3 term credits; Must study at least two different disciplines (visual arts, performance, or music.) Normally non-credit performance extracurriculars (e.g. Xavier's Players, Band, Chorus) can fulfill a discipline requirement. Visual arts requirements can be waived by permission of the [[Jax|arts department head]].<br />
*Computer Science: 3 term credits; alternatively can test out. <br />
*English - 11 term credits <br />
*History - 6 term credits; three of which must be U.S. history and three of which must be non-U.S. history.<br />
*Health & Human Development: 2 term credits.<br />
*Language - 9 term credits of one language or 5 each of two; alternatively, can test out. <br />
*Mathematics - 9 term credits <br />
*Philosophy, Ethics, and Religion: 6 term credits<br />
*Physical Education: 2 term credits per year; can use a season of athletics as one term of phys. ed. requirement.<br />
*Science - 6 term credits<br />
*Social Sciences - 1 term credits<br />
*Vocational Tech - 1 term credit<br />
<br />
Additionally, students must successfully complete sixty hours of community service activities through the course of four years. Faculty advisors are available to help students find appropriate service projects. <br />
<br />
'''Note''': The following courses, highlit in red in the course list, are mandatory for all students:<br />
*English - Expository Writing<br />
*Health & Human Development - Teen Health Matters (formerly Health & Human Development. Must be taken first term upon enrolling at Xavier's)<br />
*Health & Human Development - Thriving in Community (formerly Human Sexuality)<br />
*Philosophy, Ethics & Religion - Bioethics - Humanity in a Post-Genomic Era<br />
*Philosophy, Ethics & Religion - Power & Social Responsibility<br />
*Philosophy, Ethics & Religion - The Ethics of Power<br />
*Phys. Ed - Psionic Self-Defense<br />
<br />
'''Note''': Classes marked with an asterisk* can be repeated for credit. Classes without an asterisk may only be taken for credit once. Any classes may always be audited (for no credit) as fits the students' schedule, with permission from the instructor.<br />
<br />
'''Note''': Students taking interdisciplinary classes may choose ''one'' department to apply their credit to. Credit will not be awarded in multiple disciplines for the same class.<br />
<br />
<div class="mw-collapsible mw-collapsed">Xavier's Academic Offerings<br />
<div class="mw-collapsible-content"><br />
{| cellpadding="10" class="wikitable" style="width: 90%;"<br />
!style="color:#FFFFFF; background-color:#000000;" | Department<br />
!style="color:#FFFFFF; background-color:#000000;" | Course<br />
!style="color:#FFFFFF; background-color:#000000;" | Term Length<br />
!style="color:#FFFFFF; background-color:#000000;" | Teacher<br />
!style="color:#FFFFFF; background-color:#000000;" | Class Description<br />
!style="color:#FFFFFF; background-color:#000000;" | Notes<br />
|- <br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Introductory Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Fall)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is designed to give students a vocabulary to further understand and describe the music they will encounter. After beginning the year learning hand-written musical notation, the study of scales, intervals, tonality, harmony, melodic organization, voice leading in two parts, and harmonic dictation ensues. After this study is complete, students will be in a position to knowledgeably describe every aspect of a typical piece of music that they may come across. Ear-training skills are developed through dictation and sight singing. Those taking this course in the fall are encouraged to combine it with Intermediate and Advanced Theory and Composition to form a three-term Advanced Placement Music Theory sequence. Students will begin composing near the end of the term, but it should be noted that most compositional activity will occur in the intermediate & advanced classes.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Intermediate Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Winter)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Continuing from where Introductory Theory & Composition leaves off, this course begins the students’ hands-on compositional development. Small pieces are composed almost nightly as students now begin to demonstrate what they previously learned to recognize and describe. Also in this term, students will compose several larger pieces that will be written for and recorded by classmates. As the term progresses, the chords of Western music are incorporated into their musical vocabulary one by one. Further study in sight singing and ear training help to continue that development. In most years, this term includes a field trip to see the New York Philharmonic in concert.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Advanced Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Spring)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Completing the music theory sequence, the focus for the beginning of this term is on preparation for the AP exam in May. Students study non-dominant seventh chords, applied dominant seventh chords, and musical form before a week of AP prep. After the AP exam, a larger project is decided upon. Past projects have included studying Chopin’s piano preludes, examining poetic meaning in Schubert’s songs, and composing a 3–5 minute work.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Becoming Musical<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course examines the elements that are universal in music and develops the practical skills needed to become functioning musicians. Rhythm, pitch, scales, keys, intervals, and triads are the basic material of the course. By studying a variety of both popular and classical styles, students will discover how composers employ the elements of music to create varied moods and expression. The practical skills of ear training, sight-singing, and dictation as well as the notation of music are integrated into the course. The department encourages students to take private lessons along with this course.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | The Nature of Music<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course offers a basic introduction to music literature, theory, performance, and composition. Music from various cultures and historical periods is examined in an attempt to increase student awareness of the musical languages and practices. Students compose several original compositions, and they also receive instruction on musical instruments. No previous experience in music is required.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Western Music History<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
A one-term survey of Western music history. The course progresses chronologically from classical antiquity to the music of today, exploring along the way the religious, social, historical, and human issues surrounding music and its composition.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | World Music<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In this performing/writing course, we will explore, connect, and engage cultures from different corners of the world through music composition and improvisation. Students will have access to the many traditional instruments owned by the Xavier's Music Department. All participants will share equally in the creative process and an end-of-the-mod performance will highlight the experience.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Popular Music in America<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What is American popular music? How does the rich variety of American popular music styles reflect trends in American society and the major events of American history? Through a series of readings and recordings, students will trace the history of popular music in America across three extended time spans: 1840-1920 (beginning roughly with Stephen Foster and the advent of minstrelsy through ragtime and early blues forms); 1910-1950 (to include New Orleans jazz, syncopated song and dance music, big band, swing and bop, and Chicago jazz); 1950-1980 (including cool jazz, rock and roll, rhythm and blues, British rock, rock, soul, Latin music, and contemporary jazz). Emphasis will be placed on developing understanding and perception of the musical elements of instrumentation, rhythm, melody, harmony, dynamics, texture and form through study of classic recordings from a wide spectrum of popular artists.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Your Musical Brain<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What playlists do you create to accompany you through the parts of your day? How does the music we choose shape the personal and communal tapestry of our daily lives? The Musical Brain explores why music matters so much to us as individuals and as a species. Through reading assignments, listening assignments, and classroom activities we’ll explore the rapidly evolving field of inquiry and research in music perception and cognition. Topics will include the science of sound, the biological origins of music, relationships between music and language, and the sources of music’s emotional impact. </div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Film Scoring<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In this course, students will study film music primarily through compositional exercises, as well as analysis of films from various genres and time periods. The course will begin with an introduction to a wide variety of compositional styles and techniques employed throughout the history of film, including changes resulting from increased technological resources throughout the 20th century. Students will then compose music for film scenes from different genres, such as drama, horror, romance, and action/adventure. Though this course will primarily focus on music from the 20th century to the present, students also will learn about how certain composers connected music to visual images in classical concert music prior to 1900.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Jazz History<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course begins by examining jazz’s mixture of African and European traditions and the subsequent pre-jazz styles of spiritual, blues, and ragtime. It then proceeds with a study of 20th-century jazz styles, beginning with New Orleans and culminating with the multifaceted creations of today’s artists. Along the way the course pays tribute to the work of some of jazz’s most influential innovators, including Louis Armstrong, Duke Ellington, Count Basie, Billie Holiday, Charlie Parker, and Miles Davis. Original recordings, photographs, and videos are used extensively throughout the term.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Songwriting Workshop<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Popular music plays an important role in our modern culture: it can provide an escape from our daily lives and influence our thoughts and actions. MUS480 will begin by exploring popular songs from artists such as Ryan Black, Lady Gaga, Miranda Lambert and Rihanna as well as those of other artists from Motown to the present day. We will study songs from a variety of genres—including jazz, blues, rock, R&B, folk, and country western—as a way of building a foundational understanding of popular music. In addition to frequent songwriting exercises, students will create three original songs in the genre of their choice with particular focus on the musical attributes needed to support both the genre and the specific topic of each song. Students interested in all musical genres are welcome; however, it is expected that all students will be capable and willing to perform at a basic level using their own voice and/or an instrument and/or technology.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Modern Music Making*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is a workshop for students interested in making modern styles of music, primarily through technology. Students will develop their technique, their aesthetic and their ears by working on multiple collaborative and independent projects across a spectrum of musical genres including (but not limited to) pop, hip-hop, EDM, ambient and experimental. There will also be opportunities for live performances, cross-disciplinary collaboration and student-initiated projects. The in-class studio environment will be one of creativity, curiosity and collaboration as students work both together and alongside each other in pursuit of their musical goals.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Music Recording and Mixing*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course will give students hands-on instruction in the craft of recording and mixing music across multiple genres. Through focused discussion, experiential recording and in-depth mixing projects, students will learn the following: foundations of acoustics; aspects of digital recording using a DAW; microphone techniques in a variety of musical circumstances; design and implementation of signal chains in a multi-track environment; proper gain staging techniques; effective use of effects and signal processing; mixing best practices; and the interpersonal nuances of recording. Mixing projects will utilize audio recorded by the class, recordings made at on-campus music events, and stems from professionally recorded studio sessions.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Band*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Band provides students an opportunity to begin and continue instrumental development. Students new to string instruments must take the fall term course "Introduction to Orchestra" before auditioning for placement in an appropriate level of rehearsal: Concert (beginners and intermediate repertoire) and Symphonic (intermediate and advanced repertoire). Percussion Ensemble runs when there are sufficient percussion students and will combine with the other courses for recitals. Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Orchestra*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Orchestra provides students an opportunity to begin and continue instrumental development. Students new to string instruments must take the fall term course "Introduction to Instrumental Music" before auditioning for placement in an appropriate level of rehearsal: String (beginners and intermediate repertoire), Philharmonic (intermediate repertoire), and Symphony (advanced repertoire). Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Chorus*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Chorus provides students an opportunity to begin and continue vocal development. Students new to choral singing must take the fall term course "Introduction to Reading Music" as well as audition for placement in an appropriate level of rehearsal: Treble Choir (beginners and intermediate repertoire, women's voices only), Tenor/Bass (beginners and intermediate repertoire, mens's voices only, does not run all years), and Concert (advanced repertoire, mixed voices). Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | Instructor engages in blatant favoritism, both among classes and within classes. Students who can sight sing are often appointed section leader with no other qualifications. Consistently assigns more rep than can be reasonably learned and memorized, and drops selections within the week of the final concert. <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Jazz Ensemble*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC (instruments) & NPC (vocalists) <br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> This audition-only course is for those students interested in pursuing the study and performance of jazz/popular music. Instrumentalists and vocalists will rehearse separately to master jazz techniques before coming together to work on group improvisation and performance. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the winter term performance and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | Instructor engages in blatant favoritism, both among classes and within classes. Students who can sight sing are often appointed section leader with no other qualifications. Consistently assigns more rep than can be reasonably learned and memorized, and drops selections within the week of the final concert. <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Beginning Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Dance<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
All peoples and cultures dance. This course investigates why we dance as a representation of culture, as a form of communication and expression, and as a way of understanding our world. Students will look at various forms of dance generally and then delve more specifically into works of art that shape American concert and pop culture dance. Students will watch and analyze dance, research dance pioneers, and learn examples of significant and pivotal choreography. The class will learn about and do various forms of dance and will culminate with students using techniques and theories learned to develop their own composition. No prior dance experience needed.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course introduces students to four primary disciplines: ballet, modern, jazz and hip-hop. Basic composition and improvisation skills will be introduced. Little or no previous dance training required.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course focuses on Western concert dance disciplines: ballet, modern and jazz. Composition and improvisation skills will be developed. Previous dance training, which must include ballet, is required. </div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This accelerated course provides advanced dancers with intensive training in concert dance disciplines (ballet, modern, contemporary and jazz). Classes will consist of a warmup, technique and complex choreographed phrases, along with composition and improvisation. Prerequisite: instructor permission. Extensive dance training, which must<br />
include ballet, is required.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to Street Styles*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course introduces students to the culture of hip-hop and a variety of street dance styles under the hip-hop umbrella. Disciplines may include party/social dances, breaking, house, vogue and waacking. Classes will consist of a warmup, historical context, technique and some choreography. </div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | West African Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
The content of this course gives an introduction to basic West African movement, rhythms, and songs. Each class begins with a warm-up to prepare the body for this particular style of movement, followed by movements across the floor, and finally work on specific dances. Students will learn several dances from West Africa, primarily from Nigeria, Mali, Guinea, and the Senegambia regions. Classes are accompanied by live drumming, giving the students the opportunity to understand the unique connection between polyrhythmic timing and the body in motion. While the class focuses on the dances of West Africa it is also a means for understanding the culture of the people.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Moving Your Way<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is a creative movement class designed to introduce the novice dancer to dance in a comfortable learning environment while allowing the experienced dancer to further develop their choreographic tool box. Both novice and experienced dancers will explore and develop creative thinking skills, useful to the learning process. We will look at the different impetus of motion that can be initiated by the stimulus of sound and imagery, as well as external energy forces outside of the kinesthetic realm of the body. The course relies heavily on improvisation as a primary tool for finding one’s own authentic movement quality and is structured to liberate the way we move through space and communicate with each other by freeing up habitual patterns that may be restricting our unconscious and kinesthetic flow of energy.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to the Theatre<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Why do we make live performances? What does it take to create a production? This course explores the foundations of theatre and dance. How the different elements of directing, costume design, scenic design, lighting design, dancing, and acting—combine to create a unified production for an audience. In the process, students will learn the vocabulary of the stage and develop a conceptual framework for creating a performance.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Fundamentals of Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is designed for students with little or no acting experience. By doing exercises in movement and voice production, reading, improvisation, and scenes, a student who is curious about the theatre may determine whether he or she has ability or interest in acting while learning something of the process of characterization — the major responsibility of the actor. The emphasis is on the variety of acting experiences rather than on a polished final product.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This intermediate course focuses on developing and supporting each actor’s unique approaches to performance making and ensemble-building. Vocal and physical training deepens techniques introduced in THR202, empowering students to explore a diverse selection of dramatic texts and develop skills in improvisation and devising. Students may work with “heightened” texts or improvisations that present new challenges in terms of language, physicality, characterization, style or content. Students rehearse, workshop and perform material for each other, becoming increasingly adept at communicating and synthesizing creative ideas.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course offers students the opportunity to build on performance skills acquired throughout their Xavier's career and immerse themselves in a rigorous, thoughtful ensemble process. The class will conduct intensive analysis and rehearsal of either the work of a playwright or devise new performance material together based on the interest of the group. It may culminate in a series of fully explored scenes or in a full-length production.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Choreography*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course investigates choreographing dances in a variety of genres and styles for the stage. Students will be led through explorations and formal exercises to learn how to generate and manipulate movement in clear and innovative fashions. Coursework will culminate in a final presentation of original compositions. Students will also examine and analyze works of professional choreographers to gain a deeper understanding of dance elements and choreographic tools. Ultimately, students will deepen their understanding of movement as a form of communication and expression.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Directing*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course offers the essential theory and practice of stage direction, with particular emphasis on the leadership skills needed to create a constructive ensemble rehearsal environment. Beginning with a series of independent exercises aimed at honing the director’s aesthetic sensibilities and style, the course then invites students to select and direct a short play of their choosing. Students proceed step by step through the entire production process: from play selection, script analysis and casting to the detailed work of a rehearsal period. Along the way, students develop skills in the areas of composition and use of space, picturization, textual interpretation, and collaboration and communication with actors. All plays receive a public performance at the end of the term.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Lighting<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces the fundamentals of lighting design for theatrical and dance productions. Students will learn to use a design concept to make choices about how to express the theme and mood of a play or dance to enhance the storytelling of a production. The course will also enable students to work hands-on with lighting equipment in Theatre and Dance Department spaces as they learn how to manipulate the controllable properties of light: direction, intensity, color, pattern, movement, diffusion, and composition. The course places a heavy emphasis on self and peer critique of work and on revising work.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Set Design<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the design process and elements that inform the scenic designer’s choices when designing for theatrical performances. Focus will be on the use of a conceptual approach to design scenery that coveys the themes and mood of a script and creates a cohesive and effective design for a show. To create designs, the class will use several creative tools, including computer drafting software and the resources of the makerspace. The design process will include several steps, such as written concept statements, visual research, sketching/drafting and model making. The course places a heavy emphasis on self and peer critique of work and on revising work.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Public Speaking<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course offers opportunities to practice speaking in community. Students experiment with writing, preparing and delivering effective and engaging speeches. While investigating communication strategies, students also explore somatic exercises to deepen their own physical and vocal awareness, and manage the anxiety that often accompanies public speaking. We emphasize attention to the dynamic relationship between speaker and audience, and students take an active role in each other’s growth. Students offer one another constructive feedback and gain greater insight into their own public speaking goals. The encouraging and supportive environment fosters greater self-confidence while developing both empathy and leadership skills.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | The Art of Comedy<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Come discover elements of Comedic theatre. Among other things we will explore stand‑up, slapstick and sketch comedy through radio, movies, theatre, performance and street artists. We will ask what humour really means to humanity and where its edges might be. What can we do with fear, excitement, posture, breath, props, light, and sound? During the class you will create a repertory for yourself. No theatre experience required, just a willingness to have deep fun.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Filmmaking<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides practical experience in basic cinematography without dialogue. Using digital video equipment, students learn about the history of filmmaking as well as the use of the camera and editing techniques to create their own short films. Student, amateur and professional film sequences are discussed and analyzed.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Drawing 1: Methods & Materials*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Drawing is fundamentally about learning how to see and how to translate that vision onto paper through a variety of mark-making techniques. Through in-class exercises and formal assignments, students learn the language of drawing and develop skills relating to contour, gesture, and fully rendered compositions. Course concepts include the depiction of three-dimensional form on a two-dimensional plane, use of light and dark contrast, and sighting. Assignments are designed to develop students’ skills in drawing representationally from direct observation and to encourage creative and expressive thinking.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Painting 1: Paint, Palette, and Process*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Develop skills with the basic elements of painting in acrylics as you explore different approaches to generate ideas for paintings. Learn how dots become complex abstract compositions or how the game of Pictionary prompts surreal spaces. Working from both the imagination and observation, specific projects are assigned to facilitate the study of fundamental paint handling, color mixing, and blending. Issues of form and space relationships, composition, and development of ideas are addressed in balance with the student’s desire for self-expression. Class critiques and visits to the Metropolitan Museum of Art complement the actual painting process.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Advanced Drawing, Painting, and Mixed Media*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course builds on the knowledge and skills developed in Drawing I and/or Painting I, while helping students find and express their artistic voice through one medium or a combination of 2D media. This class focuses on thematic subjects and continues to stress the development of concepts and skills. Using painting or drawing, students can create artworks from both the imagination and observation to broaden their definition of what painting or drawing can be. For those students interested in mixed media, they can combine traditional or experimental drawing or painting methods with collage and other techniques. During this course, students are encouraged to design their own projects and to build a portfolio of their artworks. Critiques and virtual visits to the Metropolitan Museum of Art are important components of this course.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Life Drawing*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Drawing realistically has been a revered art ever since the ancients used mark-making to create the illusion of depth on a two-dimensional surface. This course is designed for beginners who want to learn the basics of drawing from life. Students will develop their representational drawing skills using a variety of charcoal media. As the course progresses, students will draw from still life, photographic references, and finally live models. Through a series of demonstrations, in-class drawing, group critiques, and individual assistance from the instructor, students will develop their ability to draw convincingly from life. Focus topics include composition, proportion, value relationships, edge relationships, modeling, materials, and stylization. In-class drawing exercises and assignments will focus on subjects exposed to one-source lighting and will vary in length from quick studies to more developed compositions.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Advanced Studio Art: Portfolio Intensive*<br />
|style="background-color:#17684F;" | 3<br />
|style="background-color:#17684F;" | [[Jax]] & NPCs<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides experienced students a rich opportunity to pursue the successful completion of a professional portfolio of artwork featured in an end-of-term thesis exhibition in the Half Gallery in New York City, team-curated by the class with a contemporary favor. The meaningful study of 21st-century visual culture is infused in the course through visiting artists and the investigation of artists relevant to ongoing studio work in all mediums. Students focus on photography, printmaking, painting, drawing, ceramics and 3-D design. This multimedia studio course requires strong self-direction, a unique studio investment and creative motivation. Students focus on a particular art medium and create multiple works that explore a concept or idea. Under the guidance of the instructor, students will set qualitative and quantitative goals for the term in their chosen studio concentration. Weekly process critiques are an integral part of the course and support ongoing artistic growth. In addition, the instructors meet individually with students for more-specific feedback and to mentor the process. Useful feedback is given to students from Art Department faculty who specialize in their chosen studio discipline to help them develop ideas and offer suggestions. Students may also receive guidance in the development of an art portfolio suitable for college admission criteria.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Graphic Design*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Design shapes how we see and experience information. Those who visually communicate through design have the opportunity to shape the meaning of the images we consume. This course not only addresses the formal, sensory, conceptual, and technical aspects of design, it also encourages students to consider the ethics and design history that have shaped our contemporary visual experiences. Students will use design thinking principles and real-world scenarios to create pieces that will be shared with their communities.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Graphic Design II*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is divided into two parts: practical design application and personal projects. We will begin the course by examining the practices of designers working in today’s market. This includes engaging with visiting designers and illustrators and creating work for a real client. Part two of this class is dedicated to exploring one’s emerging design aesthetic using a breadth of digital media. Students pitch and create their personal projects, which can range from branding to book illustrations. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Architecture I<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce the basic principles of architectural design through a sequence of related projects in drawing, site analysis, and research into precedent, culminating in the design of a space or structure. The design projects will change from Term 1 to Term 3 and will address architectural design in different contexts so that a student wishing to continue with architecture at the advanced level can work with a variety of design issues. With hands-on sketches, drawings, and models, students will explore the issues of a well-planned structure and learn to see the environment in terms of human scale, materials, and the organization of space. Class time will include discussions and demonstrations as well as studio time. There will be a required evening lab. Students often find that this class requires more than the usual amount of homework time.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Architecture II*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Designed as a continuation of Architecture I for students who wish to develop and further expand their ideas. The sequence of projects throughout the term is designed to allow a student to study a range of architectural issues by addressing different contexts—a natural setting and an urban context. This course also will offer the possibility of developing a multidisciplinary project in coordination with work in another class.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Photography I: Appreciating Light, Color, and Theme*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course allows students to channel their excitement and passion for photography into a more intentional and sophisticated image-making process. Using digital cameras, students will gain a highly functional understanding of essential camera skills and<br />
photographic principles and learn to maintain proper exposure, focus, and creative control over the camera. Students will acquire skills in the digital studio including digital workfow management; online portfolio maintenance; Photoshop techniques and inkjet printing methods. Students will also develop their critique skills, learn to frame and present their work in a gallery, and practice writing artist statements. Each exploration challenges students to think conceptually, to shoot creatively, to develop an eye for strong composition and quality of light, and to make images that start conversations. Throughout the term, student photographers develop a vibrant online portfolio based on a series of thematic photo explorations, including identity-based portraiture, abstract, minimalism and Photoshop layers.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Photography II: Beyond the Camera*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Advanced Photography is designed to challenge students to go beyond technical skills and photographic principles to establish a conceptually strong personal photographic style and artistic voice. Through hands-on practice, in-depth critique and weekly assignments, students will develop a refined, concept-driven, professional online portfolio. In-studio learning exercises will continue to challenge students to build their digital camera skills, while out-of-studio assignments will become increasingly more in-depth and creatively challenging. A range of tools will be used including Photoshop, inkjet printers, and an array of studio lighting equipment. Students will produce original work, with special attention to ways in which their technical and aesthetic decisions can clarify their artistic intentions. Photoshop and iMovie are used to explore creative and experimental possibilities for enhancing and manipulating digital photos and video. The course culminates with a self-directed final project, allowing students to practice proposal writing, project development and final presentation, while pursuing work rooted in their own interests and experiences.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Film Photography*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course in analog photography concentrates on the use of 35mm cameras and chemical processing. Students are instructed in proper camera use, basic film exposure, and darkroom familiarity. Weekly meetings are divided into lab and classroom sessions. In the lab, students learn the fundamental tools and techniques of a traditional darkroom; in the classroom, students present their work to gain a fuller understanding of photography as a medium of expression and storytelling. Students can expect to examine the invention of photography and the “flaneur” tradition of 35mm photography as exemplified in the work of artists such as Henri Cartier-Bresson, Helen Levitt, Robert Frank, and many more. Film cameras will be provided for students to explore light-sensitive silver materials. Laboratory instruction in printing fine art images with variable contrast filters will be provided.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Ceramics I: Form & Function*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Xavier's Clay Studio introduces students to methods used to create unique sculpture and tableware. Developing their creative concepts, students will throw on the potter’s wheel, hand build forms, and create a series of pieces over the course of the term, which may include objects such as plates, cups, bowls, teapots and sculpture. Drawing inspiration from contemporary ceramic artists, the class will explore a variety of techniques for surface design, glazing and fring. The teacher will offer innovative and sophisticated approaches that will provide further opportunity for experimentation.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Ceramics II: Molding Meaning*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This advanced course offers a combination of assigned and self-directed projects with a further investigation of working with clay. Building of of skills gained in Ceramics I, students develop a more sophisticated approach to methods and techniques that are used to create forms with clay. Projects such as throwing, hand building, modeling and industrial slip casting will foster individual style and creativity. Students will focus on process and exploration of a broad range of contemporary clay works, functional, industrial and sculptural. Examples of contemporary artists’ pottery and sculpture are used as inspiration for studio assignments. Advanced Ceramics also offers the unique opportunity to study the science and chemistry behind glazing and firing. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Printmaking I: Pop Culture*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The printmaking course is a comprehensive studio experience that emphasizes experimentation and creativity while providing a strong technical basis. Students explore a variety of print processes, including screen printing, block carving, and monotype and letterpress printing. Using surfaces such as linoleum, woodblocks and silk screens, combined with a wide variety of carving tools and inks, students will create a substantial print portfolio that explores such concepts as image reversal, multiplicity, color theory, commercial applications and graphic design. Inspiration for projects includes fonts, portraits, still-life objects, photographs, media references and works by artists of the past and present. Inventive approaches, including T-shirt printing, will also be explored. Film clips and the examination of contemporary printmakers will enrich studio work.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Environmental Sculpture<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The course provides an opportunity to work and think about art on a large scale. Students create scale models of potential larger works that might require months to actually construct. They work outdoors on projects using simple "green" materials to create large pieces that are both objects and activate the space around them. Students are given a variety of prompts and requirements to address when creating their sculptures. For example, themes have been based on ideas about safety vs. danger and transitions. Students in the class are, sometimes for the first time, sawing and hauling logs, hefting rocks, digging holes and generally breaking a sweat to create their visions.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Wearable Art<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this course, students make art that can be worn on the body. Students use traditional jewelry making and sewing materials but also work with non-traditional materials, with a strong focus on concepts and the transformation of materials.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | The Moving Image<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Video art has been described as the “electronic canvas.” In this course, students will learn to use the moving image as an artwork unto itself. Students will be exposed to video art’s unique history, as well as the video art pioneers and contemporaries who have created work outside the traditions of the narrative and documentary. We will explore the technical aspects of video, including using the camera, the software, and the moving image in both traditional and experimental ways. Editing will be done using the digital process of Final Cut Pro, but students may also explore other methods of creating moving images. How, where, and when to present work will also be explored.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Drawing: Otherness & Social Justice<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]] & NPCs<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, students explore drawing using text as primary imagery. Students learn about design and text-based drawing strategies to explore human rights while developing a body of drawings addressing their study. The course is designed to provide students with opportunities to explore fundamental human rights and varying Western/non-Western viewpoints and perspectives through the exploration of art as a vehicle to promote and encourage social change. The course explores the history of political art blending both critique and debate learning opportunities with studio art practices. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Digital Literacy<br />
|style="background-color:#F8EF6C;" | 1<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this introductory course, students become familiar with the basic principles of a personal computer, including the internal hardware, operating system, and software applications. Students gain practice in using key applications such as word processing, spreadsheet, and presentation software, as well as understand literacy issues around the Internet, information, and security, including how to navigate sorting trustworthy sources from unreliable ones online.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Computing and Society<br />
|style="background-color:#F8EF6C;" | 1<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to algorithms and algorithmic thinking through the lens of social and public policy. Students explore the impact of algorithms and software on privacy, censorship and other sometimes contentious matters in the modern world. Students will learn programming as a tool for exploring these concepts.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Fundamentals of Computer Science<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course begins with an introduction to computational thinking, potentially including programming in a block-based language such as Scratch, and then moves to programming in Python, JavaScript, Processing, or another text-based programming language. Students will learn about variables, functions, conditional statements (if-else), and iterations (loops), and will design and code their own programming projects. The course may include additional units such as programming Finch robots or performing introductory data analysis using SQL.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Algorithms and Data Structures<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines classic data structures: lists, queues, stacks, binary trees and graphs, and hash tables. Standard algorithms for sorting and searching will be studied, and complexity analysis performed using big-oh notation. Students also develop a deeper understanding of software engineering principles as the course emphasizes reuse and generic programming.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Mobile App Development<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Within this course, we will explore mobile spaces by developing applications for one or more of the presently available platforms (Android, IOS, etc.). Students will explore development topics specific to mobile applications, device operations and user interaction. Throughout the term, sound software design and engineering practices in encapsulation and modularization will be emphasized.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Introduction to Artificial Intelligence<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Introduction to Artificial Intelligence (AI) course teaches students important programming concepts that enable the use of AI in computer science and society at large. Students learn the implications of AI on society and develop a series of projects that illustrate the variety of ways AI can be used to optimize and predict information. Students learn how AI has been used in gaming and other applications, create an unbeatable computer Tic Tac Toe player; learn how chatbots are developed to interact with humans and create an informational chatbot of their own; learn how to make predictive models using linear and logistical regression and clustering, and create their own predictive models using complex data sets.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | AP Computer Science<br />
|style="background-color:#F8EF6C;" | 3<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Three-term course in algorithms, object-oriented programming, and data structures, guided by the College Board’s AP Computer Science course description. The course covers Java language syntax and style, classes and interfaces, conditional and iterative<br />
statements, strings and arrays, Object-Oriented Programming (OOP), searching and sorting algorithms, recursion, data structures, and the design<br />
and implementation of larger programs, including group projects.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#CE2029;" | Expository Writing<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Participants learn how to read challenging texts and how to think and write about them clearly and coherently. Readings for the course are taken from various disciplines, such as literature, journalism, and social sciences. The course enables students to identify the strengths and weaknesses in their writing and to improve their skills through individual and group work, discussions, revisions, in-class exercises, and homework. We read and analyze works that exemplify good writing, and we learn how to define a thesis, organize an essay, and incorporate appropriate vocabulary.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | AP English Language & Composition<br />
|style="background-color:#B74BF5;" | 3<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Learn about the elements of argument and composition as you develop your critical-reading and writing skills. Students read and analyze nonfiction works from various periods and write essays with different aims: for example, to explain an idea, argue a point, or persuade your reader of something. Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-english-language-and-composition AP English Language] curriculum.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | AP English Literature & Composition<br />
|style="background-color:#B74BF5;" | 3<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Learn how to understand and evaluate works of fiction, poetry, and drama from various periods and cultures. You’ll read literary works and write essays to explain and support your analysis of them. Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-english-literature-and-composition AP English Literature] curriculum.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | American Immigrant Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to be an immigrant in the U.S.? What do individuals experience when they move from one country and settle in another? What do these immigrants gain in the process, and what do they lose? How do they deal with being “the other?” How do immigrants connect or disconnect with their American- born children? Students explore all these questions and more by analyzing short fiction and films by American immigrants. Throughout the mod, students read and respond to text on a nightly basis, gaining a better understanding of how difficult assimilation can often be for immigrants in their new abode. Students come ‘up close and personal’ with immigrant issues by interviewing an immigrant of their choice and writing up their interview in a People magazine manner. The course culminates with a final project which ties all the readings together thematically in a creative and artistic way, addressing the essential question: what is the immigrant experience?</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Nonfiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“The essay isn’t a retreat from the world but a way of encountering it,” writes Leslie Jamison in Best American Essays 2017. Throughout the term, we will explore the art of telling stories — ours and those of others — and learn how to translate personal experience and research into effective pieces of creative nonfiction. We will read and listen to essays on a range of topics: health care, bird watching, immigration, craft beer, hunting and Serena Williams (to name a few). Forms will vary from traditional to more contemporary and innovative — memoir, lyric essay, braided essay, graphic essay, podcast and video essay. We will discuss them as readers (digesting content) and as writers (analyzing form). Students will craft original pieces of creative nonfiction, experimenting with a variety of compositional elements and techniques. The writing process will be workshop-oriented: Students will receive peer and instructor feedback, work through multiple drafts and build a supportive writing community.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Writing: Poetry<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“Poetry,” wrote Robert Frost, “is a way of taking life by the throat.” From its origins in oral tradition and tribal lore, as well as its role in incantatory spiritual practice, poetry has carried in its rhythms the deep longings of humanity. In this course, students will dip into this current, writing poems with a view to aspects of craft modeled by poets in a diverse range of voices and writing traditions. In our workshops of one another’s poems, we will consider the relationship between content and form, as well as what differentiates poetry from other writing genres. Through experiments in received forms (traditional forms such as the sonnet and sestina), as well as more contemporary approaches (for example, writing in free verse or in prose poems), students will move toward the development of a distinctive voice and style.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Writing: Short Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This writing-intensive course invites students to explore fiction as both readers and writers. The short stories and novels read in class will serve as models for students to create their own fictional work, introducing them to the craft and mechanics of fiction and storytelling. This course traditionally offers an MFA-style workshop model, providing students an opportunity to both receive and offer constructive feedback, and to revise their work using this input. Assignments may include two or three short stories and an analytical essay over the course of the term.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Under the Fur: Animals in Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">According to thinker Gilles Deleuze, anyone who likes cats or dogs is a fool. But we live in a time when more than one cable television channel is entirely dedicated to animal programming, when whole weeks are given to sharks, and when people carry their dogs as an accessory. It seems we are not concerned about becoming fools for species not our own. This course explores both how animals and animal lives are represented in narrative and how the presence of animals allows us to understand in new ways how narrative and language function. For this reason, we will dip into several genres, disciplines, and media: memoirs, novels, short stories, poems, philosophical essays, critical theory, internet videos, lectures, and films. We will be asked by these works to question what it means to represent animals but also what it means to represent at all. How can representation be ethical? How can it respond to and provoke wider political, theoretical, and philosophical debate? How should we and can we care for the nonhuman world? What are the dangers, boundaries, and rewards of cross-species sympathy?</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | African Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This seminar course will challenge students to take a closer look at African literature by tracing its evolution and discussing its diversity in terms of genre and geographical setting. Class discussions, written assignments, blog postings, and oral presentations will be based on the texts and films recommended for the course. Students will pay particular attention to how literary works produced on the continent have over the ages represented the African identity and how this has been perceived in other parts of the world. Possible texts: ''The Thing Around Your Neck'' by Chimamanda Ngozi Adichie (Nigeria, West Africa); ''Betrayal in the City'' by Francis Imbuga (Kenya, East Africa); ''A Walk in the Night'' by Alex La Guma (Republic of S.A., South Africa); ''Miramar'' by Naguib Mahfouz (Egypt, North Africa); ''The Penguin Book of Modern African Poetry'', edited by Chikane & Moore (continent-wide). A selection of films and articles will complement the study of these texts.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | The Art of Protest: Revolutionary Writings<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines protest as a form of literary activism. From the grittiness of hip-hop lyrics to the density of civil disobedience tracts, this class will seek to explore distinct genres of vocalizing dissent. The approach is multicultural and interdisciplinary, and it seeks to inspect the role of literature, art, music and film in galvanizing communities and creating spaces to examine social justice. Students will be asked to write in various protest genres (poetry, epistolary witness, monologue and fiction) to compile a portfolio of their own literary activism.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Utopias and Dystopias in Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Fantastic societies have held a fascination for writers from Thomas More to the present day. Utopia, “no place,” represents an idealized society whose inhabitants willingly embrace its difference from our own world. Dystopic visions are the disturbing fip side of this coin. Both genres inevitably cause readers to draw parallels between their own experiences and those of the protagonists. Scientific and technological advances are often at the root of the utopic/dystopic discourse, and one of the main functions of this course is to explore the presentation of technology as narrative. The course seeks to examine some of these alternate worlds to explore the way writers of fiction and filmmakers have presented the effect of projected changes and developments on the fabric of society. We will build our visionary galaxy from the following: Thomas More, Aldous Huxley, George Orwell, Margaret Atwood, Cormac McCarthy, Alfonso Cuarón, Octavia Butler, and other contemporary writers and filmmakers. Students will write analytical and creative essays.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Theories of Children's Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC-Marlene Zudke<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course considers the role of the imagination in communicating and effecting cultural change. Students will be asked to apply a variety of critical theory for interpretation and discussion of the literature. Themes explored by this course will include alternative realities, the nature of dreams, the function of the subconscious, and the use of allegory. Probable selections include ''The Adventures of Alice in Wonderland'' and ''Through the Looking Glass'', by Lewis Carroll; ''Haroun and the Sea of Stories'', by Salman Rushdie; ''The Wind in the Willows'', by Kenneth Grahame; ''The Jungle Book'', by Rudyard Kipling; ''The Wizard of Oz'', by L. Frank Baum; ''The Pied Piper of Hamelin'', by Robert Browning; ''The Secret Garden'', by Frances Hodgson Burnett; ''A Child’s Garden of Verses'', by Robert Louis Stevenson; ''The Lion, the Witch and the Wardrobe'' and ''The Last Battle'', by C.S. Lewis; and ''Grimm’s Fairy Tales'', ''Mother Goose'', writings by Carlos Castaneda, and essays by Bettelheim and Zipes. Possible films include ''The Red Balloon'' and ''The Point''. </div></div><br />
|style="background-color:#B74BF5;" | This class sounds cute and easy and has a reputation for actually being extremely intense and challenging; the teacher is particularly demanding in expecting students to analyze works & engage in class & homework.<br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Gothic Literature: Living in the Tomb<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course traces trends in Gothic forms, from their origins in the damp and dark castles of Europe to the aridity of the contemporary American landscape. Students will identify gothic conventions and themes such as the haunted house, family dynamics, apparitions, entrapment, secrecy, and the sublime. They also will read novels, short stories, and poetry spanning roughly 200 years in order to explore questions about the supernatural, the psychology of horror and terror, the significance of fantasy and fear, the desire for moral closure, and the roles of gender, race, class, and sexuality. Probable selections include ''The Castle of Otranto'', by Horace Walpole; ''Faustus'', by Christopher Marlowe; ''Rebecca'', by Daphne du Maurier; ''Dracula'', by Bram Stoker; ''The Turn of the Screw'', by Henry James; stories by Poe, Faulkner, Gaskell, Irving, Hawthorne, Gilman, Jackson, Cheever, DeLillo, Carver, and Oates; and poetry by Christina Rossetti, Thomas Gray, William Cowper, Louise Glück, and Sylvia Plath. Possible films include ''Affliction'', ''The Royal Tenenbaums'', ''A Simple Plan'', ''Psycho'', and ''The Cabinet of Dr. Caligari''.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Contemporary Native American Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to be a Native American writer in the 21st century? In this course, students will explore life on and off the Native American reservation in works produced by writers from a wide variety of indigenous communities in the United States. The course will involve navigating issues/topics a propos to Native American studies, such as colonialism and genocide, cultural survival, and political and environmental activism. Possible writers to be studied: Luci Tapahonso, Evelina Zuni Lucero, Sherman Alexie, Paula Gunn Allen, Leslie Marmon Silko, Ramson Lomatewama, Simon Ortiz, nila northSun, Joy Harjo, Gerald Vizenor, Louise Erdrich, Diane Glancy, Winona LaDuke, Anton Treur, Wendy Rose, and Linda Hogan.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Inheritance, Exile, and the Jewish Literacy imagination.<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Primo Levi’s short story “Quaestio de Centauris” describes a centaur living in exile from others like him in the human world. In her discussion of this story for a series in The New Yorker, Jhumpa Lahiri describes Levi’s time in Auschwitz as “the most brutal form of exile” and later quotes Levi on the subject from The Truce when he writes: “This is the most immediate fruit of exile, of uprooting: the prevalence of the unreal over the real.”<br />
<br />
The imaginative worlds of writers are necessarily infuenced by their lived personal and inherited cultural experiences. In this class, we will consider the ways in which history, exile and intergenerational inheritance shape the artistic worlds Jewish writers create. While the readings in this course will focus on a particular literary tradition, the course is relevant and welcoming to students of all cultural backgrounds. Writing assignments will ask students to reflect on their own lives and heritage, and the ways that history, culture and diaspora hold meaning for them as community members, individuals, thinkers and artists. Assignments will range from the personal (poem, essay, short story, visual work) to the collaborative (interview, documentary, ekphrasis, collage), inviting students to consider the forces that infuence their own imaginations. Readings will include fiction by Clarice Lispector, Primo Levi, Grace Paley, Franz Kafka and Courtney Sender; poetry by Anthony Hecht, Adrienne Rich and Joseph Brodsky; and criticism by Walter Benjamin, Svetlana Boym and others. The course will include visiting lecturers from within and outside of the Xavier's community.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Blood Roots: Horror Literature and its History<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Author Carmen Maria Machado writes that, “Horror is an intimate, eerie, terrifying thing, and when it’s done well it can unmake you.” From historical hauntings to modern-day slashers, horror literature as a genre has existed for centuries. Beginning with Walpole’s 1765 medieval terror ''The Castle of Otranto'', we will study the field’s evolution from gothic horror to contemporary scary stories, exploring the distinctions between gothic, psychological, and supernatural horrors, among others. Machado goes on to say that horror “tells us a lot about who we are, what we are, and what we, individually and culturally, are afraid of,” a claim which will guide us as we dive into ghastly and macabre tales that captivate a culture and hold a mirror up to our truest selves.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Strange Worlds: Speculative Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Whether it is Tolkien’s Lord of the Rings or H. G. Wells’ The War of the Worlds, science fiction and fantasy can not only delight our imagination but also help us understand our real, present world more thoroughly. Students in this course will study a wide array of science fiction and fantasy. They’ll look at how fantasy provides commentary on race, gender and class through works such as Octavia Butler’s Fledgling or Ursula K. Le Guin’s The Left Hand of Darkness, and consider science fiction’s power to comment on technological and social quandaries, such as Frank Herbert’s prescient consideration of global warming in Dune or Philip K. Dick’s exploration of artificial intelligence and identity in Do Androids Dream of Electric Sheep? Students will write critical reflections, examining the intersection of these imagined worlds with real life as well as trying to craft science fiction or fantasy of their own.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Crime Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to early works in the development of the “detective story” (Edgar Allan Poe, Agatha Christie, Sir Arthur Conan Doyle) and the ways in which those early works help establish the foundations for a variety of “crime fictions” that have steadily grown in popularity throughout the 20th and 21st centuries. Students will learn to appreciate authors working in different times, places and settings and to explore the criminal mind and those tasked with solving criminal cases and fighting criminal activity (whether amateur detective, private eye or police officer). Along the way, students will try their hand at writing their own pieces of crime fiction and produce short analytical pieces examining the books and films they encounter.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Fictions of Finance<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What do we value? The pursuit of profit, surges in wealth and the suspect principles of the financier have intrigued authors since the 19th century. How do language, narrative style, structure and literary production transform with shifts in the marketplace? Through a careful investigation of literature, film and illustration, we will discuss how art imagines and redefines social and economic relations. We will supplement the literary works with historical documents or articles that shed light on the economic climate at the time of publication. We might consider how the imagined space of the novel presents the mystery of the financial market, which seems shrouded in a haze. We might also ponder how authors imagine worlds where money has no practical use and nothing has any purchasing power. Over the course of the term, students will write short analytical pieces and complete a creative independent project of their own design.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Humor<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Robert Frost called humor “the most engaging cowardice” and Percy Bysshe Shelley characterized laughter as a “heartless fiend,” but maybe they weren’t in on the joke. In this course, we’ll read literary humor writing—including comedy, satire, irony, and wit—in a variety of forms and genres in an effort to face a paradoxical (and not entirely unfunny) question: should we take humor seriously? Students should expect to contend with critical theory, read across genres and media, and attempt to write humor of their own.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Mid-Twentieth Century American Poetry<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce students to poets and movements that have shaped the direction and contours of American poetry since World War II. Students first study the Beat Movement and then explore the so-called “schools” of poetry—Black Mountain, New York, Confessional, et al. The course finishes with an exposure to poetry that is happening right now, which includes bicultural and multicultural poets. Most class time will be spent deriving themes through discussions of poets, poems, poetic movements, criticism, and theory. Poets include Ginsberg, Corso, Kerouac, Dylan, Waldman, Bukowski, Creeley, Olson, Levertov, Ashbury, O’Hara, Lowell, Plath, Berryman, Bishop, Rich, Dove, Hass, Kinnell, Hogan, Nye, Springsteen, and Colvin.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Epics and Heroes<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Great epics of the past tell us about the culture, history, religion and magic of a particular time. As Joseph Campbell wrote, they are “the wonderful song of the soul’s high adventure.” We will look at powerful stories, as well as their meaning for the period and for today. Possible readings include mythology from around the world, Hermann Hesse’s ''Siddhartha'', and an assortment of modern comic books.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Rememories: Trauma and Survival in 20th-Century Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In her novel Beloved, Toni Morrison coins the term “rememory” to describe a type of memory that won’t stay buried—ghosts of experiences that resurface across years, decades, even centuries, memories of trauma that continue to haunt literature to this day. This course will examine how narratives of trauma and survival have been represented (and re-presented) in 20th- and 21st-century literature. In our investigation of literature about war, terrorism, diaspora, and other cultural traumas, we will encounter authors writing from a variety of historical moments and perspectives. We will look closely at how trauma literature both delineates and breaks down divisions within individual, societal, and generational trauma experience. And we will engage with course texts by writing in a number of modes, both critical and creative. Thematic focuses will include the problematics of truth and testimony; the dismantling of traditional narrative structures and genres; individual vs. collective memory; societal regeneration; and the ways trauma literature engages with issues of race, class, gender, and national identity.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Asian-American Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This seminar explores the literary, historical, and broader sociocultural development of the complex and ever-expanding body of work that collectively (and not always neatly) contributes to what may be called “Asian/American” literature and film. We will engage with a wide range of written and visual texts, including poetry, fiction, memoir, cinema, and television, as well as with scholarly and other artistic forms of production, in order to fashion an analytical framework, informed perspective, and interpretive approach through which to reread and rethink the culture, politics, and history of the United States itself. A related goal is to understand the role of literature and other cultural forms in our nation’s struggles over identity, power, and resources. Focusing on the development and representation of Asian/America, we will unpack the social formation of race and the complexity of racial dynamics in the United States historically and today.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Theatre of the Marginalized<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Course previously titled "Theatre of the Unusual/Everyday Life." Students who took that class previously should not sign up for this one) Through literature of the theatre, students focus on differences in everyday lives. Students will have an opportunity to explore many issues of accessibility, physical and mental challenges through time, cultures, definitions, and values, and the everyday struggles individuals have relating to others. Plays may include: ''Elephant Man'', ''Children of a Lesser God'', ''Fences'', ''Getting Out'', and ''The Ballad of a Sad Café''. </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Beyond the Thousand and One Nights: Introduction to Arabic Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, students will learn of the development of Arabic literature from its inception in the medieval Arabic literary tradition, which begins in the sixth-century with nomadic Bedouin poetry and the Qur'an, through new literary forms adapted from Western imaginative literature. The aim of the course is to introduce students to key samples of modern Arabic literature, which trace major social, political, religious, cultural and linguistic developments in the Arab world, including North Africa. All readings will be in English translations. The class will also explore the politics of translation. Some questions that will be addressed, but not exclusively: How do some Arab writers conceive of "modernity"? How do they conceive of their relation to politics, and how do they understand the role of intellectuals in their societies? Who are the readers (actual or implied) of these texts? How do these authors relate to the Arabic, European, and American literary traditions? </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | South Asian Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will focus on different genres, contexts, time periods, and even languages (although all readings will be in English/translation) that fall under the broad category of ‘South Asian Literature.’ In one year, we might focus on the events surrounding the Partition of 1947 and how it inspired a generation of writers in Urdu. Another year, we might focus on Sanskrit literature: for example, poetry, drama, and/or short stories. In other iterations, the class might explore LGBTQ authors, the South Asian diaspora, and even the works of a particular author. The readings would focus mainly on shorter literary works, such as short stories and poems, but there would also be in most of these classes the opportunity to read full books (e.g. Bharati Mukherjee’s ''Miss New India'' and ''Wife'', the Sanskrit ''Vetālapañcaviṃśati'', Abha Dawesar’s ''Babyji'') or excerpts thereof. Within each version of the course, students would be able to research and learn about the historical context of the works as well as where they fall in the literary sphere.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Shakespeare Now<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Poet Ben Jonson said of Shakespeare that he “was not of his age, but for all time.” But what does a poet-playwright, dead now some 400 years, have to say that speaks to this moment of the human experience? In this class we will read and discuss the Bard’s plays in order to see how they were understood in their time as well as how they address modern sensibilities of race, gender, sexuality, economics and politics. How does Measure for Measure figure in the #MeToo movement What does a queer reading of Twelfth Night yield? How does The Tempest engage colonialism, race and the violence of language, or how does King Lear take on the betrayal of both the body and the body politic? How might Henry IV address cultural appropriation and entitlement or Henry V espouse or critique nationalism? Through discussing, writing about and even performing scenes from some of Shakespeare’s plays, we will test whether and how these works still resonate. </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#CE2029;" | Teen Health Matters (Formerly Health & Human Development)<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this first-term, age-appropriate course, required of all new students, students will discuss health issues such as sleep, time management, living and learning in a diverse community, mindfulness, positive psychology and stress management, media literacy, and social practices in a digital landscape. All topics will be addressed in the context of adjusting to a campus community, accessing resources and understanding school rules. Together, all new students will explore how to fully integrate into their new class and how to have a healthy, mindful transition to Xavier's. A special emphasis on decision-making as they become emerging adults will help students make decisions about their future that offer complexities of choice. In-depth conversations will enable new students to build self-efficacy skills and prepare for challenging health and lifestyle choices. The pass/no pass grading system encourages student participation, honesty and sharing in a supportive and more relaxed environment.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#CE2029;" | Thriving in Community (formerly Human Sexuality)<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | [[Jax]]<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, required for all high school students, students will discuss a variety of health issues, such as mental and psychological health, character development, cultural competency, gender, sexual behavior and sexuality, consent/healthy relationships, and alcohol/drugs. This course is focused on helping students navigate some of the most common health and relationship concerns for their age group. Class aims to enable students to build self-efficacy and prepare for challenging health and lifestyle choices. Intentionality is explored throughout the term so that students will develop effective decision-making skills with purpose and thought. In this class students will explore identity development and self-authorship, foundational aspects to a student’s transition from adolescence to young adulthood. The pass/no pass grading system encourages student participation, honesty and sharing in a supportive and more relaxed environment focused around a growth mindset.</div></div><br />
|style="background-color:#E6A2AD;" | Probably the class most complained-about by parents to administration each year; Jax is very open in talking with students about sexuality, gender and identity issues and Many Parents are concerned he will turn their students trans or something.<br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#E6A2AD;" | The Pursuit of Euphoria<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will explore the use of mind-altering substances throughout history, across cultures and within subcultures of the United States. From a biochemical, sociological and psychological standpoint we will probe the reasons why people seek to alter their state of being, whether through the use of drugs or through natural means. Readings will include selections such as: ''The Compass of Pleasure'' by David Linden; Flow: ''The Psychology of Optimal Experience'' by Mihaly Csikszentmihalyi; and ''Forces of Habit'' by David Courtwright.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#E6A2AD;" | The Power Within: Philosophy and Science of Optimal Health<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How can we best manage life’s competing challenges? How should we measure success? What are the most effective means to enhance one’s capabilities, strengths and health status? We will aim to answer these and other questions by studying traditional teachings and practices, as well as the insights and lessons offered by modern-day behavioral science and neuroscience. Through reading, research, reflection, personal practice and experimentation, students will investigate the theories, models and methods that have proven to enhance well-being.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP Art History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-art-history AP Art History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP European History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-european-history AP European History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP U.S. History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-united-states-history AP U.S. History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP World History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-world-history-modern AP World History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., Colonialism - 1861<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the formation of American values and institutions from the early English settlements of North America through the Revolution and Civil War. Emphasis is given to the cultural, economic and social diversity of early America, the tension between local and central authority during the struggle for independence, the establishment of the Constitution, economic and social change in the young republic, slavery, and the growing sectional confict that culminated in secession. Students will complete a library research project.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., 1861-1941<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course continues the survey of American history with the Civil War and follows with the attempt to rebuild the union during Reconstruction. Emphasis is given to economic and social changes of the late 19th century and the emergence of the United States as a world power. Topics include the transformation of the United States into an urban industrial society, the dilemma of race, the changing role of women, the Depression and the political response to these issues. The course ends with the advent of World War II. There will be a required library research paper this term.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., 1941-Present<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course begins with U.S. involvement in World War II. Emphasis is given to the Cold War and rising global involvement of the United States. Other topics include the Civil Rights movement, the social and political turmoil of the 1960s, the dual crises of Vietnam and Watergate, the Reagan revolution and issues of the contemporary world. A term paper, based on independent research, is required to pass the course.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Native Peoples of the Americas<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course surveys the history of indigenous groups from their prehistoric roots to the Post-Classic Period. Students gain exposure to anthropological, archaeological and historical resources to illuminate the Mesoamerican societies with a particular focus on the Mayan and Aztec Empires. Students also gain exposure to the evolution of independent cultural and social systems among indigenous tribes in North America. Among the subjects highlighted are the production of foodstuff, evolving patterns of tribal life, governance, warfare and economics. During the latter stages of the course, students examine the ways in which the lives of indigenous peoples were dramatically reconfigured as the economic systems of the Atlantic world forever changed tribal life.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Jailhouse Nation: U.S. History of Crime, Punishment, and Mass Incarceration<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Jailhouse Nation explores America’s long and troubled history with crime, punishment, and prisons. By first examining how both crime and thus the “criminal” are socially and historically constructed, students will consider the role of violence and systematic punishment in Puritan New England, the slave South, and later, the modern United States. The institution of slavery will provide an important framework to help students understand how new modes of punishment (namely, incarceration in jails and prisons) emerged alongside the abolition of slavery. Furthermore, we will examine the role of post-emancipation prison regimes in shaping popular (mis)understandings of “race” and the idea of “black criminality.” Lastly, we will discuss the rise of the carceral state in the twentieth and twenty-first centuries, noting long historical parallels and the roles of contemporary political and economic forces driving the prison boom. Throughout the course we will consider the distinct experiences of punishment for men, women, children, African Americans, whites, Latinos, sexual minorities and non-citizens in order to tease out the specific relationships between race, class, gender and punishment at various moments in American history. Within our broader exploration of state-based punishment policies, we will also consider community resistance to policing and incarceration and the rise of so-called prison abolitionists.<br />
|style="background-color:#1053E9;" | <br />
</div></div><br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Law and American Society<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides students with an introduction to the American legal system and to the development of American constitutional law. Historic Supreme Court decisions and legal case studies will be used to develop an in-depth understanding of the historical background and present-day constitutional controversies over such topics as free speech, censorship, abortion, workplace discrimination, affirmative action and the rights of the accused. Practitioners from the fields of law and criminal justice may provide an added dimension to the course. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Rocking the Schoolhouse: US History of Education<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This class will examine the history of American Education. From the one-room schoolhouse to Race to the Top, students will leave with a deep understanding of how America educates its k-12 students. Rocking the Schoolhouse does not look at a broken system, rather the students analyze why the system is purposely designed to educate some, and leave many behind. Public schools today are as racially segregated as they were in 1954. The class presents a thesis: “The US Public Education System is the greatest Civil Rights issue of the 21st Century.” From this thesis, arguments and evidence will be presented and students will be asked to analyze the data and take their own stand. The racial opportunity gap has been identified, and little has been done to remedy this built-in aspect of public education. The final project challenges the student to identify a need in public education, and design a school that will remedy the problem. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Youth Subcultures<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores the role of subcultures in contributing to the cultural spectrum of the United States between the 1920s and the twenty‑first century. Studying subcultures can reveal as much about the shadows of society in which they resided as it does the mainstream. Subcultures also represent a unique intersection of radical political ideologies and innovative artistic trends, often expressed through a group’s attachment to a specific genre of music, social outlet, and/or fashion. We will examine the value systems, and the broader historical contexts that gave rise to them, of: the flappers; hipsters, and beatniks; greasers; hippies; the hip‑hop and punk rock scenes, and street art. We will also focus on the ways in which society has repeatedly co‑opted these previously marginal movements, rendering them into yet another popular means of corporatized mass consumption.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Black Studies<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Black Studies is a broad field of study that can be approached from many disciplines. In this course, we survey African American history from the period of the Great Migration through the present. We explore the socio-economic, political, and cultural contributions of African Americans with an emphasis on movements for racial equality, the arts, and Black feminism. Texts include foundational writings in African American history and literature, including writings from W.E.B. Du Bois; James Weldon Johnson; Booker T. Washington; Martin Luther King Jr.; Malcolm X; Ida B. Wells; Angela Davis; Shirley Chisholm; Audre Lorde; Richard Wright; James Baldwin; Langston Hughes, and many others</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Environmental History<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How did European cattle wage war on the Wampanoag in colonial Massachusetts? How did the Bible’s Eden, a belief in magic, and a mapping mistake come together to lay the groundwork for race-based disenfranchisement and colonial incursion? How did soil make decisions about what slavery would look like in the Cotton South? How did capitalist ideas effect changes in the landscape of New England? How does the difference of 20 inches of rain per year lead to drastic differences in population, politics, and culture between eastern and western states? What myths do we tell ourselves when we visit our national parks? How are we, through globalization, forcing ourselves to change the way we talk about the natural world? What is truly natural and how do we use Nature as a weapon to destroy societies and the earth? With this introduction to the newest field of American History, we will learn to study history by looking at the roles humans play within ecosystems and the effects of those ecosystems on human society.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Constitution<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">US Constitution is a hands-on, project-based class that seeks to examine the roots and development of the Constitution and the Bill of Rights, and then asks students to apply the document practically to several real and fictional Supreme Court cases. Hence, students begin the module with factual readings, the Federalist Papers and smaller debates, and general discussion. The class looks at the way fundamental concepts and definitions of freedom, citizenship, and “for all” have been shaped, undermined, and refined through the Constitution and its interpretation by the US Supreme Court. As the mod progresses, the assignments become more difficult and intense (briefing cases like Marbury v. Madison and Tinker v. Des Moines School District), culminating in the preparation and presentation of oral arguments for a mock Supreme Court in two cases, and sitting as a justice for one. Much of the grading for the class is done in groups, rather than individually, and so students are asked to trust and depend on their peers while making sure to hold up their own end of the workload. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The Transatlantic World: Empire, Contact and Legacies<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the imperial interests, race and gender relations, and cultural influences and exchanges that manifested during the era known as Colonial America. Though the course, by the end, focuses on the colonies that would become the United States, it begins with the pre-contact experiences of Native Americans, Africans and Europeans and how their lives eventually converged. Relationships impacted by economic development, racism and religious fervor forged a complex, historical, multiethnic legacy that is still visible today.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Race: A Global History<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Scientists agree that there are few genetic differences between people of different races and ethnicities. Social scientists thus contend that racial distinctions are a product of society and culture rather than biology. At what point, then, did differences in skin color and other phenotypic traits become signifcant? This course will explore the history of race and racism by looking at examples across the world. We will consider how humans have been divided into different “groups” and the historical circumstances that have led to those divisions. We will also interrogate the use of scientific theories to justify racism and the more recent repudiation of these theories. Using both primary and secondary sources, students will apply the methods of historical thinking to understand the evolution of racial categories and the impact of history on modern-day issues related to race and ethnicity.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The 20th Century<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is an introduction to significant events in the 20th century. Students investigate cause, effect and change in places such as Europe, Africa and Asia (including the Middle East). One principal aim of the course is for students to develop a better understanding of the response of traditional societies to the impact of modernization on their values and customs. Another is to examine ideological conficts of the modern world. Students also research contemporary problems that originated in the 20th century that demand creative and thoughtful solutions. Analytical skills, synthesis of conficting viewpoints, conducting research in the Academy Library, participating in debates and writing historical essays are all emphasized in this course.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Classical Greece<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the archaeology, literature, history and society of the Greek city-states from 1000 to 300 BCE. From Homer and Sappho to the Acropolis of Athens, a variety of materials introduces students to the literature, art, material culture and everyday life of an expansive Greek world. This course encourages students to establish connections between the ancient world and today and question the modern reception of the classical past. It introduces and develops fundamental historical skills, particularly research and writing.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Classical Rome<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the archaeology, literature, history and society of the Roman world from the foundation of the city through Late Antiquity. Central themes include urbanism, architecture, imperialism, daily life and archaeology. The course introduces and develops fundamental historical skills, particularly writing and research. It encourages students to establish connections between the ancient world and today and question the modern reception of the classical past.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The Medieval Worlds<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In the wake of the fall of the Roman Empire, three distinct and dazzling civilizations emerged. This course examines the creation of the European, Byzantine and Islamic worlds from the end of antiquity to roughly 1350, exploring the political, cultural, social and religious changes in each society. We examine the rise of the Christian Church in Europe and Byzantium, the birth and rapid success of Islam, and the impact on the values and behaviors of medieval people. Key figures, themes and events are studied, including Charlemagne, Muhammad, Justinian, mysticism, scholasticism, the Reconquista and the Crusades. We also discuss how early interactions and conficts shaped the views each society held of the others. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Early Modern Europe, 1350-1660<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The centuries following the Black Death saw the beginnings of modern Europe. This course focuses on the rebirth of European society and the new values, optimism and cultural achievements of the Renaissance. It then examines the turbulence of the Reformation — the shattering of Christian unity and the wars fought in the name of religion. The course then explores the development of new politics and the Age of Exploration when Europeans set sail and changed the shape of the world.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Absolutism and Revolution, Europe 1660-1800<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Beginning with the reign of Louis XIV, students examine 18th-century European society. We explore how the Scientific Revolution and the Enlightenment challenged the ideas of the Old Regime and created new perceptions of humanity, society and government. The course concludes with an analysis of the French Revolution and the rise of Napoleon.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The European Century, 1800-1914<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Beginning with the study of Napoleon’s Empire and the Congress of Vienna, this course examines how the French Revolution of 1789 and the Industrial Revolution transformed European society and politics in the 19th century and established Europe’s global preeminence. The course concludes with an examination of World War I, the shattering event that culminated Europe’s dominance.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | World War and European Society, 1890-1945<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">At the pinnacle of its power and confidence at the start of the 20th century, Europe could not have imagined the crises, mainly of its own making, that it would face between 1914 and 1945. In this course, we examine the era when Europe was shattered by two world wars, an unprecedented international depression, and the rise of totalitarian states in the Soviet Union and Nazi Germany. We examine why Europeans cheered for the Great War when it began in 1914, and how four years of industrial warfare and diplomatic failures contributed to catastrophes that followed. We then explore European culture during the interwar period called the Age of Anxiety, the Russian Revolution under Lenin and Stalin, the foundering of the democracies, and the rise of Hitler and Mussolini.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Europe Since 1945<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Once the region of geopolitical domination, Europe after World War II was forced to rebuild and redefine its place in a rapidly shifting world. This course examines the change in Europe’s position as it contended with the Cold War’s series of freezes and thaws; economic, political and social developments, such as the student revolts of the 1960s; and the dramatic decade of the 1980s with Thatcherism, Gorbachev, the fall of the Berlin Wall and communism. Topics analyzed include modern leadership in Germany, Great Britain and France; the Soviet Union from Stalin through its collapse; Eastern Europe’s transition from communism, and the European Union. We will conclude by examining Europe’s current position in the contemporary world.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Capitalism and its Critics<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides a survey of the origins and evolution of capitalism in a global world up to the present, with emphasis on the political economies of the West. Students examine the ideas of the great political economists such as Adam Smith, David Ricardo, Thomas Robert Malthus, Karl Marx, J.M. Keynes and Friedrich von Hayek, as well as trace the progression of modern industrial economies in Europe and the United States. The course ends with an analysis of the 2008 financial crisis and the Occupy movement.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Understanding Violence, War and Peace<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores both the history of and theories related to violence, war and peace across the globe, from ancient to modern times. Readings may include selections from a variety of disciplines, such as anthropology, ethics, philosophy, psychology and sociology. Students may consider such questions as: Is there such a thing as a just war? Are humans naturally violent? How do societies avoid violence and maintain peace? What role does technology play in shaping violent behavior? Can justice be achieved through the use of violent means? Is peace a realistic possibility in a globalized world? Is there more to peace than an interim between wars?</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | China: The Last Dynasty<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores Chinese history with a focus on the Qing Dynasty period (1644-1912). Students will tackle such questions as: How can Buddhism, Confucianism and Daoism coexist in the same time? How did the role of the Qing Dynasty in global history shift across the centuries? What makes the Opium Wars (1839-1842, 1856-1860) and the Boxer Rebellion (1899-1901) turning points in modern Chinese history? How does Chinese history look different from the perspective of a rural female villager versus an emperor? What are the strongest motivating factors in these two individuals’ decision-making? To help us explore how lived experience of this vast history can vary based on where in China one lived, what role in society one fulfilled, and which events one lived through, we will analyze a range of sources including film, fiction and scholarly assessments.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern China<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines China’s dramatic recent history through multiple lenses: historical survey, biography, memoir, film and journalism. We begin by identifying key themes and questions to guide our study. Then we move back in time to the 19th century, when contact with Westerners provoked war and internal rebellions. We examine the decline and eventual collapse of the imperial dynastic system, the rise of warlordism, an experiment in weak republican government, the prolonged civil war, China’s role in World War II, the founding of the People’s Republic, the thought and governance of Mao Zedong, the economic and social reforms of Deng Xiaoping, and China’s entry into the global marketplace. The last part of the course utilizes a variety of current sources to address the majorissues facing China in the 21st century. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Contemporary Middle East<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The course begins with the breakup of the Ottoman Empire and examines the rise of Arab nationalism and the struggle against foreign domination. The strategic and economic importance of the region is studied along with the founding of Israel; the continuing confict among Jews, Arabs, and Christians; and the rise of Islamic fundamentalism. Particular emphasis is placed on understanding the Arab-Israeli confict. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Asia: Contested Histories<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How and why do different national histories define themselves in competition with those of their neighbors? This course will focus on how recent trends in the writing of history are applied to the context of contemporary Asia including China, India, Indonesia, Japan, Korea, Thailand and Vietnam. These topics will be explored through a range of sources including film, memoirs, fiction, periodicals and scholarly assessments that reflect the diversity of experiences across Asia. Topics will include Marxist history, cultural history, gender, memory, modernity and ethnicity. This course will rely on students to conduct independent research throughout the term in digging through contested topics and historical controversies, including but not limited to competing national histories of imperialism, colonization, and nationhood in the 20th century.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Precolonial Africa<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the complexity and dynamism of the African past, from antiquity to the dawn of the 20th century. The course begins with an examination of the Nile Valley civilizations in antiquity, the historical debates surrounding that era and the advent of Christianity in North Africa. Students then study the rise of Islam in Africa and the West African empires of Ghana, Mali and Songhai. Next, students examine the role played by slavery in the creation of the Atlantic World. The course ends with an analysis of the dynamics of the cultural clash that ensued from the European colonization of Africa.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Africa<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What do we mean by “modern,” and what does “modern Africa” look like? The story of modernity has often been told from a Eurocentric perspective — one that conveniently excludes Africa. In this course, we will investigate the ways in which Africa is tied to modernity and the world. Chronologically, the course will investigate the continent’s history, beginning with the abolition of slave trade; 19th-century imperialism and the “scramble” for the continent; anti-colonial movements and decolonization; as well as the post-independence social and political realities. For the most part, academic study of Africa in the Global North has been dominated by non-Africans. Alternatively, in this course, we re-center African voices — that is, scholarly, literary and political writings of notable Africans to help students challenge the conventional wisdom about the rise of the modern world and the role of Africa in the global arena. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Latin America<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines how modern social and political institutions developed in the region that includes Central and South America and the Caribbean. We begin by questioning why such diverse places are imagined as a single region. We explore how colonialism shaped the region and how independent nations emerged from European political control in the early 19th century. Through a series of case studies, we then examine selected social, political and economic issues that shaped Latin America in the 19th and 20th centuries.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern India<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the history of what is today the world’s largest democracy. It starts in roughly 1700 with a study of the Mughal Empire and its decline, followed by the rise of British India. We explore the East India Company and the impact of British imperialism on India. The 1857 rebellion, the beginning of direct British rule and the consequences of these major events are analyzed. We explore the development and role of the Indian National Congress, explore the emergence of Indian nationalism, and assess Gandhi and other Indian leaders, as well as the forces around independence in 1947. In the last part of the course we study India’s identity from independence to today and the current issues and conflicts confronting this increasingly prominent nation.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Japan: Tradition to Modernity<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is an overview of Japanese history and considers how changes in political institutions, economic patterns, social organizations, and cultural practices took shape to transform the lives of individuals across the archipelago. We will explore questions that contemporary scholars grapple with to this day: How did the role of the emperor transform from the 16th to the 18th century? Why is the samurai such a powerful symbol? How did a region poor in resources and largely isolated from the West emerge economically vital in the last hundred years? Why did the concept of progress become such a pivotal concern for the leaders of Meiji Japan in the late 19th century? What are the consequences for rapid industrial revolution? With an emphasis on primary sources, students will analyze this history in terms of those who lived it. We will read from the perspectives of a daimyo reformer and a low-ranking samurai, from an impoverished farmer and an afuent merchant, the emperor and a housewife.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Japan: Post-war to the Akihabara Generation<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Akihabara district of Tokyo, Japan houses the world’s largest collection of everything that is associated with anime and the otaku culture and industry. It provides us with the goal and opportunity to examine Japan’s emersion from World War II into a thriving economic revival, democratic politics, and a new social order. With a particular focus on the creation of Otaku culture, we follow Japanese history through the 20th and into the 21st century, its cultural expansion and impact on not only the neighboring countries but the Western world as well. Post-war Japan has navigated its way through challenging encounters with its past, this course looks at those encounters and examines what role the otaku culture plays in the definition of 21st century Japan. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Humans and the Environment<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What drives human history? Do the pivotal factors lie beyond human control, such as climate, geography, ecosystems and microbes? This course examines the interactions between people and the natural world over time. In struggling to master an often hostile environment, human societies have had an ever-increasing impact on the planet, and apparent success has often ended in failure. The course begins with the emergence of humans in the Paleolithic period and then explores the invention of agriculture, the emergence of global trade and migration networks, colonialism and the Industrial Revolution. Students examine in depth an instance of humans managing — or mismanaging — a natural resource and conclude the course with a close look at 20th-century trends and the future we collectively face.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Genocide in the Modern World<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course studies the history of genocide in the 20th and 21st centuries, exploring both the patterns and unique circumstances of this important global issue. Students read and hear from historians, victims and perpetrators. Likely case studies are the Holocaust, Cambodia, the Balkans, and Rwanda, with time set aside for research into events determined by student interest. Students study root causes, including economic, political and social factors that permit the occurrence of genocide; assess international responses; and evaluate attempts at reconciliation, including justice systems and community reactions. The comparative nature of the course creates a framework to draw broad lessons about what leads to genocide in the modern world; enables us to assess the behavior, actions and inaction of the various groups involved; and pushes us to consider how these lessons could be applied to prevent such crimes in the future.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Totalitarianism: Past & Present<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course takes students on a fascinating exploration of the totalitarian and fascistic tendencies that have proven to be alluring alternatives to the democratic states and societies. These movements were often shrouded with utopian promises against a backdrop of apocalyptic struggles, regardless of the temporal or geographic location of the totalitarian movement. We begin by examining five national case studies drawn from Europe and Asia between the 1920s and 1960s. We then investigate more modern iterations of fundamentalism, including political, racial, and religious fundamentalism. The class concludes by focusing on the nature and appeal of cults. A final project invites students to tie the course’s main themes together.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Revolutions<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | [[Tian-shin]]<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | ASL Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC - Nadia Dirie<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the American Sign Language track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency, but also touches on history, culture, sociology, and other aspects of the ASL-using world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Arabic Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Arabic language track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Arabic-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Chinese - Mandarin Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | [[Tian-shin]]<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Mandarin track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Mandarin-speaking world. Written instruction is in pinyin Simplified Chinese script. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | English as a Second Language Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPCs<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the English as a Second Language track: Beginning (1), Intermediate (2), and Advanced (3), each with highly modular curricula that instructors adapt to the needs of current ELL students. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the English-speaking world. At all levels, half of each class is given over to one-on-one tutoring, supervised independent study, or other instruction recommended by students' IEP assessments. Students may test into any level and take any number of these classes, in any sequence.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | French track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | [[Matt]], NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the French track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Francophone world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | German track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the German track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the German-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Ancient Greek track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the Ancient Greek track: Beginning (1), Intermediate (2), and Advanced (3), usually scheduled to cycle over the course of a school year. Coursework focuses on literacy but contain significant elements of history, literature, sociology, and topics relevant to the Classics and the ancient world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Latin track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the Latin track: Beginning (1), Intermediate (2), and Advanced (3), usually scheduled to cycle over the course of a school year. Coursework focuses on literacy but contain significant elements of history, literature, sociology, and topics relevant to the Classics and the ancient world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Japanese track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Japanese track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Japan-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Russian track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Russian track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Russian-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Spanish track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Spanish track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Spanish-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Chinese Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-chinese-language-and-culture AP Chinese Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP French Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-french-language-and-culture AP French Language and Culture] curriculum.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP German Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-german-language-and-culture AP German Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Japanese Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-japanese-language-and-culture AP Japanese Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Latin<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-latin AP Latin] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Spanish Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-spanish-language-and-culture AP Spanish Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Spanish Literature and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-spanish-literature-and-culture AP Spanish Literature and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Transitional Mathematics<br />
|style="background-color:#6BADF9;" | variable<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Transitional mathematics courses are offered to help merge new students into the mathematics program at Xavier's. Courses are designed to help students adjust to seminar-table methodology and problem-based curriculum, and to fill gaps and cope with varied backgrounds in mathetmatics prior to Xavier's. Introductory courses give students and instructors additional information to determine placement for the following term. Typically, transitional courses last one term, but some extend for two or even three terms. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Algebra<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">These courses develop facility in working with numbers, tables, equations, inequalities and graphs. The focus is on solving word problems and reading carefully, and thus the building of algebra skills stems from the need to solve problems in a context, rather than from drill and practice for its own sake. Students learn how to use the graphing calculator appropriately as an effective problem- solving tool. In addition, students may do a number of hands-on labs that require them to collect data, make conjectures and draw conclusions. Topics covered include equations and graphs that are linear and quadratic, distinguishing linear data from nonlinear data, inequalities, the basic rules of exponents, and other traditional Algebra I topics.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Geometry<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Geometry develops logical thinking through proofs and attention to definitions. It gives students a new way of looking at the world by analyzing the symmetries and patterns around them, and it develops practical skills through applications. This course covers the standard topics in a college-preparatory course in Geometry. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Trigonometry & Precalculus<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | [[Kyinha]]<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An exploration of the circular functions: sine, cosine, and tangent. Topics include right triangle trigonometry, simple harmonic motion, applications, and proofs of trigonometric identities.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Integrated Mathematics<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The purpose of these courses is to enable students to expand their view of algebra and geometry to include nonlinear motion and nonlinear functions. The investigation encompasses circular motion and the functions that describe it, ellipses and hyperbolas, exponential and logarithmic functions, dot products and matrices, and geometry on the surface of the Earth. In particular, logarithms are used to straighten nonlinear data; and matrices are used to describe geometric transformations and various patterns of growth. In preparation for higher level mathematics, two strands are introduced: first, combinatorics and recursion, leading to the binomial theorem; second, approximation behavior, especially instantaneous rates of change and slopes of nonlinear graphs.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Linear Algebra<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class students will use matrices to learn how linear algebra is being applied in various fields. The class will cover content including matrix operations, row-reductions, determinants, vector space, eigenvalues, and transformations. From this course students will be able to further their understanding of the connection between geometry and algebra. In addition, students will further their logical thinking while being introduced to different abstract topics in mathematics. This course will expose students to higher-level mathematics that will better prepare them for the rigors of a college math program.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Multivariable Calculus<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students will learn how to differentiate and integrate functions with multiple variables. In this class students will cover topics such as vector functions, partial derivatives, multiple integrals, and vector calculus. As a result of this class, students will be able to better understand the connection between single-variable calculus and multivariable calculus. Students will further their logical thinking while also being introduced to different abstract topics in mathematics. Students will be exposed to higher-level mathematics that will better prepare them for the rigors of a college math program.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Calculus AB<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | [[Kyinha]]<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-calculus-ab AB Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Calculus BC<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-calculus-bc BC Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Statistics<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-statistics Statistics Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Personal Finance<br />
|style="background-color:#6BADF9;" | 1<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Personal finance is a term that covers managing your money as well as saving and investing. It encompasses budgeting, banking, insurance, mortgages, and investments. Students will be introduced to the basic understanding of debit and credit, track their spending and even analyze some of the more challenging probability concepts that govern the trading of options on the stock market. The approach to this class will be project based with students able to work on a project that they find meaningful in the world of personal finance. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Economics in the World<br />
|style="background-color:#6BADF9;" | 1<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to live in a global economy? In this class students will be introduced to an overview of Micro Economics and Macro Economics. By analyzing market trends associated with historical events between the 1900’s and the present time, students will learn how changes in policies have shaped global economies.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | Bioethics: Humanity in the Post-Genomic Era<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines current biological topics that challenge our understanding of humanity and provides a brief introduction to ethics and philosophical anthropology and their roles in setting public policy.<br />
<br />
We live in a modern age in which major scientific advances are the norm. Bombarded with stories in the news regarding ethical dilemmas pertaining to novel biomedical interventions, it is often difficult for us to make sense of competing arguments without having a basic command of the biological and philosophical issues involved. Questions to be addressed include: What is a stem cell? When does a developing human being first experience sensation? Show evidence of cognitive abilities? Acquire moral status? <br />
<br />
How does our modern, post-genomic understanding of human biology influence our philosophical understanding of what it is to be human? Which biological enhancements are ethical? Which are unethical? To what extent (if at all) should the use of biotechnology be regulated in our society? Historical and current readings will be assigned, and lively discussions encouraged. Students will be graded through a variety of assessments, including papers, presentations, journals, and class participation.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | Power and Social Responsibility<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | The Ethics of Power<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Charles]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"></div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Introduction to Ethics<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this discussion course will be introduced to a variety of approaches to ethical reflection. Through the use of classical texts and personal and literary stories, students will develop a common vocabulary with which to understand and critically evaluate their moral experience. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Ethics & the Environment<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">We are facing unprecedented environmental challenges to climate, life forms, human health and population, and essential resources. We tend to treat such issues simply as scientific or political problems. In reality, ecological controversies raise fundamental questions about what we human beings value, the kind of beings we are, the kinds of lives we should lead, and our place in nature. Sustainability is not possible without a deep change of values and commitment. In short, environmental problems raise fundamental questions of ethics and philosophy. This course seeks to provide a systematic introduction to those questions.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Social Ethics: Values in a Changing America<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Whether you read the paper, scroll Instagram or follow trends on TikTok, you will see people disagreeing about how to resolve some of society’s conficts. In this course, students examine various contemporary social issues such as pornography, reproductive rights, trans rights, immigration, the death penalty, CRISPR, mutant rights, privacy rights, political extremism, drug legalization and climate change. Through engagement with current events and contemporary public conversations, the course provides students with ethical frameworks, conceptual tools and contextualized understanding necessary to evaluate and respond to the social issues of an ever-changing world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Global Ethics: What's Wrong with the World?<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Terrorism, wars, genocide, refugee crises, economic disparities, economic exploitation, propaganda including “fake news,” drug resistant pathogens, natural disasters, global warming, and so on — what kind of world do we live in? What kind of world ought we live in? How can we move from what is to what ought to be our world? These are the basic questions of global ethics. With consideration for a range of ethical theories, students study current global events in order to better understand why the world is the way that it is and what can be done about it. The course includes readings in anthropology, sociology, political theory, philosophy and the sciences, and it makes use of current news sources, investigative journalism, documentary and feature films, and new media. The course culminates with student projects on any topic concerning the world as it is and might be — or what we can do to get there.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Ethics: Medicine<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Modern medical research and practice present society with new opportunities and significant challenges. Students in this course will look at various case studies at the intersection of medicine, scientific research, health care, and ethics. Possible case studies may include debates about abortion, euthanasia, animal rights, mutant rights and experimentation, and broader environmental implications of scientific and material progress in the 21st century. Classical and contemporary philosophers will be read as part of our investigation into these topics. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Nonviolence & Moral Leadership<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Charles]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will examine major figures within nonviolent movements for social change, with a focus on the capacities of moral leadership possessed by these individuals. What characterizes an effective moral leader? How do these leaders motivate others in the face of injustice and oppression? Must moral leadership necessarily be nonviolent? What does 'nonviolence' even mean? Through a study of autobiography, letters, speeches, and case studies, students will come to a more complete understanding of nonviolent movements and the decisions made by individuals who led them. In addition to Gandhi and King, individuals studied may include Nelson Mandela, Desmond Tutu, the Dalai Lama, Aung San Suu Kyi, Thich Nhat Hanh, Paul Farmer, Greg Mortenson. Critics of nonviolence will also be studied. The course will culminate in a substantial independent research project.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Law and Morality<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Tian-shin]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">A critical examination of issues that arise out of the relationship between law and morality. Questions of concern include the following: For what reasons, if any, should an individual obey or disobey the laws of society? Which kinds of governments (monarchy, aristocracy, democracy, etc.), if any, are legitimate? To what degree should society restrict the freedom of individuals through laws on matters like abortion, pornography, race, and sexual relations? Class discussions and written exercises are designed to encourage participants to develop views of their own against a background of basic understanding of the readings. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Introduction to Philosophy<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is really real? How do I know what I know? Do I have free will? What is the good? These and other speculative questions have troubled the Western mind for millennia. This course follows a topical approach to the history of Western philosophy and focuses on such issues as metaphysics, epistemology, the problem of evil, the existence of God and the philosophical roots of ethics. Students will read from the works of ancient and modern writers such as Plato, Aristotle, Aquinas, Kant, Hume, Bentham, Locke, Arendt and Hill Collins to assist them in coming to their own understanding of these topics. Students will discover what philosophy is and how philosophers question and reason.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Justice and Globalization<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does justice demand of us (as individuals and collectives) and how does it apply internationally? In this course, we will explore the following topics: (a) the possibility of individual and collective responsibility in the face of the polarities of great wealth and great suffering across our planet; (b) cosmopolitanism and internationalism as compared to nationalism as underlying different responses to global inequity and conflict; (c) colonialism and imperialism, and responses to them; (d) the arguments for colonial or environmental reparations; and finally (e) consideration and assessment of competing political-economic approaches to globalization and development. In all of this, we will ask ourselves what principles, practices, and institutions hold the most promise for securing a more desirable and just future. Through reading, writing, and collaborative discussion, participants will work together to develop a deeper understanding of how we should approach justice at a global scale. In short, we will explore what we owe others wherever they are on Earth.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Proof and Persuasion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> A practical introduction to informal logic and to the philosophical study of language. Some of the questions raised are the following: What is the difference between a good argument and a poor one? What are the common fallacies of thought? What are the limitations of logic? What are the meaning of “meaning” and the truth about “truth?” The course stresses the development of individual skill in argument and includes a critical examination of the patterns of thought one encounters every day in magazines, in newspapers, and on television.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Philosophy of Sport<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> Through common readings, journal entries, reflection papers, prepared essays, visitors to class, presentations, and open discussion, we explore answers to questions including: What is the contribution of sports to human flourishing?; How do sports contribute to the construction of individual, group, and national identities?; What role does aesthetic appreciation play in our response to sports as participants and observers?; What does the experience of flow—“being in the zone”—in sports reveal about possibilities of transcendence for humans?</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Christianities<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Christianity? How has Christianity changed over time? Why are there so many diferent Christian groups? How are Christianity and power politics connected? This course explores these questions and others, with particular attention paid to diferent ways that Christian groups define themselves in relation to the wider culture, from the ancient world to today and from the Mediterranean through Asia, Africa, Europe, and South and North America. Students will have the opportunity over the term to study in more depth an area of interest. In addition to reading and discussion, the course will potentially include site visits, meetings with religious leaders and films.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Global Islams<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">With nearly two billion practitioners, Islam is one of the fastest growing religious traditions in the world today. Yet, with less than 1 percent of the American population identifying as Muslim, it is also one of the most misunderstood here in the United States. What is Islam? What is not Islam? And who gets to decide? This course aims to introduce students to the vast internal complexities of the Islamic tradition through an exploration of history, scripture, law, film, comic books, and social media. We will investigate and contextualize controversial (and popularly misunderstood) elements of Islamic tradition such as jihad, sharia, and veiling. From Malcolm X to ''Midnight Mass'', and from China to Cairo to Chicago, students will examine the practices, lives, and legacies of Muslims in history and today.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Judaism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Judaism? Contemporary Jewish communities forge unique identities, religious practices and spiritual paths in religiously and culturally diverse ways. This course introduces Judaism in a variety of forms and explores some of the many questions, challenges and affirmations of the many facets of Jewish identity, practices, core beliefs and ethics in the 21st century. For instance, Jews might practice yoga; sport tattoos; eat organic instead of kosher foods; grow up in an interfaith family celebrating Christmas and Hanukkah; become a rabbi; attend a Jewish LGBTQ wedding; identify as “spiritual” rather than “religious”; only attend synagogue during the Jewish high holidays; or voice doubts about Israeli politics. The class will explore these or other possibilities as a case study of how the Jewish people balance tradition and innovation to remain vibrant in a changing world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Religions of the Book<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce students to the world of scripture and interpretation in Judaism, Christianity, and Islam. Students will explore the ways that communities look to sacred writings to answer questions such as: How does God communicate with humanity? How does one live a holy life (and why bother)? Is there life after death? What happened at the beginning of time? What will happen at the end? We will examine the scriptures themselves, but also documentaries, music, comic books, art, and films from religious communities around the world, and reflect on how the Bible and Qur’an created and shaped these three interconnected and diverse religious traditions encompassing more than half the world’s population.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Hinduism and Buddhism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC-Lauren Briggs<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Hinduism? What is Buddhism? This course explores Sanatana Dharma — the duties, practices and traditions that define a Hindu way of life — as well as the traditions, beliefs and spiritual practices based on original teachings attributed to Siddhartha Gautama, the Buddha. As students explore these timeless ways of being and learn about people who embody them, they will encounter concepts of ultimate reality, the (non)self and the purpose of human life that have informed diverse ethical systems and cultures in India, China, Tibet, Korea, Japan and Southeast Asia. Historical and philosophical studies of prominent fgures, such as Mahatma Gandhi and the Dalai Lama, will provide students spaces to refect on their own senses of what it means to live a devoted life. Students will also explore certain ways these religious traditions appear — through ideas, symbols and practices — in America and Europe, as they wonder about contemporary cultural representations of yoga and meditation in the West.</div></div><br />
|style="background-color:#C0F791;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Paganism Through History<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Matt]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"></div></div><br />
|style="background-color:#C0F791;" | Has a reputation as a bit of a bird course; Matt a very easy teacher to sidetrack onto tangents and a very lenient grader.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | East Asian Ways of Knowing: Zen Buddhism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC-Lauren Briggs<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Zen Buddhism opens up to rich and varied practices of knowing and living. Through reading primary sources, both ancient and modern, and engagement with a range of Zen practices, students in this course gain an appreciation for the religious tradition and its history, as well as the types of knowing that it engenders. Students study koans (Zen training riddles) such as “What is the sound of one hand clapping?” and “What was your original face before your parents were born?” and other manifestations of Zen Buddhism across cultures and times, including contemporary derivations of “Zen” memes in popular culture and social media. </div></div><br />
|style="background-color:#C0F791;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Mysticism and the Contemplative Traditions<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How does it feel to commune with the Infnite? What ecstasies can humans experience? What personal and communal transformations result? These are questions of mysticism. It has been said that all religions converge in the contemplative tradition — the great world illuminated by the swamis and yogis of Hinduism, the core meditation practices of the Buddha, the Kabbalist teachers of Judaism, the Sufs of Islam, and the Christian mystics. What can we learn by reflecting on their teachings and their practices? How do they connect with current research on the mind-body connection? How do these make possible a deeper sense of self, or what we might call the “unique self ”? What does it mean to speak of wisdom as a kind of knowledge? We will consider selections from a range of faiths, from the ancient texts of the Upanishads to the poets Rumi and Meister Eckhart to modern writers such as Thomas Merton, Howard Thurman and Pema Chodron.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Criticizing Religion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Is there a destructive side to religion? Religion and religions have undoubtedly shaped the lives of individuals and communities around the globe for millennia for the better, but would the world be a better place if we imagined, with John Lennon, a world with no religion? Contemporary examples of the destructive side of religion fill the news on a daily basis. On the other hand, religions around the world have been a driving force for peace, for justice, for compassion, for leading a purposeful life. Many people turn to religion to find resources that provide them with community, values and meaning in their lives. Is religion’s checkered past and present leading to increased secularism? Will science ultimately replace religion? The course will explore scientifc, economic, political, feminist and queer critiques of religion — and their responses — from thinkers such as Friedrich Nietzsche, Fyodor Dostoyevsky, Karl Marx, Mikhail Bakunin, Sigmund Freud, Ayn Rand, Mary Daly, Anthony Pinn, Dan Brown, Ursula LeGuin, A.C. Grayling, and the New Atheists (Richard Dawkins, Christopher Hitchens Sam Harris, and Daniel Dennett), as well as films such as ''Spotlight'' and ''Jesus Camp''.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | One Nation Under God?: Religious Traditions in America<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The United States has always been a mix of various peoples and faiths. This course examines the religious traditions that make up the American religious and cultural landscape, focusing on Judaism, Christianity, Islam, Buddhism, Hinduism, etc. The distinctive ethos and practices of each are explored, along with their presence in the daily news. To assist students in experiencing and examining these religious traditions, the course will use make use of visual materials, guest speakers, and church and potentially other site visits, as well as firsthand experiences such as observing Buddhist meditation, a Passover Seder or a Muslim prayer service. Attention is given to students’ understanding of their own background in relation to the diversity of religious expression today.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Comparative Religion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Religion is consistently a news item in our world today; it factors into conflicts in North America, Europe, the Middle East, and India, among other places. Catholics are divided on the wisdom of the pope, Jews on the policies of Israel, and Muslims on their relation to modern secularism. But none of these divisions makes sense to outsiders without a basic understanding of the religions involved. In this course, gain a basic understanding of the beliefs and practices of the world’s major religions. Explore the meaning of religious experience, the distinction between myth and history, and the appeal—or not—of ritual. We also will discuss important questions: Why do religious communities split, for example, Sunni and Shiite Islam? What does “law” mean to observant Jews? What do Christians mean by the “Trinity”? Can “nothing” be “something” in Hindu and Buddhist contexts? Is Confucianism a religion at all? These questions and more will enliven our explorations into the major religions of the world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#CE2029;" | Psionic Self-Defence<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | [[Charles]]<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The psionic self-defense class at XS is geared for all people, not just those with psionic abilities. While it is generally not possible for someone without psionic abilities to thwart a determined psionic assault, it is the case in this class -- as in many self-defense classes -- that the best protection is never getting into the fight in the first place. Given that it is not going to be possible for non-psionics to ''stop'' a psionic intrusion, the aim of this class is to help teach students mental discipline and techniques helpful for avoiding notice and keeping unwanted thoughts from surfacing too strongly.<br />
<br />
This class's goals are to help students order their minds enough to minimize stray surface thoughts that may be overheard by psionic eavesdroppers, to help keep thoughts under control so as not to attract mental scrutiny, to recognize the signs of psionic manipulation, and to learn grounding techniques for maintaining emotional stability in the face of mild psionic influence. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Principles of Fitness<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The Principles of Fitness course is designed for students of all physical abilities. The goal of this course is to provide students with lifelong fitness habits. Students will gain an understanding of the effects of exercise on health and well-being while being able to apply the learned skills to their everyday life. This will be accomplished by introducing students to facilities, equipment and resources that are available on campus. Topics will include resistance training, cardiovascular fitness, warm-up/cool-down, plyometrics and flexibility. Classes will be built around individual and group workouts.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Running*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The PE running program is designed for students who want to run for fitness. Beginning runners will receive thorough introduction to distance running. Experienced runners will further develop their speed and stamina. Daily runs of 2 to 5 miles will compose the bulk of the training, but alternate modes of training and drills that are essential to strong, injury-free running will also be part of the course.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Strength Training & Conditioning*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In the strength and conditioning class, students are encouraged to define one or more training goals for the term. What is strength and conditioning? Strength is the ability to produce force, and it is a more durable adaptation than Conditioning, which is comparably transient, and is more concerned with work capacity- how much physical work can be done in a given time period. These two very different physical adaptations require different types of training. You can do either or both, but you must have a plan to improve them. The most important aspects of your goal-setting to consider are Specific, Measurable, and Timely. Students are expected to come to class in exercise clothing, ready to train. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Self Defense*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This self-defense course is open to all students. This course teaches practical self‑defense skills that give students the experience of facing their fears and finding their power. In this class, students are taught how to avoid altercations, resist intimidation, communicate assertively, and escape potential assaults. Students learn how to set verbal boundaries and de‑escalate potentially dangerous situations. The course will also teach ways to physically defend against a number of threatening scenarios including front confrontations, attacks from the rear, attempted sexual assault, and ground fighting. Scenarios will be empowering, practical, and useful.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Pilates*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In our Pilates class, students are introduced to beginner level Pilates mat and reformer exercises, with emphasis placed on learning proper Pilates breathing, and developing “core” connection, strength, flexibility, and proper alignment. The class learns how to access their “powerhouse” muscles and how to maintain that engagement throughout movement. Students also become familiar with beginning safe ranges of motion and how to determine when they are ready to increase the challenge by increasing their range of motion. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Bouldering*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Bouldering is rock climbing stripped down to its raw essentials. Leaving behind ropes and harnesses and just using climbing shoes and a bag of chalk over safety mats. Your challenge is to climb short but tricky bouldering "problems" (a route, or sequence of moves) using balance, technique, and strength. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Cardio-Boxing*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Cardio-Boxing is a fun and energetic class where students use choreographed cardio-boxing combinations combined with calisthenics and jumping rope to obtain a great aerobic workout. In our state-of-the-art Health and Fitness Center, students go from being taught how to wrap their hands to eventually completing a boxing circuit of approximately 10 rounds using standalone punching bags. Be ready to feel the burn!</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Swimming*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Aquatics are a means to achieve cardiovascular fitness through stroke development and participation in a variety of swimming workout methods.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Indoor Cycling*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is designed to increase muscle strength and improve cardiovascular endurance using state-of-the-art bikes. Students will experience rolling hills, sprints and other drills to give them a great interval workout.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Horseback Riding*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Outdoor Challenge*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Outdoor Challenge is a group-oriented, teambuilding program for those who want to be active in the outdoors. Depending on weather conditions, activities may include snowshoeing, cross-country skiing, mountain biking, hiking, canoeing, trail running, high- and low-ropes challenges, obstacle activities, outdoor survival education, camping skills and orienteering. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Biology<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-biology AP Biology] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Chemistry<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-chemistry AP Chemistry] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Environmental Science<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-environmental-science AP Environmental Science] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics 1 (Algebra Based)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-1-algebra-based AP Physics 1] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics 2 (Algebra Based)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-2-algebra-based AP Physics 2] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics C (Electricity and Magnetism)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-c-electricity-and-magnetism AP Physics C] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics C (Mechanics)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-c-mechanics AP Physics C] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Animal Behavior<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Why do some animals live in groups, and others singly? Why are some animals monogamous while others have multiple mates? Who cares for the young? Why do birds sing and wolves howl? In this course, we will begin to answer these questions. We will read a text that provides an introduction to all areas of animal behavior, as well as selected articles. Our focus will be on social behaviors. Using films, we will observe the social behaviors of animals as diverse as termites and wolves. We will use fieldwork to study the role of society in the foraging behavior of honeybees. Students will be required to write a research paper on a topic of their choice.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Astronomy<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Astronomy is the scientific study of the origin, structure, and evolution of the universe and the objects in it. Topics may include patterns and motions in the sky, gravity and orbits, telescopes and light, planetary systems, the birth and death of stars, galaxies, the Big Bang, the search for extraterrestrial life, and the fate of the universe. This class includes a 45-minute lab period one night a week at the Ptolemy Observatory, located on the Xavier's campus. When the lab period is used, compensation time will be given during a daytime class period.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Astronomy Research<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this course students will spend extensive time in the Xavier's Academy Ptolemy Observatory, where they will learn to operate the telescope, dome, and CCD camera. Students will learn techniques for visual observing, astrophotography, and photometry. Students will engage in research projects designed to provide an introduction to research techniques in astronomy. When appropriate, results will be submitted for publication. In addition to conducting ongoing research projects, the class will take time out to observe interesting current events (observing the pass of a near-Earth asteroid, a recent supernova flare-up, a transit of the ISS across the moon, etc.). In addition, students will be expected to spend several hours a week in the observatory (due to weather constraints, observing nights will vary.)</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Biology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is theme-based and focused on major biological topics. Studying a core text will be supplemented with other readings, writing assignments, and data analysis and interpretation. Students will learn a variety of study skills and will have an introduction to library research tools. Laboratory experiments and fieldwork are designed to acquaint students with fundamental biological principles and to build skills in the methods and techniques used to elucidate those principles.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Chemistry<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An introduction to the chemical view of the material world, including atomic theory, atomic structure, chemical reactions, the nature of solids, liquids, gases, and solutions, general equilibria, acid-base theories. Emphasis is placed on developing problem-solving skills as well as on making connections between chemical principles and everyday life. A college-level text is used, but the pace of this course is adjusted to ensure that students have ample opportunity to ask questions and work through problems. Laboratory work is an integral part of the course.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Ecology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Ecology is a field of biology dedicated to the interactions that organisms have with each other and with the nonliving components of their environment. The discipline of ecology helps to explain the abundance and distribution of organisms and issues of biodiversity and extinction and is grounded in evolutionary principles. In this course we will examine how ecological ideas play out in aquatic and terrestrial environments and students will develop skills in experimental design, data analysis and statistics, scientific literacy, and complex systems thinking. Students will also consider the impact of global climate change and other human impacts on the environment and they will have the opportunity to pursue an area of their own interest. </div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Electronics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This introduction to electronics is a hands-on, project-oriented course. Students will build a variety of simple devices, including timing circuits, alarms, flashers, amplifers and counters. By designing, building and analyzing these circuits, students will gain a firsthand knowledge of a variety of basic electronic components, including resistors, capacitors, switches, relays, transformers, diodes, transistors and several integrated circuits. Students will use Arduinos throughout the course for analyzing and testing, and as a central piece of their circuit design. Though some experience in programming is helpful, it is not required for this course.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Introductory Genetics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course considers the classical and contemporary views of the nature, transmission and function of the hereditary material. Laboratory investigations in plant and animal genetics supplement class discussion. </div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Molecular Genetics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This advanced course examines the biochemistry of the gene in greater detail and considers the underlying principles of recombinant DNA technology. Because DNA science is experimental, much of the time available in this course will be devoted to laboratory work learning techniques of DNA isolation, analysis and manipulation.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Marine Biology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The goal of this class is to give students a field research experience in which they come to understand how to work as a team to conduct experimental studies in marine science. Students will frequently be off campus, where they will be involved in a variety of new and ongoing projects. They will study the structure of intertidal communities, develop hypotheses, and then implement a research study that will provide baseline data for future work in the area. The students will also study lobster biology and the historic management of the fishery so they can start to look critically at the current state of the Maine lobster industry. In the larval settlement project, students will study organisms that recruit on docks and in the intertidal of Penobscot Bay, and consider the role of invasive species and climate change in affecting biodiversity.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Mechanics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course study of the natural laws relating space, time, matter, and energy. Topics include measurement, motion, forces, energy, momentum, and rotation. We want students to understand the behavior of matter, and to become aware of the importance of the physical laws of nature. The approach to the material is highly mathematical. Students will use spreadsheets and graphing programs to analyze laboratory data.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Biology of Cancer<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Cancer is the second leading cause of death in the United States and this disease affects many families. The profound impact of cancer on society has been the driving force behind major research advances and led to a better understanding of cell biology. Understanding the basic biology of cancer and its impact on the human body has led to more effective treatments, enhanced detection methods, and the development of prevention strategies. This course will provide an overview of the biology of cancer. The course will focus on the genetic and molecular basis of cancer. We will explore the role of mutations in cancer cells and how they lead to the deregulation of essential biological processes such as cell division, programmed cell death, and differentiation. We will also examine the interface of cancer and medicine. Classical treatment methods will be compared with newer treatment modalities, such as targeted therapies. The challenges associated with diagnosing cancers, preventing cancers, and curing cancers will also be discussed in light of current technological advances such as genomics and bio‑informatics.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Evolution<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Evolutionary biologist Theodosius Dobzhansky wrote in 1973 that “Nothing in biology makes sense except in the light of evolution,” and his statement still holds true today. Students in this course will read Jonathan Weiner’s Pulitzer Prize-winning book ''The Beak of the Finch'', which documents an ongoing study of evolution in Darwin’s finches on the Galapagos Islands. They will also read selected chapters from Sean Carroll’s text on the burgeoning field of Evolutionary Developmental Biology (Evo Devo), ''Endless Forms Most Beautiful''. We will also consider Darwinian fitness in human populations. Labs will include an investigation of avian comparative anatomy and a study of students’ own mitochondrial DNA using molecular techniques such as PCR and gel electrophoresis.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Fluid Mechanics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students taking this course will learn about fluid statics and dynamics. Dimensional analysis and derivation of Bernoulli and Navier-Stokes equations will provide the methods necessary for solving problems.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Comparative Government & Politics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | [[Tian-shin]]<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-comparative-government-and-politics AP Comparative Government & Politics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Macroeconomics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-macroeconomics AP Macroeconomics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Microeconomics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-microeconomics AP Microeconomics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Psychology<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-psychology AP Psychology] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP US Government & Politics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-united-states-government-and-politics AP US Government & Politics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Cultural Anthropology<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Anthropologists study humans as both biological and cultural creatures. This scholarly orientation raises many fascinating questions. To what degree does culture shape our actions and ideas? Are we primarily products of biological nature or cultural nurture? Can cultural norms make rational people act irrationally? Are there universal human rights or do cultures dictate what we think is ethical? These debates are critical for understanding human interaction and have significant application in fields ranging from law to medicine. Among the topics considered are: “the mind” and epistemology; discipline, law and rules; human bodies and communication; social taboos; ritual patterns of meaning; notions of cleanliness and defilement; festivals; and mythology. These elements of cultural life will be explored in social settings spanning the globe, but also within our own community at Xavier's. Much of the course attempts to contextualize 20th- century anthropological methods against the foil of postmodern critiques.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Intro Psychology<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this course study a range of explanations for human thought, behavior and emotion. Readings, projects, demonstrations and class discussions facilitate exploration of this fascinating and evolving field. Specifc areas of focus include: the nervous system and brain functions; human development; emotion; learning and memory; social psychology; and addiction. Case studies of psychopathology, as well as the diagnosis and treatment of mental illness, round out the course. Independent research and projects allow students to focus on specifc topics of interest. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Environmental Economics<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is a case-based introduction to using economics to look at some of the major environmental problems in the 21st century. In this topic-driven course, students will learn about the role of market failure in environmental issues, the challenges of pricing environmental goods, and ways in which economic theory can be used to help solve these problems. Topics such as overfishing, global warming, water pollution, and others will be covered from the angles of science and economics. Special consideration of the unique role that social justice plays in many of the topics will be considered as well. Students will be assessed on problem sets, essays, in-class discussions, and an individual research project. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Women's, Gender, and Sexuality Studies<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Pink is for boys and blue is for girls. At least it used to be. We will explore the ways that our everyday lives are guided by socially prescribed gender norms. Through the study of the historical production and contemporary interpretation of the categories of “woman” and “man,” “female” and “male,” “heterosexual” and “homosexual,” we will seek to better under- stand how gender-based inequalities have evolved and are both supported and simultaneously contested in societies across the world. In addition, we will seek to gain a better understanding of the ways that gender, sex, and sexuality inform local, national, and global efforts to improve the lives of individuals and to achieve social justice for entire communities. We also will explore the intersection of sexuality, gender, sex, race, ethnicity, class, and other forms of identity. Through a variety of sources—written documents, social media, film—this course will introduce students to a wide variety of issues across disciplines, including historical, anthropological, medical, legal, and popular culture. We also will explore contemporary uses of social media as sites of research, activism, and networking. </div></div><br />
|style="background-color:#F58104;" | Class is SUPER popular with a Certain brand of young feminist-leaning students but do Not take it if you are trans it is like a small incubator for baby terfs.<br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Critical Race Theory: The American Dream Deferred<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Historically, American society does not recognize race as the language of class. In this discussion-based seminar, students will examine ways in which race and class intersect. Critical race theory eschews the goal of assimilation into current social structure and instead looks at the experience of the “outsider” as a lighthouse that illuminates structural problems within American Society. Students will use Critical Race Theory to analyze historical legal cases—including the nation’s first successful school desegregation in 1931 where Mexican Americans sued San Diego, CA public schools for access and the famous 1957 court-ordered desegre- gation of Little Rock, AR High school—in addition to contemporary legal cases of “reverse discrimination” such as Fisher v. The University of Texas in 2012. Students will ultimately explore the question, “Is the American dream a structural fallacy that has explanation for success but none for failure?” Assignments will consist of selected readings, reflection pieces, article reviews, and a research paper. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Urban Crisis<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“All politics,” Tip O’Neill concluded, “is local.” In this seminar, students will put this oft-cited sentiment to the test by examining the dynamic relationship between local, state, and federal politics. American cities—the key sites of contestation for many policy debates in the decades following WWII—will serve as the lens through which students access the lived experience and ramifications of broader national political trends, events, crises, and movements. Students will deploy the methodological tools of urban history to contemplate the cultural, spatial, and social reality of urban environments, and examine the contingent historical development—and impact—of urban policies on social and economic inequality in modern American cities. Some of the issues covered include suburbanization in Detroit, the War on Poverty in Las Vegas, the War on Crime in New York, and the War on Drugs in Los Angeles.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | The Olympics<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will examine the origins and evolution of the modern Olympic games via the following topics: impact on politics and society, equity and ethics, controversies and scandals, inspirational stories and the role of athletes as national icons, and lessons of sportsmanship. Students will engage with a variety of sources across disciplines. Independent research and analytical writing skills will be emphasized</div></div><br />
|style="background-color:#F58104;" |<br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Collision Repair, Paint, and Refinishing* <br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> Students meet two hours daily for classroom and laboratory instruction. The students receive training in the fundamental and manipulative skills related to auto body repair and acquire the knowledge to become competent in the field of auto body repair. Areas covered are body frames, fender and bumper, removing windows and repairing damaged panels, replacing windows and windshields, welding light metals, filling with lead or plastic, estimating and pricing repair work, and spray painting. This course can be taken a maximum of twice for credit. This course provides instruction and training necessary for I-CAR student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Automotive Technology I: Maintenance and Light Repair<br />
|style="background-color:#D291BC;" | 2<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The course offers students theory and experience in most all phases of automotive drive-train<br />
repair. Students spend approximately 75 percent of their time with hands-on training and the remaining time is devoted to classroom instruction. Shop management and youth leadership are also incorporated into the course of study. This course provides instruction and training necessary for ASE student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Automotive Technology II: Automotive Service<br />
|style="background-color:#D291BC;" | 2<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course is a continuation of Automotive Technology but also includes new concepts and innovations, new engine types, studies of anti-pollutant equipment on automobile engines, and computerized engine analysis. This course provides instruction and training necessary for ASE student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Welding<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course will allow students to fortify and increase their knowledge of welding procedures and skills used in project construction through class assignments and projects. Topics covered may include: oxyfuel cutting/heating/welding, Shielded Metal Arc Welding (SMAW), Gas Metal Arc Welding (GMAW), Flux-cored Arc Welding (FCAW), plasma arc cutting, safety, and metal fabrication. In addition, record keeping, communication, employability, and human relation skills will be<br />
taught. This course will allow students to gain knowledge and skills that promote personal development and career success through involvement in the FFA. This course provides instruction and training necessary for the ASW Certified Welder certification. </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Metal Fabrication*<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This hands-on course will build on skills developed in Welding in the form of guided fabrication projects. Course hours will be split between classroom instruction in reading and creating shop drawings and independent work on instructor approved projects. </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Advanced students in this course are often connected with potential employers in New York City and surrounding areas. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Carpentry<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Drafting<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Bicycle Maintenance and Repair<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Culinary Arts: Desserts and Baked Goods<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Jax]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Culinary Arts: From Soups to Steaks<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Horticulture (Decorative)<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Horticulture (Edible)<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Beekeeping<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History and Religion<br />
|style="background-color:#899499;" | Paganism Through History<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Matt]]<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History and Social Science<br />
|style="background-color:#899499;" | Fashion in History<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“There is something about fashion that can make people very nervous,” remarks Anna Wintour in the 2009 film The September Issue. Fashion studies is an interdisciplinary field, but one that retains a study of the past as central. It asks the question, “Does what people wear matter?” More than any other facet of material culture, an interest in fashion is often dismissed as trivial or seen as an emblem of superficiality. However, clothing represents far more than narcissism or the physiological need to cover oneself for warmth and safety. From headwear to footwear, fashion can communicate what we do, who we think we are or would like to be, where we are from, and what we care about. Fashion can be used as a lens to consider change. Using iconic fashion items from history, this course will explore what they communicate about global cultures, historical moments, social and political status, economic clout, gender, and identity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Vo. Tech<br />
|style="background-color:#899499;" | Regenerative Agriculture<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will explore agricultural practices that aim to have positive environmental impacts, such as improving soil heath, increasing native species diversity and sequestering carbon. It will also explore agricultural practices that aim to have positive social impacts, such as reducing food insecurity, honoring ancestral farming practices and promoting economic wellbeing of local communities. Scientific topics such as conventional versus organic systems, seed banks, closed loop food production, permaculture, soil science, nitrogen cycles and plant physiology will be investigated. Emphasis will be placed on experiential learning on local farms and campus. The course includes a service learning component and potential for research projects. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Ethics<br />
|style="background-color:#899499;" | Medicinal Drugs<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Medicinal chemistry provides a bridge from the periodic table to the array of natural and synthesized biologically active agents available today. The ongoing development of medicinal drugs aims to integrate new scientific discoveries with precision-based strategies for treating individuals as well as large populations. A key goal in the design of new drugs for the pharmaceutical industry is to treat symptoms without the harm of side efects. Moreover, the scale-up and production of medicines are dependent on public health investment, while social and economic factors underpin access. This course will take a deeper look at the major classes of pharmaceutical drugs, including hypertension, high cholesterol, oncology, depression, diabetes, asthma and vaccines. How companies currently distribute drugs, determine pricing and ensure equity of access will be examined. Widely used compounds such as nicotine, nonsteroidal anti-infammatory agents, contraceptives, cannabinoids and pain suppressors will be explored based on their chemical structure and its relationship to function. Lab activities will provide experience with computational drug design, controlled-release drug delivery systems, pharmacokinetics and nuclear medicine.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Nuclear Semiotics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Highly radioactive nuclear materials are an accumulating component of our physical world. These materials will be actively decaying and affecting living things for thousands of years to come, possibly even millions of years. Nuclear semiotics is about the semantics of nuclear science to answer the question: how can humans of the 21st Century warn humans thousands of years from now about the location and nature of these materials? Though this question has been asked since the late 1980’s, by minds including Carl Sagan, there is no conclusive answer to this. Solving the nuclear semiotics problem may involve combining knowledge of materials science, nuclear particle physics, linguistics, symbols and cryptography, artistic expression, data science, engineering, and sociology. This course seeks to explore the fusion of these concepts and develop ideas of how to answer the question: how do we warn our future selves about our current choices? </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Computer Science<br />
|style="background-color:#899499;" | Robotics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this course will learn to use a microcomputer to control output devices and interpret input sensors. Students will complete a series of small projects that will culminate with a working autonomous robot. The initial focus of the course requires students to build and analyze several micro-controlled devices. Students will learn fundamental engineering skills such as programming the microcomputer and building simple electronic circuits. The middle portion of the course will feature the construction of an autonomous robot that uses a microcomputer and several sensors to make navigational decisions. The final weeks of the course will require students to independently research, design and implement a system or systems that will increase the capabilities of their robot. Previous programming experience is recommended, but not required.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Ethics<br />
|style="background-color:#899499;" | Water: The Science and Story of Water Around the World<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How has water and humanity intersected around the world? Using an interdisciplinary lens, explore the science and ethics behind water scarcity and access, the chemistry and ecology of water systems, and the role water plays in literature, art and religion of populations around the world. Students will use current data and news sources to understand the pressing issues surrounding water rights and the intersection with rights for marginalized groups, study primary sources from around the world to examine the way water weaves through religious ritual and artistic expression, and create their own water based installations. Students may also travel to see an Aga Khan exhibit centered on the role of water in Islamic culture. The course will culminate in a final independent project exploring one aspect of water from multiple lenses.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Vo. Tech<br />
|style="background-color:#899499;" | Molecular Gastronomy: The Science of Food<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The “science of food” food may seem like a new fad, but it is really the logical extension of centuries of the study. The understanding of how grapes are transformed into wine and champagne has been known for centuries. The production of cheese by the use of acids, enzymes, and bacteria has likewise been handed down through generations and has only recently been both “lost,” and then “rediscovered.” This class will investigate both the traditional aspects of food science—like how cheese is made or bread is baked—as well as cutting edge ideas such as how apple juice can be made into “caviar” and how shrimp can be made into “noodles.” A significant lab component will allow students to create many of these foods, and laboratories will be held in the school kitchen so that results can be tasted.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Science as Story: Communicating Science in the 21st Century<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is science communication, and how can science storytelling both educate and entertain an audience? In this course, students will learn to define, recognize, and critique common science communication media ranging from TikToks to Ted Talks. Students will practice essential science communication skills including idea/topic generation, script writing and editing, graphics and video design, and hosting/presenting. In each of these skills, research methods will form the foundation of the exploration as students gain expertise in their particular field of science being communicated. Through discussions and readings, students will also work through the ethical framing of these media and engage in case studies involving equity on both the audience and creator sides of the field. By the end of the mod, students will have produced a science communication portfolio by working independently and in small groups, and will share these media products with an online audience platform of their choosing.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Astrobiology: Life Among the Stars<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">We invite you to embark on a journey to explore the field of astrobiology, the study of the origin, evolution, and distribution of life in the universe, on and beyond planet Earth. We will begin our exploration by studying the fundamentals of relevant sciences—physics, astronomy, chemistry, and biology—and will then apply these sciences to understand the potential requirements and limitations of life on Earth as well as on other planets and moons in our solar system. As we learn about historical and current efforts to detect life on these bodies, we will consider objects resident in our own solar system, including Mars, the moons of Jupiter, the moons of Saturn, and other solar system bodies such as Ceres and Pluto. Next, we will expand our view to include other possible abodes of life outside of our solar system as discovered by modern astronomers and modern instrumentation (i.e., the Hubble and Kepler space telescopes). Finally, we will examine the role of fictional alien biology on the human imagination through literature, film, and music.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Performance<br />
|style="background-color:#899499;" | Applied Anatomy in Motion<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course combines the structural dynamics of physiology and dance as a means to investigate how the two disciplines interact. By approaching movement from the perspectives of both science and dance, the student will examine how anatomy informs dance and how dance is an expression of human structures and systems.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Art<br />
|style="background-color:#899499;" | Anatomy and Physiology<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This upper-level biology class explores the complexity of human physiology. Students will be asked to use visual arts and graphic design skills to document many aspects of the mystery and wonder of the human body systems. The course will involve independent research on the systems of students’ choosing, using visual and creative ways to present the information they find. Students will research one of the body systems in its entirety or in detail. The systems to be considered are the nervous, the cardiovascular, the respiratory, the skeletal, the endocrine and muscle, or the digestive, reproductive, and lymphatic systems. Students are required to think independently and devise a final project of their own design that incorporates very clear scientific understanding of the body systems and their form and function.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Phys. Ed<br />
|style="background-color:#899499;" | Yoga as Meditation*<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC - Lauren Briggs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Yoga at Xavier's is taught in several ways, and choosing one is a matter of preference. Yoga is an individual practice and all students are welcome regardless of previous experience. In both types of yoga, joints, muscles and internal organs beneft from movements that stimulate often-neglected areas of the body. You can expect to improve overall mobility, strength and balance and will probably enjoy stress reduction and a greater sense of well-being, too. Yoga as Meditation, a style sometimes referred to as “gentle yoga,” focuses on learning and holding classic asanas (poses), working with the breath (pranayama) and practicing mediation skills in a calm and peaceful environment, allowing the mind and body to quiet. Vinyasa Yoga is for the student who is seeking the same overall benefts as listed above but through a more active sequence of movements.</div></div><br />
|style="background-color:#899499;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot. Noticeably hesistant to correct form of physical mutants in the class. <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Phys. Ed<br />
|style="background-color:#899499;" | Vinyasa Yoga*<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC - Lauren Briggs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Yoga at Xavier's is taught in several ways, and choosing one is a matter of preference. Yoga is an individual practice and all students are welcome regardless of previous experience. In both types of yoga, joints, muscles and internal organs beneft from movements that stimulate often-neglected areas of the body. You can expect to improve overall mobility, strength and balance and will probably enjoy stress reduction and a greater sense of well-being, too. Yoga as Meditation, a style sometimes referred to as “gentle yoga,” focuses on learning and holding classic asanas (poses), working with the breath (pranayama) and practicing mediation skills in a calm and peaceful environment, allowing the mind and body to quiet. Vinyasa Yoga is for the student who is seeking the same overall benefts as listed above but through a more active sequence of movements.</div></div><br />
|style="background-color:#899499;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot. Noticeably hesistant to correct form of physical mutants in the class. <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | The Old Testament<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“In the beginning, God created the heavens and the earth. ...” So begins one of the most infuential books in human history. From ancient times until the present, Jews, Christians and Muslims have grappled with the cosmic questions, universal myths, compelling laws and dramatic narratives of the Hebrew Bible, also known as the Old Testament. It is a book that is both timeless and timely. In this course, students will gain an appreciation of the historical, political and social context from which the Hebrew Bible emerged, and will explore the narratives’ eternal themes, such as creation and destruction, rivalry and loyalty, love and betrayal, doubt and faith, freedom and captivity, and forgiveness and revenge, as well as delve into the ethical and legal teachings that have served as a major foundation of Western civilization.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | The New Testament<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The New Testament, which has been called “the most widely read, quoted, debated, maligned and believed book in Western civilization,” will be the focus of this course. Students will read and explore the New Testament; study the life of Jesus, the travels and letters of Paul, and the book of Revelation; and consider these both in their historical context and in contemporary literature and films.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science & Religion<br />
|style="background-color:#899499;" | Epistemology<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Epistemology is a philosophical term meaning “the study of knowledge.” This course explores how we know what we know about the world around us and within us. Questions engaged over the term include: What is knowledge? What differentiates and connects scientifc, literary, philosophical and artistic ways of knowing? What makes someone good at “knowing”? For that matter, what does it mean to be a student? The class explores how different modes of inquiry and experience can be distinguished from each other and then integrated into our understanding of knowledge. Class materials include readings from the Western philosophical tradition of reason (Plato, Descartes and Kant), the scientifc revolution (Galileo, Newton and Einstein), postmodernism (Illich and Abram) and literature (Dostoyevsky and Woolf). Students will also experience the visual and performing arts, take a night trip to the observatory, and engage in contemplative or meditative traditions, including practices known as “mindfulness” or “mind-body work” (Zen Roshi Jan Chozen Bays).</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | Religion and Popular Culture<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Images, ideas, stereotypes and symbol systems of religion surround us in popular culture, whether in movies, television shows, sports, fashion, the internet, music or literature. From Disney and Harry Potter to Black Panther, from rock ‘n’ roll to hip-hop, the materials for this course will be drawn from a wide range of media. Through the lens of American popular culture, this course introduces students to the academic study of religion by exploring the world’s religions and such topics as the problem of evil, the afterlife, myth and the nature of the sacred. The course will conclude by inviting students to explore an expression of religion and popular culture that deeply interests them.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | Faith and Doubt<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course invites students to an exploration through fiction and personal narrative of the depth and complexity of religious experience in its many forms from traditional belief through skepticism. The texts we will read range from some classics in this field to contemporary cultural selections. We will explore the timeless questions of the human condition, such as self-discovery, sufering, mortality, goodness, faith and doubt, the quest for meaning and the development of a spiritual self. At the end of the term, students will have the opportunity to expound on these themes in their own lives as they write a mini-meditation or spiritual autobiography for their final class paper.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Science<br />
|style="background-color:#899499;" | Science as a Human Activity<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Though often seen as a vast, impersonal enterprise, science depends upon the effort and intelligence of human beings. In this course we will ask fundamental questions about how and why people pursue scientific inquiry. To this end, we will read the works of Francis Bacon, Rene Descartes, and Baruch Spinoza, as well as works by scientists and scholars like Albert Einstein, Sigmund Freud, and Max Weber. We also will consult historians of science such as Thomas Kuhn and Steven Shapin in order to understand science as a social enterprise. In these ways, we will examine the moral and intellectual aspirations of scientific work and the nature of science, above all, as a human activity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Science<br />
|style="background-color:#899499;" | Pox & Pestilence: Disease and Medicine in the United States<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In recent years, historians have begun to understand the impact of disease on the human story and have incorporated it into the more traditional narratives. In common with other parts of the world, the history of the United States has been profoundly influenced by infectious disease. In this course we invite you to come along on a multi-disciplinary journey to explore the impact of disease on the American experience in the 19th and 20th centuries. After exploring the pre-contact situation in the Americas, we will focus on syphilis, smallpox, bacterial sepsis, cholera, yellow fever, malaria, tuberculosis, influenza, polio, HIV/AIDS, COVID-19 and bioterrorism agents such as anthrax. Students will research the role these diseases played in the social, military, and political history of the United States together with the science and medicine that developed in response to them. This is a research seminar and students will use a variety of sources to write a term paper. There is no final examination.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Ethics & Social Sciences<br />
|style="background-color:#899499;" | Feminist Philosophies<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will address feminist moral and political theories. There is no singular ‘feminism’, and feminists disagree with each other on the answers to many of those moral and political claims. We will survey a variety of feminisms, including liberal and radical feminisms, womanism, and others. The course will also cover topics including sex and gender, the nature of oppression, intersectionality (including discussions of race, disability, gender identity, and class), and sexual ethics. Special topics will be chosen by students for further focus, but could include topics such as body shaming, trafficking, or understandings of masculinity</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Ethics & Computer Science<br />
|style="background-color:#899499;" | Silicon Valley Ethics: Case Studies in the High-Tech World<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In a world where technology permeates almost every aspect of our lives — the internet, smartphones, thousands of apps, cloud-based voice systems, screens in our classrooms, artificial intelligence, robotics, the gig economy, video gaming, virtual reality, and numerous other products and applications currently under development — what ethical challenges are raised by their ubiquity? Through a series of case studies in an industry where a well-known motto is “move fast and break things,” this course will explore whether ethical considerations have kept pace with evolving technologies. Where does goodness fit in the knowledge revolution? If we have “outsourced our brain to Google,” as some would claim, have we also outsourced our ethics to it and other big tech companies? When we do a Google search, is Google also searching us? What are the ethical considerations of what companies do with our information in this so-called “surveillance economy”? What are the ethical consequences associated with posting personal information on social media such as Facebook, Instagram, Snapchat or WeChat, and who has access to that information and for what purposes? Using specific case studies drawn from the vast and complicated world of technology, this course will assist students in identifying these various ethical issues and in developing strategies to deal with them. To assist students in identifying some of the ethical challenges that technology presents, the course explores chapters from works such as Ruha Benjamin’s ''Race After Technology'', Safya Noble’s ''Algorithms of Oppression'' or Cathy O’Neil’s ''Weapons of Math Destruction''.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Mathematics & Social Sciences<br />
|style="background-color:#899499;" | Media as a Mirror: A Statistical and Visual Approach to Deconstructing False Narratives<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Who does the media say we are? What does it mean if we are seeing our reflections in a false media mirror? How can we analyze and describe the types of distortions that we are seeing?<br />
<br />
Students will use a statistical and visual art approach to explore the portrayal of various demographics in the media. How are non-dominant groups such as women, racial and ethnic minorities and LGBT people in the media portrayed? How are dominant groups portrayed? How do these stories shape the narratives in which we all live?<br />
<br />
Students will examine metrics such as screen time, dialogue, and casting through statistical tools such as t-tests, chi-square tests, and linear regressions to reveal the underlying distortions in what we see. They will then use visual art techniques such as compilation, montage, and the film essay to explore and deconstruct clichés and stereotypes and create graphs of discovered data, trends and patterns to explore and process the data. The final project will be a self-portrait that explores the ideas of false mirrors versus authentic narrative.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Math & Visual Art<br />
|style="background-color:#899499;" | Ordering Chaos<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This class is an Integrated Studies course designed to explore the connections and overlap between math and art. Using math and visual arts skills, students will explore a variety of questions, assumptions, projects, and theories that challenge stereotypes about math and art. This class aims to build resilience in young scholars who enjoy problem-solving. Students are asked to take academic and intellectual risks by exploring ideas and approaches that are out of their comfort zone and to practice self-motivation by staying engaged with the class activities and homework assignments. This class is open to students of all grades. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Math & Computer Science<br />
|style="background-color:#899499;" | Math Modeling<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The aim of this class is to introduce students to the basic concepts of applied statistics and data science. Students will learn how to clean and filter data, analyze large data sets, how to utilize math modeling programs, data visualizations techniques, and how to create and interpret math models. Though coding will be utilized in this course, no experience with coding is required. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Spanish<br />
|style="background-color:#899499;" | The Sky Is Falling: Magical Realism in Latin American Literature and Beyond<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What if you entered a library with infinite titles, endless corridors, and duplicate copies? What if a speck in the sky turned out to be a ceiling, one that got lower and lower with each passing day? What if your new next-door neighbor seemed remarkably—even eerily—like a future version of yourself? In this course, we will explore the broad umbrella of magical realism, a literary genre in which primarily realistic stories contain some element of magic, as well as varying alternative fictions. Each of our texts will take the recognizable world and add unsolved mysteries, the supernatural, or unexplained phenomena to complicate our understanding of reality, as well as our characters’ experiences and emotional states. We will explore how and why authors choose to manipulate reality and examine the effects on our understanding of a character’s motive and identity. Using a broad scope of writers and traditions, we will address Sigmund Freud’s “uncanny,” as well as Da <br />
Chaon’s “spooky” and Margaret Atwood’s “speculative fiction.” In keeping with magical realism’s roots, we will begin the term with midcentury Latin American writers such as Jorge Luis Borges and Gabriel Garcia Marquez, and then expand our scope to include Kelly Link, Shirley Jackson, and Jean Rhys, among many others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Social Sciences<br />
|style="background-color:#899499;" | Borders: Immigration, Migration and National Boundaries<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines how borders shape our world. Whether these are internal or external, societal or national, we all encounter barriers, but we do not all experience them in the same way. From the establishment of Europe to the discovery of the North American continent, from the Scramble for Africa to the Islamic State, and from the declarations of independence by former colonies, the development of borders has played a key role in geopolitical, religious, racial, and cultural matters. The course looks at nationality, identity, and the meaning of nationalism. It examines the lines drawn by politics, race, religion, class, and education, that lead to the creation of separate communities. This course addresses the nature of rights; natural, national, and human that emanate from the recognition of borders and that determine their legitimacy. Rights give rise to conflict, and when it comes to living spaces, these disputes are even more contentious. <br />
</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Social Sciences<br />
|style="background-color:#899499;" | Decolonizing Women: Shattering Oppression<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the colonization of women in disparate societies around the globe. Whether by imperialist forces, colonial occupation, war, patriarchy, dictatorship, or political movements among others, women have encountered a super-imposed culture that has warranted adaptations and transformations. This in turn has given rise to internal and external resistance. This course seeks to examine the origins and nature of these movements across the globe that have been generated by women for women. Incorporating their specific national, cultural, and traditional histories, this course will enable our students to learn about the impact colonization has had, and in some cases continues to have, on the development of women’s rights in regions far removed from their own. They will be able to make comparisons between their own (native) women’s movements, whether national or regional and establish underlying connections between the movements on the whole. This course will also focus on the question of location; how does the location of a women’s movement influence its success? What relevance do culturally specific laws, common law, and traditional societies have on the emergence of women’s rights and movements from within their communities?</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | Revolutionary Russia<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines Russian history from the Decembrist uprising of 1825 to Stalin’s show trials and the destruction of the Old Bolsheviks in the late 1930s. After a brief survey of autocracy and orthodoxy in Old Russia and westernization under Peter the Great, students focus on the 19th and early 20th centuries, with emphasis on the French Revolution and the Napoleonic Wars, the development of the revolutionary tradition, the rise of Marxism, the Bolshevik Revolution, the Civil War, Marxist-Leninist theory in practice, and Stalin’s dictatorship. Special attention is given to Russian literature, with works by Pushkin, Gogol, Turgenev, Dostoyevsky, Tolstoy, Chekhov and Koestler.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & World Languages<br />
|style="background-color:#899499;" | Roman History for Latin Students<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides a deeper historical background to the world of the authors that students will read in their Latin courses. Beginning with Roman state and urban formation of the early Iron Age, students will use primary and secondary sources to study in depth a selection of topics from the first millennium BCE. Students will also read primary sources in the original Latin language and finish the term with a role-playing opportunity examining the collapse of the Roman Republic.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Religion<br />
|style="background-color:#899499;" | The Holocaust: The Human Capacity for Good and Evil<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How did the Holocaust happen? How could some people commit such heinous crimes, while others remained bystanders, and still others risked their lives to save innocent people? We will consider these questions and many more as we examine the Holocaust from the perspective of the human capacity for good and evil. Discussions of human psychology and behavior, as well as the religious and historical sources of anti-Semitism, will be examined as background to the events of the 1930s and 1940s. We will also consider the memory of the Holocaust in survivor testimony and in more contemporary efforts to memorialize, represent and reckon with the historical events. The course will culminate with a project of each student’s own design.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Queer Literature & Identities<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course approaches American literature with an emphasis on the ways in which non-heterosexual and non-cisgender identities and experiences have been represented in post-Stonewall (post-1969) writing. Despite the actual lived range and combination of gender identity, sexual orientation, and sexual practice, mainstream heterosexuality attempts to confine sexuality to a rigid duality where observation of a person’s secondary sex characteristics are supposed to infer hir (gender neutral pronoun) gender identity and sexual practice. In this context, the term “queer” is invoked to describe any possible combination of gender identity, sexual orientation, and sexual practice that challenges the norm presented by heterosexuality. By reading essays and literature by self-identified queer writers, we will challenge and redefine the concepts of sex, gender, masculinity, femininity, diversity, oppression, and empowerment. By the end of this mod, we will have developed a greater awareness of issues concerning gender and sexual identity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Lockdown<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Prisons are a growth industry today in the United States. This course, through a blending of literature, film, and social sciences, will examine incarceration. By reading novels, memoirs, and poetry and viewing a few films, we can gain a greater appreciation of the psychological effects of these institutions and the power of art as a means of coping with them (touching then on witnessing and testimonials). We will ask questions about ethics and justice, about self-expression, and about social control. The course will include some experiential learning in the form of trips to a nearby jail and a nearby youth court. Some possible titles may include: ''Orange Is the New Black'', ''Gould’s Book of Fish'', ''The Trial'', ''Brothers and Keepers'', ''A Place to Stand'', ''One Day in the Life of Ivan Denisovich'', and ''Zeitoun''.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | Change Agents: Examining Advocacy, Audience, and Impact in Literature and the Arts<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course will focus on the intersection of literature and activism. After defining our key terms in relation to questions of representation, propaganda, branding, and witnessing, we will delve into case studies involving civil rights and social justice, and environmental activism. We will read fiction, poetry, and drama—thinking about questions of audience and impact. In addition, music, performance, and visual arts may provide further contexts to understanding the relationship between literature and activism. Writers may include James Baldwin, Don L. Lee, Alice Walker, Richard Powers, Annie Dillard, etc. Students will choose a cause and investigate a range of artistic acts of activism—and perhaps produce some of their own. Projects may include the potential for collaborations here on campus and beyond.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | History & Literature of the Haitian Revolution<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Few events have been as transformative and far reaching in effect—yet so untaught and unlearned across the humanities—as the Haitian Revolution, which occurred from 1791 to 1804. This interdisciplinary course will investigate the revolution and its legacy and attempt to address, at least in part, the monumental significance of the only successful large-scale slave rebellion in the Atlantic World. By 1804, the newly independent Haitians, freed by their own hands, had won for themselves a unique inheritance: theirs was a society born of the Age of Revolutions and animated by the Enlightenment-inspired language of liberty, but equally theirs was a society deeply rooted in African and Afro-Caribbean slave culture. In its independence, Haiti became the center of a transnational black diaspora as it defended its existence at a time when the United States and European colonial powers viewed racial slavery as the pillar of their burgeoning capital economies. This elective aims to explore these complicated ideas through a variety of texts, digital archives, fiction and nonfiction, literature, and history.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Crossing the Line: U.S.-Mexico Border Literature and Contemporary Politics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What does it mean to live on or near a border, and more importantly, what does it mean to read and write literature about border experiences? In this course, students will explore the U.S.-Mexico border and literature produced “on the line,” what Gloria Anzaldúa describes as “La Frontera.” Students will read works that identify as “border literature” and will be introduced to border studies, discussing themes such as immigration, hybridity, border militarization, and in general, issues concerning U.S-Mexico border politics. Possible authors to be studied: Yuri Herrera, Cormac McCarthy, Nicholas Mainieri, Cristina Henríquez, Luís Albero Urrea, Emma Pérez, Lucretia Guerrero, Sandra Cisneros, Reyna Grande, and Ana Castillo.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Philosophy<br />
|style="background-color:#899499;" | Existentialism<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Existentialist philosophy asks us to think about what it really means to have control over who we are and what we do. In this course, we’ll look at some of the key texts of existentialism, both fictional and nonfictional, focusing on Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. We’ll grapple with some of the biggest questions humans can ask themselves: What makes us who we are? How much choice and control do we have over our lives? What does it even mean to be a person who can think for themselves and interact with the surrounding world? You’ll leave the class not only with a clearer understanding of complex philosophy, but also with a way of thinking about yourself and the world that you can apply every single day.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Music & Performace<br />
|style="background-color:#899499;" | American Musical Theatre<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Musical Theatre is an interdisciplinary and experiential class that will explore both the history and performance elements of American Musical Theatre. Beginning with the 1920s and culminating with present day, students will explore the historical context of a significant musical in a particular decade each week. Students also will perform a number from that musical each week, challenging themselves in the discipline of performance. Over the course of the term, students will gain knowledge of American history through the lens of the performing arts and gain experience in performing in the three elements of musical theatre (song, dance, and spoken word). Public performances will occur throughout the term, including a final project. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Performace<br />
|style="background-color:#899499;" | Play Writing<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Creating the literature of the theatre requires a good ear for the way people communicate, a keen sense of imagination, an understanding of how theatre works, writing skills to give voice to one’s ideas, and speaking ability to give verbal life to written plays. The process demands the general willingness to venture into this specific genre of literature, patience, revisions, and humor. Plays created by this class may be selected by student directors and performed. This course will include reading, writing and theatre exercises to explore themes and topics.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Performace<br />
|style="background-color:#899499;" | Social and Political Theatre<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students study important social and political literature of the theatre that addresses social justice issues, including experiences of war, personal and political freedom, assumptions, stereotypes, and responsibility. Readings may include the works of well‑known playwrights and contemporary playwrights as well some lesser known artists. Classes will include an exploration of how we use the world of theatre to analyze text and character, bringing text to life, and open discussions and reflections about how we can use theatre to bring important topics to light. We will explore our own relationship to themes we discover in the work we read and write as well as the possible meaning to society as a whole. This course will include reading, writing and theatre exercises to explore themes and topics.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performance & Vocational Tech<br />
|style="background-color:#899499;" | Costuming<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An introductory exploration into the areas of costume design and costume construction, this course will highlight primary design elements utilized in costume design for the stage and screen (i.e., line, color, tone, texture, movement, mood composition, balance, and focus). The course will examine historical period silhouette and the art and craft of the stage costume. Practical experience will be given in areas including construction, flat patterning, draping, and fabric manipulation.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Philosophy<br />
|style="background-color:#899499;" | Costuming<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Existentialist philosophy asks us to think about what it really means to have control over who we are and what we do. In this course, we’ll look at some of the key texts of existentialism, both fictional and nonfictional, focusing on Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. We’ll grapple with some of the biggest questions humans can ask themselves: What makes us who we are? How much choice and control do we have over our lives? What does it even mean to be a person who can think for themselves and interact with the surrounding world? You’ll leave the class not only with a clearer understanding of complex philosophy, but also with a way of thinking about yourself and the world that you can apply every single day.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Visual Art<br />
|style="background-color:#899499;" | Graphic Narrative<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The graphic novel is an extended comic book with similar subject matter to—and the sophistication of—traditional novels. By its very nature, the graphic novel challenges our assumptions of what a narrative and novel can be. For those tied to words, the comic offers a challenging visual text that forces us to read in new and surprising ways; much of this course will be about reframing our visual and narrative habits and expectations. While the graphic novel is increasingly mainstream, it often has offered voices from the margins about the margins. Its subject has been everything from the coming-of-age novel to historical memoir to cross-cultural conflict to the darker side of the superhero. We will read a variety of texts with the rigor accorded to more traditional texts while also stretching ourselves to understand the aesthetic visual choices the artist makes. By the end of the term, we will even attempt our own small comics. Texts may include Alan Moore’s ''Watchmen'', Chris Ware’s ''Jimmy: The Smartest Kid on Earth'', Marjane Satrapi’s ''The Complete Persepolis'', Art Spiegelman’s ''The Complete Maus'', Frank Miller’s ''Batman: The Dark Knight Returns'', and others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | The Great Migration<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“They traveled deep into far-flung regions of their own country and in some cases clear across the continent. Thus the Great Migration had more in common with the vast movements of refugees from famine, war, and genocide in other parts of the world, where oppressed people, whether fleeing twenty-first-century Darfur or nineteenth-century Ireland, go great distances, journey across rivers, desserts, and oceans or as far as it takes to reach safety with the hope that life will be better wherever they land.” Isabel Wilkerson, The Warmth of Other Suns: The Epic Story of America’s Great Migration. Students will engage with art, film, literature, and music about the African American exodus from Southern regions of the United States into the northern cities of Chicago, Cleveland, New York City, and others. A few writers that students can expect to read are James Baldwin, Lorraine Hansberry, Toni Morrison, August Wilson, Richard Wright, among others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performance Arts & Vocational Tech<br />
|style="background-color:#899499;" | Puppetry and Props<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This hands-on laboratory course investigates the history, styles, tools, materials and techniques of puppetry. Students will bring imaginative ideas to life by engineering and constructing various puppets forms, experimenting with performative objects, and exploring puppet manipulation as a performer. Note: as part of this class, students will learn the use of small hand and power tools. <br />
</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | Screenwriting<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In recognizing the important role that film has in the life of our culture today, this course focuses on the skills particular to writing in that medium. Using the Robert McKee classic text Story as our guide, we learn about elements of story substance and structure, and we look at principles of story design and style in screenwriting. We also analyze the way these principles reveal themselves in significant modern and classic films, as we read and discuss screenplays ranging from Casablanca to Fruitvale Station. Viewings of these films accompany class discussions. Students complete the course with a portfolio of scenes and the treatment and outline for their own original film.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | Identity<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course explores the intersection of writing and performance through an investigation of personal identity and will be taught collaboratively by instructors who specialize in each area. The course will culminate in a performance of a devised theatre piece of the student’s creation before a live audience. Designed for students with acting experience and a serious commitment to the art form, students will build off their existing skills through in-depth character work and scene study and push their understanding of themselves and acting by exploring their own identity. Students will be encouraged to think theatrically, engaging in a search for the connection between literary themes, historical context, and personal identity. Over the term, the class will gain insight into the roles that race, class, gender, sexual orientation, and faith affects our daily existence and live performance. Lastly, students will experience and examine how live performance interacts with public discourse, civil disobedience, and art.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | The Playwright's Playground<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Theater-making often begins with the playwright’s script — and ends with the work of an entire community of collaborators: directors and actors, literary directors and dramaturgs, designers and stage managers, producers and marketers, community organizations and advocates, and more. Students will consider the following questions in discussions and writing: How do we stage a production in an ethical and responsible way about a community that is not one’s own nor represented by our audiences? Should it be done? Which collaborators are essential to preserving the integrity of the play’s meaning? How do we engage the playwright? How do we engage the communities represented as theater-makers and artists? Students will read plays by and about BIPOC characters, be in conversation with the playwright, and direct readings of Sahar Ullah’s plays, including ''Hijabi Monologues'' and ''The Loudest Voices''</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Vocational Tech<br />
|style="background-color:#899499;" | History Through Food<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
From the Neolithic Revolution through the emergence of the global food markets of the 20th century, this course examines the changing relationship between humans and food. Through a combination of readings, tastings and hands-on cooking, we will examine how food can help us understand various aspects of the<br />
past around the world. Topics include the relationship between food and the economy, food and identity, food and empire, and food and the environment. Come hungry to learn and to eat. We will be reading about, writing about, cooking and tasting food that can help us understand how humans shape what they eat, and how what we eat shapes us.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Music<br />
|style="background-color:#899499;" | Beats, Rhymes, and Narrative<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Hip-hop music’s infuence on popular culture, literature, entertainment and politics is undeniable. This course will examine the relationship between hip-hop and storytelling. Course texts will consist of weekly listening sessions, scholarly articles on hip-hop theory and definitive text on hip-hop culture. We will listen to selected songs by a diverse array of artists and analyze their structures and traditional literary elements. A section of the course will be devoted to the study of a chosen album. Class discussions will examine hip-hop as a modern-day social justice tool and a narrative genre that explores gender, race, spirituality, class and resistance. Writing assignments will consist of original rap songs, which include recordings, and a final epistolary project. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Music<br />
|style="background-color:#899499;" | The Harlem Rennaisance<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Harlem, New York. 1920s. A constellation of African American writers, artists, performers and thinkers are changing American and world culture, pollinating African American art and literature. Between WWI and the Great Depression, Harlem was distinctly in vogue. The Harlem Renaissance became a landmark of American literary, artistic and intellectual history: the emergence of a distinctive modern black literature, a clustering of black artists who sought to give expression to the ambiguous and complex African American experience. The course centers on the distinctive voices and styles of Claude McKay, Jean Toomer, Nellie Larsen, Zora Neale Hurston, James Weldon Johnson, Countee Cullen, Langston Hughes and others. We will honor African American achievements in music and visual arts during that period and examine the Harlem Renaissance’s legacy within the evolution of African American literature and American, Afro-Caribbean and global art and literature. Class will include a field trip to a performance at the Apollo Theatre.</div></div><br />
|style="background-color:#899499;" | <br />
|}<br />
</div></div><br />
<br />
==Extracurriculars ==<br />
<br />
Life at Xavier's is not all classwork and training. Between sports* and student organizations, the students have a wealth of opportunities to choose from to enrich themselves outside the classroom.<br />
<br />
Athletics (The Xavier Titans)<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Fall Season'''<br />
<div class="mw-collapsible-content"><br />
*Cross Country (BV/GV)<br />
*Field Hockey (V)<br />
*Football (V)<br />
*Soccer (BV/GV) (''Coach: [[Kyinha]]'')<br />
*Volleyball (GV)<br />
*Water Polo (BV)<br />
*Fencing (BV/GV)</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Winter Season'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Basketball (BV/GV)<br />
*Ice Hockey (BV/GV) (''Coach: [[Scott]]'')<br />
*Swimming & Diving (BV/GV)<br />
*Wrestling (V)</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Spring Season'''<br />
<div class="mw-collapsible-content"><br />
*Baseball (BV)<br />
*Crew (BV/GV)<br />
*Cycling (V)<br />
*Lacross (BV/GV)<br />
*Softball (GV)<br />
*Tennis (BV/GV)<br />
*Track (BV/GV)<br />
*Water Polo (GV)<br />
*Gymnastics<br />
*Ultimate Frisbee</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Student Organizations'''<br />
<div class="mw-collapsible-content"><br />
<br />
This is a sampling of student organizations that have been found among Xavier's students in the past. Feel free to add new ones that your char might be interested in or organize your own!<br />
<br />
*Classics Club (''Sponsor: [[Matt]]'')<br />
*Science & Tech Club<br />
*Math Club (''Sponsor: [[Kyinha]]'')<br />
*Chess Club (''Sponsor: [[Matt]]'')<br />
*GSA<br />
*Cryptology Club<br />
*Rock Climbing Society ''(Sponsor: [[Jackson]])''<br />
*Robotics Club<br />
*Jewish Student Union<br />
*Christian Fellowship ''(Sponsor: [[Jackson]])''<br />
*Muslim Student Union<br />
*Alianza Latina<br />
*Asian Student Alliance ''(Teacher: [[Tian-shin]])''<br />
*French Club (''Sponsor: [[Matt]]'')<br />
*German Club<br />
*Board Gaming Club <br />
*Women's Forum<br />
*Drumline<br />
*Unaccompanied Minors (a capella group)<br />
*Model UN<br />
*Astronomy Club<br />
*Debate Team<br />
*Mock Trial ''(Teacher: [[Tian-shin]])''<br />
*Peer Tutoring<br />
*Odyssey of the Mind<br />
*Culinary Society<br />
*Movie Club<br />
*Student Council<br />
*Yearbook <br />
*Phoebe's Oracle (Student Newspaper)<br />
*Literary and Arts Magazine <br />
*Archery Club<br />
*Martial Arts Club<br />
*Table-Tennis Club<br />
*Tabletop Society <br />
*Photography Club<br />
*Hiking/Nature Club<br />
*Wonderbolts (Equestrian Club) ''(Sponsor: [[Jackson]])''<br />
*Xavier's Players (Theatre Club)<br />
*Dance Dance Evolution (Dance Team)<br />
*Society for Creative Anachronism Student Group<br />
*Peer Support Group<br />
</div></div><br />
<br />
*Note that because of the vast discrepancy in abilities among the student body, joining an athletic team must be approved both in tryouts and by the Xavier's Ethics board.<br />
<br />
== XS Life ==<br />
<br />
=== XS Dorms ===<br />
<br />
Student dorms at Xavier's are segregated into two wings based on binary identified gender. Students who do not identify with a binary gender, regrettably, have to pick one of the two wings to live in.<br />
<br />
Nearly all dorm rooms are currently set up for two people; in some cases due to availability or extreme power related considerations, students may be assigned a dorm by themselves. <br />
<br />
The dorms at Xavier's are, as dorm rooms go, fairly comfortable. They are quite spacious, and come standard with a pair each of twin beds, dressers, nightstands, desks with bookshelf/hutch, and large closets. There is ample room in the dorms for students to customize their own half of their rooms as they like so long as it does not violate any school regulations.<br />
<br />
Bathrooms in the student dorms are shared with the wing; they have long rows of sinks and toilets on one side and, separately, the rows of showers, in their own enclosed booths with plenty enough space to bring all clothes and toiletries in and have them stay dry.<br />
<br />
The teachers' wing is on a different floor. Teachers who choose to live on campus get their own suites; they vary in size but all come with their own in suite bathrooms and some have small kitchenettes or small sitting areas as well.<br />
<br />
==== Roommate Assignments ====<br />
<br />
ICly, roommates at Xavier's are assigned by the administration, and cannot be specifically requested. Sometimes roommates do not get along; sometimes friction occurs -- usually these students will simply be told to learn how to get along. In cases of '''serious''', persistent hostility/incompatibility that is impacting the students' ability to thrive, the students may request a change of roommate, though they may still not request a ''specific'' new roommate. As of fall term 2023, rooms are triples, not doubles. <br />
<br />
OOCly, though, roommates at Xavier's are not assigned and are handled wholly and entirely by OOC agreement between players. Nobody will ever ''assign'' you a roommate here, so please do not ask. If you would like a PC roommate, you will need to a) see if there is someone who has a PC living in the same wing as yours who does not yet have a roommate and b) see if they are interested in being your roommate. If nobody is available, please either assume your PC has an NPC roommate or, if they are brand-new, may be one of the lucky few who has the double room to themselves until someone new shows up!<br />
<br />
Current PC room assignments at XS ('''check here to see if anyone is free/unassigned if you are looking for a roommate'''):<br />
<br />
*Girls' Wing:<br />
**[[Kelawini]]/[[Nessie]]<br />
**[[Naomi]]/[[Nahida]]<br />
**[[Ashlinn]]<br />
**[[Echo]]/[[Sriyani]]<br />
**[[Emilia]]<br />
**[[Kieow]]<br />
**[[Nevaeh]]<br />
**[[Rhydian]]<br />
**[[Sera]]<br />
**[[Cassy]]<br />
<br />
*Boys' Wing:<br />
**[[Harm]]<br />
**[[Lael]]/[[Avi]]/[[Bryce]]<br />
**[[Spencer]]/[[Dallen]]/[[Roscoe]]<br />
**[[Asva]]<br />
**[[Ford]]<br />
**[[Lucas]]<br />
**[[Marc]]<br />
**[[Quentin]]<br />
<br />
=== Advising at XS ===<br />
<br />
ICly, every student at Xavier's is paired soon upon arrival with an advisor. The job of the advisor is to make sure the student's needs at the school are being met and the student is being properly prepared for graduation/life after Xavier's. This means: helping them figure out their goals after high school, helping them a class and extracurriculars schedule that is manageable for them and will prepare them for a successful graduation, arranging that they get whatever access to coaching and therapy they might require (whether this is powers-based, medical, or psychological.)<br />
<br />
Please note that their advisor is '''not''' required to be the person who gives them powers-based coaching if it is needed, and advisors at Xavier's are, as a general rule, '''not''' selected based on similar powersets to students. When possible, students are matched with advisors based on personality and cultural competency -- meaning they try hard to pair students to advisors they think they'll get along with and talk to, not just advisors who can train them to use their powers.<br />
<br />
OOCly, similarly to roommates, advisors at Xavier's are not assigned and are handled wholly and entirely by OOC agreement between players. Nobody will ever ''assign'' you an advisor here, so please do not ask. If you would like a PC advisor, you will need to see if there is someone who has a PC faculty or X-Man who is interested in being your student's advisor. If nobody is available, '''please assume your PC has an NPC advisor''' -- there is no situation, period, where a student will not have an advisor, so do not RP that they have not been assigned one.<br />
<br />
When asking about advisor/advisee relationships, it is a good idea to check in OOCly and make sure you are on the same page about what you all want OOCly out of that RP relationship -- some people might want to actually roleplay out advising sessions on camera while other people are not interested in that genre of scenes and might only want that as a background to inform your characters' relationship for other types of scenes, and it is better not to set yourself up for frustration if you want very different things!<br />
<br />
Mentor Assignments:<br />
<br />
*[[Jax]] - [[Harm]], [[Lael]]<br />
*[[Joshua]] - [[Spencer]], [[Roscoe]]<br />
*[[Kyinha]] - [[Avi]], [[Nessie]]<br />
*[[Maya]] - [[Naomi]]<br />
<br />
(OOCly) Unassigned Students (remember that ICly, these students will still have an advisor, they will just be an NPC until you choose to pair with a PC advisor):<br />
<br />
*[[Ashlinn]]<br />
*[[Asva]]<br />
*[[Avery]]<br />
*[[Bryce]]<br />
*[[Cassy]]<br />
*[[Dallen]]<br />
*[[Echo]]<br />
*[[Emilia]]<br />
*[[Ford]]<br />
*[[Giselle]]<br />
*[[Kelawini]]<br />
*[[Kieow]]<br />
*[[Marc]]<br />
*[[Nahida]]<br />
*[[Nevaeh]]<br />
*[[Rhydian]]<br />
*[[Sera]]<br />
*[[Sriyani]]<br />
<br />
=== Dining at XS ===<br />
<br />
The kitchen is run by Savita Chavan, who has been the cook for many, many years at XS. She is fully human; her daughter was a mutant who graduated long ago.<br />
<br />
Meals happen on a set schedule (breakfast at 7 am, lunch around 12/1p, dinner around 6:30; shifted an hour later on weekends), but there are always plenty of snacks and leftovers kept around the extensive pantry for students who need more food in between meals.<br />
<br />
Xavier's does its best to cater to the wide variety of cultural and physiological needs of its students. The dining hall is NOT a restaurant or cafeteria with a full menu that kids can order from it's a school dining hall. <br />
<br />
Mealtimes generally include one meat and one vegan entree with a number of sides that students can pick and choose from to make their own meal as best suits them. Entrees and sides at a given meal will generally all be along a similar cuisine for ease of mixing and matching, with a wide range of dietary choices represented among the available options. While Savita's specialty is South Indian food, she tends to ''try'' and cater her cooking to the (predominately whiter, more American) palate of the school body; though there's a wide variety of recipes on rotation, they skew towards Things That An Uncertain Immigrant Thinks Would Be Inoffensive To A Wide Audience Of American Kids. Less often palak paneer, more often ravioli.<br />
<br />
=== XS Tech ===<br />
<br />
*There is wifi everywhere throughout the mansion and covering a good portion of the grounds around the mansion. It reaches down to the boathouse and docks, but peters out soon into the woods.<br />
*The computer lab is open 24/7, with many machines available for students who do not have their own personal computers. It is well-equipped with computers, scanners, and printers for all students' computing needs.<br />
*All students are required to have smartphones. Students may not use cell phones during class, but must keep their phones with them at all times when they are signed out to leave school grounds. They are expected to use the cell phones in emergencies; they are all equipped with a 'panic button' which will send an alert with the student's location to the school, dispatching available X-types to respond. Hitting the panic button OUTSIDE of actual crises is a severe infraction and will result in disciplinary action.<br />
**Students are welcome to see the school's IT department if they have their own appropriately capable cellphone they would prefer to keep and use; they will install a similar panic-button app for them. Students who do not have/cannot afford their own phone will be provided one by the school.<br />
*All students, staff, and faculty receive Xavier's email addresses. The default format is first initial-lastname at xaviers.edu . So, e.g., Daiki Komatsu is dkomatsu@xaviers.edu. Alumnae keep their Xavier's email address for as long as they stay active with it; they can contact the school sysadmin to reinstate it if they let it go idle and it is deleted.<br />
**Staff, faculty, and alumnae are allowed to pick up to two mail aliases for their email as well. So, e.g., Jackson, in addition to being jholland@xaviers.edu, can also be reached by jax@xaviers.edu or littlemisssunshine@xaviers.edu. Mail aliases must have some modicum of propriety; nothing vulgar or profane will be allowed.<br />
*Xavier's internal network has extensive online support for all academics. Students can log in to check their class syllabus, assignments, announcements from teachers (which will generally also come with email notification), class discussions, lecture notes, grades, calendars, and any other media that the teacher has posted to help with class.<br />
**All teachers of academic classes are given instruction in how to use this system when they start teaching; it is pretty simple and intuitive and does not require much tech savvy. Teachers are ''required'' to post their syllabus and assignments, at the least, here.<br />
**For this reason, not knowing about assignments is never an excuse; if class is missed, the week's assignments and topics are posted online and all students have plenty of internet access. A teacher forgetting to post an assignment, however, ''is'' an excuse, so teachers should get used to being on the ball with this.<br />
*Xavier's sysadmin is very On The Ball, although nobody seems to ever have seen him. Any and all network problems can be directed to cerebro@xaviers.edu, though, and tend to be answered uncannily quickly. The network does not inherently have any constraints on it for things like file sharing and porn and general Misbehavior, but students will find that things outside of the school's Acceptable Use Policy (things like: attempted hacking, illegal activity, using obnoxious amounts of bandwith nonessentially, etc. ) are quickly discovered and quashed.<br />
*Students -- or malicious outsiders! -- will also find that their network is ''remarkably'' secure and resistant to malicious tampering and intrusion. Students attempting to test the network's security will even occasionally receive an email offering advice, and explaining what they did wrong, along with a suggestion that should they wish to practice their "1337 haxx0r skillz" they should take one of the many CS classes offered by the school.<br />
<br />
=== The Neighborhood, and Beyond ===<br />
<br />
Xavier's School is located in the town of Salem Center, a town of around 5000 people in Westchester county. Salem is a small and close-knit community, the type of place guidebooks probably call "charming" or "quaint". Its town center makes a deliberate effort to retain the same general feel it has kept for generations, old-fashioned storefronts and cobbled streets with a lot of eye for aesthetic and very little thought for accessibility. While there are some things to do in town -- an arcade, a diner that's popular with the students, a roller skating rink, a small movie theatre -- in honesty the primary recreational activities of the youth who live there are Getting High Behind the roller skating rink, movie theatre, etc. The Weirdo School up at the old Xavier place is something of an open secret in town; while people don't know for sure the full scope of the school they are well aware that there's a Higher Proportion Than Usual of freaks that come into town from there and have grown to a grudging mutual tolerance.<br />
<br />
At just under a mile from campus, getting to the town center is a middling walk on a pleasant day, or a very quick bike or car trip. <br />
<br />
Westchester County is just north of the Bronx. In zero-traffic conditions, it takes approximately an hour by car to get from the school to Manhattan -- in most ''actual'' New York City congestion situations, tack ''at least'' an extra half an hour onto that. Public transit is a more hit or miss prospect -- the school is served by commuter rail; the schedule is geared around people getting to and from day jobs in the city and not to the needs or desires of people wanting to get FROM Westchester TO the city on an after-school/weekend schedule. <br />
<br />
Timed correctly, the trip from Salem Center to Grand Central Station by train is often quicker than sitting in traffic and will run about an hour as well -- however on top of that needs to be factored in time to get ''from'' downtown Manhattan to wherever people ''actually'' want to be, as well as the fact that the train runs extremely intermittently on weekends and does not run late at night. The trip by buses (which are necessary to get back in between trains) requires several transfers and can take well over 2 hours from downtown, depending on transfer times and how behind the buses are.<br />
<br />
===Additional Trivia===<br />
The school colours are blue and yellow, though Xavier's branded apparel comes in different colours as well. <br />
<br />
The school teams are the Titans -- the mascot, when it is brought out, does not look ''much'' like a Greek god, but that's how it goes.<br />
<br />
The school motto is ''mutatis mutandis''. <br />
<br />
== Roster ==<br />
<br />
These are the current PCs who have some affiliation with Xavier's.<br />
<br />
*Faculty<br />
**[[Maya]] Mukhopadhyay<br />
*Faculty/X-Men<br />
**[[Charles]] Xavier<br />
**[[Jax]] Holland '10<br />
**Roberto "[[Kyinha]]" da Costa<br />
**[[Matt]] Tessier<br />
**[[Scott]] Summers '95<br />
**Hua [[Tian-shin]]<br />
*Staff<br />
**[[Cerebro]]<br />
*Students<br />
**[[Ashlinn]] Karibeanas<br />
**[[Asva]] Runí Tøro<br />
**[[Avi]] Micah Williams<br />
**[[Emilia]] Romanova<br />
**Rutherford "[[Ford]]" Reagan Rand Stonegate II<br />
**[[Giselle]] Desrosiers<br />
**[[Leonidas]] Beauregard Thigpen<br />
**[[Bryce]] Layton Allred<br />
**[[Cassy]] Villeneuve<br />
**[[Dallen]] Elijah Allred<br />
**Ziyin "[[Echo]]" Lin<br />
**[[Harm]] Sun<br />
**[[Kelawini]] Māhoe<br />
**Sumalee "[[Kieow]]" Suphamongkhon<br />
**[[Lael]] Isaiah Winters<br />
**[[Lucas]] DiLaurentis<br />
**Marcellus Momprimier Marquette ([[Marc]])<br />
**[[Naomi]] Winters<br />
**[[Nessie]] Grace Pelayo<br />
**[[Paz]] Sepulveda<br />
**Quintavius Quirinius "[[Quentin]]" Quire<br />
**[[Roscoe]] Brendan Vo<br />
**[[Rhydian]] Lovkwood<br />
**[[Sera]] Tessier<br />
**[[Spencer]] Holland<br />
*X-Men<br />
**Clarice Ferguson ([[Blink]])<br />
**[[Daiki]] Komatsu '15<br />
**[[Joshua]] Salinas<br />
**[[Kitty]] Pryde '12<br />
**[[Shane]] Holland '16<br />
*Former Students<br />
**[[Anette]] Eccleston '10<br />
**Victor Borkowski ([[Anole]]) '16<br />
**[[B]] Holland '16<br />
**[[Desi]] Tessier '16<br />
**[[Gaétan]] Tessier<br />
**[[Kavalam]] Ramakrishna Neelakantan<br />
**[[K.C.]] Love '20<br />
**[[Kisha]] Dorogoi '17<br />
**[[Lyric]] Sagal Dirie '17<br />
**Taylor [[Marinov]] '20<br />
**[[Nanami]] Māhoe<br />
**[[Nick]] Thanh Gleason '17<br />
**[[Peter]] Parker '16<br />
**[[Rasa]] Djalili '15<br />
**[[Taylor]] Allen '17<br />
<br />
[[Category:Factions]][[Category:Xavier's School]][[Category:Information]] [[Category:In-Game Universe]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Lincoln&diff=25972Lincoln2024-03-25T20:46:30Z<p>Borg: </p>
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<div>{| width="100%"<br />
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{|<br />
| style="text-align:center;" | '''''Page subtitle'''''<br /><br />
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|-<br />
| width="100%" |<br />
{| width="100%"<br />
! Introduction <br />
|-<br />
|<br />
{{Tab}}Overview of your character goes here.<br />
|<br />
|-<br />
! Description<br />
|-<br />
|<br />
{{Tab}}Lincoln is a tall, muscular man with a dark brown eyes, long, dirty blonde hair and a light complexion. He has a ruggedly handsome complexion and cursed and/or blessed with an expressive face - he's rather terrible at hiding how he feels with his facial expressions. <br />
<br />
He's broad shouldered and athletic, each muscle pushed to their limits and having the appearance to prove it. He has scars here and there from training and from his vigilante work.<br />
<br />
He often prefers dark clothing, but typically wears a black and yellow biker jacket that seems to have some significance to him.<br />
|<br />
|-<br />
! Reputation<br />
|-<br />
|<br />
{{Tab}}What (if anything) might others have heard about your character? It's okay if this is 'nothing'. This can also be specific to their faction (maybe they're class clown at their school!) or specific to a niche field (maybe you'd have heard of them if you know a lot about particle physics or cross country skiing, but not otherwise!) <br />
|<br />
|-<br />
! History<br />
|-<br />
|<br />
{{Tab}}Lincoln Idaho is the son of Marie and David Idaho in Montreal, Quebec, Canada. His father David was an avid motorcyclist and mechanic, operating his own repair shop as a way to bring in money. However, David was involved in a terrible, fatal motorcycle accident when Lincoln was a child. It's scarred him for life...and left Marie to take care of the young boy by herself. His mother worked with deaf children and after David's death, became a translator (for ASL) and often translated for events to help pay the bills.<br />
<br />
While kindhearted, Lincoln often proved too much so. He could never stand bullies and often reacted with protective violence towards individuals who dared try to harm another. He was looked up to by other children his age and often had a popularity to him. Yet...when told he had to stop the violence - protective as it may be - from his mother, Lincoln put his efforts into other pursuits...most notably, music. Drumming came naturally to him, a way to get out anger and violent tendencies. What's more, he was quite good at it.<br />
<br />
And then...when Lincoln endured puberty, his X-gene had awakened. Electricity sparked between his fingertips. His entire neighborhood lost power...and he glowed with a powerful energy. He could control electricity. He could absorb electrical sources for greater power. His mother had found out and immediately attempted to hide him. Keep him out of trouble...keep him from using his abilities.<br />
<br />
But alas, Lincoln was quite willing to practice his abilities in secret. Worse still, his mother didn't know how to raise a mutant child who could short out the house by touching an outlet. She didn't have the money to try and search for a special place that could take him. So she put her faith where she felt she was forced to: the Canadian government. A representative came, promising to take him far away where he can learn to live with his abilities, control them, and be reintroduced to society. After a tearful goodbye and a promise to reunite, Lincoln was sent away.<br />
<br />
But they had no intention of rehabilitating Lincoln. They wanted the next Weapon...and they found one. They sent him right into the open arms of the Weapon Plus program. Every day was torture. Physical. Mental. Emotional. They wanted another soldier. They trained him relentlessly, tortured him to bring out an evolutionary response to heighten his abilities..toyed with his memories to make him loyal.<br />
<br />
All to make him Weapon XI.<br />
<br />
And year by year, it became worse. They taught him how to fight. How to break. Wound. How to kill in equal measure. They kept him in large water sources in a cage to train his body to yield to them, short-circuiting him over and over again, but not so much to kill him.<br />
<br />
They thought they finally created a perfect weapon. But instead...they created yet another enemy. He remembered. He remembered his mother. His home. His origins. His promise to see her again. He saw the other mutants they had as part of this Project...and knew enough was enough.<br />
<br />
These scientists, these operatives...they always make a mistake. Get too complacent. He had watched. He had waited for his time to strike. Waited for one of them to forget to flip a switch, forget to isolate him. Forget.<br />
<br />
/Forget/. Finally...two of the guards thought they were dangerous. They didn't put the 'mutie' back in the water. He muffled something against the cold metal that bound him. They ungagged him and prepared for transit, so they can put him back in the chair. But these were fools, not skilled fighters. Grunts. As soon as they let him out and beat him down with a nightstick, Lincoln quickly rose to his feet and dispatched of both of them - much to his own chagrin, still breathing. Better than they deserved. <br />
<br />
It was his /chance!/.<br />
<br />
This facility had many guards, but more than that, there were many mutants here who could be helped. He took keycards from both guards and he started running. As he ran, he drew power from the electrical sources in this place, his eyes practically glowing with power as he defeated other guards, but he wasn't fast enough to stop bullets. "Run! Go!" He told mutants as he released them from their containment cells. <br />
<br />
Out of thirty...he was able to save maybe fifteen. Better than none. Better than nothing. He fled. He told the mutants to keep running and he made their exit secure with powerful electric blasts.<br />
<br />
Then he ran.<br />
<br />
He immediately fled for home, finding and stealing clothes to fit him, and he hoped to find his mother...only to find his home burned to the ground. <br />
<br />
No loose ends.<br />
<br />
His mother was buried some years ago. And on her grave, instead of swearing revenge against the Weapon Plus program, he instead swore to her that he would not be what they tried to make him be. That he'll find his answers one way or another. That he'll use his abilities to help people...what he always wished to do to begin with.<br />
<br />
The world had to change. This couldn't'...this wasn't right. Instead of hatred for humanity, Lincoln wanted to bring peace. So...he started using his powers to help people, in accordance to his vow to his mother. <br />
<br />
and so it is to this day that a vigilante was born.<br />
<br />
But he had to make money. He had to be able to live. A job was necessary where people didn't ask questions. Where people didn't snoop too much. He managed to get work as a bike courier, delivering packages and mail. It was good work, kept him under the radar. Helped teach him control by not electrocuting the bike.<br />
|<br />
|-<br />
! Powers<br />
|-<br />
|<br />
{{Tab}}Lincoln is an omega-level mutant with the ability to control electricity. He can bodily generate energy which he could release or harness for a number of effects. His body is augmented and his anatomy changed. His muscular fuels his powers via near-microscopic rhythmic muscle contractions that normally regulate body temperature moving at incredible speeds, creating a series of rapid microscopic movement that generates electricity en masse. His body naturally generates electricity at a rate of about 10,000 volts per minute, though he possesses the ability to absorb far, far more energy via outside sources, such as absorbing electricity through power generators or electrical lines to billions of volts. His ability to control electricity has given him numerous capabilities from small to large effect.<br />
<br />
- Electric Blasts: The simplest manifestation of Lincoln's abilities is the emission of a lightning-like electric arc from his hands, which could travel via rapidly vibrating air molecules or other conducting mediums, such as water or metal. This discharged travelled at the speed of lightning (about 150,000 feet per second). The maximum effective range of his bolts is about 1000 feet before they begin to lose their momentum, and thus, their force. At their strongest, these bolts record around 100,000 volts. At their lowest, roughly 10,000 volts, it has the stunning power of a civilian-grade tazer.<br />
<br />
- Lightning Bolt: Lincoln's abilities with electricity are so great he can manipulate ambient electricity in the air. By creating an electrical storm in the air, he can call down lightning bolts upon his enemies.<br />
<br />
- Electrical Detection: Lincoln's ability with electrokinesis also granted him a certain extrasensory perception, letting him "feel" the course of electricity through the circuitry of any electrically powered device for possible absorption. He can even use it to detect human beings, since the body is a natural bioelectric accumulator. <br />
<br />
- Electricity Immunity: Lincoln is immune to the effects of electricity, including the effects of his own abilities. He cannot be harmed by electrocution.<br />
|-<br />
! Skills<br />
|-<br />
|<br />
{{Tab}}Musician - A capable drummer, Lincoln liked playing the instrument in his early youth. He could still take care of it now.<br />
<br />
Combat - A deadly combatant trained by Weapon Plus, Lincoln is well-trained in CQC combat. Fast, deadly, and powerful, Lincoln prefers to use his powers to aid in his combat capability, namely his strength. He uses a mixture of Krav Maga, Judo, Aikido, Muay Thai, and Boxing.<br />
<br />
Firearms - Lincoln is deadly with a gun, even though he dislikes them. He prefers handguns.<br />
<br />
Multilingual - Lincoln is fluent in English, French, and ASL.<br />
<br />
Leadership - Despite his willingness to prefer silence, Lincoln is actually a phenomenal leader. He's charming and has a knack for placing people where they can be best used in a situation. He knows how to craft a plan and he's passionate about what he believes in. He's approachable, reliable, easy to talk to, and tends to always have a good word to say about someone.<br />
|-<br />
! Connections<br />
|-<br />
| <br />
<br />
'''Friends'''<br />
* Coming soon.<br />
<br />
'''Foes'''<br />
* Coming soon.<br />
<br />
'''And everything in between'''<br />
* Coming soon.<br />
|<br />
|-<br />
! Trivia<br />
|-<br />
|<br />
*Random facts you think are worth knowing about your character.<br />
*And more random facts!<br />
*And more.<br />
|-<br />
! Gallery<br />
|-<br />
| style="text-align:center;" |<br />
[[Image:|x150px]]<br />
[[Image:|x150px]]<br />
[[Image:|x150px]]<br />
|}<br />
|<br />
{|<br />
! Full Name<br />
|-<br />
|<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000"<br />
| colspan="2" | [[Image:|center]]<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Codename'''<br />
| style="border-style: solid; border-width: 1px"| Weapon XI (Formerly), Currently None<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Birthdate'''<br />
| style="border-style: solid; border-width: 1px"| 06/04/1998<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Birthplace'''<br />
| style="border-style: solid; border-width: 1px"| Montreal, Quebec, Canada<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Species'''<br />
| style="border-style: solid; border-width: 1px"| Mutant<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Affiliation'''<br />
| style="border-style: solid; border-width: 1px"| Weapon Plus (Formerly)<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Alignment'''<br />
| style="border-style: solid; border-width: 1px"| Neutral Good<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Powers'''<br />
| style="border-style: solid; border-width: 1px"| Electrokinetic<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Occupation'''<br />
| style="border-style: solid; border-width: 1px"| Bike Courier<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Registration Status'''<br />
| style="border-style: solid; border-width: 1px"| Unregistered<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Faceclaim'''<br />
| style="border-style: solid; border-width: 1px"| Heath Ledger<br />
|}<br />
|-<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000" <br />
! style="border-style: solid; border-width: 1px" | RP Hooks<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|}<br />
|-<br />
! colspan="2" | Logs<br />
|-<br />
| colspan="2" | {{RP Logs | name = {{BASEPAGENAME}} | columns = 3 | ordermethod = gamedate }}<br />
|}<br />
<br />
[[Category:Inactive PCs]][[Category:]][[Category:]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Giselle&diff=25971Giselle2024-03-25T20:46:21Z<p>Borg: </p>
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<div>{| width="100%"<br />
| colspan="2" | <center><br />
{|<br />
| style="text-align:center;" | '''''Page subtitle'''''<br /><br />
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|-<br />
| width="100%" |<br />
{| width="100%"<br />
! Introduction <br />
|-<br />
|<br />
{{Tab}}Overview of your character goes here.<br />
|<br />
|-<br />
! Description<br />
|-<br />
|<br />
{{Tab}}Standing at 5'6, Giselle is pretty thin, not too far off from model standards, though perhaps she lacks the sharper facial structure for most magazines, having a round and soft face, with doe-like black eyes and somewhat wavy black hair. Her general appearance is where most people find her unique, as Giselle's aesthetic is full on goth, almost always full black with vaguely regal outfits, sometimes eccentric in styling, complete with painted nails, fake bags and a paler foundation from her white skin.<br />
|<br />
|-<br />
! Reputation<br />
|-<br />
|<br />
{{Tab}}What (if anything) might others have heard about your character? It's okay if this is 'nothing'. This can also be specific to their faction (maybe they're class clown at their school!) or specific to a niche field (maybe you'd have heard of them if you know a lot about particle physics or cross country skiing, but not otherwise!) <br />
|<br />
|-<br />
! History<br />
|-<br />
|<br />
{{Tab}}Her birth was a product of a years-long experiment, of a project doomed to fail as soon as it began the test runs, the scientists conspiring for the end results from the sponsors of their work... Said project was the rapidly deteriorating romance of a billionaire business legacy's latest heir and a cover girl of France's most chic fashion shows.<br />
<br />
The first test run was a neurotic entrepreneur, which to be fair, had satisfying results! But they could do better, she wanted a daughter after all!<br />
And then they had Narcissus in a race car, which took most of their energy and really showed the couple they just hated each other.<br />
But still, a daughter they wanted, and a daughter they had!... But, uh oh! Creepy! Who knew that Wednesday Addams would be their last straw?...<br />
<br />
Jokes (from her own words) aside, Giselle was born to an already failing marriage and barely present brothers, so she missed most of the nasty stuff, all she got was mommy and daddy having very loud private tmes and not really seeing them together, so she does say that she had a good childhood, after all, she had everything she could ever ask for and a huge mansion...<br />
<br />
In reality, though, Giselle was definitely neglected to compromise her parents' work-life and their own divorce, they tried their hardest to make up for it the only way they knew how, following their little 'test runs'. Her father used diligence and authority to raise Giselle while also properly awarding her feats, something he learned some time after their firstborn cut contact, as for her mother, she attempted to be a nurturing figure, but only giving advice, after their second born's entitlement made things complicated. They each had their own errors though, her father was still very much a control freak and her mother tended to be pretty condescending... but Giselle did, at the end, feel loved by them, and she only knew of a divorce due to a word slip at Christmas, so she does believe they were successful, even after the many nights they weren't there to hear her cries for help after a bad dream.<br />
<br />
But hey! Her school life was okay! Giselle was enrolled in a school for, to be bluntly said, rich people, so she would fit in more properly with her peers and she would get top-notch learning. Despite a telling social ineptitude, she was generally left alone as teasing usually flew right over her head... she was, however, still usually alone. As for Giselle's proficiency, she was usually average, though her father essentially forced her to always strive for more and to always take an opportunity, which led her to having a lot of extracurriculars... however, she was always exceptionally good at math and physics, so that was something she had!<br />
<br />
However, Giselle's life was about to change forever, as at age 7, left alone in her parents' mansion... she would find 'The Craft' from her mother's film collection, and she would swiftly find herself entranced in witches, then in horror movies, and eventually, entering her adolescence... Giselle would officially become a goth, much to her mother's worry for her daughter's future fashion choices. Which leads us to the second time Giselle's life would change forever in her 13's, as an attempt at the Bloody Mary urban legend would lead up to a clone of herself being taken out of the mirror, after a week or so, she'd introduce her new friend to her parents! It was a very horrifying night for her father.<br />
<br />
Things went a little quickly for Giselle, suddenly, their Christmas travels to France halted and her mother became less active in her life, being pressured by her family and her own work to cut connections with a soon to-be-registered mutant, a clear heartbreak from a mother stuck between two lives, as her father suddenly became far more of an active presence in her life, one final promise made by the divorced duo to help her through this new... occurrence. After a few years of research for him, and tentative tutoring about how Giselle couldn't just show up with a twin or use her clone to skip a test, a call was made and the rest is history, as her father quickly struck one more deal after his since finished stock holding days for his daughter's future, Giselle heads for what appears to be 'mutant school', excited for this newfound development... but anxious to finally be let go from her home for sixteen years, sheltered and spoiled.<br />
|<br />
|-<br />
! Powers<br />
|-<br />
|<br />
{{Tab}}Enhanced Perspective:<br />
Giselle has an acute enhancement to her perception of spaces and angles, for an example, she can give an above-average prediction of the trajectory of something she throws. She also has an awareness as to what her vision tells, for example, she may be able to explain how an optic illusion might work (actual optic illusion, not through mutated power) or be able to properly view things even if dizzy or drunk through an accurate estimation of images.<br />
<br />
Catoptric Replication:<br />
Giselle can create a clone of herself by pulling her own reflection out of any mirror or other reflective surfaces, as long as said clone can physically pass through the surface. By the moment she pulls that clone out, that reflection vanishes from the surface until it's return, and said clone does not have a reflection of their own. Giselle's clones are individual and only share her current state that she pulled them through with, the more the clones remain the more exhausted the clones get up, the more clones she makes the more she gets exhausted, being then unable to recover until the clones are dismissed. Said clones also have a limited time, vanishing into thin air once too exhausted if they don't return back to a reflective surface, not being able to extend their time through any means currently. Disturbing the reflective source dispels the clone, and lastly, the clearer the reflection is, the easier it is for Giselle to make the clone.<br />
<br />
The way Giselle's power actually works, unbeknowst to her, is an atomic configuration through photokinesis, she manipulates the emitted light from the material and slowly molds it into atomic matter as it's being reflected back from a specular mirror. And so it gives the illusion that the reflection is being pulled through the mirror, when in actuality, the replica is being created as light is reflected back to her. As for the why for many of the other details for the clones?... Well, that's what scientists are for, right? Hell, maybe mutants like her can answer these questions, since the clones are made from a sort of light rather than actual organic material, some powers may have a chance to give her an answer.<br />
|-<br />
! Skills<br />
|-<br />
|<br />
{{Tab}}Music: Aside from extensive piano lessons she had from a very young age, Giselle's current 'cool thing' she's trying to do is to make a band with her own clones, right now, it seems she has had some success in learning vocals, keyboard and drums... not so much the guitar nor bass, but she continues to try!<br />
<br />
Gymnast: Giselle has had gymnastics as one of her extracurriculars, annoyingly kept sharp due to her father's continuous insistence. Still, it does have some result nowadays, as Giselle appears to be pretty flexible and is capable of making some acrobatic moves.<br />
<br />
Mathematics: One of the few things that Giselle ever properly built up on her own, maybe it was part of her mutation, but she is actually pretty talented at math, scoring high amongst her peers and WAY higher with her own notes in other subjects.<br />
<br />
French: The most annoying thing she has ever had to learn, for once though, it wasn't her father! Giselle's mother essentially made her learn French, to a varying level of success! She can definitely understand it, though she hardly speak it.<br />
<br />
Tailoring: Part of a rare moment of a genuine connection between family, Giselle does know how to sew, and has been building it up ever since she took a more eccentric approach to her gothic aesthetic, often sewing her own clothes.<br />
|-<br />
! Connections<br />
|-<br />
| <br />
<br />
'''Friends'''<br />
* Coming soon.<br />
<br />
'''Foes'''<br />
* Coming soon.<br />
<br />
'''And everything in between'''<br />
* Coming soon.<br />
|<br />
|-<br />
! Trivia<br />
|-<br />
|<br />
*Random facts you think are worth knowing about your character.<br />
*And more random facts!<br />
*And more.<br />
|-<br />
! Gallery<br />
|-<br />
| style="text-align:center;" |<br />
[[Image:|x150px]]<br />
[[Image:|x150px]]<br />
[[Image:|x150px]]<br />
|}<br />
|<br />
{|<br />
! Full Name<br />
|-<br />
|<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000"<br />
| colspan="2" | [[Image:|center]]<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Codename'''<br />
| style="border-style: solid; border-width: 1px"| None<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Birthdate'''<br />
| style="border-style: solid; border-width: 1px"| February 1st, 2008<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Birthplace'''<br />
| style="border-style: solid; border-width: 1px"| Worley, Idaho, USA<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Species'''<br />
| style="border-style: solid; border-width: 1px"| Mutant<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Affiliation'''<br />
| style="border-style: solid; border-width: 1px"| X-Kids<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Alignment'''<br />
| style="border-style: solid; border-width: 1px"| Chaotic Good<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Powers'''<br />
| style="border-style: solid; border-width: 1px"| Enhanced Perspective, Catoptric Replication<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Occupation'''<br />
| style="border-style: solid; border-width: 1px"| None<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Registration Status'''<br />
| style="border-style: solid; border-width: 1px"| None<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Faceclaim'''<br />
| style="border-style: solid; border-width: 1px"| None<br />
|}<br />
|-<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000" <br />
! style="border-style: solid; border-width: 1px" | RP Hooks<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|}<br />
|-<br />
! colspan="2" | Logs<br />
|-<br />
| colspan="2" | {{RP Logs | name = {{BASEPAGENAME}} | columns = 3 | ordermethod = gamedate }}<br />
|}<br />
<br />
[[Category:Inactive PCs]][[Category:]][[Category:]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Characters&diff=25970Characters2024-03-25T20:45:59Z<p>Borg: </p>
<hr />
<div>'''To create a page for your character, simply enter your character's name into the box below and hit submit. This will prefabricate a template for you to fill in or edit as you liked. Then, simply add the link to your character to the list below.'''<br />
<br />
<p style="font-size:28px">'''DO NOT use their full name when you are generating your character page -- use the most common name they go by in everyday life. Use the name they would use to introduce themselves if they are meeting a new person in most casual social situations.'''</p> <br />
<br />
{{#tag:inputbox |<br />
type=create<br />
preload=Template:Characters<br />
width=40<br />
placeholder=Your character's name<br />
buttonlabel=Create a character page<br />
align=left<br />
break=no<br />
}}<br />
<br />
'''Current active PCs''':<br />
<br />
*[[Akihiro]] Hanayama<br />
*[[Alastair]] Hobbs<br />
*[[Alex]] Carpenter<br />
*[[Alice]] Ferguson<br />
*[[Alma]] Harari<br />
*[[Anahita]] Lien Baran<br />
*[[Anette]] Eccleston<br />
*Victor '[[Anole]]' Borkowski<br />
*[[Ash]]leigh Ricardo Raj Campbell<br />
*[[Ashlinn]] Karibeanas<br />
*[[Asva]] Runí Tøro<br />
*[[Avi]] Micah Williams<br />
*[[B]] Holland<br />
* Leonidas [[Beau]]regard Thigpen<br />
*Clarice "[[Blink]]" Ferguson<br />
*Robert [[Bruce]] Banner/[[Hulk]]<br />
*[[Bryce]] Layton Allred<br />
*Alejandro '[[Bug]]' Garcia Flores<br />
*[[Carnage]] (Cletus Kasady)<br />
*[[Cassy]] Villeneuve<br />
*[[Cerebro]]<br />
*[[Charles]] Xavier<br />
*[[Chloe]] Raquel Walker<br />
*[[Clint]] Francis Barton<br />
*[[Daiki]] Komatsu<br />
*[[Dallen]] Elijah Allred<br />
*[[David]] Allen Smith<br />
*[[Desi]] Tessier<br />
*[[Destiny]]<br />
*[[DJ]] Allred<br />
*[[Domino]] (Neema Thurman)<br />
*Ryan "[[Dusk]]" Holloway<br />
*Ziyin "[[Echo]]" Lin<br />
*[[Elizabeth]] Morten<br />
*[[Elliott]] May Carruthers<br />
*[[Emilia]] Romanova<br />
*[[Eric]] Sutton<br />
*[[Erik]] Lehnsherr (Magneto)<br />
*Rutherford "[[Ford]]" Reagan Rand Stonegate II<br />
*Nick [[Fury]]<br />
*[[Gaétan]] Tessier<br />
*Dinah [[Grace]] Allred<br />
*[[Halim]] Omari Tawadros<br />
*[[Harm]] Sun<br />
*[[Heather]] Brown<br />
*[[Hive]]<br />
*[[Iolaus]] Saavedro<br />
*Marion "[[Ion]]" Espino<br />
*[[Isra]] al-Jazari<br />
*[[Jamie]] Francisco Xavier<br />
*[[Jax]] Holland<br />
*[[Joshua]] Salinas<br />
*[[K.C.]] Love<br />
*[[Kavalam]] Ramakrishna Neelakantan<br />
*[[Kelawini]] Māhoe<br />
*Sumalee "[[Kieow]]" Suphamongkhon<br />
*[[Kisha]] Dorogoi<br />
*Katherine "[[Kitty]]" Pryde<br />
*Roberto "[[Kyinha]]" da Costa<br />
*[[Lael]] Isaiah Winters<br />
*[[Leo]] Valentino Aquilo Concepcion<br />
*[[Lily]] Catherine Allred<br />
*[[Lucas]] DiLaurentis<br />
*[[Lucien]] Tessier<br />
*[[Malthus]] Rogers<br />
*Marcellus Momprimier Marquette ([[Marc]])<br />
*Taylor [[Marinov]]<br />
*[[Marrow]]<br />
*[[Matt]] Tessier<br />
*[[Max]] Powers<br />
*[[Maya]] Mukhopadhyay<br />
*[[Melinda]] Chylds<br />
*[[Mirror]]<br />
*[[Murphy]] Law<br />
*[[Mystique]]<br />
*[[Nahida]] Azmin<br />
*[[Nanami]] Māhoe<br />
*[[Nandini]] Mukhopadhyay<br />
*[[Naomi]] Winters<br />
*[[Natasha]] Romanoff<br />
*Aoki [[Natsumi]]<br />
*[[Nessie]] Grace Pelayo<br />
*[[Nevaeh]] Green<br />
*[[Nick]] Thanh Gleason<br />
*[[Nikolina]] "Doubledown" Kaminksy<br />
*[[Paz]] Sepulveda<br />
*[[Peter]] Parker<br />
*Lorna "[[Polaris]]" Dane<br />
*Quintavius Quirinius "[[Quentin]]" Quire<br />
*[[Rasa]] Djalili<br />
*[[Rasheed]] Toure<br />
*[[Regan]] Wyngarde<br />
*[[Rhydian]] Lovkwood<br />
*[[Robbie]] Reyes<br />
*[[Roscoe]] Brendan Vo<br />
*Montgomery [[Ryan]] Black<br />
*[[Sam]] Wilson<br />
*Nia "[[Scramble]]" Washington<br />
*[[Scott]] Summers<br />
*[[Sera]] Tessier<br />
*[[Shane]] Holland<br />
*Daisy "[[Skye]]" Xinyun Johnson<br />
*[[Spencer]] Isaac Attali Holland<br />
*[[Sriyani]] Weddikkara<br />
*[[Steve]] Rogers<br />
*[[Tag]]<br />
*[[Taylor]] Allen<br />
*Hua [[Tian-shin]]<br />
*[[Toni]] Jefferson<br />
*[[Tony]] Stark<br />
*Ho [[Wendy]]<br />
*[[Winona]] White<br />
*[[Zeyta]] Roth-Mirza</div>Borghttps://xmenrevolution.com/w/index.php?title=Xavier%27s_School&diff=25969Xavier's School2024-03-25T20:44:53Z<p>Borg: /* Roster */</p>
<hr />
<div>{| width="100%"<br />
| colspan="2" |<br />
|-<br />
| width="100%" |<br />
{| width="100%"<br />
|<br />
== Purpose ==<br />
<br />
Located outside Salem Center in Westchester County, New York, Xavier's School for Gifted Youngsters is publicly known as a prestigious boarding school, founded in 1992 and providing an outstanding college preparatory education to middle- and high-school students. With a rigorous academic curriculum and a low student-to-teacher ratio, Xavier's sends its students on to the best colleges in the country.<br />
<br />
The school's true purpose is much more secretive -- Founded by its current headmaster, Charles Xavier, in his family's ancestral home, the school serves as a safe haven and training ground for young mutants to learn to cope with and control their powers. Alongside more typical high school classes, Xavier's students receive instruction and guidance from the faculty in responsible use of powers, the ethics of living with them, and how to eventually make their way back out into the world.<br />
<br />
== Recruitment ==<br />
<br />
Xavier's is ''not'' publicly known to be a mutant school, and its students as welll as its faculty are found by proactive recruitment.<br />
<br />
The school is intended to help students who ''cannot'' attend school due to the danger posed from their mutations. Please keep that in mind when crafting your characters' backstory -- the overwhelming majority of their students are there because they need help to learn to control their powers, and were unable to go to their previous schools. If your character has a mutation that is under control and is not experiencing difficulties at their school, it is ''very unlikely'' that they would be offered a place at Xavier's.<br />
<br />
The sole exceptions are: <br />
<br />
a) mutant students from very wealthy families, who are, occasionally, offered spots at Xavier's even if their powers are not posing them any trouble -- with nearly all their students on scholarship, it's helpful to have a ''few'' students who are actually paying tuition.<br />
<br />
b) immediate family of ''current faculty'' (children, siblings) who are -- if they wish -- allowed to attend the school even if they do not require its specialized accomodations. Weirdly enough, very few human relatives actively ''want'' to go to Freak School, so this is rare.<br />
<br />
Faculty tend to be recruited on recommendation/word of mouth. It is ''not'' required to be a mutant to teach at Xavier's, but, obviously, it is required to be positively disposed towards them.<br />
<br />
OOC Note: Keep in mind that Xavier's is a middle/high school, ''not'' a shelter for wayward or distressed mutants. If you would like a character who is taking ''refuge'' at Xavier's, getting help learning to control their powers at Xavier's, etc. '''you need to make a teenage, student character'''. Your adult ''will not'' be accepted to train and learn at Xavier's, regardless of their own perceived need.<br />
<br />
== Schedule ==<br />
<br />
The school year at [[Xavier's School|Xavier's]] is divided into three terms. Breaks fall between terms, with summer term falling for two months beginning in early June. Though classes are not in session, the school is open residentially through all breaks. Students must have permission from their legal guardians to remain at school during breaks and holidays, including summer term. During summer term, an abbreviated class schedule is in place for those students needing remedial/make-up classes, or those enrolled in elective summer school courses.<br />
<br />
====Daily Class Schedule====<br />
<br />
<div class="mw-collapsible mw-collapsed">Class Schedule<br />
<div class="mw-collapsible-content"><br />
{| cellpadding="10" class="wikitable"<br />
!style="color:#FFFFFF; background-color:#000000;" | Monday<br />
!style="color:#FFFFFF; background-color:#000000;" | Tuesday<br />
!style="color:#FFFFFF; background-color:#000000;" | Wednesday<br />
!style="color:#FFFFFF; background-color:#000000;" | Thursday<br />
!style="color:#FFFFFF; background-color:#000000;" | Friday<br />
|-<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|-<br />
|style="background-color:#CDB5CD;" | 8:00 - 8:45<br />
Class A<br />
|style="background-color:#CDB5CD;" rowspan="2" | 8:00 - 9:15<br />
Class A<br />
|style="background-color:#74BBFB;" rowspan="2" | 8:00 - 9:15<br />
Class C<br />
|style="background-color:#CDB5CD;" rowspan="2" | 8:00 - 9:15<br />
Class A<br />
|style="background-color:#74BBFB;" rowspan="2" | 8:00 - 9:15<br />
Class C<br />
|-<br />
|style="background-color:#7BCC70;" | 8:55 - 9:40<br />
Class B<br />
|-<br />
|style="background-color:#B0B0B0;" | 9:45-10:15<br />
Study/Break<br />
|style="background-color:#7BCC70;" rowspan="2" | 9:25 - 10:40<br />
Class B<br />
|style="background-color:#FBA16C;" rowspan="2" | 9:25 - 10:40<br />
Class D<br />
|style="background-color:#7BCC70;" rowspan="2" | 9:25 - 10:40<br />
Class B<br />
|style="background-color:#FBA16C;" rowspan="2" | 9:25 - 10:40<br />
Class D<br />
|-<br />
|style="background-color:#74BBFB;" | 10:20 - 11:05<br />
Class C<br />
|-<br />
|style="background-color:#FBA16C;" | 11:15 - 12:00<br />
Class D<br />
|style="background-color:#B0B0B0;" | 9:45-10:15<br />
Assembly/Break<br />
|style="background-color:#B0B0B0;" | 10:50 - 11:35<br />
Study/Break<br />
|style="background-color:#B0B0B0;" | 10:50 - 11:35<br />
Assembly/Break<br />
|style="background-color:#B0B0B0;" | 9:45 - 10:15<br />
Advising<br />
|-<br />
|style="background-color:#B0B0B0;" | 12:10 - 12:55<br />
Lunch<br />
|style="background-color:#FFCC11;" rowspan="2" | 11:45 - 13:00<br />
Class F<br />
|style="background-color:#D44942;" rowspan="2" | 11:45 - 13:00<br />
Class E<br />
|style="background-color:#FFCC11;" rowspan="2" | 11:45 - 13:00<br />
Class F<br />
|style="background-color:#D44942;" rowspan="2" | 11:45 - 13:00<br />
Class E<br />
|-<br />
|style="background-color:#D44942;" | 13:05 - 13:50<br />
Class E<br />
|-<br />
|style="background-color:#FFCC11;" | 14:00 - 14:45<br />
Class F<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|-<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:00 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:00 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|-<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|}<br />
</div></div><br />
<br />
====Academic Calendar, 2023-2024====<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Summer Term 2023'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
June 26 (Monday) - Summer session faculty arrival<br />
June 27 (Tuesday) - Summer session students return<br />
June 28 (Wednesday) - Summer session classes begin<br />
August 21-25 (Monday-Friday) - Exam week; special class schedule for exam period<br />
August 25 (Friday) - Summer term ends<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Fall Term 2023'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
August 28-19 (Monday-Tuesday) - New faculty orientation<br />
August 31- September 1 (Thursday-Friday) - Faculty meetings<br />
September 2-3 (Saturday-Sunday) - New Student Orientation<br />
September 4 (Monday) - Labor Day; Returning Students Must Check-in (by 6 pm)<br />
September 5 (Tuesday) - Required Opening of School Assembly; Classes Begin<br />
September 15 (Monday) - classes as usual - Rosh Hoshanah begins at sundown <br />
September 25 (Monday) - No classes - Yom Kippur (begins at sundown on Sept. 24)<br />
October 6-8 (Friday-Monday) - Family Weekend (No classes Monday)<br />
October 12-13 (Thursday-Friday) - Midterms<br />
October 28 (Saturday) - Halloween Dance (Casual)<br />
November 10 (Friday) - Last day of Fall Term classes<br />
November 13-17 (Monday-Friday) - Exam week; special class schedule for exam period<br />
November 17 (Friday) - Last day of Fall Term; Thanksgiving vacation begins<br />
November 21 (Tuesday) - Fall term grades/reports due (Faculty)<br />
November 22 (Wednesday) - Fall term academic review meeting, 9:00-13:00 (Faculty)<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Winter Term 2023-2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
December 3 (Sunday) - Thanksgiving vacation ends; students must return and check in before 6 pm.<br />
December 4 (Monday) - Winter term classes begin<br />
December 16 (Thursday) - Winter Ball (Formal)<br />
December 15 (Friday) - Half-day of classes; Winter vacation begins after classes end<br />
January 2 (Tuesday) - Winter vacation ends; students must return and check in before 6 pm.<br />
January 3 (Wednesday) - Classes resume<br />
January 11-12 (Thursday-Friday) - Midterms<br />
January 15 (Monday) - No Classes - Martin Luther King, Jr. Day. Mandatory all-school assembly, 9:45-10:45.<br />
February 5-6 (Monday-Tuesday) - No Classes - Mid-Winter Holiday<br />
February 10 (Saturday) - Valentine's Dance (Semi-Formal)<br />
March 8 (Friday) - Last day of Winter Term Classes<br />
March 11-15 (Monday-Friday) - Exam week; special class schedule for exam period<br />
March 15 (Friday) - Last day of winter term; break begins once exams end<br />
March 19 (Tuesday) - Winter term grades/reports due (Faculty)<br />
March 20 (Wednesday) - Winter term academic review meeting, 9:00-13:00 (Faculty)<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Spring Term 2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
March 25 (Monday) - Spring vacation ends; students must return and check in before 6 pm.<br />
March 26 (Tuesday) - Spring term classes begin<br />
April 1 (Monday) - Mid spring holiday, no classes<br />
April 26-27 (Thursday-Friday) - Midterms<br />
May 6-10 (Monday-Friday) - AP exams<br />
May 13-17 (Monday-Friday) - AP exams<br />
May 24 (Friday) - Spring Ball (Formal)<br />
May 24 (Friday) - Last day of Spring Term Classes<br />
May 27-June 31 (Monday-Friday) - Exam week; special class schedule for exam period<br />
May 31 (Friday) - Vacation begins after exams end.<br />
June 1 (Saturday) - Senior-Faculty Dinner<br />
June 1 (Saturday) - Senior academic review meeting, 9:00-13:00 (Faculty)<br />
June 2 (Sunday) - Commencement<br />
June 4 (Tuesday) - Spring term grades/reports due (Faculty)<br />
June 5 (Wednesday) - Spring term academic review meeting, 9:00-13:00 (Faculty)<br />
June 7-9 (Friday-Sunday) - Alumni reunions<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Summer Term 2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
June 24 (Monday) - Summer session faculty arrival<br />
June 25 (Tuesday) - Summer session students return<br />
June 26 (Wednesday) - Summer session classes begin<br />
August 19-23 (Monday-Friday) - Exam week; special class schedule for exam period<br />
August 23 (Friday) - Summer term ends<br />
</pre><br />
</div></div><br />
<br />
== XS School Rules ==<br />
<br />
ICly, all students at Xavier's are expected to be familiar with the rules and follow them while they are living at and attending the school. OOCly, clearly, people break rules and we do not expect all characters to be studious and well-behaved at all times! Just keep in mind that they have teachers who are telepaths, and boarding schools are highly prone to a busily turning gossip mill. There are things that are easy to get away with and things that are likely to be discovered; don't be surprised if your char's frequent class-skipping or curfew-breaking or bullying lands them in hot water with the school administration.<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Major Infractions'''<br />
<div class="mw-collapsible-content"><br />
<br />
'''Major infractions will result in more severe disciplinary action. Choosing to remain present while violations of any school policies are occurring may also result in disciplinary action.'''<br />
<br />
*A large part of Xavier's safety lies in its discretion. Under no circumstances should information about the school's mutant status or the X-Men or the mutations of anyone associated with the school be divulged. If students believe they have found other children who would benefit from schooling at Xavier's, they should bring this to faculty attention rather than extending any sort of information or invitation themselves.<br />
<br />
*Violence of any sort is prohibited at Xavier's.<br />
<br />
*Hazing or bullying of any kind will not be tolerated at Xavier's. Hazing is defined as harassing, intimidating, bullying, or coercing another student with the purpose or result of embarrassment, disturbance, or humiliation. Bullying or discriminatory behaviour will not be tolerated. <br />
<br />
*Leaving school grounds without permission. All students must sign out with and be cleared by the faculty member on-duty before leaving school grounds at any time. There is no requirement for a chaperone when leaving campus under normal circumstances. However, if there is a crisis students must be attended by a faculty chaperone or a guardian.<br />
<br />
*Purchasing, possessing, using, or distributing any illicit or illegal drug, any prescription drug in a manner inconsistent with the instructions of the prescribing physician, or legal over-the-counter drugs for purposes other than legitimate medical treatment.<br />
<br />
*Purchasing, possessing, drinking or being under the influence of alcoholic beverages.<br />
<br />
*Dishonest acts of any kind, including cheating, plagiarizing, and other forms of academic dishonesty.<br />
<br />
*Xavier's is a safe location for mutants to live and explore their powers free of the judgement and hostility encountered in the rest of the world. Students are encouraged to train and practice and explore responsible use of their powers while at the school. Use of mutant powers in malicious or destructive manners, whether towards persons, creatures, or property, is never acceptable and will be dealt with strictly.<br />
<br />
*ALL out of school visitors, including family members, must be cleared by a faculty member and signed in with security while they are on school grounds.<br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Additional Policies'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Students are not permitted to possess weapons or firearms of any sort, including BB guns. Permitted use of weapons during athletic activities and training sessions is allowed only under the supervision of a faculty member.<br />
<br />
*Gambling for money is prohibited.<br />
<br />
*Students are required to attend all their scheduled appointments punctually, including classes, assemblies, athletic sessions, or meetings with their adviser. Students who are ill and unable to attend their appointments must report to the medical bay; only Health Services staff may excuse students for medical purposes. Students with other schedule conflicts must receive a note, in writing, from a faculty member excusing them from their school duties.<br />
<br />
*All Xavier's students are issued a cellphone for emergency use. Students leaving school grounds must bring their school-issued cell phone with them at all times. Xavier's cellphones come with a 'panic button' that alerts the school if students find themselves in trouble. Students are expected to utilize this if they are in danger: casual misuse of the panic button outside of emergencies will result in disciplinary action.<br />
<br />
*All students are allowed access to the equipment in the computer lab and, for those with their own computers, internet connections are available in all dorms and wireless internet throughout the school grounds. All students utilizing school technology resources must comply with the acceptable use policy at all times. (Typical regulations about responsible use, prohibiting fraud, pirating, account sharing, malicious hacking, any illegal activities.)<br />
<br />
*Sunday through Thursday, students under the age of 16 are required to be on school grounds by 8 p.m. and in the mansion building by 10:30 p.m. Students over the age of 16 are required to be on school grounds by 9 p.m. and in the mansion building by midnight. On Friday and Saturday nights, students over the age of 16 have no curfew but are still required to follow appropriate sign-out/permission procedures at all times. For students under the age of 16, Friday and Saturday night curfew is extended; students are required to be on campus by midnight, with no requirement to stay in the building. After curfew, students may not leave again before 5 a.m.<br />
<br />
*There is no formal dress code at Xavier's; students are expected to exercise good judgement in the appropriateness of their attire, both in terms of offensiveness and of modesty. Students must change if requested to by a faculty member.<br />
<br />
*Students are not permitted in Cerebro at any time. Students are not permitted anywhere on the second basement level without a faculty escort.<br />
<br />
*Students possessing a valid driver's license are allowed to keep one personal vehicle in the school garage, if they first obtain the written permission from the faculty.<br />
</div></div><br />
<div class="mw-collapsible mw-collapsed">'''Dormitory Rules'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Dormitories have quiet hours to allow students to sleep and study: any period of the day when classes are in session, and after 10 p.m. every night except Fridays and Saturdays.<br />
<br />
*No out-of-school visitors will be allowed on the dormitory floor after 10 p.m. Approved visitors staying overnight at Xavier's will be given a room in the guest wing.<br />
<br />
*Students may only be in their OWN dormitories after curfew. Exceptions may be made only by faculty and RAs.<br />
<br />
*Open flames are not allowed in student dorms, to include candles, matches, incense, lighters, or uses of mutant powers that produce flames. Highly flammable materials may not be stored or used in student dorms. Students may not tamper with smoke detectors or fire alarm systems.<br />
<br />
*Student rooms are required to be kept neat and orderly. Inspections for cleanliness will occur on a regular basis; inspection beyond simple observation is considered a room search and will not occur without dean approval.<br />
<br />
*Pets are permitted to students only with faculty approval. Approved pets are the responsibility of the student to care for and oversee. Approval may be revoked for considerations of hygiene, student safety, and animal welfare.<br />
</div></div><br />
<br />
== Academics ==<br />
<br />
Xavier's School runs on trimesters, with an optional summer term for students who wish to stay at school over the summer. In order to graduate, students must complete at least 60 credits of courses through their four years; in almost all cases, classes count as one credit per trimester. Students must enroll in a minimum of four and maximum of six classes per term, except for summer term.<br />
<br />
*Art - 3 term credits; Must study at least two different disciplines (visual arts, performance, or music.) Normally non-credit performance extracurriculars (e.g. Xavier's Players, Band, Chorus) can fulfill a discipline requirement. Visual arts requirements can be waived by permission of the [[Jax|arts department head]].<br />
*Computer Science: 3 term credits; alternatively can test out. <br />
*English - 11 term credits <br />
*History - 6 term credits; three of which must be U.S. history and three of which must be non-U.S. history.<br />
*Health & Human Development: 2 term credits.<br />
*Language - 9 term credits of one language or 5 each of two; alternatively, can test out. <br />
*Mathematics - 9 term credits <br />
*Philosophy, Ethics, and Religion: 6 term credits<br />
*Physical Education: 2 term credits per year; can use a season of athletics as one term of phys. ed. requirement.<br />
*Science - 6 term credits<br />
*Social Sciences - 1 term credits<br />
*Vocational Tech - 1 term credit<br />
<br />
Additionally, students must successfully complete sixty hours of community service activities through the course of four years. Faculty advisors are available to help students find appropriate service projects. <br />
<br />
'''Note''': The following courses, highlit in red in the course list, are mandatory for all students:<br />
*English - Expository Writing<br />
*Health & Human Development - Teen Health Matters (formerly Health & Human Development. Must be taken first term upon enrolling at Xavier's)<br />
*Health & Human Development - Thriving in Community (formerly Human Sexuality)<br />
*Philosophy, Ethics & Religion - Bioethics - Humanity in a Post-Genomic Era<br />
*Philosophy, Ethics & Religion - Power & Social Responsibility<br />
*Philosophy, Ethics & Religion - The Ethics of Power<br />
*Phys. Ed - Psionic Self-Defense<br />
<br />
'''Note''': Classes marked with an asterisk* can be repeated for credit. Classes without an asterisk may only be taken for credit once. Any classes may always be audited (for no credit) as fits the students' schedule, with permission from the instructor.<br />
<br />
'''Note''': Students taking interdisciplinary classes may choose ''one'' department to apply their credit to. Credit will not be awarded in multiple disciplines for the same class.<br />
<br />
<div class="mw-collapsible mw-collapsed">Xavier's Academic Offerings<br />
<div class="mw-collapsible-content"><br />
{| cellpadding="10" class="wikitable" style="width: 90%;"<br />
!style="color:#FFFFFF; background-color:#000000;" | Department<br />
!style="color:#FFFFFF; background-color:#000000;" | Course<br />
!style="color:#FFFFFF; background-color:#000000;" | Term Length<br />
!style="color:#FFFFFF; background-color:#000000;" | Teacher<br />
!style="color:#FFFFFF; background-color:#000000;" | Class Description<br />
!style="color:#FFFFFF; background-color:#000000;" | Notes<br />
|- <br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Introductory Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Fall)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is designed to give students a vocabulary to further understand and describe the music they will encounter. After beginning the year learning hand-written musical notation, the study of scales, intervals, tonality, harmony, melodic organization, voice leading in two parts, and harmonic dictation ensues. After this study is complete, students will be in a position to knowledgeably describe every aspect of a typical piece of music that they may come across. Ear-training skills are developed through dictation and sight singing. Those taking this course in the fall are encouraged to combine it with Intermediate and Advanced Theory and Composition to form a three-term Advanced Placement Music Theory sequence. Students will begin composing near the end of the term, but it should be noted that most compositional activity will occur in the intermediate & advanced classes.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Intermediate Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Winter)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Continuing from where Introductory Theory & Composition leaves off, this course begins the students’ hands-on compositional development. Small pieces are composed almost nightly as students now begin to demonstrate what they previously learned to recognize and describe. Also in this term, students will compose several larger pieces that will be written for and recorded by classmates. As the term progresses, the chords of Western music are incorporated into their musical vocabulary one by one. Further study in sight singing and ear training help to continue that development. In most years, this term includes a field trip to see the New York Philharmonic in concert.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Advanced Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Spring)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Completing the music theory sequence, the focus for the beginning of this term is on preparation for the AP exam in May. Students study non-dominant seventh chords, applied dominant seventh chords, and musical form before a week of AP prep. After the AP exam, a larger project is decided upon. Past projects have included studying Chopin’s piano preludes, examining poetic meaning in Schubert’s songs, and composing a 3–5 minute work.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Becoming Musical<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course examines the elements that are universal in music and develops the practical skills needed to become functioning musicians. Rhythm, pitch, scales, keys, intervals, and triads are the basic material of the course. By studying a variety of both popular and classical styles, students will discover how composers employ the elements of music to create varied moods and expression. The practical skills of ear training, sight-singing, and dictation as well as the notation of music are integrated into the course. The department encourages students to take private lessons along with this course.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | The Nature of Music<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course offers a basic introduction to music literature, theory, performance, and composition. Music from various cultures and historical periods is examined in an attempt to increase student awareness of the musical languages and practices. Students compose several original compositions, and they also receive instruction on musical instruments. No previous experience in music is required.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Western Music History<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
A one-term survey of Western music history. The course progresses chronologically from classical antiquity to the music of today, exploring along the way the religious, social, historical, and human issues surrounding music and its composition.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | World Music<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In this performing/writing course, we will explore, connect, and engage cultures from different corners of the world through music composition and improvisation. Students will have access to the many traditional instruments owned by the Xavier's Music Department. All participants will share equally in the creative process and an end-of-the-mod performance will highlight the experience.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Popular Music in America<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What is American popular music? How does the rich variety of American popular music styles reflect trends in American society and the major events of American history? Through a series of readings and recordings, students will trace the history of popular music in America across three extended time spans: 1840-1920 (beginning roughly with Stephen Foster and the advent of minstrelsy through ragtime and early blues forms); 1910-1950 (to include New Orleans jazz, syncopated song and dance music, big band, swing and bop, and Chicago jazz); 1950-1980 (including cool jazz, rock and roll, rhythm and blues, British rock, rock, soul, Latin music, and contemporary jazz). Emphasis will be placed on developing understanding and perception of the musical elements of instrumentation, rhythm, melody, harmony, dynamics, texture and form through study of classic recordings from a wide spectrum of popular artists.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Your Musical Brain<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What playlists do you create to accompany you through the parts of your day? How does the music we choose shape the personal and communal tapestry of our daily lives? The Musical Brain explores why music matters so much to us as individuals and as a species. Through reading assignments, listening assignments, and classroom activities we’ll explore the rapidly evolving field of inquiry and research in music perception and cognition. Topics will include the science of sound, the biological origins of music, relationships between music and language, and the sources of music’s emotional impact. </div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Film Scoring<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In this course, students will study film music primarily through compositional exercises, as well as analysis of films from various genres and time periods. The course will begin with an introduction to a wide variety of compositional styles and techniques employed throughout the history of film, including changes resulting from increased technological resources throughout the 20th century. Students will then compose music for film scenes from different genres, such as drama, horror, romance, and action/adventure. Though this course will primarily focus on music from the 20th century to the present, students also will learn about how certain composers connected music to visual images in classical concert music prior to 1900.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Jazz History<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course begins by examining jazz’s mixture of African and European traditions and the subsequent pre-jazz styles of spiritual, blues, and ragtime. It then proceeds with a study of 20th-century jazz styles, beginning with New Orleans and culminating with the multifaceted creations of today’s artists. Along the way the course pays tribute to the work of some of jazz’s most influential innovators, including Louis Armstrong, Duke Ellington, Count Basie, Billie Holiday, Charlie Parker, and Miles Davis. Original recordings, photographs, and videos are used extensively throughout the term.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Songwriting Workshop<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Popular music plays an important role in our modern culture: it can provide an escape from our daily lives and influence our thoughts and actions. MUS480 will begin by exploring popular songs from artists such as Ryan Black, Lady Gaga, Miranda Lambert and Rihanna as well as those of other artists from Motown to the present day. We will study songs from a variety of genres—including jazz, blues, rock, R&B, folk, and country western—as a way of building a foundational understanding of popular music. In addition to frequent songwriting exercises, students will create three original songs in the genre of their choice with particular focus on the musical attributes needed to support both the genre and the specific topic of each song. Students interested in all musical genres are welcome; however, it is expected that all students will be capable and willing to perform at a basic level using their own voice and/or an instrument and/or technology.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Modern Music Making*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is a workshop for students interested in making modern styles of music, primarily through technology. Students will develop their technique, their aesthetic and their ears by working on multiple collaborative and independent projects across a spectrum of musical genres including (but not limited to) pop, hip-hop, EDM, ambient and experimental. There will also be opportunities for live performances, cross-disciplinary collaboration and student-initiated projects. The in-class studio environment will be one of creativity, curiosity and collaboration as students work both together and alongside each other in pursuit of their musical goals.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Music Recording and Mixing*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course will give students hands-on instruction in the craft of recording and mixing music across multiple genres. Through focused discussion, experiential recording and in-depth mixing projects, students will learn the following: foundations of acoustics; aspects of digital recording using a DAW; microphone techniques in a variety of musical circumstances; design and implementation of signal chains in a multi-track environment; proper gain staging techniques; effective use of effects and signal processing; mixing best practices; and the interpersonal nuances of recording. Mixing projects will utilize audio recorded by the class, recordings made at on-campus music events, and stems from professionally recorded studio sessions.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Band*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Band provides students an opportunity to begin and continue instrumental development. Students new to string instruments must take the fall term course "Introduction to Orchestra" before auditioning for placement in an appropriate level of rehearsal: Concert (beginners and intermediate repertoire) and Symphonic (intermediate and advanced repertoire). Percussion Ensemble runs when there are sufficient percussion students and will combine with the other courses for recitals. Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Orchestra*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Orchestra provides students an opportunity to begin and continue instrumental development. Students new to string instruments must take the fall term course "Introduction to Instrumental Music" before auditioning for placement in an appropriate level of rehearsal: String (beginners and intermediate repertoire), Philharmonic (intermediate repertoire), and Symphony (advanced repertoire). Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Chorus*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Chorus provides students an opportunity to begin and continue vocal development. Students new to choral singing must take the fall term course "Introduction to Reading Music" as well as audition for placement in an appropriate level of rehearsal: Treble Choir (beginners and intermediate repertoire, women's voices only), Tenor/Bass (beginners and intermediate repertoire, mens's voices only, does not run all years), and Concert (advanced repertoire, mixed voices). Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | Instructor engages in blatant favoritism, both among classes and within classes. Students who can sight sing are often appointed section leader with no other qualifications. Consistently assigns more rep than can be reasonably learned and memorized, and drops selections within the week of the final concert. <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Jazz Ensemble*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC (instruments) & NPC (vocalists) <br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> This audition-only course is for those students interested in pursuing the study and performance of jazz/popular music. Instrumentalists and vocalists will rehearse separately to master jazz techniques before coming together to work on group improvisation and performance. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the winter term performance and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | Instructor engages in blatant favoritism, both among classes and within classes. Students who can sight sing are often appointed section leader with no other qualifications. Consistently assigns more rep than can be reasonably learned and memorized, and drops selections within the week of the final concert. <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Beginning Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Dance<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
All peoples and cultures dance. This course investigates why we dance as a representation of culture, as a form of communication and expression, and as a way of understanding our world. Students will look at various forms of dance generally and then delve more specifically into works of art that shape American concert and pop culture dance. Students will watch and analyze dance, research dance pioneers, and learn examples of significant and pivotal choreography. The class will learn about and do various forms of dance and will culminate with students using techniques and theories learned to develop their own composition. No prior dance experience needed.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course introduces students to four primary disciplines: ballet, modern, jazz and hip-hop. Basic composition and improvisation skills will be introduced. Little or no previous dance training required.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course focuses on Western concert dance disciplines: ballet, modern and jazz. Composition and improvisation skills will be developed. Previous dance training, which must include ballet, is required. </div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This accelerated course provides advanced dancers with intensive training in concert dance disciplines (ballet, modern, contemporary and jazz). Classes will consist of a warmup, technique and complex choreographed phrases, along with composition and improvisation. Prerequisite: instructor permission. Extensive dance training, which must<br />
include ballet, is required.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to Street Styles*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course introduces students to the culture of hip-hop and a variety of street dance styles under the hip-hop umbrella. Disciplines may include party/social dances, breaking, house, vogue and waacking. Classes will consist of a warmup, historical context, technique and some choreography. </div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | West African Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
The content of this course gives an introduction to basic West African movement, rhythms, and songs. Each class begins with a warm-up to prepare the body for this particular style of movement, followed by movements across the floor, and finally work on specific dances. Students will learn several dances from West Africa, primarily from Nigeria, Mali, Guinea, and the Senegambia regions. Classes are accompanied by live drumming, giving the students the opportunity to understand the unique connection between polyrhythmic timing and the body in motion. While the class focuses on the dances of West Africa it is also a means for understanding the culture of the people.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Moving Your Way<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is a creative movement class designed to introduce the novice dancer to dance in a comfortable learning environment while allowing the experienced dancer to further develop their choreographic tool box. Both novice and experienced dancers will explore and develop creative thinking skills, useful to the learning process. We will look at the different impetus of motion that can be initiated by the stimulus of sound and imagery, as well as external energy forces outside of the kinesthetic realm of the body. The course relies heavily on improvisation as a primary tool for finding one’s own authentic movement quality and is structured to liberate the way we move through space and communicate with each other by freeing up habitual patterns that may be restricting our unconscious and kinesthetic flow of energy.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to the Theatre<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Why do we make live performances? What does it take to create a production? This course explores the foundations of theatre and dance. How the different elements of directing, costume design, scenic design, lighting design, dancing, and acting—combine to create a unified production for an audience. In the process, students will learn the vocabulary of the stage and develop a conceptual framework for creating a performance.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Fundamentals of Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is designed for students with little or no acting experience. By doing exercises in movement and voice production, reading, improvisation, and scenes, a student who is curious about the theatre may determine whether he or she has ability or interest in acting while learning something of the process of characterization — the major responsibility of the actor. The emphasis is on the variety of acting experiences rather than on a polished final product.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This intermediate course focuses on developing and supporting each actor’s unique approaches to performance making and ensemble-building. Vocal and physical training deepens techniques introduced in THR202, empowering students to explore a diverse selection of dramatic texts and develop skills in improvisation and devising. Students may work with “heightened” texts or improvisations that present new challenges in terms of language, physicality, characterization, style or content. Students rehearse, workshop and perform material for each other, becoming increasingly adept at communicating and synthesizing creative ideas.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course offers students the opportunity to build on performance skills acquired throughout their Xavier's career and immerse themselves in a rigorous, thoughtful ensemble process. The class will conduct intensive analysis and rehearsal of either the work of a playwright or devise new performance material together based on the interest of the group. It may culminate in a series of fully explored scenes or in a full-length production.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Choreography*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course investigates choreographing dances in a variety of genres and styles for the stage. Students will be led through explorations and formal exercises to learn how to generate and manipulate movement in clear and innovative fashions. Coursework will culminate in a final presentation of original compositions. Students will also examine and analyze works of professional choreographers to gain a deeper understanding of dance elements and choreographic tools. Ultimately, students will deepen their understanding of movement as a form of communication and expression.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Directing*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course offers the essential theory and practice of stage direction, with particular emphasis on the leadership skills needed to create a constructive ensemble rehearsal environment. Beginning with a series of independent exercises aimed at honing the director’s aesthetic sensibilities and style, the course then invites students to select and direct a short play of their choosing. Students proceed step by step through the entire production process: from play selection, script analysis and casting to the detailed work of a rehearsal period. Along the way, students develop skills in the areas of composition and use of space, picturization, textual interpretation, and collaboration and communication with actors. All plays receive a public performance at the end of the term.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Lighting<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces the fundamentals of lighting design for theatrical and dance productions. Students will learn to use a design concept to make choices about how to express the theme and mood of a play or dance to enhance the storytelling of a production. The course will also enable students to work hands-on with lighting equipment in Theatre and Dance Department spaces as they learn how to manipulate the controllable properties of light: direction, intensity, color, pattern, movement, diffusion, and composition. The course places a heavy emphasis on self and peer critique of work and on revising work.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Set Design<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the design process and elements that inform the scenic designer’s choices when designing for theatrical performances. Focus will be on the use of a conceptual approach to design scenery that coveys the themes and mood of a script and creates a cohesive and effective design for a show. To create designs, the class will use several creative tools, including computer drafting software and the resources of the makerspace. The design process will include several steps, such as written concept statements, visual research, sketching/drafting and model making. The course places a heavy emphasis on self and peer critique of work and on revising work.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Public Speaking<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course offers opportunities to practice speaking in community. Students experiment with writing, preparing and delivering effective and engaging speeches. While investigating communication strategies, students also explore somatic exercises to deepen their own physical and vocal awareness, and manage the anxiety that often accompanies public speaking. We emphasize attention to the dynamic relationship between speaker and audience, and students take an active role in each other’s growth. Students offer one another constructive feedback and gain greater insight into their own public speaking goals. The encouraging and supportive environment fosters greater self-confidence while developing both empathy and leadership skills.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | The Art of Comedy<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Come discover elements of Comedic theatre. Among other things we will explore stand‑up, slapstick and sketch comedy through radio, movies, theatre, performance and street artists. We will ask what humour really means to humanity and where its edges might be. What can we do with fear, excitement, posture, breath, props, light, and sound? During the class you will create a repertory for yourself. No theatre experience required, just a willingness to have deep fun.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Filmmaking<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides practical experience in basic cinematography without dialogue. Using digital video equipment, students learn about the history of filmmaking as well as the use of the camera and editing techniques to create their own short films. Student, amateur and professional film sequences are discussed and analyzed.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Drawing 1: Methods & Materials*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Drawing is fundamentally about learning how to see and how to translate that vision onto paper through a variety of mark-making techniques. Through in-class exercises and formal assignments, students learn the language of drawing and develop skills relating to contour, gesture, and fully rendered compositions. Course concepts include the depiction of three-dimensional form on a two-dimensional plane, use of light and dark contrast, and sighting. Assignments are designed to develop students’ skills in drawing representationally from direct observation and to encourage creative and expressive thinking.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Painting 1: Paint, Palette, and Process*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Develop skills with the basic elements of painting in acrylics as you explore different approaches to generate ideas for paintings. Learn how dots become complex abstract compositions or how the game of Pictionary prompts surreal spaces. Working from both the imagination and observation, specific projects are assigned to facilitate the study of fundamental paint handling, color mixing, and blending. Issues of form and space relationships, composition, and development of ideas are addressed in balance with the student’s desire for self-expression. Class critiques and visits to the Metropolitan Museum of Art complement the actual painting process.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Advanced Drawing, Painting, and Mixed Media*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course builds on the knowledge and skills developed in Drawing I and/or Painting I, while helping students find and express their artistic voice through one medium or a combination of 2D media. This class focuses on thematic subjects and continues to stress the development of concepts and skills. Using painting or drawing, students can create artworks from both the imagination and observation to broaden their definition of what painting or drawing can be. For those students interested in mixed media, they can combine traditional or experimental drawing or painting methods with collage and other techniques. During this course, students are encouraged to design their own projects and to build a portfolio of their artworks. Critiques and virtual visits to the Metropolitan Museum of Art are important components of this course.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Life Drawing*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Drawing realistically has been a revered art ever since the ancients used mark-making to create the illusion of depth on a two-dimensional surface. This course is designed for beginners who want to learn the basics of drawing from life. Students will develop their representational drawing skills using a variety of charcoal media. As the course progresses, students will draw from still life, photographic references, and finally live models. Through a series of demonstrations, in-class drawing, group critiques, and individual assistance from the instructor, students will develop their ability to draw convincingly from life. Focus topics include composition, proportion, value relationships, edge relationships, modeling, materials, and stylization. In-class drawing exercises and assignments will focus on subjects exposed to one-source lighting and will vary in length from quick studies to more developed compositions.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Advanced Studio Art: Portfolio Intensive*<br />
|style="background-color:#17684F;" | 3<br />
|style="background-color:#17684F;" | [[Jax]] & NPCs<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides experienced students a rich opportunity to pursue the successful completion of a professional portfolio of artwork featured in an end-of-term thesis exhibition in the Half Gallery in New York City, team-curated by the class with a contemporary favor. The meaningful study of 21st-century visual culture is infused in the course through visiting artists and the investigation of artists relevant to ongoing studio work in all mediums. Students focus on photography, printmaking, painting, drawing, ceramics and 3-D design. This multimedia studio course requires strong self-direction, a unique studio investment and creative motivation. Students focus on a particular art medium and create multiple works that explore a concept or idea. Under the guidance of the instructor, students will set qualitative and quantitative goals for the term in their chosen studio concentration. Weekly process critiques are an integral part of the course and support ongoing artistic growth. In addition, the instructors meet individually with students for more-specific feedback and to mentor the process. Useful feedback is given to students from Art Department faculty who specialize in their chosen studio discipline to help them develop ideas and offer suggestions. Students may also receive guidance in the development of an art portfolio suitable for college admission criteria.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Graphic Design*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Design shapes how we see and experience information. Those who visually communicate through design have the opportunity to shape the meaning of the images we consume. This course not only addresses the formal, sensory, conceptual, and technical aspects of design, it also encourages students to consider the ethics and design history that have shaped our contemporary visual experiences. Students will use design thinking principles and real-world scenarios to create pieces that will be shared with their communities.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Graphic Design II*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is divided into two parts: practical design application and personal projects. We will begin the course by examining the practices of designers working in today’s market. This includes engaging with visiting designers and illustrators and creating work for a real client. Part two of this class is dedicated to exploring one’s emerging design aesthetic using a breadth of digital media. Students pitch and create their personal projects, which can range from branding to book illustrations. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Architecture I<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce the basic principles of architectural design through a sequence of related projects in drawing, site analysis, and research into precedent, culminating in the design of a space or structure. The design projects will change from Term 1 to Term 3 and will address architectural design in different contexts so that a student wishing to continue with architecture at the advanced level can work with a variety of design issues. With hands-on sketches, drawings, and models, students will explore the issues of a well-planned structure and learn to see the environment in terms of human scale, materials, and the organization of space. Class time will include discussions and demonstrations as well as studio time. There will be a required evening lab. Students often find that this class requires more than the usual amount of homework time.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Architecture II*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Designed as a continuation of Architecture I for students who wish to develop and further expand their ideas. The sequence of projects throughout the term is designed to allow a student to study a range of architectural issues by addressing different contexts—a natural setting and an urban context. This course also will offer the possibility of developing a multidisciplinary project in coordination with work in another class.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Photography I: Appreciating Light, Color, and Theme*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course allows students to channel their excitement and passion for photography into a more intentional and sophisticated image-making process. Using digital cameras, students will gain a highly functional understanding of essential camera skills and<br />
photographic principles and learn to maintain proper exposure, focus, and creative control over the camera. Students will acquire skills in the digital studio including digital workfow management; online portfolio maintenance; Photoshop techniques and inkjet printing methods. Students will also develop their critique skills, learn to frame and present their work in a gallery, and practice writing artist statements. Each exploration challenges students to think conceptually, to shoot creatively, to develop an eye for strong composition and quality of light, and to make images that start conversations. Throughout the term, student photographers develop a vibrant online portfolio based on a series of thematic photo explorations, including identity-based portraiture, abstract, minimalism and Photoshop layers.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Photography II: Beyond the Camera*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Advanced Photography is designed to challenge students to go beyond technical skills and photographic principles to establish a conceptually strong personal photographic style and artistic voice. Through hands-on practice, in-depth critique and weekly assignments, students will develop a refined, concept-driven, professional online portfolio. In-studio learning exercises will continue to challenge students to build their digital camera skills, while out-of-studio assignments will become increasingly more in-depth and creatively challenging. A range of tools will be used including Photoshop, inkjet printers, and an array of studio lighting equipment. Students will produce original work, with special attention to ways in which their technical and aesthetic decisions can clarify their artistic intentions. Photoshop and iMovie are used to explore creative and experimental possibilities for enhancing and manipulating digital photos and video. The course culminates with a self-directed final project, allowing students to practice proposal writing, project development and final presentation, while pursuing work rooted in their own interests and experiences.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Film Photography*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course in analog photography concentrates on the use of 35mm cameras and chemical processing. Students are instructed in proper camera use, basic film exposure, and darkroom familiarity. Weekly meetings are divided into lab and classroom sessions. In the lab, students learn the fundamental tools and techniques of a traditional darkroom; in the classroom, students present their work to gain a fuller understanding of photography as a medium of expression and storytelling. Students can expect to examine the invention of photography and the “flaneur” tradition of 35mm photography as exemplified in the work of artists such as Henri Cartier-Bresson, Helen Levitt, Robert Frank, and many more. Film cameras will be provided for students to explore light-sensitive silver materials. Laboratory instruction in printing fine art images with variable contrast filters will be provided.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Ceramics I: Form & Function*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Xavier's Clay Studio introduces students to methods used to create unique sculpture and tableware. Developing their creative concepts, students will throw on the potter’s wheel, hand build forms, and create a series of pieces over the course of the term, which may include objects such as plates, cups, bowls, teapots and sculpture. Drawing inspiration from contemporary ceramic artists, the class will explore a variety of techniques for surface design, glazing and fring. The teacher will offer innovative and sophisticated approaches that will provide further opportunity for experimentation.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Ceramics II: Molding Meaning*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This advanced course offers a combination of assigned and self-directed projects with a further investigation of working with clay. Building of of skills gained in Ceramics I, students develop a more sophisticated approach to methods and techniques that are used to create forms with clay. Projects such as throwing, hand building, modeling and industrial slip casting will foster individual style and creativity. Students will focus on process and exploration of a broad range of contemporary clay works, functional, industrial and sculptural. Examples of contemporary artists’ pottery and sculpture are used as inspiration for studio assignments. Advanced Ceramics also offers the unique opportunity to study the science and chemistry behind glazing and firing. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Printmaking I: Pop Culture*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The printmaking course is a comprehensive studio experience that emphasizes experimentation and creativity while providing a strong technical basis. Students explore a variety of print processes, including screen printing, block carving, and monotype and letterpress printing. Using surfaces such as linoleum, woodblocks and silk screens, combined with a wide variety of carving tools and inks, students will create a substantial print portfolio that explores such concepts as image reversal, multiplicity, color theory, commercial applications and graphic design. Inspiration for projects includes fonts, portraits, still-life objects, photographs, media references and works by artists of the past and present. Inventive approaches, including T-shirt printing, will also be explored. Film clips and the examination of contemporary printmakers will enrich studio work.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Environmental Sculpture<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The course provides an opportunity to work and think about art on a large scale. Students create scale models of potential larger works that might require months to actually construct. They work outdoors on projects using simple "green" materials to create large pieces that are both objects and activate the space around them. Students are given a variety of prompts and requirements to address when creating their sculptures. For example, themes have been based on ideas about safety vs. danger and transitions. Students in the class are, sometimes for the first time, sawing and hauling logs, hefting rocks, digging holes and generally breaking a sweat to create their visions.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Wearable Art<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this course, students make art that can be worn on the body. Students use traditional jewelry making and sewing materials but also work with non-traditional materials, with a strong focus on concepts and the transformation of materials.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | The Moving Image<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Video art has been described as the “electronic canvas.” In this course, students will learn to use the moving image as an artwork unto itself. Students will be exposed to video art’s unique history, as well as the video art pioneers and contemporaries who have created work outside the traditions of the narrative and documentary. We will explore the technical aspects of video, including using the camera, the software, and the moving image in both traditional and experimental ways. Editing will be done using the digital process of Final Cut Pro, but students may also explore other methods of creating moving images. How, where, and when to present work will also be explored.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Drawing: Otherness & Social Justice<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]] & NPCs<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, students explore drawing using text as primary imagery. Students learn about design and text-based drawing strategies to explore human rights while developing a body of drawings addressing their study. The course is designed to provide students with opportunities to explore fundamental human rights and varying Western/non-Western viewpoints and perspectives through the exploration of art as a vehicle to promote and encourage social change. The course explores the history of political art blending both critique and debate learning opportunities with studio art practices. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Digital Literacy<br />
|style="background-color:#F8EF6C;" | 1<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this introductory course, students become familiar with the basic principles of a personal computer, including the internal hardware, operating system, and software applications. Students gain practice in using key applications such as word processing, spreadsheet, and presentation software, as well as understand literacy issues around the Internet, information, and security, including how to navigate sorting trustworthy sources from unreliable ones online.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Computing and Society<br />
|style="background-color:#F8EF6C;" | 1<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to algorithms and algorithmic thinking through the lens of social and public policy. Students explore the impact of algorithms and software on privacy, censorship and other sometimes contentious matters in the modern world. Students will learn programming as a tool for exploring these concepts.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Fundamentals of Computer Science<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course begins with an introduction to computational thinking, potentially including programming in a block-based language such as Scratch, and then moves to programming in Python, JavaScript, Processing, or another text-based programming language. Students will learn about variables, functions, conditional statements (if-else), and iterations (loops), and will design and code their own programming projects. The course may include additional units such as programming Finch robots or performing introductory data analysis using SQL.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Algorithms and Data Structures<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines classic data structures: lists, queues, stacks, binary trees and graphs, and hash tables. Standard algorithms for sorting and searching will be studied, and complexity analysis performed using big-oh notation. Students also develop a deeper understanding of software engineering principles as the course emphasizes reuse and generic programming.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Mobile App Development<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Within this course, we will explore mobile spaces by developing applications for one or more of the presently available platforms (Android, IOS, etc.). Students will explore development topics specific to mobile applications, device operations and user interaction. Throughout the term, sound software design and engineering practices in encapsulation and modularization will be emphasized.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Introduction to Artificial Intelligence<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Introduction to Artificial Intelligence (AI) course teaches students important programming concepts that enable the use of AI in computer science and society at large. Students learn the implications of AI on society and develop a series of projects that illustrate the variety of ways AI can be used to optimize and predict information. Students learn how AI has been used in gaming and other applications, create an unbeatable computer Tic Tac Toe player; learn how chatbots are developed to interact with humans and create an informational chatbot of their own; learn how to make predictive models using linear and logistical regression and clustering, and create their own predictive models using complex data sets.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | AP Computer Science<br />
|style="background-color:#F8EF6C;" | 3<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Three-term course in algorithms, object-oriented programming, and data structures, guided by the College Board’s AP Computer Science course description. The course covers Java language syntax and style, classes and interfaces, conditional and iterative<br />
statements, strings and arrays, Object-Oriented Programming (OOP), searching and sorting algorithms, recursion, data structures, and the design<br />
and implementation of larger programs, including group projects.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#CE2029;" | Expository Writing<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Participants learn how to read challenging texts and how to think and write about them clearly and coherently. Readings for the course are taken from various disciplines, such as literature, journalism, and social sciences. The course enables students to identify the strengths and weaknesses in their writing and to improve their skills through individual and group work, discussions, revisions, in-class exercises, and homework. We read and analyze works that exemplify good writing, and we learn how to define a thesis, organize an essay, and incorporate appropriate vocabulary.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | AP English Language & Composition<br />
|style="background-color:#B74BF5;" | 3<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Learn about the elements of argument and composition as you develop your critical-reading and writing skills. Students read and analyze nonfiction works from various periods and write essays with different aims: for example, to explain an idea, argue a point, or persuade your reader of something. Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-english-language-and-composition AP English Language] curriculum.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | AP English Literature & Composition<br />
|style="background-color:#B74BF5;" | 3<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Learn how to understand and evaluate works of fiction, poetry, and drama from various periods and cultures. You’ll read literary works and write essays to explain and support your analysis of them. Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-english-literature-and-composition AP English Literature] curriculum.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | American Immigrant Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to be an immigrant in the U.S.? What do individuals experience when they move from one country and settle in another? What do these immigrants gain in the process, and what do they lose? How do they deal with being “the other?” How do immigrants connect or disconnect with their American- born children? Students explore all these questions and more by analyzing short fiction and films by American immigrants. Throughout the mod, students read and respond to text on a nightly basis, gaining a better understanding of how difficult assimilation can often be for immigrants in their new abode. Students come ‘up close and personal’ with immigrant issues by interviewing an immigrant of their choice and writing up their interview in a People magazine manner. The course culminates with a final project which ties all the readings together thematically in a creative and artistic way, addressing the essential question: what is the immigrant experience?</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Nonfiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“The essay isn’t a retreat from the world but a way of encountering it,” writes Leslie Jamison in Best American Essays 2017. Throughout the term, we will explore the art of telling stories — ours and those of others — and learn how to translate personal experience and research into effective pieces of creative nonfiction. We will read and listen to essays on a range of topics: health care, bird watching, immigration, craft beer, hunting and Serena Williams (to name a few). Forms will vary from traditional to more contemporary and innovative — memoir, lyric essay, braided essay, graphic essay, podcast and video essay. We will discuss them as readers (digesting content) and as writers (analyzing form). Students will craft original pieces of creative nonfiction, experimenting with a variety of compositional elements and techniques. The writing process will be workshop-oriented: Students will receive peer and instructor feedback, work through multiple drafts and build a supportive writing community.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Writing: Poetry<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“Poetry,” wrote Robert Frost, “is a way of taking life by the throat.” From its origins in oral tradition and tribal lore, as well as its role in incantatory spiritual practice, poetry has carried in its rhythms the deep longings of humanity. In this course, students will dip into this current, writing poems with a view to aspects of craft modeled by poets in a diverse range of voices and writing traditions. In our workshops of one another’s poems, we will consider the relationship between content and form, as well as what differentiates poetry from other writing genres. Through experiments in received forms (traditional forms such as the sonnet and sestina), as well as more contemporary approaches (for example, writing in free verse or in prose poems), students will move toward the development of a distinctive voice and style.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Writing: Short Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This writing-intensive course invites students to explore fiction as both readers and writers. The short stories and novels read in class will serve as models for students to create their own fictional work, introducing them to the craft and mechanics of fiction and storytelling. This course traditionally offers an MFA-style workshop model, providing students an opportunity to both receive and offer constructive feedback, and to revise their work using this input. Assignments may include two or three short stories and an analytical essay over the course of the term.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Under the Fur: Animals in Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">According to thinker Gilles Deleuze, anyone who likes cats or dogs is a fool. But we live in a time when more than one cable television channel is entirely dedicated to animal programming, when whole weeks are given to sharks, and when people carry their dogs as an accessory. It seems we are not concerned about becoming fools for species not our own. This course explores both how animals and animal lives are represented in narrative and how the presence of animals allows us to understand in new ways how narrative and language function. For this reason, we will dip into several genres, disciplines, and media: memoirs, novels, short stories, poems, philosophical essays, critical theory, internet videos, lectures, and films. We will be asked by these works to question what it means to represent animals but also what it means to represent at all. How can representation be ethical? How can it respond to and provoke wider political, theoretical, and philosophical debate? How should we and can we care for the nonhuman world? What are the dangers, boundaries, and rewards of cross-species sympathy?</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | African Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This seminar course will challenge students to take a closer look at African literature by tracing its evolution and discussing its diversity in terms of genre and geographical setting. Class discussions, written assignments, blog postings, and oral presentations will be based on the texts and films recommended for the course. Students will pay particular attention to how literary works produced on the continent have over the ages represented the African identity and how this has been perceived in other parts of the world. Possible texts: ''The Thing Around Your Neck'' by Chimamanda Ngozi Adichie (Nigeria, West Africa); ''Betrayal in the City'' by Francis Imbuga (Kenya, East Africa); ''A Walk in the Night'' by Alex La Guma (Republic of S.A., South Africa); ''Miramar'' by Naguib Mahfouz (Egypt, North Africa); ''The Penguin Book of Modern African Poetry'', edited by Chikane & Moore (continent-wide). A selection of films and articles will complement the study of these texts.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | The Art of Protest: Revolutionary Writings<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines protest as a form of literary activism. From the grittiness of hip-hop lyrics to the density of civil disobedience tracts, this class will seek to explore distinct genres of vocalizing dissent. The approach is multicultural and interdisciplinary, and it seeks to inspect the role of literature, art, music and film in galvanizing communities and creating spaces to examine social justice. Students will be asked to write in various protest genres (poetry, epistolary witness, monologue and fiction) to compile a portfolio of their own literary activism.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Utopias and Dystopias in Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Fantastic societies have held a fascination for writers from Thomas More to the present day. Utopia, “no place,” represents an idealized society whose inhabitants willingly embrace its difference from our own world. Dystopic visions are the disturbing fip side of this coin. Both genres inevitably cause readers to draw parallels between their own experiences and those of the protagonists. Scientific and technological advances are often at the root of the utopic/dystopic discourse, and one of the main functions of this course is to explore the presentation of technology as narrative. The course seeks to examine some of these alternate worlds to explore the way writers of fiction and filmmakers have presented the effect of projected changes and developments on the fabric of society. We will build our visionary galaxy from the following: Thomas More, Aldous Huxley, George Orwell, Margaret Atwood, Cormac McCarthy, Alfonso Cuarón, Octavia Butler, and other contemporary writers and filmmakers. Students will write analytical and creative essays.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Theories of Children's Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC-Marlene Zudke<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course considers the role of the imagination in communicating and effecting cultural change. Students will be asked to apply a variety of critical theory for interpretation and discussion of the literature. Themes explored by this course will include alternative realities, the nature of dreams, the function of the subconscious, and the use of allegory. Probable selections include ''The Adventures of Alice in Wonderland'' and ''Through the Looking Glass'', by Lewis Carroll; ''Haroun and the Sea of Stories'', by Salman Rushdie; ''The Wind in the Willows'', by Kenneth Grahame; ''The Jungle Book'', by Rudyard Kipling; ''The Wizard of Oz'', by L. Frank Baum; ''The Pied Piper of Hamelin'', by Robert Browning; ''The Secret Garden'', by Frances Hodgson Burnett; ''A Child’s Garden of Verses'', by Robert Louis Stevenson; ''The Lion, the Witch and the Wardrobe'' and ''The Last Battle'', by C.S. Lewis; and ''Grimm’s Fairy Tales'', ''Mother Goose'', writings by Carlos Castaneda, and essays by Bettelheim and Zipes. Possible films include ''The Red Balloon'' and ''The Point''. </div></div><br />
|style="background-color:#B74BF5;" | This class sounds cute and easy and has a reputation for actually being extremely intense and challenging; the teacher is particularly demanding in expecting students to analyze works & engage in class & homework.<br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Gothic Literature: Living in the Tomb<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course traces trends in Gothic forms, from their origins in the damp and dark castles of Europe to the aridity of the contemporary American landscape. Students will identify gothic conventions and themes such as the haunted house, family dynamics, apparitions, entrapment, secrecy, and the sublime. They also will read novels, short stories, and poetry spanning roughly 200 years in order to explore questions about the supernatural, the psychology of horror and terror, the significance of fantasy and fear, the desire for moral closure, and the roles of gender, race, class, and sexuality. Probable selections include ''The Castle of Otranto'', by Horace Walpole; ''Faustus'', by Christopher Marlowe; ''Rebecca'', by Daphne du Maurier; ''Dracula'', by Bram Stoker; ''The Turn of the Screw'', by Henry James; stories by Poe, Faulkner, Gaskell, Irving, Hawthorne, Gilman, Jackson, Cheever, DeLillo, Carver, and Oates; and poetry by Christina Rossetti, Thomas Gray, William Cowper, Louise Glück, and Sylvia Plath. Possible films include ''Affliction'', ''The Royal Tenenbaums'', ''A Simple Plan'', ''Psycho'', and ''The Cabinet of Dr. Caligari''.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Contemporary Native American Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to be a Native American writer in the 21st century? In this course, students will explore life on and off the Native American reservation in works produced by writers from a wide variety of indigenous communities in the United States. The course will involve navigating issues/topics a propos to Native American studies, such as colonialism and genocide, cultural survival, and political and environmental activism. Possible writers to be studied: Luci Tapahonso, Evelina Zuni Lucero, Sherman Alexie, Paula Gunn Allen, Leslie Marmon Silko, Ramson Lomatewama, Simon Ortiz, nila northSun, Joy Harjo, Gerald Vizenor, Louise Erdrich, Diane Glancy, Winona LaDuke, Anton Treur, Wendy Rose, and Linda Hogan.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Inheritance, Exile, and the Jewish Literacy imagination.<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Primo Levi’s short story “Quaestio de Centauris” describes a centaur living in exile from others like him in the human world. In her discussion of this story for a series in The New Yorker, Jhumpa Lahiri describes Levi’s time in Auschwitz as “the most brutal form of exile” and later quotes Levi on the subject from The Truce when he writes: “This is the most immediate fruit of exile, of uprooting: the prevalence of the unreal over the real.”<br />
<br />
The imaginative worlds of writers are necessarily infuenced by their lived personal and inherited cultural experiences. In this class, we will consider the ways in which history, exile and intergenerational inheritance shape the artistic worlds Jewish writers create. While the readings in this course will focus on a particular literary tradition, the course is relevant and welcoming to students of all cultural backgrounds. Writing assignments will ask students to reflect on their own lives and heritage, and the ways that history, culture and diaspora hold meaning for them as community members, individuals, thinkers and artists. Assignments will range from the personal (poem, essay, short story, visual work) to the collaborative (interview, documentary, ekphrasis, collage), inviting students to consider the forces that infuence their own imaginations. Readings will include fiction by Clarice Lispector, Primo Levi, Grace Paley, Franz Kafka and Courtney Sender; poetry by Anthony Hecht, Adrienne Rich and Joseph Brodsky; and criticism by Walter Benjamin, Svetlana Boym and others. The course will include visiting lecturers from within and outside of the Xavier's community.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Blood Roots: Horror Literature and its History<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Author Carmen Maria Machado writes that, “Horror is an intimate, eerie, terrifying thing, and when it’s done well it can unmake you.” From historical hauntings to modern-day slashers, horror literature as a genre has existed for centuries. Beginning with Walpole’s 1765 medieval terror ''The Castle of Otranto'', we will study the field’s evolution from gothic horror to contemporary scary stories, exploring the distinctions between gothic, psychological, and supernatural horrors, among others. Machado goes on to say that horror “tells us a lot about who we are, what we are, and what we, individually and culturally, are afraid of,” a claim which will guide us as we dive into ghastly and macabre tales that captivate a culture and hold a mirror up to our truest selves.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Strange Worlds: Speculative Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Whether it is Tolkien’s Lord of the Rings or H. G. Wells’ The War of the Worlds, science fiction and fantasy can not only delight our imagination but also help us understand our real, present world more thoroughly. Students in this course will study a wide array of science fiction and fantasy. They’ll look at how fantasy provides commentary on race, gender and class through works such as Octavia Butler’s Fledgling or Ursula K. Le Guin’s The Left Hand of Darkness, and consider science fiction’s power to comment on technological and social quandaries, such as Frank Herbert’s prescient consideration of global warming in Dune or Philip K. Dick’s exploration of artificial intelligence and identity in Do Androids Dream of Electric Sheep? Students will write critical reflections, examining the intersection of these imagined worlds with real life as well as trying to craft science fiction or fantasy of their own.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Crime Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to early works in the development of the “detective story” (Edgar Allan Poe, Agatha Christie, Sir Arthur Conan Doyle) and the ways in which those early works help establish the foundations for a variety of “crime fictions” that have steadily grown in popularity throughout the 20th and 21st centuries. Students will learn to appreciate authors working in different times, places and settings and to explore the criminal mind and those tasked with solving criminal cases and fighting criminal activity (whether amateur detective, private eye or police officer). Along the way, students will try their hand at writing their own pieces of crime fiction and produce short analytical pieces examining the books and films they encounter.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Fictions of Finance<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What do we value? The pursuit of profit, surges in wealth and the suspect principles of the financier have intrigued authors since the 19th century. How do language, narrative style, structure and literary production transform with shifts in the marketplace? Through a careful investigation of literature, film and illustration, we will discuss how art imagines and redefines social and economic relations. We will supplement the literary works with historical documents or articles that shed light on the economic climate at the time of publication. We might consider how the imagined space of the novel presents the mystery of the financial market, which seems shrouded in a haze. We might also ponder how authors imagine worlds where money has no practical use and nothing has any purchasing power. Over the course of the term, students will write short analytical pieces and complete a creative independent project of their own design.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Humor<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Robert Frost called humor “the most engaging cowardice” and Percy Bysshe Shelley characterized laughter as a “heartless fiend,” but maybe they weren’t in on the joke. In this course, we’ll read literary humor writing—including comedy, satire, irony, and wit—in a variety of forms and genres in an effort to face a paradoxical (and not entirely unfunny) question: should we take humor seriously? Students should expect to contend with critical theory, read across genres and media, and attempt to write humor of their own.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Mid-Twentieth Century American Poetry<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce students to poets and movements that have shaped the direction and contours of American poetry since World War II. Students first study the Beat Movement and then explore the so-called “schools” of poetry—Black Mountain, New York, Confessional, et al. The course finishes with an exposure to poetry that is happening right now, which includes bicultural and multicultural poets. Most class time will be spent deriving themes through discussions of poets, poems, poetic movements, criticism, and theory. Poets include Ginsberg, Corso, Kerouac, Dylan, Waldman, Bukowski, Creeley, Olson, Levertov, Ashbury, O’Hara, Lowell, Plath, Berryman, Bishop, Rich, Dove, Hass, Kinnell, Hogan, Nye, Springsteen, and Colvin.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Epics and Heroes<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Great epics of the past tell us about the culture, history, religion and magic of a particular time. As Joseph Campbell wrote, they are “the wonderful song of the soul’s high adventure.” We will look at powerful stories, as well as their meaning for the period and for today. Possible readings include mythology from around the world, Hermann Hesse’s ''Siddhartha'', and an assortment of modern comic books.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Rememories: Trauma and Survival in 20th-Century Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In her novel Beloved, Toni Morrison coins the term “rememory” to describe a type of memory that won’t stay buried—ghosts of experiences that resurface across years, decades, even centuries, memories of trauma that continue to haunt literature to this day. This course will examine how narratives of trauma and survival have been represented (and re-presented) in 20th- and 21st-century literature. In our investigation of literature about war, terrorism, diaspora, and other cultural traumas, we will encounter authors writing from a variety of historical moments and perspectives. We will look closely at how trauma literature both delineates and breaks down divisions within individual, societal, and generational trauma experience. And we will engage with course texts by writing in a number of modes, both critical and creative. Thematic focuses will include the problematics of truth and testimony; the dismantling of traditional narrative structures and genres; individual vs. collective memory; societal regeneration; and the ways trauma literature engages with issues of race, class, gender, and national identity.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Asian-American Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This seminar explores the literary, historical, and broader sociocultural development of the complex and ever-expanding body of work that collectively (and not always neatly) contributes to what may be called “Asian/American” literature and film. We will engage with a wide range of written and visual texts, including poetry, fiction, memoir, cinema, and television, as well as with scholarly and other artistic forms of production, in order to fashion an analytical framework, informed perspective, and interpretive approach through which to reread and rethink the culture, politics, and history of the United States itself. A related goal is to understand the role of literature and other cultural forms in our nation’s struggles over identity, power, and resources. Focusing on the development and representation of Asian/America, we will unpack the social formation of race and the complexity of racial dynamics in the United States historically and today.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Theatre of the Marginalized<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Course previously titled "Theatre of the Unusual/Everyday Life." Students who took that class previously should not sign up for this one) Through literature of the theatre, students focus on differences in everyday lives. Students will have an opportunity to explore many issues of accessibility, physical and mental challenges through time, cultures, definitions, and values, and the everyday struggles individuals have relating to others. Plays may include: ''Elephant Man'', ''Children of a Lesser God'', ''Fences'', ''Getting Out'', and ''The Ballad of a Sad Café''. </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Beyond the Thousand and One Nights: Introduction to Arabic Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, students will learn of the development of Arabic literature from its inception in the medieval Arabic literary tradition, which begins in the sixth-century with nomadic Bedouin poetry and the Qur'an, through new literary forms adapted from Western imaginative literature. The aim of the course is to introduce students to key samples of modern Arabic literature, which trace major social, political, religious, cultural and linguistic developments in the Arab world, including North Africa. All readings will be in English translations. The class will also explore the politics of translation. Some questions that will be addressed, but not exclusively: How do some Arab writers conceive of "modernity"? How do they conceive of their relation to politics, and how do they understand the role of intellectuals in their societies? Who are the readers (actual or implied) of these texts? How do these authors relate to the Arabic, European, and American literary traditions? </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | South Asian Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will focus on different genres, contexts, time periods, and even languages (although all readings will be in English/translation) that fall under the broad category of ‘South Asian Literature.’ In one year, we might focus on the events surrounding the Partition of 1947 and how it inspired a generation of writers in Urdu. Another year, we might focus on Sanskrit literature: for example, poetry, drama, and/or short stories. In other iterations, the class might explore LGBTQ authors, the South Asian diaspora, and even the works of a particular author. The readings would focus mainly on shorter literary works, such as short stories and poems, but there would also be in most of these classes the opportunity to read full books (e.g. Bharati Mukherjee’s ''Miss New India'' and ''Wife'', the Sanskrit ''Vetālapañcaviṃśati'', Abha Dawesar’s ''Babyji'') or excerpts thereof. Within each version of the course, students would be able to research and learn about the historical context of the works as well as where they fall in the literary sphere.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Shakespeare Now<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Poet Ben Jonson said of Shakespeare that he “was not of his age, but for all time.” But what does a poet-playwright, dead now some 400 years, have to say that speaks to this moment of the human experience? In this class we will read and discuss the Bard’s plays in order to see how they were understood in their time as well as how they address modern sensibilities of race, gender, sexuality, economics and politics. How does Measure for Measure figure in the #MeToo movement What does a queer reading of Twelfth Night yield? How does The Tempest engage colonialism, race and the violence of language, or how does King Lear take on the betrayal of both the body and the body politic? How might Henry IV address cultural appropriation and entitlement or Henry V espouse or critique nationalism? Through discussing, writing about and even performing scenes from some of Shakespeare’s plays, we will test whether and how these works still resonate. </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#CE2029;" | Teen Health Matters (Formerly Health & Human Development)<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this first-term, age-appropriate course, required of all new students, students will discuss health issues such as sleep, time management, living and learning in a diverse community, mindfulness, positive psychology and stress management, media literacy, and social practices in a digital landscape. All topics will be addressed in the context of adjusting to a campus community, accessing resources and understanding school rules. Together, all new students will explore how to fully integrate into their new class and how to have a healthy, mindful transition to Xavier's. A special emphasis on decision-making as they become emerging adults will help students make decisions about their future that offer complexities of choice. In-depth conversations will enable new students to build self-efficacy skills and prepare for challenging health and lifestyle choices. The pass/no pass grading system encourages student participation, honesty and sharing in a supportive and more relaxed environment.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#CE2029;" | Thriving in Community (formerly Human Sexuality)<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | [[Jax]]<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, required for all high school students, students will discuss a variety of health issues, such as mental and psychological health, character development, cultural competency, gender, sexual behavior and sexuality, consent/healthy relationships, and alcohol/drugs. This course is focused on helping students navigate some of the most common health and relationship concerns for their age group. Class aims to enable students to build self-efficacy and prepare for challenging health and lifestyle choices. Intentionality is explored throughout the term so that students will develop effective decision-making skills with purpose and thought. In this class students will explore identity development and self-authorship, foundational aspects to a student’s transition from adolescence to young adulthood. The pass/no pass grading system encourages student participation, honesty and sharing in a supportive and more relaxed environment focused around a growth mindset.</div></div><br />
|style="background-color:#E6A2AD;" | Probably the class most complained-about by parents to administration each year; Jax is very open in talking with students about sexuality, gender and identity issues and Many Parents are concerned he will turn their students trans or something.<br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#E6A2AD;" | The Pursuit of Euphoria<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will explore the use of mind-altering substances throughout history, across cultures and within subcultures of the United States. From a biochemical, sociological and psychological standpoint we will probe the reasons why people seek to alter their state of being, whether through the use of drugs or through natural means. Readings will include selections such as: ''The Compass of Pleasure'' by David Linden; Flow: ''The Psychology of Optimal Experience'' by Mihaly Csikszentmihalyi; and ''Forces of Habit'' by David Courtwright.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#E6A2AD;" | The Power Within: Philosophy and Science of Optimal Health<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How can we best manage life’s competing challenges? How should we measure success? What are the most effective means to enhance one’s capabilities, strengths and health status? We will aim to answer these and other questions by studying traditional teachings and practices, as well as the insights and lessons offered by modern-day behavioral science and neuroscience. Through reading, research, reflection, personal practice and experimentation, students will investigate the theories, models and methods that have proven to enhance well-being.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP Art History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-art-history AP Art History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP European History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-european-history AP European History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP U.S. History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-united-states-history AP U.S. History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP World History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-world-history-modern AP World History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., Colonialism - 1861<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the formation of American values and institutions from the early English settlements of North America through the Revolution and Civil War. Emphasis is given to the cultural, economic and social diversity of early America, the tension between local and central authority during the struggle for independence, the establishment of the Constitution, economic and social change in the young republic, slavery, and the growing sectional confict that culminated in secession. Students will complete a library research project.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., 1861-1941<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course continues the survey of American history with the Civil War and follows with the attempt to rebuild the union during Reconstruction. Emphasis is given to economic and social changes of the late 19th century and the emergence of the United States as a world power. Topics include the transformation of the United States into an urban industrial society, the dilemma of race, the changing role of women, the Depression and the political response to these issues. The course ends with the advent of World War II. There will be a required library research paper this term.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., 1941-Present<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course begins with U.S. involvement in World War II. Emphasis is given to the Cold War and rising global involvement of the United States. Other topics include the Civil Rights movement, the social and political turmoil of the 1960s, the dual crises of Vietnam and Watergate, the Reagan revolution and issues of the contemporary world. A term paper, based on independent research, is required to pass the course.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Native Peoples of the Americas<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course surveys the history of indigenous groups from their prehistoric roots to the Post-Classic Period. Students gain exposure to anthropological, archaeological and historical resources to illuminate the Mesoamerican societies with a particular focus on the Mayan and Aztec Empires. Students also gain exposure to the evolution of independent cultural and social systems among indigenous tribes in North America. Among the subjects highlighted are the production of foodstuff, evolving patterns of tribal life, governance, warfare and economics. During the latter stages of the course, students examine the ways in which the lives of indigenous peoples were dramatically reconfigured as the economic systems of the Atlantic world forever changed tribal life.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Jailhouse Nation: U.S. History of Crime, Punishment, and Mass Incarceration<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Jailhouse Nation explores America’s long and troubled history with crime, punishment, and prisons. By first examining how both crime and thus the “criminal” are socially and historically constructed, students will consider the role of violence and systematic punishment in Puritan New England, the slave South, and later, the modern United States. The institution of slavery will provide an important framework to help students understand how new modes of punishment (namely, incarceration in jails and prisons) emerged alongside the abolition of slavery. Furthermore, we will examine the role of post-emancipation prison regimes in shaping popular (mis)understandings of “race” and the idea of “black criminality.” Lastly, we will discuss the rise of the carceral state in the twentieth and twenty-first centuries, noting long historical parallels and the roles of contemporary political and economic forces driving the prison boom. Throughout the course we will consider the distinct experiences of punishment for men, women, children, African Americans, whites, Latinos, sexual minorities and non-citizens in order to tease out the specific relationships between race, class, gender and punishment at various moments in American history. Within our broader exploration of state-based punishment policies, we will also consider community resistance to policing and incarceration and the rise of so-called prison abolitionists.<br />
|style="background-color:#1053E9;" | <br />
</div></div><br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Law and American Society<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides students with an introduction to the American legal system and to the development of American constitutional law. Historic Supreme Court decisions and legal case studies will be used to develop an in-depth understanding of the historical background and present-day constitutional controversies over such topics as free speech, censorship, abortion, workplace discrimination, affirmative action and the rights of the accused. Practitioners from the fields of law and criminal justice may provide an added dimension to the course. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Rocking the Schoolhouse: US History of Education<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This class will examine the history of American Education. From the one-room schoolhouse to Race to the Top, students will leave with a deep understanding of how America educates its k-12 students. Rocking the Schoolhouse does not look at a broken system, rather the students analyze why the system is purposely designed to educate some, and leave many behind. Public schools today are as racially segregated as they were in 1954. The class presents a thesis: “The US Public Education System is the greatest Civil Rights issue of the 21st Century.” From this thesis, arguments and evidence will be presented and students will be asked to analyze the data and take their own stand. The racial opportunity gap has been identified, and little has been done to remedy this built-in aspect of public education. The final project challenges the student to identify a need in public education, and design a school that will remedy the problem. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Youth Subcultures<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores the role of subcultures in contributing to the cultural spectrum of the United States between the 1920s and the twenty‑first century. Studying subcultures can reveal as much about the shadows of society in which they resided as it does the mainstream. Subcultures also represent a unique intersection of radical political ideologies and innovative artistic trends, often expressed through a group’s attachment to a specific genre of music, social outlet, and/or fashion. We will examine the value systems, and the broader historical contexts that gave rise to them, of: the flappers; hipsters, and beatniks; greasers; hippies; the hip‑hop and punk rock scenes, and street art. We will also focus on the ways in which society has repeatedly co‑opted these previously marginal movements, rendering them into yet another popular means of corporatized mass consumption.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Black Studies<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Black Studies is a broad field of study that can be approached from many disciplines. In this course, we survey African American history from the period of the Great Migration through the present. We explore the socio-economic, political, and cultural contributions of African Americans with an emphasis on movements for racial equality, the arts, and Black feminism. Texts include foundational writings in African American history and literature, including writings from W.E.B. Du Bois; James Weldon Johnson; Booker T. Washington; Martin Luther King Jr.; Malcolm X; Ida B. Wells; Angela Davis; Shirley Chisholm; Audre Lorde; Richard Wright; James Baldwin; Langston Hughes, and many others</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Environmental History<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How did European cattle wage war on the Wampanoag in colonial Massachusetts? How did the Bible’s Eden, a belief in magic, and a mapping mistake come together to lay the groundwork for race-based disenfranchisement and colonial incursion? How did soil make decisions about what slavery would look like in the Cotton South? How did capitalist ideas effect changes in the landscape of New England? How does the difference of 20 inches of rain per year lead to drastic differences in population, politics, and culture between eastern and western states? What myths do we tell ourselves when we visit our national parks? How are we, through globalization, forcing ourselves to change the way we talk about the natural world? What is truly natural and how do we use Nature as a weapon to destroy societies and the earth? With this introduction to the newest field of American History, we will learn to study history by looking at the roles humans play within ecosystems and the effects of those ecosystems on human society.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Constitution<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">US Constitution is a hands-on, project-based class that seeks to examine the roots and development of the Constitution and the Bill of Rights, and then asks students to apply the document practically to several real and fictional Supreme Court cases. Hence, students begin the module with factual readings, the Federalist Papers and smaller debates, and general discussion. The class looks at the way fundamental concepts and definitions of freedom, citizenship, and “for all” have been shaped, undermined, and refined through the Constitution and its interpretation by the US Supreme Court. As the mod progresses, the assignments become more difficult and intense (briefing cases like Marbury v. Madison and Tinker v. Des Moines School District), culminating in the preparation and presentation of oral arguments for a mock Supreme Court in two cases, and sitting as a justice for one. Much of the grading for the class is done in groups, rather than individually, and so students are asked to trust and depend on their peers while making sure to hold up their own end of the workload. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The Transatlantic World: Empire, Contact and Legacies<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the imperial interests, race and gender relations, and cultural influences and exchanges that manifested during the era known as Colonial America. Though the course, by the end, focuses on the colonies that would become the United States, it begins with the pre-contact experiences of Native Americans, Africans and Europeans and how their lives eventually converged. Relationships impacted by economic development, racism and religious fervor forged a complex, historical, multiethnic legacy that is still visible today.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Race: A Global History<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Scientists agree that there are few genetic differences between people of different races and ethnicities. Social scientists thus contend that racial distinctions are a product of society and culture rather than biology. At what point, then, did differences in skin color and other phenotypic traits become signifcant? This course will explore the history of race and racism by looking at examples across the world. We will consider how humans have been divided into different “groups” and the historical circumstances that have led to those divisions. We will also interrogate the use of scientific theories to justify racism and the more recent repudiation of these theories. Using both primary and secondary sources, students will apply the methods of historical thinking to understand the evolution of racial categories and the impact of history on modern-day issues related to race and ethnicity.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The 20th Century<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is an introduction to significant events in the 20th century. Students investigate cause, effect and change in places such as Europe, Africa and Asia (including the Middle East). One principal aim of the course is for students to develop a better understanding of the response of traditional societies to the impact of modernization on their values and customs. Another is to examine ideological conficts of the modern world. Students also research contemporary problems that originated in the 20th century that demand creative and thoughtful solutions. Analytical skills, synthesis of conficting viewpoints, conducting research in the Academy Library, participating in debates and writing historical essays are all emphasized in this course.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Classical Greece<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the archaeology, literature, history and society of the Greek city-states from 1000 to 300 BCE. From Homer and Sappho to the Acropolis of Athens, a variety of materials introduces students to the literature, art, material culture and everyday life of an expansive Greek world. This course encourages students to establish connections between the ancient world and today and question the modern reception of the classical past. It introduces and develops fundamental historical skills, particularly research and writing.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Classical Rome<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the archaeology, literature, history and society of the Roman world from the foundation of the city through Late Antiquity. Central themes include urbanism, architecture, imperialism, daily life and archaeology. The course introduces and develops fundamental historical skills, particularly writing and research. It encourages students to establish connections between the ancient world and today and question the modern reception of the classical past.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The Medieval Worlds<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In the wake of the fall of the Roman Empire, three distinct and dazzling civilizations emerged. This course examines the creation of the European, Byzantine and Islamic worlds from the end of antiquity to roughly 1350, exploring the political, cultural, social and religious changes in each society. We examine the rise of the Christian Church in Europe and Byzantium, the birth and rapid success of Islam, and the impact on the values and behaviors of medieval people. Key figures, themes and events are studied, including Charlemagne, Muhammad, Justinian, mysticism, scholasticism, the Reconquista and the Crusades. We also discuss how early interactions and conficts shaped the views each society held of the others. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Early Modern Europe, 1350-1660<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The centuries following the Black Death saw the beginnings of modern Europe. This course focuses on the rebirth of European society and the new values, optimism and cultural achievements of the Renaissance. It then examines the turbulence of the Reformation — the shattering of Christian unity and the wars fought in the name of religion. The course then explores the development of new politics and the Age of Exploration when Europeans set sail and changed the shape of the world.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Absolutism and Revolution, Europe 1660-1800<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Beginning with the reign of Louis XIV, students examine 18th-century European society. We explore how the Scientific Revolution and the Enlightenment challenged the ideas of the Old Regime and created new perceptions of humanity, society and government. The course concludes with an analysis of the French Revolution and the rise of Napoleon.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The European Century, 1800-1914<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Beginning with the study of Napoleon’s Empire and the Congress of Vienna, this course examines how the French Revolution of 1789 and the Industrial Revolution transformed European society and politics in the 19th century and established Europe’s global preeminence. The course concludes with an examination of World War I, the shattering event that culminated Europe’s dominance.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | World War and European Society, 1890-1945<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">At the pinnacle of its power and confidence at the start of the 20th century, Europe could not have imagined the crises, mainly of its own making, that it would face between 1914 and 1945. In this course, we examine the era when Europe was shattered by two world wars, an unprecedented international depression, and the rise of totalitarian states in the Soviet Union and Nazi Germany. We examine why Europeans cheered for the Great War when it began in 1914, and how four years of industrial warfare and diplomatic failures contributed to catastrophes that followed. We then explore European culture during the interwar period called the Age of Anxiety, the Russian Revolution under Lenin and Stalin, the foundering of the democracies, and the rise of Hitler and Mussolini.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Europe Since 1945<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Once the region of geopolitical domination, Europe after World War II was forced to rebuild and redefine its place in a rapidly shifting world. This course examines the change in Europe’s position as it contended with the Cold War’s series of freezes and thaws; economic, political and social developments, such as the student revolts of the 1960s; and the dramatic decade of the 1980s with Thatcherism, Gorbachev, the fall of the Berlin Wall and communism. Topics analyzed include modern leadership in Germany, Great Britain and France; the Soviet Union from Stalin through its collapse; Eastern Europe’s transition from communism, and the European Union. We will conclude by examining Europe’s current position in the contemporary world.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Capitalism and its Critics<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides a survey of the origins and evolution of capitalism in a global world up to the present, with emphasis on the political economies of the West. Students examine the ideas of the great political economists such as Adam Smith, David Ricardo, Thomas Robert Malthus, Karl Marx, J.M. Keynes and Friedrich von Hayek, as well as trace the progression of modern industrial economies in Europe and the United States. The course ends with an analysis of the 2008 financial crisis and the Occupy movement.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Understanding Violence, War and Peace<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores both the history of and theories related to violence, war and peace across the globe, from ancient to modern times. Readings may include selections from a variety of disciplines, such as anthropology, ethics, philosophy, psychology and sociology. Students may consider such questions as: Is there such a thing as a just war? Are humans naturally violent? How do societies avoid violence and maintain peace? What role does technology play in shaping violent behavior? Can justice be achieved through the use of violent means? Is peace a realistic possibility in a globalized world? Is there more to peace than an interim between wars?</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | China: The Last Dynasty<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores Chinese history with a focus on the Qing Dynasty period (1644-1912). Students will tackle such questions as: How can Buddhism, Confucianism and Daoism coexist in the same time? How did the role of the Qing Dynasty in global history shift across the centuries? What makes the Opium Wars (1839-1842, 1856-1860) and the Boxer Rebellion (1899-1901) turning points in modern Chinese history? How does Chinese history look different from the perspective of a rural female villager versus an emperor? What are the strongest motivating factors in these two individuals’ decision-making? To help us explore how lived experience of this vast history can vary based on where in China one lived, what role in society one fulfilled, and which events one lived through, we will analyze a range of sources including film, fiction and scholarly assessments.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern China<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines China’s dramatic recent history through multiple lenses: historical survey, biography, memoir, film and journalism. We begin by identifying key themes and questions to guide our study. Then we move back in time to the 19th century, when contact with Westerners provoked war and internal rebellions. We examine the decline and eventual collapse of the imperial dynastic system, the rise of warlordism, an experiment in weak republican government, the prolonged civil war, China’s role in World War II, the founding of the People’s Republic, the thought and governance of Mao Zedong, the economic and social reforms of Deng Xiaoping, and China’s entry into the global marketplace. The last part of the course utilizes a variety of current sources to address the majorissues facing China in the 21st century. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Contemporary Middle East<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The course begins with the breakup of the Ottoman Empire and examines the rise of Arab nationalism and the struggle against foreign domination. The strategic and economic importance of the region is studied along with the founding of Israel; the continuing confict among Jews, Arabs, and Christians; and the rise of Islamic fundamentalism. Particular emphasis is placed on understanding the Arab-Israeli confict. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Asia: Contested Histories<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How and why do different national histories define themselves in competition with those of their neighbors? This course will focus on how recent trends in the writing of history are applied to the context of contemporary Asia including China, India, Indonesia, Japan, Korea, Thailand and Vietnam. These topics will be explored through a range of sources including film, memoirs, fiction, periodicals and scholarly assessments that reflect the diversity of experiences across Asia. Topics will include Marxist history, cultural history, gender, memory, modernity and ethnicity. This course will rely on students to conduct independent research throughout the term in digging through contested topics and historical controversies, including but not limited to competing national histories of imperialism, colonization, and nationhood in the 20th century.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Precolonial Africa<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the complexity and dynamism of the African past, from antiquity to the dawn of the 20th century. The course begins with an examination of the Nile Valley civilizations in antiquity, the historical debates surrounding that era and the advent of Christianity in North Africa. Students then study the rise of Islam in Africa and the West African empires of Ghana, Mali and Songhai. Next, students examine the role played by slavery in the creation of the Atlantic World. The course ends with an analysis of the dynamics of the cultural clash that ensued from the European colonization of Africa.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Africa<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What do we mean by “modern,” and what does “modern Africa” look like? The story of modernity has often been told from a Eurocentric perspective — one that conveniently excludes Africa. In this course, we will investigate the ways in which Africa is tied to modernity and the world. Chronologically, the course will investigate the continent’s history, beginning with the abolition of slave trade; 19th-century imperialism and the “scramble” for the continent; anti-colonial movements and decolonization; as well as the post-independence social and political realities. For the most part, academic study of Africa in the Global North has been dominated by non-Africans. Alternatively, in this course, we re-center African voices — that is, scholarly, literary and political writings of notable Africans to help students challenge the conventional wisdom about the rise of the modern world and the role of Africa in the global arena. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Latin America<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines how modern social and political institutions developed in the region that includes Central and South America and the Caribbean. We begin by questioning why such diverse places are imagined as a single region. We explore how colonialism shaped the region and how independent nations emerged from European political control in the early 19th century. Through a series of case studies, we then examine selected social, political and economic issues that shaped Latin America in the 19th and 20th centuries.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern India<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the history of what is today the world’s largest democracy. It starts in roughly 1700 with a study of the Mughal Empire and its decline, followed by the rise of British India. We explore the East India Company and the impact of British imperialism on India. The 1857 rebellion, the beginning of direct British rule and the consequences of these major events are analyzed. We explore the development and role of the Indian National Congress, explore the emergence of Indian nationalism, and assess Gandhi and other Indian leaders, as well as the forces around independence in 1947. In the last part of the course we study India’s identity from independence to today and the current issues and conflicts confronting this increasingly prominent nation.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Japan: Tradition to Modernity<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is an overview of Japanese history and considers how changes in political institutions, economic patterns, social organizations, and cultural practices took shape to transform the lives of individuals across the archipelago. We will explore questions that contemporary scholars grapple with to this day: How did the role of the emperor transform from the 16th to the 18th century? Why is the samurai such a powerful symbol? How did a region poor in resources and largely isolated from the West emerge economically vital in the last hundred years? Why did the concept of progress become such a pivotal concern for the leaders of Meiji Japan in the late 19th century? What are the consequences for rapid industrial revolution? With an emphasis on primary sources, students will analyze this history in terms of those who lived it. We will read from the perspectives of a daimyo reformer and a low-ranking samurai, from an impoverished farmer and an afuent merchant, the emperor and a housewife.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Japan: Post-war to the Akihabara Generation<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Akihabara district of Tokyo, Japan houses the world’s largest collection of everything that is associated with anime and the otaku culture and industry. It provides us with the goal and opportunity to examine Japan’s emersion from World War II into a thriving economic revival, democratic politics, and a new social order. With a particular focus on the creation of Otaku culture, we follow Japanese history through the 20th and into the 21st century, its cultural expansion and impact on not only the neighboring countries but the Western world as well. Post-war Japan has navigated its way through challenging encounters with its past, this course looks at those encounters and examines what role the otaku culture plays in the definition of 21st century Japan. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Humans and the Environment<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What drives human history? Do the pivotal factors lie beyond human control, such as climate, geography, ecosystems and microbes? This course examines the interactions between people and the natural world over time. In struggling to master an often hostile environment, human societies have had an ever-increasing impact on the planet, and apparent success has often ended in failure. The course begins with the emergence of humans in the Paleolithic period and then explores the invention of agriculture, the emergence of global trade and migration networks, colonialism and the Industrial Revolution. Students examine in depth an instance of humans managing — or mismanaging — a natural resource and conclude the course with a close look at 20th-century trends and the future we collectively face.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Genocide in the Modern World<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course studies the history of genocide in the 20th and 21st centuries, exploring both the patterns and unique circumstances of this important global issue. Students read and hear from historians, victims and perpetrators. Likely case studies are the Holocaust, Cambodia, the Balkans, and Rwanda, with time set aside for research into events determined by student interest. Students study root causes, including economic, political and social factors that permit the occurrence of genocide; assess international responses; and evaluate attempts at reconciliation, including justice systems and community reactions. The comparative nature of the course creates a framework to draw broad lessons about what leads to genocide in the modern world; enables us to assess the behavior, actions and inaction of the various groups involved; and pushes us to consider how these lessons could be applied to prevent such crimes in the future.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Totalitarianism: Past & Present<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course takes students on a fascinating exploration of the totalitarian and fascistic tendencies that have proven to be alluring alternatives to the democratic states and societies. These movements were often shrouded with utopian promises against a backdrop of apocalyptic struggles, regardless of the temporal or geographic location of the totalitarian movement. We begin by examining five national case studies drawn from Europe and Asia between the 1920s and 1960s. We then investigate more modern iterations of fundamentalism, including political, racial, and religious fundamentalism. The class concludes by focusing on the nature and appeal of cults. A final project invites students to tie the course’s main themes together.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Revolutions<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | [[Tian-shin]]<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | ASL Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC - Nadia Dirie<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the American Sign Language track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency, but also touches on history, culture, sociology, and other aspects of the ASL-using world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Arabic Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Arabic language track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Arabic-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Chinese - Mandarin Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | [[Tian-shin]]<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Mandarin track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Mandarin-speaking world. Written instruction is in pinyin Simplified Chinese script. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | English as a Second Language Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPCs<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the English as a Second Language track: Beginning (1), Intermediate (2), and Advanced (3), each with highly modular curricula that instructors adapt to the needs of current ELL students. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the English-speaking world. At all levels, half of each class is given over to one-on-one tutoring, supervised independent study, or other instruction recommended by students' IEP assessments. Students may test into any level and take any number of these classes, in any sequence.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | French track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | [[Matt]], NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the French track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Francophone world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | German track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the German track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the German-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Ancient Greek track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the Ancient Greek track: Beginning (1), Intermediate (2), and Advanced (3), usually scheduled to cycle over the course of a school year. Coursework focuses on literacy but contain significant elements of history, literature, sociology, and topics relevant to the Classics and the ancient world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Latin track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the Latin track: Beginning (1), Intermediate (2), and Advanced (3), usually scheduled to cycle over the course of a school year. Coursework focuses on literacy but contain significant elements of history, literature, sociology, and topics relevant to the Classics and the ancient world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Japanese track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Japanese track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Japan-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Russian track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Russian track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Russian-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Spanish track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Spanish track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Spanish-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Chinese Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-chinese-language-and-culture AP Chinese Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP French Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-french-language-and-culture AP French Language and Culture] curriculum.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP German Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-german-language-and-culture AP German Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Japanese Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-japanese-language-and-culture AP Japanese Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Latin<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-latin AP Latin] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Spanish Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-spanish-language-and-culture AP Spanish Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Spanish Literature and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-spanish-literature-and-culture AP Spanish Literature and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Transitional Mathematics<br />
|style="background-color:#6BADF9;" | variable<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Transitional mathematics courses are offered to help merge new students into the mathematics program at Xavier's. Courses are designed to help students adjust to seminar-table methodology and problem-based curriculum, and to fill gaps and cope with varied backgrounds in mathetmatics prior to Xavier's. Introductory courses give students and instructors additional information to determine placement for the following term. Typically, transitional courses last one term, but some extend for two or even three terms. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Algebra<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">These courses develop facility in working with numbers, tables, equations, inequalities and graphs. The focus is on solving word problems and reading carefully, and thus the building of algebra skills stems from the need to solve problems in a context, rather than from drill and practice for its own sake. Students learn how to use the graphing calculator appropriately as an effective problem- solving tool. In addition, students may do a number of hands-on labs that require them to collect data, make conjectures and draw conclusions. Topics covered include equations and graphs that are linear and quadratic, distinguishing linear data from nonlinear data, inequalities, the basic rules of exponents, and other traditional Algebra I topics.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Geometry<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Geometry develops logical thinking through proofs and attention to definitions. It gives students a new way of looking at the world by analyzing the symmetries and patterns around them, and it develops practical skills through applications. This course covers the standard topics in a college-preparatory course in Geometry. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Trigonometry & Precalculus<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | [[Kyinha]]<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An exploration of the circular functions: sine, cosine, and tangent. Topics include right triangle trigonometry, simple harmonic motion, applications, and proofs of trigonometric identities.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Integrated Mathematics<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The purpose of these courses is to enable students to expand their view of algebra and geometry to include nonlinear motion and nonlinear functions. The investigation encompasses circular motion and the functions that describe it, ellipses and hyperbolas, exponential and logarithmic functions, dot products and matrices, and geometry on the surface of the Earth. In particular, logarithms are used to straighten nonlinear data; and matrices are used to describe geometric transformations and various patterns of growth. In preparation for higher level mathematics, two strands are introduced: first, combinatorics and recursion, leading to the binomial theorem; second, approximation behavior, especially instantaneous rates of change and slopes of nonlinear graphs.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Linear Algebra<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class students will use matrices to learn how linear algebra is being applied in various fields. The class will cover content including matrix operations, row-reductions, determinants, vector space, eigenvalues, and transformations. From this course students will be able to further their understanding of the connection between geometry and algebra. In addition, students will further their logical thinking while being introduced to different abstract topics in mathematics. This course will expose students to higher-level mathematics that will better prepare them for the rigors of a college math program.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Multivariable Calculus<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students will learn how to differentiate and integrate functions with multiple variables. In this class students will cover topics such as vector functions, partial derivatives, multiple integrals, and vector calculus. As a result of this class, students will be able to better understand the connection between single-variable calculus and multivariable calculus. Students will further their logical thinking while also being introduced to different abstract topics in mathematics. Students will be exposed to higher-level mathematics that will better prepare them for the rigors of a college math program.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Calculus AB<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | [[Kyinha]]<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-calculus-ab AB Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Calculus BC<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-calculus-bc BC Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Statistics<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-statistics Statistics Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Personal Finance<br />
|style="background-color:#6BADF9;" | 1<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Personal finance is a term that covers managing your money as well as saving and investing. It encompasses budgeting, banking, insurance, mortgages, and investments. Students will be introduced to the basic understanding of debit and credit, track their spending and even analyze some of the more challenging probability concepts that govern the trading of options on the stock market. The approach to this class will be project based with students able to work on a project that they find meaningful in the world of personal finance. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Economics in the World<br />
|style="background-color:#6BADF9;" | 1<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to live in a global economy? In this class students will be introduced to an overview of Micro Economics and Macro Economics. By analyzing market trends associated with historical events between the 1900’s and the present time, students will learn how changes in policies have shaped global economies.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | Bioethics: Humanity in the Post-Genomic Era<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines current biological topics that challenge our understanding of humanity and provides a brief introduction to ethics and philosophical anthropology and their roles in setting public policy.<br />
<br />
We live in a modern age in which major scientific advances are the norm. Bombarded with stories in the news regarding ethical dilemmas pertaining to novel biomedical interventions, it is often difficult for us to make sense of competing arguments without having a basic command of the biological and philosophical issues involved. Questions to be addressed include: What is a stem cell? When does a developing human being first experience sensation? Show evidence of cognitive abilities? Acquire moral status? <br />
<br />
How does our modern, post-genomic understanding of human biology influence our philosophical understanding of what it is to be human? Which biological enhancements are ethical? Which are unethical? To what extent (if at all) should the use of biotechnology be regulated in our society? Historical and current readings will be assigned, and lively discussions encouraged. Students will be graded through a variety of assessments, including papers, presentations, journals, and class participation.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | Power and Social Responsibility<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | The Ethics of Power<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Charles]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"></div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Introduction to Ethics<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this discussion course will be introduced to a variety of approaches to ethical reflection. Through the use of classical texts and personal and literary stories, students will develop a common vocabulary with which to understand and critically evaluate their moral experience. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Ethics & the Environment<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">We are facing unprecedented environmental challenges to climate, life forms, human health and population, and essential resources. We tend to treat such issues simply as scientific or political problems. In reality, ecological controversies raise fundamental questions about what we human beings value, the kind of beings we are, the kinds of lives we should lead, and our place in nature. Sustainability is not possible without a deep change of values and commitment. In short, environmental problems raise fundamental questions of ethics and philosophy. This course seeks to provide a systematic introduction to those questions.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Social Ethics: Values in a Changing America<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Whether you read the paper, scroll Instagram or follow trends on TikTok, you will see people disagreeing about how to resolve some of society’s conficts. In this course, students examine various contemporary social issues such as pornography, reproductive rights, trans rights, immigration, the death penalty, CRISPR, mutant rights, privacy rights, political extremism, drug legalization and climate change. Through engagement with current events and contemporary public conversations, the course provides students with ethical frameworks, conceptual tools and contextualized understanding necessary to evaluate and respond to the social issues of an ever-changing world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Global Ethics: What's Wrong with the World?<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Terrorism, wars, genocide, refugee crises, economic disparities, economic exploitation, propaganda including “fake news,” drug resistant pathogens, natural disasters, global warming, and so on — what kind of world do we live in? What kind of world ought we live in? How can we move from what is to what ought to be our world? These are the basic questions of global ethics. With consideration for a range of ethical theories, students study current global events in order to better understand why the world is the way that it is and what can be done about it. The course includes readings in anthropology, sociology, political theory, philosophy and the sciences, and it makes use of current news sources, investigative journalism, documentary and feature films, and new media. The course culminates with student projects on any topic concerning the world as it is and might be — or what we can do to get there.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Ethics: Medicine<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Modern medical research and practice present society with new opportunities and significant challenges. Students in this course will look at various case studies at the intersection of medicine, scientific research, health care, and ethics. Possible case studies may include debates about abortion, euthanasia, animal rights, mutant rights and experimentation, and broader environmental implications of scientific and material progress in the 21st century. Classical and contemporary philosophers will be read as part of our investigation into these topics. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Nonviolence & Moral Leadership<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Charles]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will examine major figures within nonviolent movements for social change, with a focus on the capacities of moral leadership possessed by these individuals. What characterizes an effective moral leader? How do these leaders motivate others in the face of injustice and oppression? Must moral leadership necessarily be nonviolent? What does 'nonviolence' even mean? Through a study of autobiography, letters, speeches, and case studies, students will come to a more complete understanding of nonviolent movements and the decisions made by individuals who led them. In addition to Gandhi and King, individuals studied may include Nelson Mandela, Desmond Tutu, the Dalai Lama, Aung San Suu Kyi, Thich Nhat Hanh, Paul Farmer, Greg Mortenson. Critics of nonviolence will also be studied. The course will culminate in a substantial independent research project.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Law and Morality<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Tian-shin]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">A critical examination of issues that arise out of the relationship between law and morality. Questions of concern include the following: For what reasons, if any, should an individual obey or disobey the laws of society? Which kinds of governments (monarchy, aristocracy, democracy, etc.), if any, are legitimate? To what degree should society restrict the freedom of individuals through laws on matters like abortion, pornography, race, and sexual relations? Class discussions and written exercises are designed to encourage participants to develop views of their own against a background of basic understanding of the readings. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Introduction to Philosophy<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is really real? How do I know what I know? Do I have free will? What is the good? These and other speculative questions have troubled the Western mind for millennia. This course follows a topical approach to the history of Western philosophy and focuses on such issues as metaphysics, epistemology, the problem of evil, the existence of God and the philosophical roots of ethics. Students will read from the works of ancient and modern writers such as Plato, Aristotle, Aquinas, Kant, Hume, Bentham, Locke, Arendt and Hill Collins to assist them in coming to their own understanding of these topics. Students will discover what philosophy is and how philosophers question and reason.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Justice and Globalization<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does justice demand of us (as individuals and collectives) and how does it apply internationally? In this course, we will explore the following topics: (a) the possibility of individual and collective responsibility in the face of the polarities of great wealth and great suffering across our planet; (b) cosmopolitanism and internationalism as compared to nationalism as underlying different responses to global inequity and conflict; (c) colonialism and imperialism, and responses to them; (d) the arguments for colonial or environmental reparations; and finally (e) consideration and assessment of competing political-economic approaches to globalization and development. In all of this, we will ask ourselves what principles, practices, and institutions hold the most promise for securing a more desirable and just future. Through reading, writing, and collaborative discussion, participants will work together to develop a deeper understanding of how we should approach justice at a global scale. In short, we will explore what we owe others wherever they are on Earth.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Proof and Persuasion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> A practical introduction to informal logic and to the philosophical study of language. Some of the questions raised are the following: What is the difference between a good argument and a poor one? What are the common fallacies of thought? What are the limitations of logic? What are the meaning of “meaning” and the truth about “truth?” The course stresses the development of individual skill in argument and includes a critical examination of the patterns of thought one encounters every day in magazines, in newspapers, and on television.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Philosophy of Sport<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> Through common readings, journal entries, reflection papers, prepared essays, visitors to class, presentations, and open discussion, we explore answers to questions including: What is the contribution of sports to human flourishing?; How do sports contribute to the construction of individual, group, and national identities?; What role does aesthetic appreciation play in our response to sports as participants and observers?; What does the experience of flow—“being in the zone”—in sports reveal about possibilities of transcendence for humans?</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Christianities<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Christianity? How has Christianity changed over time? Why are there so many diferent Christian groups? How are Christianity and power politics connected? This course explores these questions and others, with particular attention paid to diferent ways that Christian groups define themselves in relation to the wider culture, from the ancient world to today and from the Mediterranean through Asia, Africa, Europe, and South and North America. Students will have the opportunity over the term to study in more depth an area of interest. In addition to reading and discussion, the course will potentially include site visits, meetings with religious leaders and films.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Global Islams<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">With nearly two billion practitioners, Islam is one of the fastest growing religious traditions in the world today. Yet, with less than 1 percent of the American population identifying as Muslim, it is also one of the most misunderstood here in the United States. What is Islam? What is not Islam? And who gets to decide? This course aims to introduce students to the vast internal complexities of the Islamic tradition through an exploration of history, scripture, law, film, comic books, and social media. We will investigate and contextualize controversial (and popularly misunderstood) elements of Islamic tradition such as jihad, sharia, and veiling. From Malcolm X to ''Midnight Mass'', and from China to Cairo to Chicago, students will examine the practices, lives, and legacies of Muslims in history and today.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Judaism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Judaism? Contemporary Jewish communities forge unique identities, religious practices and spiritual paths in religiously and culturally diverse ways. This course introduces Judaism in a variety of forms and explores some of the many questions, challenges and affirmations of the many facets of Jewish identity, practices, core beliefs and ethics in the 21st century. For instance, Jews might practice yoga; sport tattoos; eat organic instead of kosher foods; grow up in an interfaith family celebrating Christmas and Hanukkah; become a rabbi; attend a Jewish LGBTQ wedding; identify as “spiritual” rather than “religious”; only attend synagogue during the Jewish high holidays; or voice doubts about Israeli politics. The class will explore these or other possibilities as a case study of how the Jewish people balance tradition and innovation to remain vibrant in a changing world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Religions of the Book<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce students to the world of scripture and interpretation in Judaism, Christianity, and Islam. Students will explore the ways that communities look to sacred writings to answer questions such as: How does God communicate with humanity? How does one live a holy life (and why bother)? Is there life after death? What happened at the beginning of time? What will happen at the end? We will examine the scriptures themselves, but also documentaries, music, comic books, art, and films from religious communities around the world, and reflect on how the Bible and Qur’an created and shaped these three interconnected and diverse religious traditions encompassing more than half the world’s population.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Hinduism and Buddhism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC-Lauren Briggs<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Hinduism? What is Buddhism? This course explores Sanatana Dharma — the duties, practices and traditions that define a Hindu way of life — as well as the traditions, beliefs and spiritual practices based on original teachings attributed to Siddhartha Gautama, the Buddha. As students explore these timeless ways of being and learn about people who embody them, they will encounter concepts of ultimate reality, the (non)self and the purpose of human life that have informed diverse ethical systems and cultures in India, China, Tibet, Korea, Japan and Southeast Asia. Historical and philosophical studies of prominent fgures, such as Mahatma Gandhi and the Dalai Lama, will provide students spaces to refect on their own senses of what it means to live a devoted life. Students will also explore certain ways these religious traditions appear — through ideas, symbols and practices — in America and Europe, as they wonder about contemporary cultural representations of yoga and meditation in the West.</div></div><br />
|style="background-color:#C0F791;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Paganism Through History<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Matt]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"></div></div><br />
|style="background-color:#C0F791;" | Has a reputation as a bit of a bird course; Matt a very easy teacher to sidetrack onto tangents and a very lenient grader.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | East Asian Ways of Knowing: Zen Buddhism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC-Lauren Briggs<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Zen Buddhism opens up to rich and varied practices of knowing and living. Through reading primary sources, both ancient and modern, and engagement with a range of Zen practices, students in this course gain an appreciation for the religious tradition and its history, as well as the types of knowing that it engenders. Students study koans (Zen training riddles) such as “What is the sound of one hand clapping?” and “What was your original face before your parents were born?” and other manifestations of Zen Buddhism across cultures and times, including contemporary derivations of “Zen” memes in popular culture and social media. </div></div><br />
|style="background-color:#C0F791;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Mysticism and the Contemplative Traditions<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How does it feel to commune with the Infnite? What ecstasies can humans experience? What personal and communal transformations result? These are questions of mysticism. It has been said that all religions converge in the contemplative tradition — the great world illuminated by the swamis and yogis of Hinduism, the core meditation practices of the Buddha, the Kabbalist teachers of Judaism, the Sufs of Islam, and the Christian mystics. What can we learn by reflecting on their teachings and their practices? How do they connect with current research on the mind-body connection? How do these make possible a deeper sense of self, or what we might call the “unique self ”? What does it mean to speak of wisdom as a kind of knowledge? We will consider selections from a range of faiths, from the ancient texts of the Upanishads to the poets Rumi and Meister Eckhart to modern writers such as Thomas Merton, Howard Thurman and Pema Chodron.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Criticizing Religion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Is there a destructive side to religion? Religion and religions have undoubtedly shaped the lives of individuals and communities around the globe for millennia for the better, but would the world be a better place if we imagined, with John Lennon, a world with no religion? Contemporary examples of the destructive side of religion fill the news on a daily basis. On the other hand, religions around the world have been a driving force for peace, for justice, for compassion, for leading a purposeful life. Many people turn to religion to find resources that provide them with community, values and meaning in their lives. Is religion’s checkered past and present leading to increased secularism? Will science ultimately replace religion? The course will explore scientifc, economic, political, feminist and queer critiques of religion — and their responses — from thinkers such as Friedrich Nietzsche, Fyodor Dostoyevsky, Karl Marx, Mikhail Bakunin, Sigmund Freud, Ayn Rand, Mary Daly, Anthony Pinn, Dan Brown, Ursula LeGuin, A.C. Grayling, and the New Atheists (Richard Dawkins, Christopher Hitchens Sam Harris, and Daniel Dennett), as well as films such as ''Spotlight'' and ''Jesus Camp''.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | One Nation Under God?: Religious Traditions in America<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The United States has always been a mix of various peoples and faiths. This course examines the religious traditions that make up the American religious and cultural landscape, focusing on Judaism, Christianity, Islam, Buddhism, Hinduism, etc. The distinctive ethos and practices of each are explored, along with their presence in the daily news. To assist students in experiencing and examining these religious traditions, the course will use make use of visual materials, guest speakers, and church and potentially other site visits, as well as firsthand experiences such as observing Buddhist meditation, a Passover Seder or a Muslim prayer service. Attention is given to students’ understanding of their own background in relation to the diversity of religious expression today.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Comparative Religion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Religion is consistently a news item in our world today; it factors into conflicts in North America, Europe, the Middle East, and India, among other places. Catholics are divided on the wisdom of the pope, Jews on the policies of Israel, and Muslims on their relation to modern secularism. But none of these divisions makes sense to outsiders without a basic understanding of the religions involved. In this course, gain a basic understanding of the beliefs and practices of the world’s major religions. Explore the meaning of religious experience, the distinction between myth and history, and the appeal—or not—of ritual. We also will discuss important questions: Why do religious communities split, for example, Sunni and Shiite Islam? What does “law” mean to observant Jews? What do Christians mean by the “Trinity”? Can “nothing” be “something” in Hindu and Buddhist contexts? Is Confucianism a religion at all? These questions and more will enliven our explorations into the major religions of the world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#CE2029;" | Psionic Self-Defence<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | [[Charles]]<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The psionic self-defense class at XS is geared for all people, not just those with psionic abilities. While it is generally not possible for someone without psionic abilities to thwart a determined psionic assault, it is the case in this class -- as in many self-defense classes -- that the best protection is never getting into the fight in the first place. Given that it is not going to be possible for non-psionics to ''stop'' a psionic intrusion, the aim of this class is to help teach students mental discipline and techniques helpful for avoiding notice and keeping unwanted thoughts from surfacing too strongly.<br />
<br />
This class's goals are to help students order their minds enough to minimize stray surface thoughts that may be overheard by psionic eavesdroppers, to help keep thoughts under control so as not to attract mental scrutiny, to recognize the signs of psionic manipulation, and to learn grounding techniques for maintaining emotional stability in the face of mild psionic influence. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Principles of Fitness<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The Principles of Fitness course is designed for students of all physical abilities. The goal of this course is to provide students with lifelong fitness habits. Students will gain an understanding of the effects of exercise on health and well-being while being able to apply the learned skills to their everyday life. This will be accomplished by introducing students to facilities, equipment and resources that are available on campus. Topics will include resistance training, cardiovascular fitness, warm-up/cool-down, plyometrics and flexibility. Classes will be built around individual and group workouts.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Running*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The PE running program is designed for students who want to run for fitness. Beginning runners will receive thorough introduction to distance running. Experienced runners will further develop their speed and stamina. Daily runs of 2 to 5 miles will compose the bulk of the training, but alternate modes of training and drills that are essential to strong, injury-free running will also be part of the course.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Strength Training & Conditioning*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In the strength and conditioning class, students are encouraged to define one or more training goals for the term. What is strength and conditioning? Strength is the ability to produce force, and it is a more durable adaptation than Conditioning, which is comparably transient, and is more concerned with work capacity- how much physical work can be done in a given time period. These two very different physical adaptations require different types of training. You can do either or both, but you must have a plan to improve them. The most important aspects of your goal-setting to consider are Specific, Measurable, and Timely. Students are expected to come to class in exercise clothing, ready to train. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Self Defense*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This self-defense course is open to all students. This course teaches practical self‑defense skills that give students the experience of facing their fears and finding their power. In this class, students are taught how to avoid altercations, resist intimidation, communicate assertively, and escape potential assaults. Students learn how to set verbal boundaries and de‑escalate potentially dangerous situations. The course will also teach ways to physically defend against a number of threatening scenarios including front confrontations, attacks from the rear, attempted sexual assault, and ground fighting. Scenarios will be empowering, practical, and useful.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Pilates*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In our Pilates class, students are introduced to beginner level Pilates mat and reformer exercises, with emphasis placed on learning proper Pilates breathing, and developing “core” connection, strength, flexibility, and proper alignment. The class learns how to access their “powerhouse” muscles and how to maintain that engagement throughout movement. Students also become familiar with beginning safe ranges of motion and how to determine when they are ready to increase the challenge by increasing their range of motion. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Bouldering*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Bouldering is rock climbing stripped down to its raw essentials. Leaving behind ropes and harnesses and just using climbing shoes and a bag of chalk over safety mats. Your challenge is to climb short but tricky bouldering "problems" (a route, or sequence of moves) using balance, technique, and strength. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Cardio-Boxing*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Cardio-Boxing is a fun and energetic class where students use choreographed cardio-boxing combinations combined with calisthenics and jumping rope to obtain a great aerobic workout. In our state-of-the-art Health and Fitness Center, students go from being taught how to wrap their hands to eventually completing a boxing circuit of approximately 10 rounds using standalone punching bags. Be ready to feel the burn!</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Swimming*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Aquatics are a means to achieve cardiovascular fitness through stroke development and participation in a variety of swimming workout methods.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Indoor Cycling*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is designed to increase muscle strength and improve cardiovascular endurance using state-of-the-art bikes. Students will experience rolling hills, sprints and other drills to give them a great interval workout.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Horseback Riding*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Outdoor Challenge*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Outdoor Challenge is a group-oriented, teambuilding program for those who want to be active in the outdoors. Depending on weather conditions, activities may include snowshoeing, cross-country skiing, mountain biking, hiking, canoeing, trail running, high- and low-ropes challenges, obstacle activities, outdoor survival education, camping skills and orienteering. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Biology<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-biology AP Biology] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Chemistry<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-chemistry AP Chemistry] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Environmental Science<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-environmental-science AP Environmental Science] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics 1 (Algebra Based)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-1-algebra-based AP Physics 1] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics 2 (Algebra Based)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-2-algebra-based AP Physics 2] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics C (Electricity and Magnetism)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-c-electricity-and-magnetism AP Physics C] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics C (Mechanics)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-c-mechanics AP Physics C] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Animal Behavior<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Why do some animals live in groups, and others singly? Why are some animals monogamous while others have multiple mates? Who cares for the young? Why do birds sing and wolves howl? In this course, we will begin to answer these questions. We will read a text that provides an introduction to all areas of animal behavior, as well as selected articles. Our focus will be on social behaviors. Using films, we will observe the social behaviors of animals as diverse as termites and wolves. We will use fieldwork to study the role of society in the foraging behavior of honeybees. Students will be required to write a research paper on a topic of their choice.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Astronomy<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Astronomy is the scientific study of the origin, structure, and evolution of the universe and the objects in it. Topics may include patterns and motions in the sky, gravity and orbits, telescopes and light, planetary systems, the birth and death of stars, galaxies, the Big Bang, the search for extraterrestrial life, and the fate of the universe. This class includes a 45-minute lab period one night a week at the Ptolemy Observatory, located on the Xavier's campus. When the lab period is used, compensation time will be given during a daytime class period.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Astronomy Research<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this course students will spend extensive time in the Xavier's Academy Ptolemy Observatory, where they will learn to operate the telescope, dome, and CCD camera. Students will learn techniques for visual observing, astrophotography, and photometry. Students will engage in research projects designed to provide an introduction to research techniques in astronomy. When appropriate, results will be submitted for publication. In addition to conducting ongoing research projects, the class will take time out to observe interesting current events (observing the pass of a near-Earth asteroid, a recent supernova flare-up, a transit of the ISS across the moon, etc.). In addition, students will be expected to spend several hours a week in the observatory (due to weather constraints, observing nights will vary.)</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Biology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is theme-based and focused on major biological topics. Studying a core text will be supplemented with other readings, writing assignments, and data analysis and interpretation. Students will learn a variety of study skills and will have an introduction to library research tools. Laboratory experiments and fieldwork are designed to acquaint students with fundamental biological principles and to build skills in the methods and techniques used to elucidate those principles.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Chemistry<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An introduction to the chemical view of the material world, including atomic theory, atomic structure, chemical reactions, the nature of solids, liquids, gases, and solutions, general equilibria, acid-base theories. Emphasis is placed on developing problem-solving skills as well as on making connections between chemical principles and everyday life. A college-level text is used, but the pace of this course is adjusted to ensure that students have ample opportunity to ask questions and work through problems. Laboratory work is an integral part of the course.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Ecology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Ecology is a field of biology dedicated to the interactions that organisms have with each other and with the nonliving components of their environment. The discipline of ecology helps to explain the abundance and distribution of organisms and issues of biodiversity and extinction and is grounded in evolutionary principles. In this course we will examine how ecological ideas play out in aquatic and terrestrial environments and students will develop skills in experimental design, data analysis and statistics, scientific literacy, and complex systems thinking. Students will also consider the impact of global climate change and other human impacts on the environment and they will have the opportunity to pursue an area of their own interest. </div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Electronics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This introduction to electronics is a hands-on, project-oriented course. Students will build a variety of simple devices, including timing circuits, alarms, flashers, amplifers and counters. By designing, building and analyzing these circuits, students will gain a firsthand knowledge of a variety of basic electronic components, including resistors, capacitors, switches, relays, transformers, diodes, transistors and several integrated circuits. Students will use Arduinos throughout the course for analyzing and testing, and as a central piece of their circuit design. Though some experience in programming is helpful, it is not required for this course.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Introductory Genetics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course considers the classical and contemporary views of the nature, transmission and function of the hereditary material. Laboratory investigations in plant and animal genetics supplement class discussion. </div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Molecular Genetics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This advanced course examines the biochemistry of the gene in greater detail and considers the underlying principles of recombinant DNA technology. Because DNA science is experimental, much of the time available in this course will be devoted to laboratory work learning techniques of DNA isolation, analysis and manipulation.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Marine Biology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The goal of this class is to give students a field research experience in which they come to understand how to work as a team to conduct experimental studies in marine science. Students will frequently be off campus, where they will be involved in a variety of new and ongoing projects. They will study the structure of intertidal communities, develop hypotheses, and then implement a research study that will provide baseline data for future work in the area. The students will also study lobster biology and the historic management of the fishery so they can start to look critically at the current state of the Maine lobster industry. In the larval settlement project, students will study organisms that recruit on docks and in the intertidal of Penobscot Bay, and consider the role of invasive species and climate change in affecting biodiversity.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Mechanics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course study of the natural laws relating space, time, matter, and energy. Topics include measurement, motion, forces, energy, momentum, and rotation. We want students to understand the behavior of matter, and to become aware of the importance of the physical laws of nature. The approach to the material is highly mathematical. Students will use spreadsheets and graphing programs to analyze laboratory data.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Biology of Cancer<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Cancer is the second leading cause of death in the United States and this disease affects many families. The profound impact of cancer on society has been the driving force behind major research advances and led to a better understanding of cell biology. Understanding the basic biology of cancer and its impact on the human body has led to more effective treatments, enhanced detection methods, and the development of prevention strategies. This course will provide an overview of the biology of cancer. The course will focus on the genetic and molecular basis of cancer. We will explore the role of mutations in cancer cells and how they lead to the deregulation of essential biological processes such as cell division, programmed cell death, and differentiation. We will also examine the interface of cancer and medicine. Classical treatment methods will be compared with newer treatment modalities, such as targeted therapies. The challenges associated with diagnosing cancers, preventing cancers, and curing cancers will also be discussed in light of current technological advances such as genomics and bio‑informatics.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Evolution<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Evolutionary biologist Theodosius Dobzhansky wrote in 1973 that “Nothing in biology makes sense except in the light of evolution,” and his statement still holds true today. Students in this course will read Jonathan Weiner’s Pulitzer Prize-winning book ''The Beak of the Finch'', which documents an ongoing study of evolution in Darwin’s finches on the Galapagos Islands. They will also read selected chapters from Sean Carroll’s text on the burgeoning field of Evolutionary Developmental Biology (Evo Devo), ''Endless Forms Most Beautiful''. We will also consider Darwinian fitness in human populations. Labs will include an investigation of avian comparative anatomy and a study of students’ own mitochondrial DNA using molecular techniques such as PCR and gel electrophoresis.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Fluid Mechanics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students taking this course will learn about fluid statics and dynamics. Dimensional analysis and derivation of Bernoulli and Navier-Stokes equations will provide the methods necessary for solving problems.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Comparative Government & Politics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | [[Tian-shin]]<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-comparative-government-and-politics AP Comparative Government & Politics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Macroeconomics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-macroeconomics AP Macroeconomics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Microeconomics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-microeconomics AP Microeconomics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Psychology<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-psychology AP Psychology] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP US Government & Politics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-united-states-government-and-politics AP US Government & Politics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Cultural Anthropology<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Anthropologists study humans as both biological and cultural creatures. This scholarly orientation raises many fascinating questions. To what degree does culture shape our actions and ideas? Are we primarily products of biological nature or cultural nurture? Can cultural norms make rational people act irrationally? Are there universal human rights or do cultures dictate what we think is ethical? These debates are critical for understanding human interaction and have significant application in fields ranging from law to medicine. Among the topics considered are: “the mind” and epistemology; discipline, law and rules; human bodies and communication; social taboos; ritual patterns of meaning; notions of cleanliness and defilement; festivals; and mythology. These elements of cultural life will be explored in social settings spanning the globe, but also within our own community at Xavier's. Much of the course attempts to contextualize 20th- century anthropological methods against the foil of postmodern critiques.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Intro Psychology<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this course study a range of explanations for human thought, behavior and emotion. Readings, projects, demonstrations and class discussions facilitate exploration of this fascinating and evolving field. Specifc areas of focus include: the nervous system and brain functions; human development; emotion; learning and memory; social psychology; and addiction. Case studies of psychopathology, as well as the diagnosis and treatment of mental illness, round out the course. Independent research and projects allow students to focus on specifc topics of interest. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Environmental Economics<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is a case-based introduction to using economics to look at some of the major environmental problems in the 21st century. In this topic-driven course, students will learn about the role of market failure in environmental issues, the challenges of pricing environmental goods, and ways in which economic theory can be used to help solve these problems. Topics such as overfishing, global warming, water pollution, and others will be covered from the angles of science and economics. Special consideration of the unique role that social justice plays in many of the topics will be considered as well. Students will be assessed on problem sets, essays, in-class discussions, and an individual research project. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Women's, Gender, and Sexuality Studies<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Pink is for boys and blue is for girls. At least it used to be. We will explore the ways that our everyday lives are guided by socially prescribed gender norms. Through the study of the historical production and contemporary interpretation of the categories of “woman” and “man,” “female” and “male,” “heterosexual” and “homosexual,” we will seek to better under- stand how gender-based inequalities have evolved and are both supported and simultaneously contested in societies across the world. In addition, we will seek to gain a better understanding of the ways that gender, sex, and sexuality inform local, national, and global efforts to improve the lives of individuals and to achieve social justice for entire communities. We also will explore the intersection of sexuality, gender, sex, race, ethnicity, class, and other forms of identity. Through a variety of sources—written documents, social media, film—this course will introduce students to a wide variety of issues across disciplines, including historical, anthropological, medical, legal, and popular culture. We also will explore contemporary uses of social media as sites of research, activism, and networking. </div></div><br />
|style="background-color:#F58104;" | Class is SUPER popular with a Certain brand of young feminist-leaning students but do Not take it if you are trans it is like a small incubator for baby terfs.<br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Critical Race Theory: The American Dream Deferred<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Historically, American society does not recognize race as the language of class. In this discussion-based seminar, students will examine ways in which race and class intersect. Critical race theory eschews the goal of assimilation into current social structure and instead looks at the experience of the “outsider” as a lighthouse that illuminates structural problems within American Society. Students will use Critical Race Theory to analyze historical legal cases—including the nation’s first successful school desegregation in 1931 where Mexican Americans sued San Diego, CA public schools for access and the famous 1957 court-ordered desegre- gation of Little Rock, AR High school—in addition to contemporary legal cases of “reverse discrimination” such as Fisher v. The University of Texas in 2012. Students will ultimately explore the question, “Is the American dream a structural fallacy that has explanation for success but none for failure?” Assignments will consist of selected readings, reflection pieces, article reviews, and a research paper. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Urban Crisis<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“All politics,” Tip O’Neill concluded, “is local.” In this seminar, students will put this oft-cited sentiment to the test by examining the dynamic relationship between local, state, and federal politics. American cities—the key sites of contestation for many policy debates in the decades following WWII—will serve as the lens through which students access the lived experience and ramifications of broader national political trends, events, crises, and movements. Students will deploy the methodological tools of urban history to contemplate the cultural, spatial, and social reality of urban environments, and examine the contingent historical development—and impact—of urban policies on social and economic inequality in modern American cities. Some of the issues covered include suburbanization in Detroit, the War on Poverty in Las Vegas, the War on Crime in New York, and the War on Drugs in Los Angeles.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | The Olympics<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will examine the origins and evolution of the modern Olympic games via the following topics: impact on politics and society, equity and ethics, controversies and scandals, inspirational stories and the role of athletes as national icons, and lessons of sportsmanship. Students will engage with a variety of sources across disciplines. Independent research and analytical writing skills will be emphasized</div></div><br />
|style="background-color:#F58104;" |<br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Collision Repair, Paint, and Refinishing* <br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> Students meet two hours daily for classroom and laboratory instruction. The students receive training in the fundamental and manipulative skills related to auto body repair and acquire the knowledge to become competent in the field of auto body repair. Areas covered are body frames, fender and bumper, removing windows and repairing damaged panels, replacing windows and windshields, welding light metals, filling with lead or plastic, estimating and pricing repair work, and spray painting. This course can be taken a maximum of twice for credit. This course provides instruction and training necessary for I-CAR student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Automotive Technology I: Maintenance and Light Repair<br />
|style="background-color:#D291BC;" | 2<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The course offers students theory and experience in most all phases of automotive drive-train<br />
repair. Students spend approximately 75 percent of their time with hands-on training and the remaining time is devoted to classroom instruction. Shop management and youth leadership are also incorporated into the course of study. This course provides instruction and training necessary for ASE student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Automotive Technology II: Automotive Service<br />
|style="background-color:#D291BC;" | 2<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course is a continuation of Automotive Technology but also includes new concepts and innovations, new engine types, studies of anti-pollutant equipment on automobile engines, and computerized engine analysis. This course provides instruction and training necessary for ASE student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Welding<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course will allow students to fortify and increase their knowledge of welding procedures and skills used in project construction through class assignments and projects. Topics covered may include: oxyfuel cutting/heating/welding, Shielded Metal Arc Welding (SMAW), Gas Metal Arc Welding (GMAW), Flux-cored Arc Welding (FCAW), plasma arc cutting, safety, and metal fabrication. In addition, record keeping, communication, employability, and human relation skills will be<br />
taught. This course will allow students to gain knowledge and skills that promote personal development and career success through involvement in the FFA. This course provides instruction and training necessary for the ASW Certified Welder certification. </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Metal Fabrication*<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This hands-on course will build on skills developed in Welding in the form of guided fabrication projects. Course hours will be split between classroom instruction in reading and creating shop drawings and independent work on instructor approved projects. </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Advanced students in this course are often connected with potential employers in New York City and surrounding areas. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Carpentry<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Drafting<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Bicycle Maintenance and Repair<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Culinary Arts: Desserts and Baked Goods<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Jax]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Culinary Arts: From Soups to Steaks<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Horticulture (Decorative)<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Horticulture (Edible)<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Beekeeping<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History and Religion<br />
|style="background-color:#899499;" | Paganism Through History<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Matt]]<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History and Social Science<br />
|style="background-color:#899499;" | Fashion in History<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“There is something about fashion that can make people very nervous,” remarks Anna Wintour in the 2009 film The September Issue. Fashion studies is an interdisciplinary field, but one that retains a study of the past as central. It asks the question, “Does what people wear matter?” More than any other facet of material culture, an interest in fashion is often dismissed as trivial or seen as an emblem of superficiality. However, clothing represents far more than narcissism or the physiological need to cover oneself for warmth and safety. From headwear to footwear, fashion can communicate what we do, who we think we are or would like to be, where we are from, and what we care about. Fashion can be used as a lens to consider change. Using iconic fashion items from history, this course will explore what they communicate about global cultures, historical moments, social and political status, economic clout, gender, and identity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Vo. Tech<br />
|style="background-color:#899499;" | Regenerative Agriculture<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will explore agricultural practices that aim to have positive environmental impacts, such as improving soil heath, increasing native species diversity and sequestering carbon. It will also explore agricultural practices that aim to have positive social impacts, such as reducing food insecurity, honoring ancestral farming practices and promoting economic wellbeing of local communities. Scientific topics such as conventional versus organic systems, seed banks, closed loop food production, permaculture, soil science, nitrogen cycles and plant physiology will be investigated. Emphasis will be placed on experiential learning on local farms and campus. The course includes a service learning component and potential for research projects. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Ethics<br />
|style="background-color:#899499;" | Medicinal Drugs<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Medicinal chemistry provides a bridge from the periodic table to the array of natural and synthesized biologically active agents available today. The ongoing development of medicinal drugs aims to integrate new scientific discoveries with precision-based strategies for treating individuals as well as large populations. A key goal in the design of new drugs for the pharmaceutical industry is to treat symptoms without the harm of side efects. Moreover, the scale-up and production of medicines are dependent on public health investment, while social and economic factors underpin access. This course will take a deeper look at the major classes of pharmaceutical drugs, including hypertension, high cholesterol, oncology, depression, diabetes, asthma and vaccines. How companies currently distribute drugs, determine pricing and ensure equity of access will be examined. Widely used compounds such as nicotine, nonsteroidal anti-infammatory agents, contraceptives, cannabinoids and pain suppressors will be explored based on their chemical structure and its relationship to function. Lab activities will provide experience with computational drug design, controlled-release drug delivery systems, pharmacokinetics and nuclear medicine.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Nuclear Semiotics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Highly radioactive nuclear materials are an accumulating component of our physical world. These materials will be actively decaying and affecting living things for thousands of years to come, possibly even millions of years. Nuclear semiotics is about the semantics of nuclear science to answer the question: how can humans of the 21st Century warn humans thousands of years from now about the location and nature of these materials? Though this question has been asked since the late 1980’s, by minds including Carl Sagan, there is no conclusive answer to this. Solving the nuclear semiotics problem may involve combining knowledge of materials science, nuclear particle physics, linguistics, symbols and cryptography, artistic expression, data science, engineering, and sociology. This course seeks to explore the fusion of these concepts and develop ideas of how to answer the question: how do we warn our future selves about our current choices? </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Computer Science<br />
|style="background-color:#899499;" | Robotics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this course will learn to use a microcomputer to control output devices and interpret input sensors. Students will complete a series of small projects that will culminate with a working autonomous robot. The initial focus of the course requires students to build and analyze several micro-controlled devices. Students will learn fundamental engineering skills such as programming the microcomputer and building simple electronic circuits. The middle portion of the course will feature the construction of an autonomous robot that uses a microcomputer and several sensors to make navigational decisions. The final weeks of the course will require students to independently research, design and implement a system or systems that will increase the capabilities of their robot. Previous programming experience is recommended, but not required.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Ethics<br />
|style="background-color:#899499;" | Water: The Science and Story of Water Around the World<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How has water and humanity intersected around the world? Using an interdisciplinary lens, explore the science and ethics behind water scarcity and access, the chemistry and ecology of water systems, and the role water plays in literature, art and religion of populations around the world. Students will use current data and news sources to understand the pressing issues surrounding water rights and the intersection with rights for marginalized groups, study primary sources from around the world to examine the way water weaves through religious ritual and artistic expression, and create their own water based installations. Students may also travel to see an Aga Khan exhibit centered on the role of water in Islamic culture. The course will culminate in a final independent project exploring one aspect of water from multiple lenses.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Vo. Tech<br />
|style="background-color:#899499;" | Molecular Gastronomy: The Science of Food<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The “science of food” food may seem like a new fad, but it is really the logical extension of centuries of the study. The understanding of how grapes are transformed into wine and champagne has been known for centuries. The production of cheese by the use of acids, enzymes, and bacteria has likewise been handed down through generations and has only recently been both “lost,” and then “rediscovered.” This class will investigate both the traditional aspects of food science—like how cheese is made or bread is baked—as well as cutting edge ideas such as how apple juice can be made into “caviar” and how shrimp can be made into “noodles.” A significant lab component will allow students to create many of these foods, and laboratories will be held in the school kitchen so that results can be tasted.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Science as Story: Communicating Science in the 21st Century<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is science communication, and how can science storytelling both educate and entertain an audience? In this course, students will learn to define, recognize, and critique common science communication media ranging from TikToks to Ted Talks. Students will practice essential science communication skills including idea/topic generation, script writing and editing, graphics and video design, and hosting/presenting. In each of these skills, research methods will form the foundation of the exploration as students gain expertise in their particular field of science being communicated. Through discussions and readings, students will also work through the ethical framing of these media and engage in case studies involving equity on both the audience and creator sides of the field. By the end of the mod, students will have produced a science communication portfolio by working independently and in small groups, and will share these media products with an online audience platform of their choosing.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Astrobiology: Life Among the Stars<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">We invite you to embark on a journey to explore the field of astrobiology, the study of the origin, evolution, and distribution of life in the universe, on and beyond planet Earth. We will begin our exploration by studying the fundamentals of relevant sciences—physics, astronomy, chemistry, and biology—and will then apply these sciences to understand the potential requirements and limitations of life on Earth as well as on other planets and moons in our solar system. As we learn about historical and current efforts to detect life on these bodies, we will consider objects resident in our own solar system, including Mars, the moons of Jupiter, the moons of Saturn, and other solar system bodies such as Ceres and Pluto. Next, we will expand our view to include other possible abodes of life outside of our solar system as discovered by modern astronomers and modern instrumentation (i.e., the Hubble and Kepler space telescopes). Finally, we will examine the role of fictional alien biology on the human imagination through literature, film, and music.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Performance<br />
|style="background-color:#899499;" | Applied Anatomy in Motion<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course combines the structural dynamics of physiology and dance as a means to investigate how the two disciplines interact. By approaching movement from the perspectives of both science and dance, the student will examine how anatomy informs dance and how dance is an expression of human structures and systems.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Art<br />
|style="background-color:#899499;" | Anatomy and Physiology<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This upper-level biology class explores the complexity of human physiology. Students will be asked to use visual arts and graphic design skills to document many aspects of the mystery and wonder of the human body systems. The course will involve independent research on the systems of students’ choosing, using visual and creative ways to present the information they find. Students will research one of the body systems in its entirety or in detail. The systems to be considered are the nervous, the cardiovascular, the respiratory, the skeletal, the endocrine and muscle, or the digestive, reproductive, and lymphatic systems. Students are required to think independently and devise a final project of their own design that incorporates very clear scientific understanding of the body systems and their form and function.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Phys. Ed<br />
|style="background-color:#899499;" | Yoga as Meditation*<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC - Lauren Briggs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Yoga at Xavier's is taught in several ways, and choosing one is a matter of preference. Yoga is an individual practice and all students are welcome regardless of previous experience. In both types of yoga, joints, muscles and internal organs beneft from movements that stimulate often-neglected areas of the body. You can expect to improve overall mobility, strength and balance and will probably enjoy stress reduction and a greater sense of well-being, too. Yoga as Meditation, a style sometimes referred to as “gentle yoga,” focuses on learning and holding classic asanas (poses), working with the breath (pranayama) and practicing mediation skills in a calm and peaceful environment, allowing the mind and body to quiet. Vinyasa Yoga is for the student who is seeking the same overall benefts as listed above but through a more active sequence of movements.</div></div><br />
|style="background-color:#899499;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot. Noticeably hesistant to correct form of physical mutants in the class. <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Phys. Ed<br />
|style="background-color:#899499;" | Vinyasa Yoga*<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC - Lauren Briggs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Yoga at Xavier's is taught in several ways, and choosing one is a matter of preference. Yoga is an individual practice and all students are welcome regardless of previous experience. In both types of yoga, joints, muscles and internal organs beneft from movements that stimulate often-neglected areas of the body. You can expect to improve overall mobility, strength and balance and will probably enjoy stress reduction and a greater sense of well-being, too. Yoga as Meditation, a style sometimes referred to as “gentle yoga,” focuses on learning and holding classic asanas (poses), working with the breath (pranayama) and practicing mediation skills in a calm and peaceful environment, allowing the mind and body to quiet. Vinyasa Yoga is for the student who is seeking the same overall benefts as listed above but through a more active sequence of movements.</div></div><br />
|style="background-color:#899499;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot. Noticeably hesistant to correct form of physical mutants in the class. <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | The Old Testament<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“In the beginning, God created the heavens and the earth. ...” So begins one of the most infuential books in human history. From ancient times until the present, Jews, Christians and Muslims have grappled with the cosmic questions, universal myths, compelling laws and dramatic narratives of the Hebrew Bible, also known as the Old Testament. It is a book that is both timeless and timely. In this course, students will gain an appreciation of the historical, political and social context from which the Hebrew Bible emerged, and will explore the narratives’ eternal themes, such as creation and destruction, rivalry and loyalty, love and betrayal, doubt and faith, freedom and captivity, and forgiveness and revenge, as well as delve into the ethical and legal teachings that have served as a major foundation of Western civilization.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | The New Testament<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The New Testament, which has been called “the most widely read, quoted, debated, maligned and believed book in Western civilization,” will be the focus of this course. Students will read and explore the New Testament; study the life of Jesus, the travels and letters of Paul, and the book of Revelation; and consider these both in their historical context and in contemporary literature and films.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science & Religion<br />
|style="background-color:#899499;" | Epistemology<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Epistemology is a philosophical term meaning “the study of knowledge.” This course explores how we know what we know about the world around us and within us. Questions engaged over the term include: What is knowledge? What differentiates and connects scientifc, literary, philosophical and artistic ways of knowing? What makes someone good at “knowing”? For that matter, what does it mean to be a student? The class explores how different modes of inquiry and experience can be distinguished from each other and then integrated into our understanding of knowledge. Class materials include readings from the Western philosophical tradition of reason (Plato, Descartes and Kant), the scientifc revolution (Galileo, Newton and Einstein), postmodernism (Illich and Abram) and literature (Dostoyevsky and Woolf). Students will also experience the visual and performing arts, take a night trip to the observatory, and engage in contemplative or meditative traditions, including practices known as “mindfulness” or “mind-body work” (Zen Roshi Jan Chozen Bays).</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | Religion and Popular Culture<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Images, ideas, stereotypes and symbol systems of religion surround us in popular culture, whether in movies, television shows, sports, fashion, the internet, music or literature. From Disney and Harry Potter to Black Panther, from rock ‘n’ roll to hip-hop, the materials for this course will be drawn from a wide range of media. Through the lens of American popular culture, this course introduces students to the academic study of religion by exploring the world’s religions and such topics as the problem of evil, the afterlife, myth and the nature of the sacred. The course will conclude by inviting students to explore an expression of religion and popular culture that deeply interests them.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | Faith and Doubt<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course invites students to an exploration through fiction and personal narrative of the depth and complexity of religious experience in its many forms from traditional belief through skepticism. The texts we will read range from some classics in this field to contemporary cultural selections. We will explore the timeless questions of the human condition, such as self-discovery, sufering, mortality, goodness, faith and doubt, the quest for meaning and the development of a spiritual self. At the end of the term, students will have the opportunity to expound on these themes in their own lives as they write a mini-meditation or spiritual autobiography for their final class paper.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Science<br />
|style="background-color:#899499;" | Science as a Human Activity<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Though often seen as a vast, impersonal enterprise, science depends upon the effort and intelligence of human beings. In this course we will ask fundamental questions about how and why people pursue scientific inquiry. To this end, we will read the works of Francis Bacon, Rene Descartes, and Baruch Spinoza, as well as works by scientists and scholars like Albert Einstein, Sigmund Freud, and Max Weber. We also will consult historians of science such as Thomas Kuhn and Steven Shapin in order to understand science as a social enterprise. In these ways, we will examine the moral and intellectual aspirations of scientific work and the nature of science, above all, as a human activity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Science<br />
|style="background-color:#899499;" | Pox & Pestilence: Disease and Medicine in the United States<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In recent years, historians have begun to understand the impact of disease on the human story and have incorporated it into the more traditional narratives. In common with other parts of the world, the history of the United States has been profoundly influenced by infectious disease. In this course we invite you to come along on a multi-disciplinary journey to explore the impact of disease on the American experience in the 19th and 20th centuries. After exploring the pre-contact situation in the Americas, we will focus on syphilis, smallpox, bacterial sepsis, cholera, yellow fever, malaria, tuberculosis, influenza, polio, HIV/AIDS, COVID-19 and bioterrorism agents such as anthrax. Students will research the role these diseases played in the social, military, and political history of the United States together with the science and medicine that developed in response to them. This is a research seminar and students will use a variety of sources to write a term paper. There is no final examination.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Ethics & Social Sciences<br />
|style="background-color:#899499;" | Feminist Philosophies<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will address feminist moral and political theories. There is no singular ‘feminism’, and feminists disagree with each other on the answers to many of those moral and political claims. We will survey a variety of feminisms, including liberal and radical feminisms, womanism, and others. The course will also cover topics including sex and gender, the nature of oppression, intersectionality (including discussions of race, disability, gender identity, and class), and sexual ethics. Special topics will be chosen by students for further focus, but could include topics such as body shaming, trafficking, or understandings of masculinity</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Ethics & Computer Science<br />
|style="background-color:#899499;" | Silicon Valley Ethics: Case Studies in the High-Tech World<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In a world where technology permeates almost every aspect of our lives — the internet, smartphones, thousands of apps, cloud-based voice systems, screens in our classrooms, artificial intelligence, robotics, the gig economy, video gaming, virtual reality, and numerous other products and applications currently under development — what ethical challenges are raised by their ubiquity? Through a series of case studies in an industry where a well-known motto is “move fast and break things,” this course will explore whether ethical considerations have kept pace with evolving technologies. Where does goodness fit in the knowledge revolution? If we have “outsourced our brain to Google,” as some would claim, have we also outsourced our ethics to it and other big tech companies? When we do a Google search, is Google also searching us? What are the ethical considerations of what companies do with our information in this so-called “surveillance economy”? What are the ethical consequences associated with posting personal information on social media such as Facebook, Instagram, Snapchat or WeChat, and who has access to that information and for what purposes? Using specific case studies drawn from the vast and complicated world of technology, this course will assist students in identifying these various ethical issues and in developing strategies to deal with them. To assist students in identifying some of the ethical challenges that technology presents, the course explores chapters from works such as Ruha Benjamin’s ''Race After Technology'', Safya Noble’s ''Algorithms of Oppression'' or Cathy O’Neil’s ''Weapons of Math Destruction''.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Mathematics & Social Sciences<br />
|style="background-color:#899499;" | Media as a Mirror: A Statistical and Visual Approach to Deconstructing False Narratives<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Who does the media say we are? What does it mean if we are seeing our reflections in a false media mirror? How can we analyze and describe the types of distortions that we are seeing?<br />
<br />
Students will use a statistical and visual art approach to explore the portrayal of various demographics in the media. How are non-dominant groups such as women, racial and ethnic minorities and LGBT people in the media portrayed? How are dominant groups portrayed? How do these stories shape the narratives in which we all live?<br />
<br />
Students will examine metrics such as screen time, dialogue, and casting through statistical tools such as t-tests, chi-square tests, and linear regressions to reveal the underlying distortions in what we see. They will then use visual art techniques such as compilation, montage, and the film essay to explore and deconstruct clichés and stereotypes and create graphs of discovered data, trends and patterns to explore and process the data. The final project will be a self-portrait that explores the ideas of false mirrors versus authentic narrative.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Math & Visual Art<br />
|style="background-color:#899499;" | Ordering Chaos<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This class is an Integrated Studies course designed to explore the connections and overlap between math and art. Using math and visual arts skills, students will explore a variety of questions, assumptions, projects, and theories that challenge stereotypes about math and art. This class aims to build resilience in young scholars who enjoy problem-solving. Students are asked to take academic and intellectual risks by exploring ideas and approaches that are out of their comfort zone and to practice self-motivation by staying engaged with the class activities and homework assignments. This class is open to students of all grades. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Math & Computer Science<br />
|style="background-color:#899499;" | Math Modeling<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The aim of this class is to introduce students to the basic concepts of applied statistics and data science. Students will learn how to clean and filter data, analyze large data sets, how to utilize math modeling programs, data visualizations techniques, and how to create and interpret math models. Though coding will be utilized in this course, no experience with coding is required. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Spanish<br />
|style="background-color:#899499;" | The Sky Is Falling: Magical Realism in Latin American Literature and Beyond<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What if you entered a library with infinite titles, endless corridors, and duplicate copies? What if a speck in the sky turned out to be a ceiling, one that got lower and lower with each passing day? What if your new next-door neighbor seemed remarkably—even eerily—like a future version of yourself? In this course, we will explore the broad umbrella of magical realism, a literary genre in which primarily realistic stories contain some element of magic, as well as varying alternative fictions. Each of our texts will take the recognizable world and add unsolved mysteries, the supernatural, or unexplained phenomena to complicate our understanding of reality, as well as our characters’ experiences and emotional states. We will explore how and why authors choose to manipulate reality and examine the effects on our understanding of a character’s motive and identity. Using a broad scope of writers and traditions, we will address Sigmund Freud’s “uncanny,” as well as Da <br />
Chaon’s “spooky” and Margaret Atwood’s “speculative fiction.” In keeping with magical realism’s roots, we will begin the term with midcentury Latin American writers such as Jorge Luis Borges and Gabriel Garcia Marquez, and then expand our scope to include Kelly Link, Shirley Jackson, and Jean Rhys, among many others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Social Sciences<br />
|style="background-color:#899499;" | Borders: Immigration, Migration and National Boundaries<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines how borders shape our world. Whether these are internal or external, societal or national, we all encounter barriers, but we do not all experience them in the same way. From the establishment of Europe to the discovery of the North American continent, from the Scramble for Africa to the Islamic State, and from the declarations of independence by former colonies, the development of borders has played a key role in geopolitical, religious, racial, and cultural matters. The course looks at nationality, identity, and the meaning of nationalism. It examines the lines drawn by politics, race, religion, class, and education, that lead to the creation of separate communities. This course addresses the nature of rights; natural, national, and human that emanate from the recognition of borders and that determine their legitimacy. Rights give rise to conflict, and when it comes to living spaces, these disputes are even more contentious. <br />
</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Social Sciences<br />
|style="background-color:#899499;" | Decolonizing Women: Shattering Oppression<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the colonization of women in disparate societies around the globe. Whether by imperialist forces, colonial occupation, war, patriarchy, dictatorship, or political movements among others, women have encountered a super-imposed culture that has warranted adaptations and transformations. This in turn has given rise to internal and external resistance. This course seeks to examine the origins and nature of these movements across the globe that have been generated by women for women. Incorporating their specific national, cultural, and traditional histories, this course will enable our students to learn about the impact colonization has had, and in some cases continues to have, on the development of women’s rights in regions far removed from their own. They will be able to make comparisons between their own (native) women’s movements, whether national or regional and establish underlying connections between the movements on the whole. This course will also focus on the question of location; how does the location of a women’s movement influence its success? What relevance do culturally specific laws, common law, and traditional societies have on the emergence of women’s rights and movements from within their communities?</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | Revolutionary Russia<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines Russian history from the Decembrist uprising of 1825 to Stalin’s show trials and the destruction of the Old Bolsheviks in the late 1930s. After a brief survey of autocracy and orthodoxy in Old Russia and westernization under Peter the Great, students focus on the 19th and early 20th centuries, with emphasis on the French Revolution and the Napoleonic Wars, the development of the revolutionary tradition, the rise of Marxism, the Bolshevik Revolution, the Civil War, Marxist-Leninist theory in practice, and Stalin’s dictatorship. Special attention is given to Russian literature, with works by Pushkin, Gogol, Turgenev, Dostoyevsky, Tolstoy, Chekhov and Koestler.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & World Languages<br />
|style="background-color:#899499;" | Roman History for Latin Students<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides a deeper historical background to the world of the authors that students will read in their Latin courses. Beginning with Roman state and urban formation of the early Iron Age, students will use primary and secondary sources to study in depth a selection of topics from the first millennium BCE. Students will also read primary sources in the original Latin language and finish the term with a role-playing opportunity examining the collapse of the Roman Republic.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Religion<br />
|style="background-color:#899499;" | The Holocaust: The Human Capacity for Good and Evil<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How did the Holocaust happen? How could some people commit such heinous crimes, while others remained bystanders, and still others risked their lives to save innocent people? We will consider these questions and many more as we examine the Holocaust from the perspective of the human capacity for good and evil. Discussions of human psychology and behavior, as well as the religious and historical sources of anti-Semitism, will be examined as background to the events of the 1930s and 1940s. We will also consider the memory of the Holocaust in survivor testimony and in more contemporary efforts to memorialize, represent and reckon with the historical events. The course will culminate with a project of each student’s own design.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Queer Literature & Identities<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course approaches American literature with an emphasis on the ways in which non-heterosexual and non-cisgender identities and experiences have been represented in post-Stonewall (post-1969) writing. Despite the actual lived range and combination of gender identity, sexual orientation, and sexual practice, mainstream heterosexuality attempts to confine sexuality to a rigid duality where observation of a person’s secondary sex characteristics are supposed to infer hir (gender neutral pronoun) gender identity and sexual practice. In this context, the term “queer” is invoked to describe any possible combination of gender identity, sexual orientation, and sexual practice that challenges the norm presented by heterosexuality. By reading essays and literature by self-identified queer writers, we will challenge and redefine the concepts of sex, gender, masculinity, femininity, diversity, oppression, and empowerment. By the end of this mod, we will have developed a greater awareness of issues concerning gender and sexual identity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Lockdown<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Prisons are a growth industry today in the United States. This course, through a blending of literature, film, and social sciences, will examine incarceration. By reading novels, memoirs, and poetry and viewing a few films, we can gain a greater appreciation of the psychological effects of these institutions and the power of art as a means of coping with them (touching then on witnessing and testimonials). We will ask questions about ethics and justice, about self-expression, and about social control. The course will include some experiential learning in the form of trips to a nearby jail and a nearby youth court. Some possible titles may include: ''Orange Is the New Black'', ''Gould’s Book of Fish'', ''The Trial'', ''Brothers and Keepers'', ''A Place to Stand'', ''One Day in the Life of Ivan Denisovich'', and ''Zeitoun''.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | Change Agents: Examining Advocacy, Audience, and Impact in Literature and the Arts<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course will focus on the intersection of literature and activism. After defining our key terms in relation to questions of representation, propaganda, branding, and witnessing, we will delve into case studies involving civil rights and social justice, and environmental activism. We will read fiction, poetry, and drama—thinking about questions of audience and impact. In addition, music, performance, and visual arts may provide further contexts to understanding the relationship between literature and activism. Writers may include James Baldwin, Don L. Lee, Alice Walker, Richard Powers, Annie Dillard, etc. Students will choose a cause and investigate a range of artistic acts of activism—and perhaps produce some of their own. Projects may include the potential for collaborations here on campus and beyond.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | History & Literature of the Haitian Revolution<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Few events have been as transformative and far reaching in effect—yet so untaught and unlearned across the humanities—as the Haitian Revolution, which occurred from 1791 to 1804. This interdisciplinary course will investigate the revolution and its legacy and attempt to address, at least in part, the monumental significance of the only successful large-scale slave rebellion in the Atlantic World. By 1804, the newly independent Haitians, freed by their own hands, had won for themselves a unique inheritance: theirs was a society born of the Age of Revolutions and animated by the Enlightenment-inspired language of liberty, but equally theirs was a society deeply rooted in African and Afro-Caribbean slave culture. In its independence, Haiti became the center of a transnational black diaspora as it defended its existence at a time when the United States and European colonial powers viewed racial slavery as the pillar of their burgeoning capital economies. This elective aims to explore these complicated ideas through a variety of texts, digital archives, fiction and nonfiction, literature, and history.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Crossing the Line: U.S.-Mexico Border Literature and Contemporary Politics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What does it mean to live on or near a border, and more importantly, what does it mean to read and write literature about border experiences? In this course, students will explore the U.S.-Mexico border and literature produced “on the line,” what Gloria Anzaldúa describes as “La Frontera.” Students will read works that identify as “border literature” and will be introduced to border studies, discussing themes such as immigration, hybridity, border militarization, and in general, issues concerning U.S-Mexico border politics. Possible authors to be studied: Yuri Herrera, Cormac McCarthy, Nicholas Mainieri, Cristina Henríquez, Luís Albero Urrea, Emma Pérez, Lucretia Guerrero, Sandra Cisneros, Reyna Grande, and Ana Castillo.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Philosophy<br />
|style="background-color:#899499;" | Existentialism<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Existentialist philosophy asks us to think about what it really means to have control over who we are and what we do. In this course, we’ll look at some of the key texts of existentialism, both fictional and nonfictional, focusing on Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. We’ll grapple with some of the biggest questions humans can ask themselves: What makes us who we are? How much choice and control do we have over our lives? What does it even mean to be a person who can think for themselves and interact with the surrounding world? You’ll leave the class not only with a clearer understanding of complex philosophy, but also with a way of thinking about yourself and the world that you can apply every single day.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Music & Performace<br />
|style="background-color:#899499;" | American Musical Theatre<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Musical Theatre is an interdisciplinary and experiential class that will explore both the history and performance elements of American Musical Theatre. Beginning with the 1920s and culminating with present day, students will explore the historical context of a significant musical in a particular decade each week. Students also will perform a number from that musical each week, challenging themselves in the discipline of performance. Over the course of the term, students will gain knowledge of American history through the lens of the performing arts and gain experience in performing in the three elements of musical theatre (song, dance, and spoken word). Public performances will occur throughout the term, including a final project. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Performace<br />
|style="background-color:#899499;" | Play Writing<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Creating the literature of the theatre requires a good ear for the way people communicate, a keen sense of imagination, an understanding of how theatre works, writing skills to give voice to one’s ideas, and speaking ability to give verbal life to written plays. The process demands the general willingness to venture into this specific genre of literature, patience, revisions, and humor. Plays created by this class may be selected by student directors and performed. This course will include reading, writing and theatre exercises to explore themes and topics.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Performace<br />
|style="background-color:#899499;" | Social and Political Theatre<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students study important social and political literature of the theatre that addresses social justice issues, including experiences of war, personal and political freedom, assumptions, stereotypes, and responsibility. Readings may include the works of well‑known playwrights and contemporary playwrights as well some lesser known artists. Classes will include an exploration of how we use the world of theatre to analyze text and character, bringing text to life, and open discussions and reflections about how we can use theatre to bring important topics to light. We will explore our own relationship to themes we discover in the work we read and write as well as the possible meaning to society as a whole. This course will include reading, writing and theatre exercises to explore themes and topics.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performance & Vocational Tech<br />
|style="background-color:#899499;" | Costuming<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An introductory exploration into the areas of costume design and costume construction, this course will highlight primary design elements utilized in costume design for the stage and screen (i.e., line, color, tone, texture, movement, mood composition, balance, and focus). The course will examine historical period silhouette and the art and craft of the stage costume. Practical experience will be given in areas including construction, flat patterning, draping, and fabric manipulation.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Philosophy<br />
|style="background-color:#899499;" | Costuming<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Existentialist philosophy asks us to think about what it really means to have control over who we are and what we do. In this course, we’ll look at some of the key texts of existentialism, both fictional and nonfictional, focusing on Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. We’ll grapple with some of the biggest questions humans can ask themselves: What makes us who we are? How much choice and control do we have over our lives? What does it even mean to be a person who can think for themselves and interact with the surrounding world? You’ll leave the class not only with a clearer understanding of complex philosophy, but also with a way of thinking about yourself and the world that you can apply every single day.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Visual Art<br />
|style="background-color:#899499;" | Graphic Narrative<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The graphic novel is an extended comic book with similar subject matter to—and the sophistication of—traditional novels. By its very nature, the graphic novel challenges our assumptions of what a narrative and novel can be. For those tied to words, the comic offers a challenging visual text that forces us to read in new and surprising ways; much of this course will be about reframing our visual and narrative habits and expectations. While the graphic novel is increasingly mainstream, it often has offered voices from the margins about the margins. Its subject has been everything from the coming-of-age novel to historical memoir to cross-cultural conflict to the darker side of the superhero. We will read a variety of texts with the rigor accorded to more traditional texts while also stretching ourselves to understand the aesthetic visual choices the artist makes. By the end of the term, we will even attempt our own small comics. Texts may include Alan Moore’s ''Watchmen'', Chris Ware’s ''Jimmy: The Smartest Kid on Earth'', Marjane Satrapi’s ''The Complete Persepolis'', Art Spiegelman’s ''The Complete Maus'', Frank Miller’s ''Batman: The Dark Knight Returns'', and others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | The Great Migration<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“They traveled deep into far-flung regions of their own country and in some cases clear across the continent. Thus the Great Migration had more in common with the vast movements of refugees from famine, war, and genocide in other parts of the world, where oppressed people, whether fleeing twenty-first-century Darfur or nineteenth-century Ireland, go great distances, journey across rivers, desserts, and oceans or as far as it takes to reach safety with the hope that life will be better wherever they land.” Isabel Wilkerson, The Warmth of Other Suns: The Epic Story of America’s Great Migration. Students will engage with art, film, literature, and music about the African American exodus from Southern regions of the United States into the northern cities of Chicago, Cleveland, New York City, and others. A few writers that students can expect to read are James Baldwin, Lorraine Hansberry, Toni Morrison, August Wilson, Richard Wright, among others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performance Arts & Vocational Tech<br />
|style="background-color:#899499;" | Puppetry and Props<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This hands-on laboratory course investigates the history, styles, tools, materials and techniques of puppetry. Students will bring imaginative ideas to life by engineering and constructing various puppets forms, experimenting with performative objects, and exploring puppet manipulation as a performer. Note: as part of this class, students will learn the use of small hand and power tools. <br />
</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | Screenwriting<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In recognizing the important role that film has in the life of our culture today, this course focuses on the skills particular to writing in that medium. Using the Robert McKee classic text Story as our guide, we learn about elements of story substance and structure, and we look at principles of story design and style in screenwriting. We also analyze the way these principles reveal themselves in significant modern and classic films, as we read and discuss screenplays ranging from Casablanca to Fruitvale Station. Viewings of these films accompany class discussions. Students complete the course with a portfolio of scenes and the treatment and outline for their own original film.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | Identity<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course explores the intersection of writing and performance through an investigation of personal identity and will be taught collaboratively by instructors who specialize in each area. The course will culminate in a performance of a devised theatre piece of the student’s creation before a live audience. Designed for students with acting experience and a serious commitment to the art form, students will build off their existing skills through in-depth character work and scene study and push their understanding of themselves and acting by exploring their own identity. Students will be encouraged to think theatrically, engaging in a search for the connection between literary themes, historical context, and personal identity. Over the term, the class will gain insight into the roles that race, class, gender, sexual orientation, and faith affects our daily existence and live performance. Lastly, students will experience and examine how live performance interacts with public discourse, civil disobedience, and art.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | The Playwright's Playground<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Theater-making often begins with the playwright’s script — and ends with the work of an entire community of collaborators: directors and actors, literary directors and dramaturgs, designers and stage managers, producers and marketers, community organizations and advocates, and more. Students will consider the following questions in discussions and writing: How do we stage a production in an ethical and responsible way about a community that is not one’s own nor represented by our audiences? Should it be done? Which collaborators are essential to preserving the integrity of the play’s meaning? How do we engage the playwright? How do we engage the communities represented as theater-makers and artists? Students will read plays by and about BIPOC characters, be in conversation with the playwright, and direct readings of Sahar Ullah’s plays, including ''Hijabi Monologues'' and ''The Loudest Voices''</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Vocational Tech<br />
|style="background-color:#899499;" | History Through Food<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
From the Neolithic Revolution through the emergence of the global food markets of the 20th century, this course examines the changing relationship between humans and food. Through a combination of readings, tastings and hands-on cooking, we will examine how food can help us understand various aspects of the<br />
past around the world. Topics include the relationship between food and the economy, food and identity, food and empire, and food and the environment. Come hungry to learn and to eat. We will be reading about, writing about, cooking and tasting food that can help us understand how humans shape what they eat, and how what we eat shapes us.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Music<br />
|style="background-color:#899499;" | Beats, Rhymes, and Narrative<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Hip-hop music’s infuence on popular culture, literature, entertainment and politics is undeniable. This course will examine the relationship between hip-hop and storytelling. Course texts will consist of weekly listening sessions, scholarly articles on hip-hop theory and definitive text on hip-hop culture. We will listen to selected songs by a diverse array of artists and analyze their structures and traditional literary elements. A section of the course will be devoted to the study of a chosen album. Class discussions will examine hip-hop as a modern-day social justice tool and a narrative genre that explores gender, race, spirituality, class and resistance. Writing assignments will consist of original rap songs, which include recordings, and a final epistolary project. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Music<br />
|style="background-color:#899499;" | The Harlem Rennaisance<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Harlem, New York. 1920s. A constellation of African American writers, artists, performers and thinkers are changing American and world culture, pollinating African American art and literature. Between WWI and the Great Depression, Harlem was distinctly in vogue. The Harlem Renaissance became a landmark of American literary, artistic and intellectual history: the emergence of a distinctive modern black literature, a clustering of black artists who sought to give expression to the ambiguous and complex African American experience. The course centers on the distinctive voices and styles of Claude McKay, Jean Toomer, Nellie Larsen, Zora Neale Hurston, James Weldon Johnson, Countee Cullen, Langston Hughes and others. We will honor African American achievements in music and visual arts during that period and examine the Harlem Renaissance’s legacy within the evolution of African American literature and American, Afro-Caribbean and global art and literature. Class will include a field trip to a performance at the Apollo Theatre.</div></div><br />
|style="background-color:#899499;" | <br />
|}<br />
</div></div><br />
<br />
==Extracurriculars ==<br />
<br />
Life at Xavier's is not all classwork and training. Between sports* and student organizations, the students have a wealth of opportunities to choose from to enrich themselves outside the classroom.<br />
<br />
Athletics (The Xavier Titans)<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Fall Season'''<br />
<div class="mw-collapsible-content"><br />
*Cross Country (BV/GV)<br />
*Field Hockey (V)<br />
*Football (V)<br />
*Soccer (BV/GV) (''Coach: [[Kyinha]]'')<br />
*Volleyball (GV)<br />
*Water Polo (BV)<br />
*Fencing (BV/GV)</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Winter Season'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Basketball (BV/GV)<br />
*Ice Hockey (BV/GV) (''Coach: [[Scott]]'')<br />
*Swimming & Diving (BV/GV)<br />
*Wrestling (V)</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Spring Season'''<br />
<div class="mw-collapsible-content"><br />
*Baseball (BV)<br />
*Crew (BV/GV)<br />
*Cycling (V)<br />
*Lacross (BV/GV)<br />
*Softball (GV)<br />
*Tennis (BV/GV)<br />
*Track (BV/GV)<br />
*Water Polo (GV)<br />
*Gymnastics<br />
*Ultimate Frisbee</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Student Organizations'''<br />
<div class="mw-collapsible-content"><br />
<br />
This is a sampling of student organizations that have been found among Xavier's students in the past. Feel free to add new ones that your char might be interested in or organize your own!<br />
<br />
*Classics Club (''Sponsor: [[Matt]]'')<br />
*Science & Tech Club<br />
*Math Club (''Sponsor: [[Kyinha]]'')<br />
*Chess Club (''Sponsor: [[Matt]]'')<br />
*GSA<br />
*Cryptology Club<br />
*Rock Climbing Society ''(Sponsor: [[Jackson]])''<br />
*Robotics Club<br />
*Jewish Student Union<br />
*Christian Fellowship ''(Sponsor: [[Jackson]])''<br />
*Muslim Student Union<br />
*Alianza Latina<br />
*Asian Student Alliance ''(Teacher: [[Tian-shin]])''<br />
*French Club (''Sponsor: [[Matt]]'')<br />
*German Club<br />
*Board Gaming Club <br />
*Women's Forum<br />
*Drumline<br />
*Unaccompanied Minors (a capella group)<br />
*Model UN<br />
*Astronomy Club<br />
*Debate Team<br />
*Mock Trial ''(Teacher: [[Tian-shin]])''<br />
*Peer Tutoring<br />
*Odyssey of the Mind<br />
*Culinary Society<br />
*Movie Club<br />
*Student Council<br />
*Yearbook <br />
*Phoebe's Oracle (Student Newspaper)<br />
*Literary and Arts Magazine <br />
*Archery Club<br />
*Martial Arts Club<br />
*Table-Tennis Club<br />
*Tabletop Society <br />
*Photography Club<br />
*Hiking/Nature Club<br />
*Wonderbolts (Equestrian Club) ''(Sponsor: [[Jackson]])''<br />
*Xavier's Players (Theatre Club)<br />
*Dance Dance Evolution (Dance Team)<br />
*Society for Creative Anachronism Student Group<br />
*Peer Support Group<br />
</div></div><br />
<br />
*Note that because of the vast discrepancy in abilities among the student body, joining an athletic team must be approved both in tryouts and by the Xavier's Ethics board.<br />
<br />
== XS Life ==<br />
<br />
=== XS Dorms ===<br />
<br />
Student dorms at Xavier's are segregated into two wings based on binary identified gender. Students who do not identify with a binary gender, regrettably, have to pick one of the two wings to live in.<br />
<br />
Nearly all dorm rooms are currently set up for two people; in some cases due to availability or extreme power related considerations, students may be assigned a dorm by themselves. <br />
<br />
The dorms at Xavier's are, as dorm rooms go, fairly comfortable. They are quite spacious, and come standard with a pair each of twin beds, dressers, nightstands, desks with bookshelf/hutch, and large closets. There is ample room in the dorms for students to customize their own half of their rooms as they like so long as it does not violate any school regulations.<br />
<br />
Bathrooms in the student dorms are shared with the wing; they have long rows of sinks and toilets on one side and, separately, the rows of showers, in their own enclosed booths with plenty enough space to bring all clothes and toiletries in and have them stay dry.<br />
<br />
The teachers' wing is on a different floor. Teachers who choose to live on campus get their own suites; they vary in size but all come with their own in suite bathrooms and some have small kitchenettes or small sitting areas as well.<br />
<br />
==== Roommate Assignments ====<br />
<br />
ICly, roommates at Xavier's are assigned by the administration, and cannot be specifically requested. Sometimes roommates do not get along; sometimes friction occurs -- usually these students will simply be told to learn how to get along. In cases of '''serious''', persistent hostility/incompatibility that is impacting the students' ability to thrive, the students may request a change of roommate, though they may still not request a ''specific'' new roommate. As of fall term 2023, rooms are triples, not doubles. <br />
<br />
OOCly, though, roommates at Xavier's are not assigned and are handled wholly and entirely by OOC agreement between players. Nobody will ever ''assign'' you a roommate here, so please do not ask. If you would like a PC roommate, you will need to a) see if there is someone who has a PC living in the same wing as yours who does not yet have a roommate and b) see if they are interested in being your roommate. If nobody is available, please either assume your PC has an NPC roommate or, if they are brand-new, may be one of the lucky few who has the double room to themselves until someone new shows up!<br />
<br />
Current PC room assignments at XS ('''check here to see if anyone is free/unassigned if you are looking for a roommate'''):<br />
<br />
*Girls' Wing:<br />
**[[Kelawini]]/[[Nessie]]<br />
**[[Naomi]]/[[Nahida]]<br />
**[[Ashlinn]]<br />
**[[Avery]]<br />
**[[Echo]]/[[Sriyani]]<br />
**[[Emilia]]<br />
**[[Giselle]]<br />
**[[Kieow]]<br />
**[[Nevaeh]]<br />
**[[Rhydian]]<br />
**[[Sera]]<br />
**[[Cassy]]<br />
<br />
*Boys' Wing:<br />
**[[Harm]]<br />
**[[Lael]]/[[Avi]]/[[Bryce]]<br />
**[[Spencer]]/[[Dallen]]/[[Roscoe]]<br />
**[[Asva]]<br />
**[[Ford]]<br />
**[[Marc]]<br />
<br />
=== Advising at XS ===<br />
<br />
ICly, every student at Xavier's is paired soon upon arrival with an advisor. The job of the advisor is to make sure the student's needs at the school are being met and the student is being properly prepared for graduation/life after Xavier's. This means: helping them figure out their goals after high school, helping them a class and extracurriculars schedule that is manageable for them and will prepare them for a successful graduation, arranging that they get whatever access to coaching and therapy they might require (whether this is powers-based, medical, or psychological.)<br />
<br />
Please note that their advisor is '''not''' required to be the person who gives them powers-based coaching if it is needed, and advisors at Xavier's are, as a general rule, '''not''' selected based on similar powersets to students. When possible, students are matched with advisors based on personality and cultural competency -- meaning they try hard to pair students to advisors they think they'll get along with and talk to, not just advisors who can train them to use their powers.<br />
<br />
OOCly, similarly to roommates, advisors at Xavier's are not assigned and are handled wholly and entirely by OOC agreement between players. Nobody will ever ''assign'' you an advisor here, so please do not ask. If you would like a PC advisor, you will need to see if there is someone who has a PC faculty or X-Man who is interested in being your student's advisor. If nobody is available, '''please assume your PC has an NPC advisor''' -- there is no situation, period, where a student will not have an advisor, so do not RP that they have not been assigned one.<br />
<br />
When asking about advisor/advisee relationships, it is a good idea to check in OOCly and make sure you are on the same page about what you all want OOCly out of that RP relationship -- some people might want to actually roleplay out advising sessions on camera while other people are not interested in that genre of scenes and might only want that as a background to inform your characters' relationship for other types of scenes, and it is better not to set yourself up for frustration if you want very different things!<br />
<br />
Mentor Assignments:<br />
<br />
*[[Jax]] - [[Harm]], [[Lael]]<br />
*[[Joshua]] - [[Spencer]], [[Roscoe]]<br />
*[[Kyinha]] - [[Avi]], [[Nessie]]<br />
*[[Maya]] - [[Naomi]]<br />
<br />
(OOCly) Unassigned Students (remember that ICly, these students will still have an advisor, they will just be an NPC until you choose to pair with a PC advisor):<br />
<br />
*[[Ashlinn]]<br />
*[[Asva]]<br />
*[[Avery]]<br />
*[[Bryce]]<br />
*[[Cassy]]<br />
*[[Dallen]]<br />
*[[Echo]]<br />
*[[Emilia]]<br />
*[[Ford]]<br />
*[[Giselle]]<br />
*[[Kelawini]]<br />
*[[Kieow]]<br />
*[[Marc]]<br />
*[[Nahida]]<br />
*[[Nevaeh]]<br />
*[[Rhydian]]<br />
*[[Sera]]<br />
*[[Sriyani]]<br />
<br />
=== Dining at XS ===<br />
<br />
The kitchen is run by Savita Chavan, who has been the cook for many, many years at XS. She is fully human; her daughter was a mutant who graduated long ago.<br />
<br />
Meals happen on a set schedule (breakfast at 7 am, lunch around 12/1p, dinner around 6:30; shifted an hour later on weekends), but there are always plenty of snacks and leftovers kept around the extensive pantry for students who need more food in between meals.<br />
<br />
Xavier's does its best to cater to the wide variety of cultural and physiological needs of its students. The dining hall is NOT a restaurant or cafeteria with a full menu that kids can order from it's a school dining hall. <br />
<br />
Mealtimes generally include one meat and one vegan entree with a number of sides that students can pick and choose from to make their own meal as best suits them. Entrees and sides at a given meal will generally all be along a similar cuisine for ease of mixing and matching, with a wide range of dietary choices represented among the available options. While Savita's specialty is South Indian food, she tends to ''try'' and cater her cooking to the (predominately whiter, more American) palate of the school body; though there's a wide variety of recipes on rotation, they skew towards Things That An Uncertain Immigrant Thinks Would Be Inoffensive To A Wide Audience Of American Kids. Less often palak paneer, more often ravioli.<br />
<br />
=== XS Tech ===<br />
<br />
*There is wifi everywhere throughout the mansion and covering a good portion of the grounds around the mansion. It reaches down to the boathouse and docks, but peters out soon into the woods.<br />
*The computer lab is open 24/7, with many machines available for students who do not have their own personal computers. It is well-equipped with computers, scanners, and printers for all students' computing needs.<br />
*All students are required to have smartphones. Students may not use cell phones during class, but must keep their phones with them at all times when they are signed out to leave school grounds. They are expected to use the cell phones in emergencies; they are all equipped with a 'panic button' which will send an alert with the student's location to the school, dispatching available X-types to respond. Hitting the panic button OUTSIDE of actual crises is a severe infraction and will result in disciplinary action.<br />
**Students are welcome to see the school's IT department if they have their own appropriately capable cellphone they would prefer to keep and use; they will install a similar panic-button app for them. Students who do not have/cannot afford their own phone will be provided one by the school.<br />
*All students, staff, and faculty receive Xavier's email addresses. The default format is first initial-lastname at xaviers.edu . So, e.g., Daiki Komatsu is dkomatsu@xaviers.edu. Alumnae keep their Xavier's email address for as long as they stay active with it; they can contact the school sysadmin to reinstate it if they let it go idle and it is deleted.<br />
**Staff, faculty, and alumnae are allowed to pick up to two mail aliases for their email as well. So, e.g., Jackson, in addition to being jholland@xaviers.edu, can also be reached by jax@xaviers.edu or littlemisssunshine@xaviers.edu. Mail aliases must have some modicum of propriety; nothing vulgar or profane will be allowed.<br />
*Xavier's internal network has extensive online support for all academics. Students can log in to check their class syllabus, assignments, announcements from teachers (which will generally also come with email notification), class discussions, lecture notes, grades, calendars, and any other media that the teacher has posted to help with class.<br />
**All teachers of academic classes are given instruction in how to use this system when they start teaching; it is pretty simple and intuitive and does not require much tech savvy. Teachers are ''required'' to post their syllabus and assignments, at the least, here.<br />
**For this reason, not knowing about assignments is never an excuse; if class is missed, the week's assignments and topics are posted online and all students have plenty of internet access. A teacher forgetting to post an assignment, however, ''is'' an excuse, so teachers should get used to being on the ball with this.<br />
*Xavier's sysadmin is very On The Ball, although nobody seems to ever have seen him. Any and all network problems can be directed to cerebro@xaviers.edu, though, and tend to be answered uncannily quickly. The network does not inherently have any constraints on it for things like file sharing and porn and general Misbehavior, but students will find that things outside of the school's Acceptable Use Policy (things like: attempted hacking, illegal activity, using obnoxious amounts of bandwith nonessentially, etc. ) are quickly discovered and quashed.<br />
*Students -- or malicious outsiders! -- will also find that their network is ''remarkably'' secure and resistant to malicious tampering and intrusion. Students attempting to test the network's security will even occasionally receive an email offering advice, and explaining what they did wrong, along with a suggestion that should they wish to practice their "1337 haxx0r skillz" they should take one of the many CS classes offered by the school.<br />
<br />
=== The Neighborhood, and Beyond ===<br />
<br />
Xavier's School is located in the town of Salem Center, a town of around 5000 people in Westchester county. Salem is a small and close-knit community, the type of place guidebooks probably call "charming" or "quaint". Its town center makes a deliberate effort to retain the same general feel it has kept for generations, old-fashioned storefronts and cobbled streets with a lot of eye for aesthetic and very little thought for accessibility. While there are some things to do in town -- an arcade, a diner that's popular with the students, a roller skating rink, a small movie theatre -- in honesty the primary recreational activities of the youth who live there are Getting High Behind the roller skating rink, movie theatre, etc. The Weirdo School up at the old Xavier place is something of an open secret in town; while people don't know for sure the full scope of the school they are well aware that there's a Higher Proportion Than Usual of freaks that come into town from there and have grown to a grudging mutual tolerance.<br />
<br />
At just under a mile from campus, getting to the town center is a middling walk on a pleasant day, or a very quick bike or car trip. <br />
<br />
Westchester County is just north of the Bronx. In zero-traffic conditions, it takes approximately an hour by car to get from the school to Manhattan -- in most ''actual'' New York City congestion situations, tack ''at least'' an extra half an hour onto that. Public transit is a more hit or miss prospect -- the school is served by commuter rail; the schedule is geared around people getting to and from day jobs in the city and not to the needs or desires of people wanting to get FROM Westchester TO the city on an after-school/weekend schedule. <br />
<br />
Timed correctly, the trip from Salem Center to Grand Central Station by train is often quicker than sitting in traffic and will run about an hour as well -- however on top of that needs to be factored in time to get ''from'' downtown Manhattan to wherever people ''actually'' want to be, as well as the fact that the train runs extremely intermittently on weekends and does not run late at night. The trip by buses (which are necessary to get back in between trains) requires several transfers and can take well over 2 hours from downtown, depending on transfer times and how behind the buses are.<br />
<br />
===Additional Trivia===<br />
The school colours are blue and yellow, though Xavier's branded apparel comes in different colours as well. <br />
<br />
The school teams are the Titans -- the mascot, when it is brought out, does not look ''much'' like a Greek god, but that's how it goes.<br />
<br />
The school motto is ''mutatis mutandis''. <br />
<br />
== Roster ==<br />
<br />
These are the current PCs who have some affiliation with Xavier's.<br />
<br />
*Faculty<br />
**[[Maya]] Mukhopadhyay<br />
*Faculty/X-Men<br />
**[[Charles]] Xavier<br />
**[[Jax]] Holland '10<br />
**Roberto "[[Kyinha]]" da Costa<br />
**[[Matt]] Tessier<br />
**[[Scott]] Summers '95<br />
**Hua [[Tian-shin]]<br />
*Staff<br />
**[[Cerebro]]<br />
*Students<br />
**[[Ashlinn]] Karibeanas<br />
**[[Asva]] Runí Tøro<br />
**[[Avi]] Micah Williams<br />
**[[Emilia]] Romanova<br />
**Rutherford "[[Ford]]" Reagan Rand Stonegate II<br />
**[[Giselle]] Desrosiers<br />
**[[Leonidas]] Beauregard Thigpen<br />
**[[Bryce]] Layton Allred<br />
**[[Cassy]] Villeneuve<br />
**[[Dallen]] Elijah Allred<br />
**Ziyin "[[Echo]]" Lin<br />
**[[Harm]] Sun<br />
**[[Kelawini]] Māhoe<br />
**Sumalee "[[Kieow]]" Suphamongkhon<br />
**[[Lael]] Isaiah Winters<br />
**[[Lucas]] DiLaurentis<br />
**Marcellus Momprimier Marquette ([[Marc]])<br />
**[[Naomi]] Winters<br />
**[[Nessie]] Grace Pelayo<br />
**[[Paz]] Sepulveda<br />
**Quintavius Quirinius "[[Quentin]]" Quire<br />
**[[Roscoe]] Brendan Vo<br />
**[[Rhydian]] Lovkwood<br />
**[[Sera]] Tessier<br />
**[[Spencer]] Holland<br />
*X-Men<br />
**Clarice Ferguson ([[Blink]])<br />
**[[Daiki]] Komatsu '15<br />
**[[Joshua]] Salinas<br />
**[[Kitty]] Pryde '12<br />
**[[Shane]] Holland '16<br />
*Former Students<br />
**[[Anette]] Eccleston '10<br />
**Victor Borkowski ([[Anole]]) '16<br />
**[[B]] Holland '16<br />
**[[Desi]] Tessier '16<br />
**[[Gaétan]] Tessier<br />
**[[Kavalam]] Ramakrishna Neelakantan<br />
**[[K.C.]] Love '20<br />
**[[Kisha]] Dorogoi '17<br />
**[[Lyric]] Sagal Dirie '17<br />
**Taylor [[Marinov]] '20<br />
**[[Nanami]] Māhoe<br />
**[[Nick]] Thanh Gleason '17<br />
**[[Peter]] Parker '16<br />
**[[Rasa]] Djalili '15<br />
**[[Taylor]] Allen '17<br />
<br />
[[Category:Factions]][[Category:Xavier's School]][[Category:Information]] [[Category:In-Game Universe]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Avery&diff=25968Avery2024-03-25T20:44:23Z<p>Borg: </p>
<hr />
<div>{| width="100%"<br />
| colspan="2" | <center><br />
{|<br />
| style="text-align:center;" | '''''”Fuck you, fuck you, fuck you -you’re cool, and *fuck you*, I’m out!” -Scarface, Half-Baked (1988)'''''<br /><br />
|}<br />
</center><br />
|-<br />
| width="100%" |<br />
{| width="100%"<br />
! Introduction <br />
|-<br />
|<br />
{{Tab}}“You ah… you wanna help out a strugglin’ teen?”<br />
|<br />
|-<br />
! Description<br />
|-<br />
|<br />
{{Tab}}A 5’8”, tan, tomboyish street rat with a messed up grin. Normally in a t-shirt and jeans (or hiking pants) she has a duffel bag in case of traveling full of clothing and personal valuables.<br />
|<br />
|-<br />
! Reputation<br />
|-<br />
|<br />
{{Tab}}Ignored by most of Staten Island for her reputation a troublemaker. Either a troublemaker or a full blown criminal. Those who have to deal with her have to handle an obnoxious, rude teenager who has problems with authority, helpful or otherwise. <br />
|<br />
|-<br />
! History<br />
|-<br />
|<br />
{{Tab}}Born Avery Caroline Moreli, she was the younger sister of 3 older brothers. Her mother Amelia was a struggling artist trying to pitch in to help her family while her father was originally part of a mob family. Her mother kept him from exposing it to her and her brothers, if not tried to rid of it entirely. <br />
When Avery was 7, her mother had died in a drive-by shooting, leaving her father to do whatever he wanted. Her brothers, Keith, Oliver, and Arthur all had rackets they worked in by their strengths. Keith was stoic, so he made a good corner boy and smuggler. Oliver was good with finances and investments, so he dealt with laundering, counterfeiting, and debt collection. Arthur was quick, nimble, not afraid to stab someone just in case, so he dealt with theft, extortion, and the main leads in shakedowns.<br />
Granted they didn’t start this until they were individually 13, but this led to more damage in childhood the younger the Moreli was. Avery thought of no other way for her life, and just laughed off all the trauma caused in her childhood by being her brothers muscle.<br />
<br />
When Avery had just turned 16, there was the Brooklyn Incident. It was her powers manifested. Her and her brothers we’re going to trade in seven kilograms of cocaine for 7 million dollars to the bigger crime family’s of Staten Island in Brooklyn, and it was going to be their big break. But it went wrong, as it bound to happen. Avery and Keith didn’t kill anyone, but Oliver and Arthur most certainly finished the job for them with knife wounds and bullet holes in their wake. <br />
Her father wasn’t happy with this outcome, and Avery took the blame as she was practically his punching bag after her mother’s death due to her resemblance both physically and in personality. And after he had threatened her to the cops and grabbed her by the neck, she stabbed him and knocked him unconscious. He later died in the hospital after she ran away.<br />
|<br />
|-<br />
! Powers<br />
|-<br />
|<br />
*Wind-Manipulation: Avery can create and control winds, along with its temperature. Currently, what she feels comfortable with is a breeze and if she tries to start a windstorm or a a tornado bigger than three feet, it will take all of her energy to do so (a tornado enough is tiring). It takes way too much for her to able to just summon a windstorm for 30 seconds, comparable to running 5 miles on how much stress it causes her. It completely stops when she stops controlling it. She doesn’t really have much control over it, her emotions getting the better of her and causing the wind to act up even if there were no winds around.<br />
In her future, she’d probably be able to summon a windstorm for 5-7 minutes and a tornado the size of a small skyscraper but that takes training, training she doesn’t know how to start.<br />
<br />
*Sickle-Hands: It’s like a muscle in her body that can be used or not. The sickle transformation is hypothesised to happen due to any iron in her body going to her hands, her fingers melding together, and stretching out her hand into a sickle with the width compensating for the length. It has to happen quickly or pain will spike up from the process, making it feel like your hand is being crushed and broken under five-tons of pressure. After her hands become sickles, they feel numb starting at the wrist, almost non-existent, having her learn the proper distance for them for safety reasons<br />
<br />
|-<br />
! Skills<br />
|-<br />
|<br />
*Bilingual: Speaks English and Italian<br />
*Quick and nimble due to her build<br />
*Good with fighting with her hands and knives<br />
*Knowledge on many subjects she taught herself about (space, history, sociology being the three major ones)<br />
*Knows how to lie out of a situation and how to call out a lie.<br />
|-<br />
! Connections<br />
|-<br />
| <br />
* Her brothers<br />
* Major crime families of Staten Island she can go to for help<br />
* People originally on her father’s payroll<br />
<br />
'''Friends'''<br />
* Shane<br />
<br />
'''Foes'''<br />
* N/A<br />
<br />
'''And everything in between'''<br />
* N/A<br />
|<br />
|-<br />
! Trivia<br />
|-<br />
|<br />
* Avery is Jewish, though non-practicing besides holidays.<br />
* Avery has an IQ of 150.<br />
* Borowski was her mother’s maiden name.<br />
* Avery grew up in New Dorp, Staten Island.<br />
* Avery has had a record of 20 detentions, 2 in-school suspensions, and five months in juvenile detention before getting kicked out of her old school.<br />
* Avery would probably eat a whole box of Cheez-its while watching David Lynch’s The Elephant Man.<br />
* She is an avid listener of Will Wood, Msc DeMarco, Jack Stauber, and other musicians like them in the weird/chill factor.<br />
|-<br />
! Gallery<br />
|-<br />
| style="text-align:center;" |<br />
[[Image:|x150px]]<br />
[[Image:|x150px]]<br />
[[Image:|x150px]]<br />
|}<br />
|<br />
{|<br />
! Avery Caroline Moreli/Borowski<br />
|-<br />
|<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000"<br />
| colspan="2" | [https://i.pinimg.com/736x/d1/40/45/d140450e3040af6c42a1c268d934b9c9.jpg]<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Codename'''<br />
| style="border-style: solid; border-width: 1px"| Red Havoc/Borowski<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Birthdate'''<br />
| style="border-style: solid; border-width: 1px"| 02/02/07<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Birthplace'''<br />
| style="border-style: solid; border-width: 1px"| Staten Island, New York<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Species'''<br />
| style="border-style: solid; border-width: 1px"| Mutant<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Affiliation'''<br />
| style="border-style: solid; border-width: 1px"| Xavier’s School for Gifted Youngsters<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Alignment'''<br />
| style="border-style: solid; border-width: 1px"| Chaotic Neutral<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Powers'''<br />
| style="border-style: solid; border-width: 1px"| Sickle-Hands, Wind Manipulation<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Occupation'''<br />
| style="border-style: solid; border-width: 1px"| Former-crime family associate<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Registration Status'''<br />
| style="border-style: solid; border-width: 1px"| N/A, not old enough<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Faceclaim'''<br />
| style="border-style: solid; border-width: 1px"| Isabel Jones<br />
|}<br />
|-<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000" <br />
! style="border-style: solid; border-width: 1px" | RP Hooks<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Fighting.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Arguments.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Teenage Stupidity.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Crimes.''<br />
|}<br />
|-<br />
! colspan="2" | Logs<br />
|-<br />
| colspan="2" | {{RP Logs | name = {{BASEPAGENAME}} | columns = 3 | ordermethod = gamedate }}<br />
|}<br />
<br />
[[Category:Inactive PCs]][[Category:]][[Category:]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Xavier%27s_School&diff=25967Xavier's School2024-03-25T20:44:02Z<p>Borg: /* Roster */</p>
<hr />
<div>{| width="100%"<br />
| colspan="2" |<br />
|-<br />
| width="100%" |<br />
{| width="100%"<br />
|<br />
== Purpose ==<br />
<br />
Located outside Salem Center in Westchester County, New York, Xavier's School for Gifted Youngsters is publicly known as a prestigious boarding school, founded in 1992 and providing an outstanding college preparatory education to middle- and high-school students. With a rigorous academic curriculum and a low student-to-teacher ratio, Xavier's sends its students on to the best colleges in the country.<br />
<br />
The school's true purpose is much more secretive -- Founded by its current headmaster, Charles Xavier, in his family's ancestral home, the school serves as a safe haven and training ground for young mutants to learn to cope with and control their powers. Alongside more typical high school classes, Xavier's students receive instruction and guidance from the faculty in responsible use of powers, the ethics of living with them, and how to eventually make their way back out into the world.<br />
<br />
== Recruitment ==<br />
<br />
Xavier's is ''not'' publicly known to be a mutant school, and its students as welll as its faculty are found by proactive recruitment.<br />
<br />
The school is intended to help students who ''cannot'' attend school due to the danger posed from their mutations. Please keep that in mind when crafting your characters' backstory -- the overwhelming majority of their students are there because they need help to learn to control their powers, and were unable to go to their previous schools. If your character has a mutation that is under control and is not experiencing difficulties at their school, it is ''very unlikely'' that they would be offered a place at Xavier's.<br />
<br />
The sole exceptions are: <br />
<br />
a) mutant students from very wealthy families, who are, occasionally, offered spots at Xavier's even if their powers are not posing them any trouble -- with nearly all their students on scholarship, it's helpful to have a ''few'' students who are actually paying tuition.<br />
<br />
b) immediate family of ''current faculty'' (children, siblings) who are -- if they wish -- allowed to attend the school even if they do not require its specialized accomodations. Weirdly enough, very few human relatives actively ''want'' to go to Freak School, so this is rare.<br />
<br />
Faculty tend to be recruited on recommendation/word of mouth. It is ''not'' required to be a mutant to teach at Xavier's, but, obviously, it is required to be positively disposed towards them.<br />
<br />
OOC Note: Keep in mind that Xavier's is a middle/high school, ''not'' a shelter for wayward or distressed mutants. If you would like a character who is taking ''refuge'' at Xavier's, getting help learning to control their powers at Xavier's, etc. '''you need to make a teenage, student character'''. Your adult ''will not'' be accepted to train and learn at Xavier's, regardless of their own perceived need.<br />
<br />
== Schedule ==<br />
<br />
The school year at [[Xavier's School|Xavier's]] is divided into three terms. Breaks fall between terms, with summer term falling for two months beginning in early June. Though classes are not in session, the school is open residentially through all breaks. Students must have permission from their legal guardians to remain at school during breaks and holidays, including summer term. During summer term, an abbreviated class schedule is in place for those students needing remedial/make-up classes, or those enrolled in elective summer school courses.<br />
<br />
====Daily Class Schedule====<br />
<br />
<div class="mw-collapsible mw-collapsed">Class Schedule<br />
<div class="mw-collapsible-content"><br />
{| cellpadding="10" class="wikitable"<br />
!style="color:#FFFFFF; background-color:#000000;" | Monday<br />
!style="color:#FFFFFF; background-color:#000000;" | Tuesday<br />
!style="color:#FFFFFF; background-color:#000000;" | Wednesday<br />
!style="color:#FFFFFF; background-color:#000000;" | Thursday<br />
!style="color:#FFFFFF; background-color:#000000;" | Friday<br />
|-<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|style="background-color:#B0B0B0;" | 7:00 - 7:45<br />
Breakfast<br />
|-<br />
|style="background-color:#CDB5CD;" | 8:00 - 8:45<br />
Class A<br />
|style="background-color:#CDB5CD;" rowspan="2" | 8:00 - 9:15<br />
Class A<br />
|style="background-color:#74BBFB;" rowspan="2" | 8:00 - 9:15<br />
Class C<br />
|style="background-color:#CDB5CD;" rowspan="2" | 8:00 - 9:15<br />
Class A<br />
|style="background-color:#74BBFB;" rowspan="2" | 8:00 - 9:15<br />
Class C<br />
|-<br />
|style="background-color:#7BCC70;" | 8:55 - 9:40<br />
Class B<br />
|-<br />
|style="background-color:#B0B0B0;" | 9:45-10:15<br />
Study/Break<br />
|style="background-color:#7BCC70;" rowspan="2" | 9:25 - 10:40<br />
Class B<br />
|style="background-color:#FBA16C;" rowspan="2" | 9:25 - 10:40<br />
Class D<br />
|style="background-color:#7BCC70;" rowspan="2" | 9:25 - 10:40<br />
Class B<br />
|style="background-color:#FBA16C;" rowspan="2" | 9:25 - 10:40<br />
Class D<br />
|-<br />
|style="background-color:#74BBFB;" | 10:20 - 11:05<br />
Class C<br />
|-<br />
|style="background-color:#FBA16C;" | 11:15 - 12:00<br />
Class D<br />
|style="background-color:#B0B0B0;" | 9:45-10:15<br />
Assembly/Break<br />
|style="background-color:#B0B0B0;" | 10:50 - 11:35<br />
Study/Break<br />
|style="background-color:#B0B0B0;" | 10:50 - 11:35<br />
Assembly/Break<br />
|style="background-color:#B0B0B0;" | 9:45 - 10:15<br />
Advising<br />
|-<br />
|style="background-color:#B0B0B0;" | 12:10 - 12:55<br />
Lunch<br />
|style="background-color:#FFCC11;" rowspan="2" | 11:45 - 13:00<br />
Class F<br />
|style="background-color:#D44942;" rowspan="2" | 11:45 - 13:00<br />
Class E<br />
|style="background-color:#FFCC11;" rowspan="2" | 11:45 - 13:00<br />
Class F<br />
|style="background-color:#D44942;" rowspan="2" | 11:45 - 13:00<br />
Class E<br />
|-<br />
|style="background-color:#D44942;" | 13:05 - 13:50<br />
Class E<br />
|-<br />
|style="background-color:#FFCC11;" | 14:00 - 14:45<br />
Class F<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|style="background-color:#B0B0B0;" | 13:05 - 13:50<br />
Lunch<br />
|-<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:00 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:00 - 18:05<br />
Athletics/Extracurriculars<br />
|style="background-color:#ADEAEA;" | 14:50 - 18:05<br />
Athletics/Extracurriculars<br />
|-<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|style="background-color:#B0B0B0;" | 18:30 - 19:30<br />
Dinner<br />
|}<br />
</div></div><br />
<br />
====Academic Calendar, 2023-2024====<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Summer Term 2023'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
June 26 (Monday) - Summer session faculty arrival<br />
June 27 (Tuesday) - Summer session students return<br />
June 28 (Wednesday) - Summer session classes begin<br />
August 21-25 (Monday-Friday) - Exam week; special class schedule for exam period<br />
August 25 (Friday) - Summer term ends<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Fall Term 2023'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
August 28-19 (Monday-Tuesday) - New faculty orientation<br />
August 31- September 1 (Thursday-Friday) - Faculty meetings<br />
September 2-3 (Saturday-Sunday) - New Student Orientation<br />
September 4 (Monday) - Labor Day; Returning Students Must Check-in (by 6 pm)<br />
September 5 (Tuesday) - Required Opening of School Assembly; Classes Begin<br />
September 15 (Monday) - classes as usual - Rosh Hoshanah begins at sundown <br />
September 25 (Monday) - No classes - Yom Kippur (begins at sundown on Sept. 24)<br />
October 6-8 (Friday-Monday) - Family Weekend (No classes Monday)<br />
October 12-13 (Thursday-Friday) - Midterms<br />
October 28 (Saturday) - Halloween Dance (Casual)<br />
November 10 (Friday) - Last day of Fall Term classes<br />
November 13-17 (Monday-Friday) - Exam week; special class schedule for exam period<br />
November 17 (Friday) - Last day of Fall Term; Thanksgiving vacation begins<br />
November 21 (Tuesday) - Fall term grades/reports due (Faculty)<br />
November 22 (Wednesday) - Fall term academic review meeting, 9:00-13:00 (Faculty)<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Winter Term 2023-2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
December 3 (Sunday) - Thanksgiving vacation ends; students must return and check in before 6 pm.<br />
December 4 (Monday) - Winter term classes begin<br />
December 16 (Thursday) - Winter Ball (Formal)<br />
December 15 (Friday) - Half-day of classes; Winter vacation begins after classes end<br />
January 2 (Tuesday) - Winter vacation ends; students must return and check in before 6 pm.<br />
January 3 (Wednesday) - Classes resume<br />
January 11-12 (Thursday-Friday) - Midterms<br />
January 15 (Monday) - No Classes - Martin Luther King, Jr. Day. Mandatory all-school assembly, 9:45-10:45.<br />
February 5-6 (Monday-Tuesday) - No Classes - Mid-Winter Holiday<br />
February 10 (Saturday) - Valentine's Dance (Semi-Formal)<br />
March 8 (Friday) - Last day of Winter Term Classes<br />
March 11-15 (Monday-Friday) - Exam week; special class schedule for exam period<br />
March 15 (Friday) - Last day of winter term; break begins once exams end<br />
March 19 (Tuesday) - Winter term grades/reports due (Faculty)<br />
March 20 (Wednesday) - Winter term academic review meeting, 9:00-13:00 (Faculty)<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Spring Term 2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
March 25 (Monday) - Spring vacation ends; students must return and check in before 6 pm.<br />
March 26 (Tuesday) - Spring term classes begin<br />
April 1 (Monday) - Mid spring holiday, no classes<br />
April 26-27 (Thursday-Friday) - Midterms<br />
May 6-10 (Monday-Friday) - AP exams<br />
May 13-17 (Monday-Friday) - AP exams<br />
May 24 (Friday) - Spring Ball (Formal)<br />
May 24 (Friday) - Last day of Spring Term Classes<br />
May 27-June 31 (Monday-Friday) - Exam week; special class schedule for exam period<br />
May 31 (Friday) - Vacation begins after exams end.<br />
June 1 (Saturday) - Senior-Faculty Dinner<br />
June 1 (Saturday) - Senior academic review meeting, 9:00-13:00 (Faculty)<br />
June 2 (Sunday) - Commencement<br />
June 4 (Tuesday) - Spring term grades/reports due (Faculty)<br />
June 5 (Wednesday) - Spring term academic review meeting, 9:00-13:00 (Faculty)<br />
June 7-9 (Friday-Sunday) - Alumni reunions<br />
</pre><br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Summer Term 2024'''<br />
<div class="mw-collapsible-content"><br />
<pre style="white-space: pre-wrap;"><br />
June 24 (Monday) - Summer session faculty arrival<br />
June 25 (Tuesday) - Summer session students return<br />
June 26 (Wednesday) - Summer session classes begin<br />
August 19-23 (Monday-Friday) - Exam week; special class schedule for exam period<br />
August 23 (Friday) - Summer term ends<br />
</pre><br />
</div></div><br />
<br />
== XS School Rules ==<br />
<br />
ICly, all students at Xavier's are expected to be familiar with the rules and follow them while they are living at and attending the school. OOCly, clearly, people break rules and we do not expect all characters to be studious and well-behaved at all times! Just keep in mind that they have teachers who are telepaths, and boarding schools are highly prone to a busily turning gossip mill. There are things that are easy to get away with and things that are likely to be discovered; don't be surprised if your char's frequent class-skipping or curfew-breaking or bullying lands them in hot water with the school administration.<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Major Infractions'''<br />
<div class="mw-collapsible-content"><br />
<br />
'''Major infractions will result in more severe disciplinary action. Choosing to remain present while violations of any school policies are occurring may also result in disciplinary action.'''<br />
<br />
*A large part of Xavier's safety lies in its discretion. Under no circumstances should information about the school's mutant status or the X-Men or the mutations of anyone associated with the school be divulged. If students believe they have found other children who would benefit from schooling at Xavier's, they should bring this to faculty attention rather than extending any sort of information or invitation themselves.<br />
<br />
*Violence of any sort is prohibited at Xavier's.<br />
<br />
*Hazing or bullying of any kind will not be tolerated at Xavier's. Hazing is defined as harassing, intimidating, bullying, or coercing another student with the purpose or result of embarrassment, disturbance, or humiliation. Bullying or discriminatory behaviour will not be tolerated. <br />
<br />
*Leaving school grounds without permission. All students must sign out with and be cleared by the faculty member on-duty before leaving school grounds at any time. There is no requirement for a chaperone when leaving campus under normal circumstances. However, if there is a crisis students must be attended by a faculty chaperone or a guardian.<br />
<br />
*Purchasing, possessing, using, or distributing any illicit or illegal drug, any prescription drug in a manner inconsistent with the instructions of the prescribing physician, or legal over-the-counter drugs for purposes other than legitimate medical treatment.<br />
<br />
*Purchasing, possessing, drinking or being under the influence of alcoholic beverages.<br />
<br />
*Dishonest acts of any kind, including cheating, plagiarizing, and other forms of academic dishonesty.<br />
<br />
*Xavier's is a safe location for mutants to live and explore their powers free of the judgement and hostility encountered in the rest of the world. Students are encouraged to train and practice and explore responsible use of their powers while at the school. Use of mutant powers in malicious or destructive manners, whether towards persons, creatures, or property, is never acceptable and will be dealt with strictly.<br />
<br />
*ALL out of school visitors, including family members, must be cleared by a faculty member and signed in with security while they are on school grounds.<br />
</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Additional Policies'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Students are not permitted to possess weapons or firearms of any sort, including BB guns. Permitted use of weapons during athletic activities and training sessions is allowed only under the supervision of a faculty member.<br />
<br />
*Gambling for money is prohibited.<br />
<br />
*Students are required to attend all their scheduled appointments punctually, including classes, assemblies, athletic sessions, or meetings with their adviser. Students who are ill and unable to attend their appointments must report to the medical bay; only Health Services staff may excuse students for medical purposes. Students with other schedule conflicts must receive a note, in writing, from a faculty member excusing them from their school duties.<br />
<br />
*All Xavier's students are issued a cellphone for emergency use. Students leaving school grounds must bring their school-issued cell phone with them at all times. Xavier's cellphones come with a 'panic button' that alerts the school if students find themselves in trouble. Students are expected to utilize this if they are in danger: casual misuse of the panic button outside of emergencies will result in disciplinary action.<br />
<br />
*All students are allowed access to the equipment in the computer lab and, for those with their own computers, internet connections are available in all dorms and wireless internet throughout the school grounds. All students utilizing school technology resources must comply with the acceptable use policy at all times. (Typical regulations about responsible use, prohibiting fraud, pirating, account sharing, malicious hacking, any illegal activities.)<br />
<br />
*Sunday through Thursday, students under the age of 16 are required to be on school grounds by 8 p.m. and in the mansion building by 10:30 p.m. Students over the age of 16 are required to be on school grounds by 9 p.m. and in the mansion building by midnight. On Friday and Saturday nights, students over the age of 16 have no curfew but are still required to follow appropriate sign-out/permission procedures at all times. For students under the age of 16, Friday and Saturday night curfew is extended; students are required to be on campus by midnight, with no requirement to stay in the building. After curfew, students may not leave again before 5 a.m.<br />
<br />
*There is no formal dress code at Xavier's; students are expected to exercise good judgement in the appropriateness of their attire, both in terms of offensiveness and of modesty. Students must change if requested to by a faculty member.<br />
<br />
*Students are not permitted in Cerebro at any time. Students are not permitted anywhere on the second basement level without a faculty escort.<br />
<br />
*Students possessing a valid driver's license are allowed to keep one personal vehicle in the school garage, if they first obtain the written permission from the faculty.<br />
</div></div><br />
<div class="mw-collapsible mw-collapsed">'''Dormitory Rules'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Dormitories have quiet hours to allow students to sleep and study: any period of the day when classes are in session, and after 10 p.m. every night except Fridays and Saturdays.<br />
<br />
*No out-of-school visitors will be allowed on the dormitory floor after 10 p.m. Approved visitors staying overnight at Xavier's will be given a room in the guest wing.<br />
<br />
*Students may only be in their OWN dormitories after curfew. Exceptions may be made only by faculty and RAs.<br />
<br />
*Open flames are not allowed in student dorms, to include candles, matches, incense, lighters, or uses of mutant powers that produce flames. Highly flammable materials may not be stored or used in student dorms. Students may not tamper with smoke detectors or fire alarm systems.<br />
<br />
*Student rooms are required to be kept neat and orderly. Inspections for cleanliness will occur on a regular basis; inspection beyond simple observation is considered a room search and will not occur without dean approval.<br />
<br />
*Pets are permitted to students only with faculty approval. Approved pets are the responsibility of the student to care for and oversee. Approval may be revoked for considerations of hygiene, student safety, and animal welfare.<br />
</div></div><br />
<br />
== Academics ==<br />
<br />
Xavier's School runs on trimesters, with an optional summer term for students who wish to stay at school over the summer. In order to graduate, students must complete at least 60 credits of courses through their four years; in almost all cases, classes count as one credit per trimester. Students must enroll in a minimum of four and maximum of six classes per term, except for summer term.<br />
<br />
*Art - 3 term credits; Must study at least two different disciplines (visual arts, performance, or music.) Normally non-credit performance extracurriculars (e.g. Xavier's Players, Band, Chorus) can fulfill a discipline requirement. Visual arts requirements can be waived by permission of the [[Jax|arts department head]].<br />
*Computer Science: 3 term credits; alternatively can test out. <br />
*English - 11 term credits <br />
*History - 6 term credits; three of which must be U.S. history and three of which must be non-U.S. history.<br />
*Health & Human Development: 2 term credits.<br />
*Language - 9 term credits of one language or 5 each of two; alternatively, can test out. <br />
*Mathematics - 9 term credits <br />
*Philosophy, Ethics, and Religion: 6 term credits<br />
*Physical Education: 2 term credits per year; can use a season of athletics as one term of phys. ed. requirement.<br />
*Science - 6 term credits<br />
*Social Sciences - 1 term credits<br />
*Vocational Tech - 1 term credit<br />
<br />
Additionally, students must successfully complete sixty hours of community service activities through the course of four years. Faculty advisors are available to help students find appropriate service projects. <br />
<br />
'''Note''': The following courses, highlit in red in the course list, are mandatory for all students:<br />
*English - Expository Writing<br />
*Health & Human Development - Teen Health Matters (formerly Health & Human Development. Must be taken first term upon enrolling at Xavier's)<br />
*Health & Human Development - Thriving in Community (formerly Human Sexuality)<br />
*Philosophy, Ethics & Religion - Bioethics - Humanity in a Post-Genomic Era<br />
*Philosophy, Ethics & Religion - Power & Social Responsibility<br />
*Philosophy, Ethics & Religion - The Ethics of Power<br />
*Phys. Ed - Psionic Self-Defense<br />
<br />
'''Note''': Classes marked with an asterisk* can be repeated for credit. Classes without an asterisk may only be taken for credit once. Any classes may always be audited (for no credit) as fits the students' schedule, with permission from the instructor.<br />
<br />
'''Note''': Students taking interdisciplinary classes may choose ''one'' department to apply their credit to. Credit will not be awarded in multiple disciplines for the same class.<br />
<br />
<div class="mw-collapsible mw-collapsed">Xavier's Academic Offerings<br />
<div class="mw-collapsible-content"><br />
{| cellpadding="10" class="wikitable" style="width: 90%;"<br />
!style="color:#FFFFFF; background-color:#000000;" | Department<br />
!style="color:#FFFFFF; background-color:#000000;" | Course<br />
!style="color:#FFFFFF; background-color:#000000;" | Term Length<br />
!style="color:#FFFFFF; background-color:#000000;" | Teacher<br />
!style="color:#FFFFFF; background-color:#000000;" | Class Description<br />
!style="color:#FFFFFF; background-color:#000000;" | Notes<br />
|- <br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Introductory Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Fall)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is designed to give students a vocabulary to further understand and describe the music they will encounter. After beginning the year learning hand-written musical notation, the study of scales, intervals, tonality, harmony, melodic organization, voice leading in two parts, and harmonic dictation ensues. After this study is complete, students will be in a position to knowledgeably describe every aspect of a typical piece of music that they may come across. Ear-training skills are developed through dictation and sight singing. Those taking this course in the fall are encouraged to combine it with Intermediate and Advanced Theory and Composition to form a three-term Advanced Placement Music Theory sequence. Students will begin composing near the end of the term, but it should be noted that most compositional activity will occur in the intermediate & advanced classes.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Intermediate Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Winter)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Continuing from where Introductory Theory & Composition leaves off, this course begins the students’ hands-on compositional development. Small pieces are composed almost nightly as students now begin to demonstrate what they previously learned to recognize and describe. Also in this term, students will compose several larger pieces that will be written for and recorded by classmates. As the term progresses, the chords of Western music are incorporated into their musical vocabulary one by one. Further study in sight singing and ear training help to continue that development. In most years, this term includes a field trip to see the New York Philharmonic in concert.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Advanced Theory and Composition*<br />
|style="background-color:#FF3EB5;" | 1 (Spring)<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Completing the music theory sequence, the focus for the beginning of this term is on preparation for the AP exam in May. Students study non-dominant seventh chords, applied dominant seventh chords, and musical form before a week of AP prep. After the AP exam, a larger project is decided upon. Past projects have included studying Chopin’s piano preludes, examining poetic meaning in Schubert’s songs, and composing a 3–5 minute work.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Becoming Musical<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course examines the elements that are universal in music and develops the practical skills needed to become functioning musicians. Rhythm, pitch, scales, keys, intervals, and triads are the basic material of the course. By studying a variety of both popular and classical styles, students will discover how composers employ the elements of music to create varied moods and expression. The practical skills of ear training, sight-singing, and dictation as well as the notation of music are integrated into the course. The department encourages students to take private lessons along with this course.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | The Nature of Music<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course offers a basic introduction to music literature, theory, performance, and composition. Music from various cultures and historical periods is examined in an attempt to increase student awareness of the musical languages and practices. Students compose several original compositions, and they also receive instruction on musical instruments. No previous experience in music is required.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Western Music History<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
A one-term survey of Western music history. The course progresses chronologically from classical antiquity to the music of today, exploring along the way the religious, social, historical, and human issues surrounding music and its composition.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | World Music<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In this performing/writing course, we will explore, connect, and engage cultures from different corners of the world through music composition and improvisation. Students will have access to the many traditional instruments owned by the Xavier's Music Department. All participants will share equally in the creative process and an end-of-the-mod performance will highlight the experience.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Popular Music in America<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | [[Maya]]<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What is American popular music? How does the rich variety of American popular music styles reflect trends in American society and the major events of American history? Through a series of readings and recordings, students will trace the history of popular music in America across three extended time spans: 1840-1920 (beginning roughly with Stephen Foster and the advent of minstrelsy through ragtime and early blues forms); 1910-1950 (to include New Orleans jazz, syncopated song and dance music, big band, swing and bop, and Chicago jazz); 1950-1980 (including cool jazz, rock and roll, rhythm and blues, British rock, rock, soul, Latin music, and contemporary jazz). Emphasis will be placed on developing understanding and perception of the musical elements of instrumentation, rhythm, melody, harmony, dynamics, texture and form through study of classic recordings from a wide spectrum of popular artists.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Your Musical Brain<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What playlists do you create to accompany you through the parts of your day? How does the music we choose shape the personal and communal tapestry of our daily lives? The Musical Brain explores why music matters so much to us as individuals and as a species. Through reading assignments, listening assignments, and classroom activities we’ll explore the rapidly evolving field of inquiry and research in music perception and cognition. Topics will include the science of sound, the biological origins of music, relationships between music and language, and the sources of music’s emotional impact. </div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Film Scoring<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In this course, students will study film music primarily through compositional exercises, as well as analysis of films from various genres and time periods. The course will begin with an introduction to a wide variety of compositional styles and techniques employed throughout the history of film, including changes resulting from increased technological resources throughout the 20th century. Students will then compose music for film scenes from different genres, such as drama, horror, romance, and action/adventure. Though this course will primarily focus on music from the 20th century to the present, students also will learn about how certain composers connected music to visual images in classical concert music prior to 1900.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Jazz History<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course begins by examining jazz’s mixture of African and European traditions and the subsequent pre-jazz styles of spiritual, blues, and ragtime. It then proceeds with a study of 20th-century jazz styles, beginning with New Orleans and culminating with the multifaceted creations of today’s artists. Along the way the course pays tribute to the work of some of jazz’s most influential innovators, including Louis Armstrong, Duke Ellington, Count Basie, Billie Holiday, Charlie Parker, and Miles Davis. Original recordings, photographs, and videos are used extensively throughout the term.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Songwriting Workshop<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Popular music plays an important role in our modern culture: it can provide an escape from our daily lives and influence our thoughts and actions. MUS480 will begin by exploring popular songs from artists such as Ryan Black, Lady Gaga, Miranda Lambert and Rihanna as well as those of other artists from Motown to the present day. We will study songs from a variety of genres—including jazz, blues, rock, R&B, folk, and country western—as a way of building a foundational understanding of popular music. In addition to frequent songwriting exercises, students will create three original songs in the genre of their choice with particular focus on the musical attributes needed to support both the genre and the specific topic of each song. Students interested in all musical genres are welcome; however, it is expected that all students will be capable and willing to perform at a basic level using their own voice and/or an instrument and/or technology.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Modern Music Making*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is a workshop for students interested in making modern styles of music, primarily through technology. Students will develop their technique, their aesthetic and their ears by working on multiple collaborative and independent projects across a spectrum of musical genres including (but not limited to) pop, hip-hop, EDM, ambient and experimental. There will also be opportunities for live performances, cross-disciplinary collaboration and student-initiated projects. The in-class studio environment will be one of creativity, curiosity and collaboration as students work both together and alongside each other in pursuit of their musical goals.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Music Recording and Mixing*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course will give students hands-on instruction in the craft of recording and mixing music across multiple genres. Through focused discussion, experiential recording and in-depth mixing projects, students will learn the following: foundations of acoustics; aspects of digital recording using a DAW; microphone techniques in a variety of musical circumstances; design and implementation of signal chains in a multi-track environment; proper gain staging techniques; effective use of effects and signal processing; mixing best practices; and the interpersonal nuances of recording. Mixing projects will utilize audio recorded by the class, recordings made at on-campus music events, and stems from professionally recorded studio sessions.</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Band*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Band provides students an opportunity to begin and continue instrumental development. Students new to string instruments must take the fall term course "Introduction to Orchestra" before auditioning for placement in an appropriate level of rehearsal: Concert (beginners and intermediate repertoire) and Symphonic (intermediate and advanced repertoire). Percussion Ensemble runs when there are sufficient percussion students and will combine with the other courses for recitals. Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Orchestra*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Orchestra provides students an opportunity to begin and continue instrumental development. Students new to string instruments must take the fall term course "Introduction to Instrumental Music" before auditioning for placement in an appropriate level of rehearsal: String (beginners and intermediate repertoire), Philharmonic (intermediate repertoire), and Symphony (advanced repertoire). Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Chorus*<br />
|style="background-color:#FF3EB5;" | Variable<br />
|style="background-color:#FF3EB5;" | NPC<br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> Chorus provides students an opportunity to begin and continue vocal development. Students new to choral singing must take the fall term course "Introduction to Reading Music" as well as audition for placement in an appropriate level of rehearsal: Treble Choir (beginners and intermediate repertoire, women's voices only), Tenor/Bass (beginners and intermediate repertoire, mens's voices only, does not run all years), and Concert (advanced repertoire, mixed voices). Additional rehearsals and performances may be required. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the year-end combined concert and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | Instructor engages in blatant favoritism, both among classes and within classes. Students who can sight sing are often appointed section leader with no other qualifications. Consistently assigns more rep than can be reasonably learned and memorized, and drops selections within the week of the final concert. <br />
|-<br />
|style="background-color:#FF3EB5;" | Arts: Music<br />
|style="background-color:#FF3EB5;" | Jazz Ensemble*<br />
|style="background-color:#FF3EB5;" | 1<br />
|style="background-color:#FF3EB5;" | NPC (instruments) & NPC (vocalists) <br />
|style="background-color:#FF3EB5;" | <div class="mw-collapsible mw-collapsed"> This audition-only course is for those students interested in pursuing the study and performance of jazz/popular music. Instrumentalists and vocalists will rehearse separately to master jazz techniques before coming together to work on group improvisation and performance. Participation in this course may count as an "Arts: Performance" credit 'instead' of "Arts: Music" credit for spring term only if the student performs in the winter term performance and demonstrates sufficient independent rehearsal commitments. No more than two credits can be exchanged in this manner. <br />
</div></div><br />
|style="background-color:#FF3EB5;" | Instructor engages in blatant favoritism, both among classes and within classes. Students who can sight sing are often appointed section leader with no other qualifications. Consistently assigns more rep than can be reasonably learned and memorized, and drops selections within the week of the final concert. <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Beginning Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Dance Technique*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Dance Technique focuses on modern and contemporary vocabularies that enhance the artistic and physical prowess of the dancer. Students are placed in appropriate levels of beginning, intermediate, or advanced depending on their level of training. All three levels explore the same content of technique training but at different accelerated paces. Classes are designed to introduce the technical study of dance movement to students of levels beginning through advanced. The style and technique explored is determined by the individual instructor and the dance chair. Students new to the school who desire to be placed in the intermediate or advanced level must receive the permission of the Dance Department chair.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Dance<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
All peoples and cultures dance. This course investigates why we dance as a representation of culture, as a form of communication and expression, and as a way of understanding our world. Students will look at various forms of dance generally and then delve more specifically into works of art that shape American concert and pop culture dance. Students will watch and analyze dance, research dance pioneers, and learn examples of significant and pivotal choreography. The class will learn about and do various forms of dance and will culminate with students using techniques and theories learned to develop their own composition. No prior dance experience needed.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course introduces students to four primary disciplines: ballet, modern, jazz and hip-hop. Basic composition and improvisation skills will be introduced. Little or no previous dance training required.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course focuses on Western concert dance disciplines: ballet, modern and jazz. Composition and improvisation skills will be developed. Previous dance training, which must include ballet, is required. </div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This accelerated course provides advanced dancers with intensive training in concert dance disciplines (ballet, modern, contemporary and jazz). Classes will consist of a warmup, technique and complex choreographed phrases, along with composition and improvisation. Prerequisite: instructor permission. Extensive dance training, which must<br />
include ballet, is required.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to Street Styles*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course introduces students to the culture of hip-hop and a variety of street dance styles under the hip-hop umbrella. Disciplines may include party/social dances, breaking, house, vogue and waacking. Classes will consist of a warmup, historical context, technique and some choreography. </div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | West African Dance*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
The content of this course gives an introduction to basic West African movement, rhythms, and songs. Each class begins with a warm-up to prepare the body for this particular style of movement, followed by movements across the floor, and finally work on specific dances. Students will learn several dances from West Africa, primarily from Nigeria, Mali, Guinea, and the Senegambia regions. Classes are accompanied by live drumming, giving the students the opportunity to understand the unique connection between polyrhythmic timing and the body in motion. While the class focuses on the dances of West Africa it is also a means for understanding the culture of the people.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Moving Your Way<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is a creative movement class designed to introduce the novice dancer to dance in a comfortable learning environment while allowing the experienced dancer to further develop their choreographic tool box. Both novice and experienced dancers will explore and develop creative thinking skills, useful to the learning process. We will look at the different impetus of motion that can be initiated by the stimulus of sound and imagery, as well as external energy forces outside of the kinesthetic realm of the body. The course relies heavily on improvisation as a primary tool for finding one’s own authentic movement quality and is structured to liberate the way we move through space and communicate with each other by freeing up habitual patterns that may be restricting our unconscious and kinesthetic flow of energy.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Introduction to the Theatre<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Why do we make live performances? What does it take to create a production? This course explores the foundations of theatre and dance. How the different elements of directing, costume design, scenic design, lighting design, dancing, and acting—combine to create a unified production for an audience. In the process, students will learn the vocabulary of the stage and develop a conceptual framework for creating a performance.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Fundamentals of Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course is designed for students with little or no acting experience. By doing exercises in movement and voice production, reading, improvisation, and scenes, a student who is curious about the theatre may determine whether he or she has ability or interest in acting while learning something of the process of characterization — the major responsibility of the actor. The emphasis is on the variety of acting experiences rather than on a polished final product.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Intermediate Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This intermediate course focuses on developing and supporting each actor’s unique approaches to performance making and ensemble-building. Vocal and physical training deepens techniques introduced in THR202, empowering students to explore a diverse selection of dramatic texts and develop skills in improvisation and devising. Students may work with “heightened” texts or improvisations that present new challenges in terms of language, physicality, characterization, style or content. Students rehearse, workshop and perform material for each other, becoming increasingly adept at communicating and synthesizing creative ideas.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Advanced Acting*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course offers students the opportunity to build on performance skills acquired throughout their Xavier's career and immerse themselves in a rigorous, thoughtful ensemble process. The class will conduct intensive analysis and rehearsal of either the work of a playwright or devise new performance material together based on the interest of the group. It may culminate in a series of fully explored scenes or in a full-length production.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Choreography*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course investigates choreographing dances in a variety of genres and styles for the stage. Students will be led through explorations and formal exercises to learn how to generate and manipulate movement in clear and innovative fashions. Coursework will culminate in a final presentation of original compositions. Students will also examine and analyze works of professional choreographers to gain a deeper understanding of dance elements and choreographic tools. Ultimately, students will deepen their understanding of movement as a form of communication and expression.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Directing*<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course offers the essential theory and practice of stage direction, with particular emphasis on the leadership skills needed to create a constructive ensemble rehearsal environment. Beginning with a series of independent exercises aimed at honing the director’s aesthetic sensibilities and style, the course then invites students to select and direct a short play of their choosing. Students proceed step by step through the entire production process: from play selection, script analysis and casting to the detailed work of a rehearsal period. Along the way, students develop skills in the areas of composition and use of space, picturization, textual interpretation, and collaboration and communication with actors. All plays receive a public performance at the end of the term.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Lighting<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces the fundamentals of lighting design for theatrical and dance productions. Students will learn to use a design concept to make choices about how to express the theme and mood of a play or dance to enhance the storytelling of a production. The course will also enable students to work hands-on with lighting equipment in Theatre and Dance Department spaces as they learn how to manipulate the controllable properties of light: direction, intensity, color, pattern, movement, diffusion, and composition. The course places a heavy emphasis on self and peer critique of work and on revising work.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Set Design<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the design process and elements that inform the scenic designer’s choices when designing for theatrical performances. Focus will be on the use of a conceptual approach to design scenery that coveys the themes and mood of a script and creates a cohesive and effective design for a show. To create designs, the class will use several creative tools, including computer drafting software and the resources of the makerspace. The design process will include several steps, such as written concept statements, visual research, sketching/drafting and model making. The course places a heavy emphasis on self and peer critique of work and on revising work.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Public Speaking<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course offers opportunities to practice speaking in community. Students experiment with writing, preparing and delivering effective and engaging speeches. While investigating communication strategies, students also explore somatic exercises to deepen their own physical and vocal awareness, and manage the anxiety that often accompanies public speaking. We emphasize attention to the dynamic relationship between speaker and audience, and students take an active role in each other’s growth. Students offer one another constructive feedback and gain greater insight into their own public speaking goals. The encouraging and supportive environment fosters greater self-confidence while developing both empathy and leadership skills.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | The Art of Comedy<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Come discover elements of Comedic theatre. Among other things we will explore stand‑up, slapstick and sketch comedy through radio, movies, theatre, performance and street artists. We will ask what humour really means to humanity and where its edges might be. What can we do with fear, excitement, posture, breath, props, light, and sound? During the class you will create a repertory for yourself. No theatre experience required, just a willingness to have deep fun.<br />
</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#A32CC4;" | Arts: Performance<br />
|style="background-color:#A32CC4;" | Filmmaking<br />
|style="background-color:#A32CC4;" | 1<br />
|style="background-color:#A32CC4;" | NPC<br />
|style="background-color:#A32CC4;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides practical experience in basic cinematography without dialogue. Using digital video equipment, students learn about the history of filmmaking as well as the use of the camera and editing techniques to create their own short films. Student, amateur and professional film sequences are discussed and analyzed.</div></div><br />
|style="background-color:#A32CC4;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Drawing 1: Methods & Materials*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Drawing is fundamentally about learning how to see and how to translate that vision onto paper through a variety of mark-making techniques. Through in-class exercises and formal assignments, students learn the language of drawing and develop skills relating to contour, gesture, and fully rendered compositions. Course concepts include the depiction of three-dimensional form on a two-dimensional plane, use of light and dark contrast, and sighting. Assignments are designed to develop students’ skills in drawing representationally from direct observation and to encourage creative and expressive thinking.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Painting 1: Paint, Palette, and Process*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Develop skills with the basic elements of painting in acrylics as you explore different approaches to generate ideas for paintings. Learn how dots become complex abstract compositions or how the game of Pictionary prompts surreal spaces. Working from both the imagination and observation, specific projects are assigned to facilitate the study of fundamental paint handling, color mixing, and blending. Issues of form and space relationships, composition, and development of ideas are addressed in balance with the student’s desire for self-expression. Class critiques and visits to the Metropolitan Museum of Art complement the actual painting process.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Advanced Drawing, Painting, and Mixed Media*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course builds on the knowledge and skills developed in Drawing I and/or Painting I, while helping students find and express their artistic voice through one medium or a combination of 2D media. This class focuses on thematic subjects and continues to stress the development of concepts and skills. Using painting or drawing, students can create artworks from both the imagination and observation to broaden their definition of what painting or drawing can be. For those students interested in mixed media, they can combine traditional or experimental drawing or painting methods with collage and other techniques. During this course, students are encouraged to design their own projects and to build a portfolio of their artworks. Critiques and virtual visits to the Metropolitan Museum of Art are important components of this course.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Life Drawing*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]]<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Drawing realistically has been a revered art ever since the ancients used mark-making to create the illusion of depth on a two-dimensional surface. This course is designed for beginners who want to learn the basics of drawing from life. Students will develop their representational drawing skills using a variety of charcoal media. As the course progresses, students will draw from still life, photographic references, and finally live models. Through a series of demonstrations, in-class drawing, group critiques, and individual assistance from the instructor, students will develop their ability to draw convincingly from life. Focus topics include composition, proportion, value relationships, edge relationships, modeling, materials, and stylization. In-class drawing exercises and assignments will focus on subjects exposed to one-source lighting and will vary in length from quick studies to more developed compositions.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Advanced Studio Art: Portfolio Intensive*<br />
|style="background-color:#17684F;" | 3<br />
|style="background-color:#17684F;" | [[Jax]] & NPCs<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides experienced students a rich opportunity to pursue the successful completion of a professional portfolio of artwork featured in an end-of-term thesis exhibition in the Half Gallery in New York City, team-curated by the class with a contemporary favor. The meaningful study of 21st-century visual culture is infused in the course through visiting artists and the investigation of artists relevant to ongoing studio work in all mediums. Students focus on photography, printmaking, painting, drawing, ceramics and 3-D design. This multimedia studio course requires strong self-direction, a unique studio investment and creative motivation. Students focus on a particular art medium and create multiple works that explore a concept or idea. Under the guidance of the instructor, students will set qualitative and quantitative goals for the term in their chosen studio concentration. Weekly process critiques are an integral part of the course and support ongoing artistic growth. In addition, the instructors meet individually with students for more-specific feedback and to mentor the process. Useful feedback is given to students from Art Department faculty who specialize in their chosen studio discipline to help them develop ideas and offer suggestions. Students may also receive guidance in the development of an art portfolio suitable for college admission criteria.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Graphic Design*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Design shapes how we see and experience information. Those who visually communicate through design have the opportunity to shape the meaning of the images we consume. This course not only addresses the formal, sensory, conceptual, and technical aspects of design, it also encourages students to consider the ethics and design history that have shaped our contemporary visual experiences. Students will use design thinking principles and real-world scenarios to create pieces that will be shared with their communities.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Graphic Design II*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is divided into two parts: practical design application and personal projects. We will begin the course by examining the practices of designers working in today’s market. This includes engaging with visiting designers and illustrators and creating work for a real client. Part two of this class is dedicated to exploring one’s emerging design aesthetic using a breadth of digital media. Students pitch and create their personal projects, which can range from branding to book illustrations. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Architecture I<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce the basic principles of architectural design through a sequence of related projects in drawing, site analysis, and research into precedent, culminating in the design of a space or structure. The design projects will change from Term 1 to Term 3 and will address architectural design in different contexts so that a student wishing to continue with architecture at the advanced level can work with a variety of design issues. With hands-on sketches, drawings, and models, students will explore the issues of a well-planned structure and learn to see the environment in terms of human scale, materials, and the organization of space. Class time will include discussions and demonstrations as well as studio time. There will be a required evening lab. Students often find that this class requires more than the usual amount of homework time.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Architecture II*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Designed as a continuation of Architecture I for students who wish to develop and further expand their ideas. The sequence of projects throughout the term is designed to allow a student to study a range of architectural issues by addressing different contexts—a natural setting and an urban context. This course also will offer the possibility of developing a multidisciplinary project in coordination with work in another class.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Photography I: Appreciating Light, Color, and Theme*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course allows students to channel their excitement and passion for photography into a more intentional and sophisticated image-making process. Using digital cameras, students will gain a highly functional understanding of essential camera skills and<br />
photographic principles and learn to maintain proper exposure, focus, and creative control over the camera. Students will acquire skills in the digital studio including digital workfow management; online portfolio maintenance; Photoshop techniques and inkjet printing methods. Students will also develop their critique skills, learn to frame and present their work in a gallery, and practice writing artist statements. Each exploration challenges students to think conceptually, to shoot creatively, to develop an eye for strong composition and quality of light, and to make images that start conversations. Throughout the term, student photographers develop a vibrant online portfolio based on a series of thematic photo explorations, including identity-based portraiture, abstract, minimalism and Photoshop layers.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Photography II: Beyond the Camera*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Advanced Photography is designed to challenge students to go beyond technical skills and photographic principles to establish a conceptually strong personal photographic style and artistic voice. Through hands-on practice, in-depth critique and weekly assignments, students will develop a refined, concept-driven, professional online portfolio. In-studio learning exercises will continue to challenge students to build their digital camera skills, while out-of-studio assignments will become increasingly more in-depth and creatively challenging. A range of tools will be used including Photoshop, inkjet printers, and an array of studio lighting equipment. Students will produce original work, with special attention to ways in which their technical and aesthetic decisions can clarify their artistic intentions. Photoshop and iMovie are used to explore creative and experimental possibilities for enhancing and manipulating digital photos and video. The course culminates with a self-directed final project, allowing students to practice proposal writing, project development and final presentation, while pursuing work rooted in their own interests and experiences.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Film Photography*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course in analog photography concentrates on the use of 35mm cameras and chemical processing. Students are instructed in proper camera use, basic film exposure, and darkroom familiarity. Weekly meetings are divided into lab and classroom sessions. In the lab, students learn the fundamental tools and techniques of a traditional darkroom; in the classroom, students present their work to gain a fuller understanding of photography as a medium of expression and storytelling. Students can expect to examine the invention of photography and the “flaneur” tradition of 35mm photography as exemplified in the work of artists such as Henri Cartier-Bresson, Helen Levitt, Robert Frank, and many more. Film cameras will be provided for students to explore light-sensitive silver materials. Laboratory instruction in printing fine art images with variable contrast filters will be provided.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Ceramics I: Form & Function*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Xavier's Clay Studio introduces students to methods used to create unique sculpture and tableware. Developing their creative concepts, students will throw on the potter’s wheel, hand build forms, and create a series of pieces over the course of the term, which may include objects such as plates, cups, bowls, teapots and sculpture. Drawing inspiration from contemporary ceramic artists, the class will explore a variety of techniques for surface design, glazing and fring. The teacher will offer innovative and sophisticated approaches that will provide further opportunity for experimentation.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Ceramics II: Molding Meaning*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This advanced course offers a combination of assigned and self-directed projects with a further investigation of working with clay. Building of of skills gained in Ceramics I, students develop a more sophisticated approach to methods and techniques that are used to create forms with clay. Projects such as throwing, hand building, modeling and industrial slip casting will foster individual style and creativity. Students will focus on process and exploration of a broad range of contemporary clay works, functional, industrial and sculptural. Examples of contemporary artists’ pottery and sculpture are used as inspiration for studio assignments. Advanced Ceramics also offers the unique opportunity to study the science and chemistry behind glazing and firing. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Printmaking I: Pop Culture*<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The printmaking course is a comprehensive studio experience that emphasizes experimentation and creativity while providing a strong technical basis. Students explore a variety of print processes, including screen printing, block carving, and monotype and letterpress printing. Using surfaces such as linoleum, woodblocks and silk screens, combined with a wide variety of carving tools and inks, students will create a substantial print portfolio that explores such concepts as image reversal, multiplicity, color theory, commercial applications and graphic design. Inspiration for projects includes fonts, portraits, still-life objects, photographs, media references and works by artists of the past and present. Inventive approaches, including T-shirt printing, will also be explored. Film clips and the examination of contemporary printmakers will enrich studio work.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Environmental Sculpture<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The course provides an opportunity to work and think about art on a large scale. Students create scale models of potential larger works that might require months to actually construct. They work outdoors on projects using simple "green" materials to create large pieces that are both objects and activate the space around them. Students are given a variety of prompts and requirements to address when creating their sculptures. For example, themes have been based on ideas about safety vs. danger and transitions. Students in the class are, sometimes for the first time, sawing and hauling logs, hefting rocks, digging holes and generally breaking a sweat to create their visions.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Wearable Art<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this course, students make art that can be worn on the body. Students use traditional jewelry making and sewing materials but also work with non-traditional materials, with a strong focus on concepts and the transformation of materials.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | The Moving Image<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | NPC<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Video art has been described as the “electronic canvas.” In this course, students will learn to use the moving image as an artwork unto itself. Students will be exposed to video art’s unique history, as well as the video art pioneers and contemporaries who have created work outside the traditions of the narrative and documentary. We will explore the technical aspects of video, including using the camera, the software, and the moving image in both traditional and experimental ways. Editing will be done using the digital process of Final Cut Pro, but students may also explore other methods of creating moving images. How, where, and when to present work will also be explored.</div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#17684F;" | Arts: Visual<br />
|style="background-color:#17684F;" | Drawing: Otherness & Social Justice<br />
|style="background-color:#17684F;" | 1<br />
|style="background-color:#17684F;" | [[Jax]] & NPCs<br />
|style="background-color:#17684F;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, students explore drawing using text as primary imagery. Students learn about design and text-based drawing strategies to explore human rights while developing a body of drawings addressing their study. The course is designed to provide students with opportunities to explore fundamental human rights and varying Western/non-Western viewpoints and perspectives through the exploration of art as a vehicle to promote and encourage social change. The course explores the history of political art blending both critique and debate learning opportunities with studio art practices. </div></div><br />
|style="background-color:#17684F;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Digital Literacy<br />
|style="background-color:#F8EF6C;" | 1<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this introductory course, students become familiar with the basic principles of a personal computer, including the internal hardware, operating system, and software applications. Students gain practice in using key applications such as word processing, spreadsheet, and presentation software, as well as understand literacy issues around the Internet, information, and security, including how to navigate sorting trustworthy sources from unreliable ones online.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Computing and Society<br />
|style="background-color:#F8EF6C;" | 1<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to algorithms and algorithmic thinking through the lens of social and public policy. Students explore the impact of algorithms and software on privacy, censorship and other sometimes contentious matters in the modern world. Students will learn programming as a tool for exploring these concepts.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Fundamentals of Computer Science<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course begins with an introduction to computational thinking, potentially including programming in a block-based language such as Scratch, and then moves to programming in Python, JavaScript, Processing, or another text-based programming language. Students will learn about variables, functions, conditional statements (if-else), and iterations (loops), and will design and code their own programming projects. The course may include additional units such as programming Finch robots or performing introductory data analysis using SQL.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Algorithms and Data Structures<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines classic data structures: lists, queues, stacks, binary trees and graphs, and hash tables. Standard algorithms for sorting and searching will be studied, and complexity analysis performed using big-oh notation. Students also develop a deeper understanding of software engineering principles as the course emphasizes reuse and generic programming.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Mobile App Development<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Within this course, we will explore mobile spaces by developing applications for one or more of the presently available platforms (Android, IOS, etc.). Students will explore development topics specific to mobile applications, device operations and user interaction. Throughout the term, sound software design and engineering practices in encapsulation and modularization will be emphasized.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | Introduction to Artificial Intelligence<br />
|style="background-color:#F8EF6C;" | 2<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Introduction to Artificial Intelligence (AI) course teaches students important programming concepts that enable the use of AI in computer science and society at large. Students learn the implications of AI on society and develop a series of projects that illustrate the variety of ways AI can be used to optimize and predict information. Students learn how AI has been used in gaming and other applications, create an unbeatable computer Tic Tac Toe player; learn how chatbots are developed to interact with humans and create an informational chatbot of their own; learn how to make predictive models using linear and logistical regression and clustering, and create their own predictive models using complex data sets.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#F8EF6C;" | Computer Science<br />
|style="background-color:#F8EF6C;" | AP Computer Science<br />
|style="background-color:#F8EF6C;" | 3<br />
|style="background-color:#F8EF6C;" | NPC<br />
|style="background-color:#F8EF6C;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Three-term course in algorithms, object-oriented programming, and data structures, guided by the College Board’s AP Computer Science course description. The course covers Java language syntax and style, classes and interfaces, conditional and iterative<br />
statements, strings and arrays, Object-Oriented Programming (OOP), searching and sorting algorithms, recursion, data structures, and the design<br />
and implementation of larger programs, including group projects.</div></div><br />
|style="background-color:#F8EF6C;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#CE2029;" | Expository Writing<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Participants learn how to read challenging texts and how to think and write about them clearly and coherently. Readings for the course are taken from various disciplines, such as literature, journalism, and social sciences. The course enables students to identify the strengths and weaknesses in their writing and to improve their skills through individual and group work, discussions, revisions, in-class exercises, and homework. We read and analyze works that exemplify good writing, and we learn how to define a thesis, organize an essay, and incorporate appropriate vocabulary.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | AP English Language & Composition<br />
|style="background-color:#B74BF5;" | 3<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Learn about the elements of argument and composition as you develop your critical-reading and writing skills. Students read and analyze nonfiction works from various periods and write essays with different aims: for example, to explain an idea, argue a point, or persuade your reader of something. Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-english-language-and-composition AP English Language] curriculum.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | AP English Literature & Composition<br />
|style="background-color:#B74BF5;" | 3<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Learn how to understand and evaluate works of fiction, poetry, and drama from various periods and cultures. You’ll read literary works and write essays to explain and support your analysis of them. Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-english-literature-and-composition AP English Literature] curriculum.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | American Immigrant Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to be an immigrant in the U.S.? What do individuals experience when they move from one country and settle in another? What do these immigrants gain in the process, and what do they lose? How do they deal with being “the other?” How do immigrants connect or disconnect with their American- born children? Students explore all these questions and more by analyzing short fiction and films by American immigrants. Throughout the mod, students read and respond to text on a nightly basis, gaining a better understanding of how difficult assimilation can often be for immigrants in their new abode. Students come ‘up close and personal’ with immigrant issues by interviewing an immigrant of their choice and writing up their interview in a People magazine manner. The course culminates with a final project which ties all the readings together thematically in a creative and artistic way, addressing the essential question: what is the immigrant experience?</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Nonfiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“The essay isn’t a retreat from the world but a way of encountering it,” writes Leslie Jamison in Best American Essays 2017. Throughout the term, we will explore the art of telling stories — ours and those of others — and learn how to translate personal experience and research into effective pieces of creative nonfiction. We will read and listen to essays on a range of topics: health care, bird watching, immigration, craft beer, hunting and Serena Williams (to name a few). Forms will vary from traditional to more contemporary and innovative — memoir, lyric essay, braided essay, graphic essay, podcast and video essay. We will discuss them as readers (digesting content) and as writers (analyzing form). Students will craft original pieces of creative nonfiction, experimenting with a variety of compositional elements and techniques. The writing process will be workshop-oriented: Students will receive peer and instructor feedback, work through multiple drafts and build a supportive writing community.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Writing: Poetry<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“Poetry,” wrote Robert Frost, “is a way of taking life by the throat.” From its origins in oral tradition and tribal lore, as well as its role in incantatory spiritual practice, poetry has carried in its rhythms the deep longings of humanity. In this course, students will dip into this current, writing poems with a view to aspects of craft modeled by poets in a diverse range of voices and writing traditions. In our workshops of one another’s poems, we will consider the relationship between content and form, as well as what differentiates poetry from other writing genres. Through experiments in received forms (traditional forms such as the sonnet and sestina), as well as more contemporary approaches (for example, writing in free verse or in prose poems), students will move toward the development of a distinctive voice and style.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Creative Writing: Short Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This writing-intensive course invites students to explore fiction as both readers and writers. The short stories and novels read in class will serve as models for students to create their own fictional work, introducing them to the craft and mechanics of fiction and storytelling. This course traditionally offers an MFA-style workshop model, providing students an opportunity to both receive and offer constructive feedback, and to revise their work using this input. Assignments may include two or three short stories and an analytical essay over the course of the term.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Under the Fur: Animals in Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">According to thinker Gilles Deleuze, anyone who likes cats or dogs is a fool. But we live in a time when more than one cable television channel is entirely dedicated to animal programming, when whole weeks are given to sharks, and when people carry their dogs as an accessory. It seems we are not concerned about becoming fools for species not our own. This course explores both how animals and animal lives are represented in narrative and how the presence of animals allows us to understand in new ways how narrative and language function. For this reason, we will dip into several genres, disciplines, and media: memoirs, novels, short stories, poems, philosophical essays, critical theory, internet videos, lectures, and films. We will be asked by these works to question what it means to represent animals but also what it means to represent at all. How can representation be ethical? How can it respond to and provoke wider political, theoretical, and philosophical debate? How should we and can we care for the nonhuman world? What are the dangers, boundaries, and rewards of cross-species sympathy?</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | African Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This seminar course will challenge students to take a closer look at African literature by tracing its evolution and discussing its diversity in terms of genre and geographical setting. Class discussions, written assignments, blog postings, and oral presentations will be based on the texts and films recommended for the course. Students will pay particular attention to how literary works produced on the continent have over the ages represented the African identity and how this has been perceived in other parts of the world. Possible texts: ''The Thing Around Your Neck'' by Chimamanda Ngozi Adichie (Nigeria, West Africa); ''Betrayal in the City'' by Francis Imbuga (Kenya, East Africa); ''A Walk in the Night'' by Alex La Guma (Republic of S.A., South Africa); ''Miramar'' by Naguib Mahfouz (Egypt, North Africa); ''The Penguin Book of Modern African Poetry'', edited by Chikane & Moore (continent-wide). A selection of films and articles will complement the study of these texts.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | The Art of Protest: Revolutionary Writings<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines protest as a form of literary activism. From the grittiness of hip-hop lyrics to the density of civil disobedience tracts, this class will seek to explore distinct genres of vocalizing dissent. The approach is multicultural and interdisciplinary, and it seeks to inspect the role of literature, art, music and film in galvanizing communities and creating spaces to examine social justice. Students will be asked to write in various protest genres (poetry, epistolary witness, monologue and fiction) to compile a portfolio of their own literary activism.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Utopias and Dystopias in Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Fantastic societies have held a fascination for writers from Thomas More to the present day. Utopia, “no place,” represents an idealized society whose inhabitants willingly embrace its difference from our own world. Dystopic visions are the disturbing fip side of this coin. Both genres inevitably cause readers to draw parallels between their own experiences and those of the protagonists. Scientific and technological advances are often at the root of the utopic/dystopic discourse, and one of the main functions of this course is to explore the presentation of technology as narrative. The course seeks to examine some of these alternate worlds to explore the way writers of fiction and filmmakers have presented the effect of projected changes and developments on the fabric of society. We will build our visionary galaxy from the following: Thomas More, Aldous Huxley, George Orwell, Margaret Atwood, Cormac McCarthy, Alfonso Cuarón, Octavia Butler, and other contemporary writers and filmmakers. Students will write analytical and creative essays.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Theories of Children's Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC-Marlene Zudke<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course considers the role of the imagination in communicating and effecting cultural change. Students will be asked to apply a variety of critical theory for interpretation and discussion of the literature. Themes explored by this course will include alternative realities, the nature of dreams, the function of the subconscious, and the use of allegory. Probable selections include ''The Adventures of Alice in Wonderland'' and ''Through the Looking Glass'', by Lewis Carroll; ''Haroun and the Sea of Stories'', by Salman Rushdie; ''The Wind in the Willows'', by Kenneth Grahame; ''The Jungle Book'', by Rudyard Kipling; ''The Wizard of Oz'', by L. Frank Baum; ''The Pied Piper of Hamelin'', by Robert Browning; ''The Secret Garden'', by Frances Hodgson Burnett; ''A Child’s Garden of Verses'', by Robert Louis Stevenson; ''The Lion, the Witch and the Wardrobe'' and ''The Last Battle'', by C.S. Lewis; and ''Grimm’s Fairy Tales'', ''Mother Goose'', writings by Carlos Castaneda, and essays by Bettelheim and Zipes. Possible films include ''The Red Balloon'' and ''The Point''. </div></div><br />
|style="background-color:#B74BF5;" | This class sounds cute and easy and has a reputation for actually being extremely intense and challenging; the teacher is particularly demanding in expecting students to analyze works & engage in class & homework.<br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Gothic Literature: Living in the Tomb<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course traces trends in Gothic forms, from their origins in the damp and dark castles of Europe to the aridity of the contemporary American landscape. Students will identify gothic conventions and themes such as the haunted house, family dynamics, apparitions, entrapment, secrecy, and the sublime. They also will read novels, short stories, and poetry spanning roughly 200 years in order to explore questions about the supernatural, the psychology of horror and terror, the significance of fantasy and fear, the desire for moral closure, and the roles of gender, race, class, and sexuality. Probable selections include ''The Castle of Otranto'', by Horace Walpole; ''Faustus'', by Christopher Marlowe; ''Rebecca'', by Daphne du Maurier; ''Dracula'', by Bram Stoker; ''The Turn of the Screw'', by Henry James; stories by Poe, Faulkner, Gaskell, Irving, Hawthorne, Gilman, Jackson, Cheever, DeLillo, Carver, and Oates; and poetry by Christina Rossetti, Thomas Gray, William Cowper, Louise Glück, and Sylvia Plath. Possible films include ''Affliction'', ''The Royal Tenenbaums'', ''A Simple Plan'', ''Psycho'', and ''The Cabinet of Dr. Caligari''.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Contemporary Native American Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to be a Native American writer in the 21st century? In this course, students will explore life on and off the Native American reservation in works produced by writers from a wide variety of indigenous communities in the United States. The course will involve navigating issues/topics a propos to Native American studies, such as colonialism and genocide, cultural survival, and political and environmental activism. Possible writers to be studied: Luci Tapahonso, Evelina Zuni Lucero, Sherman Alexie, Paula Gunn Allen, Leslie Marmon Silko, Ramson Lomatewama, Simon Ortiz, nila northSun, Joy Harjo, Gerald Vizenor, Louise Erdrich, Diane Glancy, Winona LaDuke, Anton Treur, Wendy Rose, and Linda Hogan.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Inheritance, Exile, and the Jewish Literacy imagination.<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Primo Levi’s short story “Quaestio de Centauris” describes a centaur living in exile from others like him in the human world. In her discussion of this story for a series in The New Yorker, Jhumpa Lahiri describes Levi’s time in Auschwitz as “the most brutal form of exile” and later quotes Levi on the subject from The Truce when he writes: “This is the most immediate fruit of exile, of uprooting: the prevalence of the unreal over the real.”<br />
<br />
The imaginative worlds of writers are necessarily infuenced by their lived personal and inherited cultural experiences. In this class, we will consider the ways in which history, exile and intergenerational inheritance shape the artistic worlds Jewish writers create. While the readings in this course will focus on a particular literary tradition, the course is relevant and welcoming to students of all cultural backgrounds. Writing assignments will ask students to reflect on their own lives and heritage, and the ways that history, culture and diaspora hold meaning for them as community members, individuals, thinkers and artists. Assignments will range from the personal (poem, essay, short story, visual work) to the collaborative (interview, documentary, ekphrasis, collage), inviting students to consider the forces that infuence their own imaginations. Readings will include fiction by Clarice Lispector, Primo Levi, Grace Paley, Franz Kafka and Courtney Sender; poetry by Anthony Hecht, Adrienne Rich and Joseph Brodsky; and criticism by Walter Benjamin, Svetlana Boym and others. The course will include visiting lecturers from within and outside of the Xavier's community.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Blood Roots: Horror Literature and its History<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Author Carmen Maria Machado writes that, “Horror is an intimate, eerie, terrifying thing, and when it’s done well it can unmake you.” From historical hauntings to modern-day slashers, horror literature as a genre has existed for centuries. Beginning with Walpole’s 1765 medieval terror ''The Castle of Otranto'', we will study the field’s evolution from gothic horror to contemporary scary stories, exploring the distinctions between gothic, psychological, and supernatural horrors, among others. Machado goes on to say that horror “tells us a lot about who we are, what we are, and what we, individually and culturally, are afraid of,” a claim which will guide us as we dive into ghastly and macabre tales that captivate a culture and hold a mirror up to our truest selves.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Strange Worlds: Speculative Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Whether it is Tolkien’s Lord of the Rings or H. G. Wells’ The War of the Worlds, science fiction and fantasy can not only delight our imagination but also help us understand our real, present world more thoroughly. Students in this course will study a wide array of science fiction and fantasy. They’ll look at how fantasy provides commentary on race, gender and class through works such as Octavia Butler’s Fledgling or Ursula K. Le Guin’s The Left Hand of Darkness, and consider science fiction’s power to comment on technological and social quandaries, such as Frank Herbert’s prescient consideration of global warming in Dune or Philip K. Dick’s exploration of artificial intelligence and identity in Do Androids Dream of Electric Sheep? Students will write critical reflections, examining the intersection of these imagined worlds with real life as well as trying to craft science fiction or fantasy of their own.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Crime Fiction<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to early works in the development of the “detective story” (Edgar Allan Poe, Agatha Christie, Sir Arthur Conan Doyle) and the ways in which those early works help establish the foundations for a variety of “crime fictions” that have steadily grown in popularity throughout the 20th and 21st centuries. Students will learn to appreciate authors working in different times, places and settings and to explore the criminal mind and those tasked with solving criminal cases and fighting criminal activity (whether amateur detective, private eye or police officer). Along the way, students will try their hand at writing their own pieces of crime fiction and produce short analytical pieces examining the books and films they encounter.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Fictions of Finance<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What do we value? The pursuit of profit, surges in wealth and the suspect principles of the financier have intrigued authors since the 19th century. How do language, narrative style, structure and literary production transform with shifts in the marketplace? Through a careful investigation of literature, film and illustration, we will discuss how art imagines and redefines social and economic relations. We will supplement the literary works with historical documents or articles that shed light on the economic climate at the time of publication. We might consider how the imagined space of the novel presents the mystery of the financial market, which seems shrouded in a haze. We might also ponder how authors imagine worlds where money has no practical use and nothing has any purchasing power. Over the course of the term, students will write short analytical pieces and complete a creative independent project of their own design.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Humor<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Robert Frost called humor “the most engaging cowardice” and Percy Bysshe Shelley characterized laughter as a “heartless fiend,” but maybe they weren’t in on the joke. In this course, we’ll read literary humor writing—including comedy, satire, irony, and wit—in a variety of forms and genres in an effort to face a paradoxical (and not entirely unfunny) question: should we take humor seriously? Students should expect to contend with critical theory, read across genres and media, and attempt to write humor of their own.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Mid-Twentieth Century American Poetry<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce students to poets and movements that have shaped the direction and contours of American poetry since World War II. Students first study the Beat Movement and then explore the so-called “schools” of poetry—Black Mountain, New York, Confessional, et al. The course finishes with an exposure to poetry that is happening right now, which includes bicultural and multicultural poets. Most class time will be spent deriving themes through discussions of poets, poems, poetic movements, criticism, and theory. Poets include Ginsberg, Corso, Kerouac, Dylan, Waldman, Bukowski, Creeley, Olson, Levertov, Ashbury, O’Hara, Lowell, Plath, Berryman, Bishop, Rich, Dove, Hass, Kinnell, Hogan, Nye, Springsteen, and Colvin.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Epics and Heroes<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Great epics of the past tell us about the culture, history, religion and magic of a particular time. As Joseph Campbell wrote, they are “the wonderful song of the soul’s high adventure.” We will look at powerful stories, as well as their meaning for the period and for today. Possible readings include mythology from around the world, Hermann Hesse’s ''Siddhartha'', and an assortment of modern comic books.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Rememories: Trauma and Survival in 20th-Century Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In her novel Beloved, Toni Morrison coins the term “rememory” to describe a type of memory that won’t stay buried—ghosts of experiences that resurface across years, decades, even centuries, memories of trauma that continue to haunt literature to this day. This course will examine how narratives of trauma and survival have been represented (and re-presented) in 20th- and 21st-century literature. In our investigation of literature about war, terrorism, diaspora, and other cultural traumas, we will encounter authors writing from a variety of historical moments and perspectives. We will look closely at how trauma literature both delineates and breaks down divisions within individual, societal, and generational trauma experience. And we will engage with course texts by writing in a number of modes, both critical and creative. Thematic focuses will include the problematics of truth and testimony; the dismantling of traditional narrative structures and genres; individual vs. collective memory; societal regeneration; and the ways trauma literature engages with issues of race, class, gender, and national identity.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Asian-American Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This seminar explores the literary, historical, and broader sociocultural development of the complex and ever-expanding body of work that collectively (and not always neatly) contributes to what may be called “Asian/American” literature and film. We will engage with a wide range of written and visual texts, including poetry, fiction, memoir, cinema, and television, as well as with scholarly and other artistic forms of production, in order to fashion an analytical framework, informed perspective, and interpretive approach through which to reread and rethink the culture, politics, and history of the United States itself. A related goal is to understand the role of literature and other cultural forms in our nation’s struggles over identity, power, and resources. Focusing on the development and representation of Asian/America, we will unpack the social formation of race and the complexity of racial dynamics in the United States historically and today.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Theatre of the Marginalized<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Course previously titled "Theatre of the Unusual/Everyday Life." Students who took that class previously should not sign up for this one) Through literature of the theatre, students focus on differences in everyday lives. Students will have an opportunity to explore many issues of accessibility, physical and mental challenges through time, cultures, definitions, and values, and the everyday struggles individuals have relating to others. Plays may include: ''Elephant Man'', ''Children of a Lesser God'', ''Fences'', ''Getting Out'', and ''The Ballad of a Sad Café''. </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Beyond the Thousand and One Nights: Introduction to Arabic Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, students will learn of the development of Arabic literature from its inception in the medieval Arabic literary tradition, which begins in the sixth-century with nomadic Bedouin poetry and the Qur'an, through new literary forms adapted from Western imaginative literature. The aim of the course is to introduce students to key samples of modern Arabic literature, which trace major social, political, religious, cultural and linguistic developments in the Arab world, including North Africa. All readings will be in English translations. The class will also explore the politics of translation. Some questions that will be addressed, but not exclusively: How do some Arab writers conceive of "modernity"? How do they conceive of their relation to politics, and how do they understand the role of intellectuals in their societies? Who are the readers (actual or implied) of these texts? How do these authors relate to the Arabic, European, and American literary traditions? </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | South Asian Literature<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will focus on different genres, contexts, time periods, and even languages (although all readings will be in English/translation) that fall under the broad category of ‘South Asian Literature.’ In one year, we might focus on the events surrounding the Partition of 1947 and how it inspired a generation of writers in Urdu. Another year, we might focus on Sanskrit literature: for example, poetry, drama, and/or short stories. In other iterations, the class might explore LGBTQ authors, the South Asian diaspora, and even the works of a particular author. The readings would focus mainly on shorter literary works, such as short stories and poems, but there would also be in most of these classes the opportunity to read full books (e.g. Bharati Mukherjee’s ''Miss New India'' and ''Wife'', the Sanskrit ''Vetālapañcaviṃśati'', Abha Dawesar’s ''Babyji'') or excerpts thereof. Within each version of the course, students would be able to research and learn about the historical context of the works as well as where they fall in the literary sphere.</div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#B74BF5;" | English<br />
|style="background-color:#B74BF5;" | Shakespeare Now<br />
|style="background-color:#B74BF5;" | 1<br />
|style="background-color:#B74BF5;" | NPC<br />
|style="background-color:#B74BF5;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Poet Ben Jonson said of Shakespeare that he “was not of his age, but for all time.” But what does a poet-playwright, dead now some 400 years, have to say that speaks to this moment of the human experience? In this class we will read and discuss the Bard’s plays in order to see how they were understood in their time as well as how they address modern sensibilities of race, gender, sexuality, economics and politics. How does Measure for Measure figure in the #MeToo movement What does a queer reading of Twelfth Night yield? How does The Tempest engage colonialism, race and the violence of language, or how does King Lear take on the betrayal of both the body and the body politic? How might Henry IV address cultural appropriation and entitlement or Henry V espouse or critique nationalism? Through discussing, writing about and even performing scenes from some of Shakespeare’s plays, we will test whether and how these works still resonate. </div></div><br />
|style="background-color:#B74BF5;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#CE2029;" | Teen Health Matters (Formerly Health & Human Development)<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this first-term, age-appropriate course, required of all new students, students will discuss health issues such as sleep, time management, living and learning in a diverse community, mindfulness, positive psychology and stress management, media literacy, and social practices in a digital landscape. All topics will be addressed in the context of adjusting to a campus community, accessing resources and understanding school rules. Together, all new students will explore how to fully integrate into their new class and how to have a healthy, mindful transition to Xavier's. A special emphasis on decision-making as they become emerging adults will help students make decisions about their future that offer complexities of choice. In-depth conversations will enable new students to build self-efficacy skills and prepare for challenging health and lifestyle choices. The pass/no pass grading system encourages student participation, honesty and sharing in a supportive and more relaxed environment.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#CE2029;" | Thriving in Community (formerly Human Sexuality)<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | [[Jax]]<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class, required for all high school students, students will discuss a variety of health issues, such as mental and psychological health, character development, cultural competency, gender, sexual behavior and sexuality, consent/healthy relationships, and alcohol/drugs. This course is focused on helping students navigate some of the most common health and relationship concerns for their age group. Class aims to enable students to build self-efficacy and prepare for challenging health and lifestyle choices. Intentionality is explored throughout the term so that students will develop effective decision-making skills with purpose and thought. In this class students will explore identity development and self-authorship, foundational aspects to a student’s transition from adolescence to young adulthood. The pass/no pass grading system encourages student participation, honesty and sharing in a supportive and more relaxed environment focused around a growth mindset.</div></div><br />
|style="background-color:#E6A2AD;" | Probably the class most complained-about by parents to administration each year; Jax is very open in talking with students about sexuality, gender and identity issues and Many Parents are concerned he will turn their students trans or something.<br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#E6A2AD;" | The Pursuit of Euphoria<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will explore the use of mind-altering substances throughout history, across cultures and within subcultures of the United States. From a biochemical, sociological and psychological standpoint we will probe the reasons why people seek to alter their state of being, whether through the use of drugs or through natural means. Readings will include selections such as: ''The Compass of Pleasure'' by David Linden; Flow: ''The Psychology of Optimal Experience'' by Mihaly Csikszentmihalyi; and ''Forces of Habit'' by David Courtwright.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#E6A2AD;" | Health & Human Development<br />
|style="background-color:#E6A2AD;" | The Power Within: Philosophy and Science of Optimal Health<br />
|style="background-color:#E6A2AD;" | 1<br />
|style="background-color:#E6A2AD;" | NPC<br />
|style="background-color:#E6A2AD;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How can we best manage life’s competing challenges? How should we measure success? What are the most effective means to enhance one’s capabilities, strengths and health status? We will aim to answer these and other questions by studying traditional teachings and practices, as well as the insights and lessons offered by modern-day behavioral science and neuroscience. Through reading, research, reflection, personal practice and experimentation, students will investigate the theories, models and methods that have proven to enhance well-being.</div></div><br />
|style="background-color:#E6A2AD;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP Art History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-art-history AP Art History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP European History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-european-history AP European History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP U.S. History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-united-states-history AP U.S. History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | AP World History<br />
|style="background-color:#1053E9;" | 3<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-world-history-modern AP World History] curriculum.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., Colonialism - 1861<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the formation of American values and institutions from the early English settlements of North America through the Revolution and Civil War. Emphasis is given to the cultural, economic and social diversity of early America, the tension between local and central authority during the struggle for independence, the establishment of the Constitution, economic and social change in the young republic, slavery, and the growing sectional confict that culminated in secession. Students will complete a library research project.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., 1861-1941<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course continues the survey of American history with the Civil War and follows with the attempt to rebuild the union during Reconstruction. Emphasis is given to economic and social changes of the late 19th century and the emergence of the United States as a world power. Topics include the transformation of the United States into an urban industrial society, the dilemma of race, the changing role of women, the Depression and the political response to these issues. The course ends with the advent of World War II. There will be a required library research paper this term.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S., 1941-Present<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course begins with U.S. involvement in World War II. Emphasis is given to the Cold War and rising global involvement of the United States. Other topics include the Civil Rights movement, the social and political turmoil of the 1960s, the dual crises of Vietnam and Watergate, the Reagan revolution and issues of the contemporary world. A term paper, based on independent research, is required to pass the course.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Native Peoples of the Americas<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course surveys the history of indigenous groups from their prehistoric roots to the Post-Classic Period. Students gain exposure to anthropological, archaeological and historical resources to illuminate the Mesoamerican societies with a particular focus on the Mayan and Aztec Empires. Students also gain exposure to the evolution of independent cultural and social systems among indigenous tribes in North America. Among the subjects highlighted are the production of foodstuff, evolving patterns of tribal life, governance, warfare and economics. During the latter stages of the course, students examine the ways in which the lives of indigenous peoples were dramatically reconfigured as the economic systems of the Atlantic world forever changed tribal life.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Jailhouse Nation: U.S. History of Crime, Punishment, and Mass Incarceration<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Jailhouse Nation explores America’s long and troubled history with crime, punishment, and prisons. By first examining how both crime and thus the “criminal” are socially and historically constructed, students will consider the role of violence and systematic punishment in Puritan New England, the slave South, and later, the modern United States. The institution of slavery will provide an important framework to help students understand how new modes of punishment (namely, incarceration in jails and prisons) emerged alongside the abolition of slavery. Furthermore, we will examine the role of post-emancipation prison regimes in shaping popular (mis)understandings of “race” and the idea of “black criminality.” Lastly, we will discuss the rise of the carceral state in the twentieth and twenty-first centuries, noting long historical parallels and the roles of contemporary political and economic forces driving the prison boom. Throughout the course we will consider the distinct experiences of punishment for men, women, children, African Americans, whites, Latinos, sexual minorities and non-citizens in order to tease out the specific relationships between race, class, gender and punishment at various moments in American history. Within our broader exploration of state-based punishment policies, we will also consider community resistance to policing and incarceration and the rise of so-called prison abolitionists.<br />
|style="background-color:#1053E9;" | <br />
</div></div><br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Law and American Society<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides students with an introduction to the American legal system and to the development of American constitutional law. Historic Supreme Court decisions and legal case studies will be used to develop an in-depth understanding of the historical background and present-day constitutional controversies over such topics as free speech, censorship, abortion, workplace discrimination, affirmative action and the rights of the accused. Practitioners from the fields of law and criminal justice may provide an added dimension to the course. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Rocking the Schoolhouse: US History of Education<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This class will examine the history of American Education. From the one-room schoolhouse to Race to the Top, students will leave with a deep understanding of how America educates its k-12 students. Rocking the Schoolhouse does not look at a broken system, rather the students analyze why the system is purposely designed to educate some, and leave many behind. Public schools today are as racially segregated as they were in 1954. The class presents a thesis: “The US Public Education System is the greatest Civil Rights issue of the 21st Century.” From this thesis, arguments and evidence will be presented and students will be asked to analyze the data and take their own stand. The racial opportunity gap has been identified, and little has been done to remedy this built-in aspect of public education. The final project challenges the student to identify a need in public education, and design a school that will remedy the problem. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Youth Subcultures<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores the role of subcultures in contributing to the cultural spectrum of the United States between the 1920s and the twenty‑first century. Studying subcultures can reveal as much about the shadows of society in which they resided as it does the mainstream. Subcultures also represent a unique intersection of radical political ideologies and innovative artistic trends, often expressed through a group’s attachment to a specific genre of music, social outlet, and/or fashion. We will examine the value systems, and the broader historical contexts that gave rise to them, of: the flappers; hipsters, and beatniks; greasers; hippies; the hip‑hop and punk rock scenes, and street art. We will also focus on the ways in which society has repeatedly co‑opted these previously marginal movements, rendering them into yet another popular means of corporatized mass consumption.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Black Studies<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Black Studies is a broad field of study that can be approached from many disciplines. In this course, we survey African American history from the period of the Great Migration through the present. We explore the socio-economic, political, and cultural contributions of African Americans with an emphasis on movements for racial equality, the arts, and Black feminism. Texts include foundational writings in African American history and literature, including writings from W.E.B. Du Bois; James Weldon Johnson; Booker T. Washington; Martin Luther King Jr.; Malcolm X; Ida B. Wells; Angela Davis; Shirley Chisholm; Audre Lorde; Richard Wright; James Baldwin; Langston Hughes, and many others</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Environmental History<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How did European cattle wage war on the Wampanoag in colonial Massachusetts? How did the Bible’s Eden, a belief in magic, and a mapping mistake come together to lay the groundwork for race-based disenfranchisement and colonial incursion? How did soil make decisions about what slavery would look like in the Cotton South? How did capitalist ideas effect changes in the landscape of New England? How does the difference of 20 inches of rain per year lead to drastic differences in population, politics, and culture between eastern and western states? What myths do we tell ourselves when we visit our national parks? How are we, through globalization, forcing ourselves to change the way we talk about the natural world? What is truly natural and how do we use Nature as a weapon to destroy societies and the earth? With this introduction to the newest field of American History, we will learn to study history by looking at the roles humans play within ecosystems and the effects of those ecosystems on human society.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | U.S. Constitution<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">US Constitution is a hands-on, project-based class that seeks to examine the roots and development of the Constitution and the Bill of Rights, and then asks students to apply the document practically to several real and fictional Supreme Court cases. Hence, students begin the module with factual readings, the Federalist Papers and smaller debates, and general discussion. The class looks at the way fundamental concepts and definitions of freedom, citizenship, and “for all” have been shaped, undermined, and refined through the Constitution and its interpretation by the US Supreme Court. As the mod progresses, the assignments become more difficult and intense (briefing cases like Marbury v. Madison and Tinker v. Des Moines School District), culminating in the preparation and presentation of oral arguments for a mock Supreme Court in two cases, and sitting as a justice for one. Much of the grading for the class is done in groups, rather than individually, and so students are asked to trust and depend on their peers while making sure to hold up their own end of the workload. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The Transatlantic World: Empire, Contact and Legacies<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the imperial interests, race and gender relations, and cultural influences and exchanges that manifested during the era known as Colonial America. Though the course, by the end, focuses on the colonies that would become the United States, it begins with the pre-contact experiences of Native Americans, Africans and Europeans and how their lives eventually converged. Relationships impacted by economic development, racism and religious fervor forged a complex, historical, multiethnic legacy that is still visible today.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Race: A Global History<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Scientists agree that there are few genetic differences between people of different races and ethnicities. Social scientists thus contend that racial distinctions are a product of society and culture rather than biology. At what point, then, did differences in skin color and other phenotypic traits become signifcant? This course will explore the history of race and racism by looking at examples across the world. We will consider how humans have been divided into different “groups” and the historical circumstances that have led to those divisions. We will also interrogate the use of scientific theories to justify racism and the more recent repudiation of these theories. Using both primary and secondary sources, students will apply the methods of historical thinking to understand the evolution of racial categories and the impact of history on modern-day issues related to race and ethnicity.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The 20th Century<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is an introduction to significant events in the 20th century. Students investigate cause, effect and change in places such as Europe, Africa and Asia (including the Middle East). One principal aim of the course is for students to develop a better understanding of the response of traditional societies to the impact of modernization on their values and customs. Another is to examine ideological conficts of the modern world. Students also research contemporary problems that originated in the 20th century that demand creative and thoughtful solutions. Analytical skills, synthesis of conficting viewpoints, conducting research in the Academy Library, participating in debates and writing historical essays are all emphasized in this course.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Classical Greece<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the archaeology, literature, history and society of the Greek city-states from 1000 to 300 BCE. From Homer and Sappho to the Acropolis of Athens, a variety of materials introduces students to the literature, art, material culture and everyday life of an expansive Greek world. This course encourages students to establish connections between the ancient world and today and question the modern reception of the classical past. It introduces and develops fundamental historical skills, particularly research and writing.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Classical Rome<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the archaeology, literature, history and society of the Roman world from the foundation of the city through Late Antiquity. Central themes include urbanism, architecture, imperialism, daily life and archaeology. The course introduces and develops fundamental historical skills, particularly writing and research. It encourages students to establish connections between the ancient world and today and question the modern reception of the classical past.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The Medieval Worlds<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In the wake of the fall of the Roman Empire, three distinct and dazzling civilizations emerged. This course examines the creation of the European, Byzantine and Islamic worlds from the end of antiquity to roughly 1350, exploring the political, cultural, social and religious changes in each society. We examine the rise of the Christian Church in Europe and Byzantium, the birth and rapid success of Islam, and the impact on the values and behaviors of medieval people. Key figures, themes and events are studied, including Charlemagne, Muhammad, Justinian, mysticism, scholasticism, the Reconquista and the Crusades. We also discuss how early interactions and conficts shaped the views each society held of the others. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Early Modern Europe, 1350-1660<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The centuries following the Black Death saw the beginnings of modern Europe. This course focuses on the rebirth of European society and the new values, optimism and cultural achievements of the Renaissance. It then examines the turbulence of the Reformation — the shattering of Christian unity and the wars fought in the name of religion. The course then explores the development of new politics and the Age of Exploration when Europeans set sail and changed the shape of the world.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Absolutism and Revolution, Europe 1660-1800<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Beginning with the reign of Louis XIV, students examine 18th-century European society. We explore how the Scientific Revolution and the Enlightenment challenged the ideas of the Old Regime and created new perceptions of humanity, society and government. The course concludes with an analysis of the French Revolution and the rise of Napoleon.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | The European Century, 1800-1914<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Beginning with the study of Napoleon’s Empire and the Congress of Vienna, this course examines how the French Revolution of 1789 and the Industrial Revolution transformed European society and politics in the 19th century and established Europe’s global preeminence. The course concludes with an examination of World War I, the shattering event that culminated Europe’s dominance.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | World War and European Society, 1890-1945<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">At the pinnacle of its power and confidence at the start of the 20th century, Europe could not have imagined the crises, mainly of its own making, that it would face between 1914 and 1945. In this course, we examine the era when Europe was shattered by two world wars, an unprecedented international depression, and the rise of totalitarian states in the Soviet Union and Nazi Germany. We examine why Europeans cheered for the Great War when it began in 1914, and how four years of industrial warfare and diplomatic failures contributed to catastrophes that followed. We then explore European culture during the interwar period called the Age of Anxiety, the Russian Revolution under Lenin and Stalin, the foundering of the democracies, and the rise of Hitler and Mussolini.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Europe Since 1945<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Once the region of geopolitical domination, Europe after World War II was forced to rebuild and redefine its place in a rapidly shifting world. This course examines the change in Europe’s position as it contended with the Cold War’s series of freezes and thaws; economic, political and social developments, such as the student revolts of the 1960s; and the dramatic decade of the 1980s with Thatcherism, Gorbachev, the fall of the Berlin Wall and communism. Topics analyzed include modern leadership in Germany, Great Britain and France; the Soviet Union from Stalin through its collapse; Eastern Europe’s transition from communism, and the European Union. We will conclude by examining Europe’s current position in the contemporary world.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Capitalism and its Critics<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides a survey of the origins and evolution of capitalism in a global world up to the present, with emphasis on the political economies of the West. Students examine the ideas of the great political economists such as Adam Smith, David Ricardo, Thomas Robert Malthus, Karl Marx, J.M. Keynes and Friedrich von Hayek, as well as trace the progression of modern industrial economies in Europe and the United States. The course ends with an analysis of the 2008 financial crisis and the Occupy movement.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Understanding Violence, War and Peace<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores both the history of and theories related to violence, war and peace across the globe, from ancient to modern times. Readings may include selections from a variety of disciplines, such as anthropology, ethics, philosophy, psychology and sociology. Students may consider such questions as: Is there such a thing as a just war? Are humans naturally violent? How do societies avoid violence and maintain peace? What role does technology play in shaping violent behavior? Can justice be achieved through the use of violent means? Is peace a realistic possibility in a globalized world? Is there more to peace than an interim between wars?</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | China: The Last Dynasty<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course explores Chinese history with a focus on the Qing Dynasty period (1644-1912). Students will tackle such questions as: How can Buddhism, Confucianism and Daoism coexist in the same time? How did the role of the Qing Dynasty in global history shift across the centuries? What makes the Opium Wars (1839-1842, 1856-1860) and the Boxer Rebellion (1899-1901) turning points in modern Chinese history? How does Chinese history look different from the perspective of a rural female villager versus an emperor? What are the strongest motivating factors in these two individuals’ decision-making? To help us explore how lived experience of this vast history can vary based on where in China one lived, what role in society one fulfilled, and which events one lived through, we will analyze a range of sources including film, fiction and scholarly assessments.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern China<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines China’s dramatic recent history through multiple lenses: historical survey, biography, memoir, film and journalism. We begin by identifying key themes and questions to guide our study. Then we move back in time to the 19th century, when contact with Westerners provoked war and internal rebellions. We examine the decline and eventual collapse of the imperial dynastic system, the rise of warlordism, an experiment in weak republican government, the prolonged civil war, China’s role in World War II, the founding of the People’s Republic, the thought and governance of Mao Zedong, the economic and social reforms of Deng Xiaoping, and China’s entry into the global marketplace. The last part of the course utilizes a variety of current sources to address the majorissues facing China in the 21st century. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Contemporary Middle East<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The course begins with the breakup of the Ottoman Empire and examines the rise of Arab nationalism and the struggle against foreign domination. The strategic and economic importance of the region is studied along with the founding of Israel; the continuing confict among Jews, Arabs, and Christians; and the rise of Islamic fundamentalism. Particular emphasis is placed on understanding the Arab-Israeli confict. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Asia: Contested Histories<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How and why do different national histories define themselves in competition with those of their neighbors? This course will focus on how recent trends in the writing of history are applied to the context of contemporary Asia including China, India, Indonesia, Japan, Korea, Thailand and Vietnam. These topics will be explored through a range of sources including film, memoirs, fiction, periodicals and scholarly assessments that reflect the diversity of experiences across Asia. Topics will include Marxist history, cultural history, gender, memory, modernity and ethnicity. This course will rely on students to conduct independent research throughout the term in digging through contested topics and historical controversies, including but not limited to competing national histories of imperialism, colonization, and nationhood in the 20th century.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Precolonial Africa<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course introduces students to the complexity and dynamism of the African past, from antiquity to the dawn of the 20th century. The course begins with an examination of the Nile Valley civilizations in antiquity, the historical debates surrounding that era and the advent of Christianity in North Africa. Students then study the rise of Islam in Africa and the West African empires of Ghana, Mali and Songhai. Next, students examine the role played by slavery in the creation of the Atlantic World. The course ends with an analysis of the dynamics of the cultural clash that ensued from the European colonization of Africa.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Africa<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What do we mean by “modern,” and what does “modern Africa” look like? The story of modernity has often been told from a Eurocentric perspective — one that conveniently excludes Africa. In this course, we will investigate the ways in which Africa is tied to modernity and the world. Chronologically, the course will investigate the continent’s history, beginning with the abolition of slave trade; 19th-century imperialism and the “scramble” for the continent; anti-colonial movements and decolonization; as well as the post-independence social and political realities. For the most part, academic study of Africa in the Global North has been dominated by non-Africans. Alternatively, in this course, we re-center African voices — that is, scholarly, literary and political writings of notable Africans to help students challenge the conventional wisdom about the rise of the modern world and the role of Africa in the global arena. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern Latin America<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines how modern social and political institutions developed in the region that includes Central and South America and the Caribbean. We begin by questioning why such diverse places are imagined as a single region. We explore how colonialism shaped the region and how independent nations emerged from European political control in the early 19th century. Through a series of case studies, we then examine selected social, political and economic issues that shaped Latin America in the 19th and 20th centuries.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Modern India<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the history of what is today the world’s largest democracy. It starts in roughly 1700 with a study of the Mughal Empire and its decline, followed by the rise of British India. We explore the East India Company and the impact of British imperialism on India. The 1857 rebellion, the beginning of direct British rule and the consequences of these major events are analyzed. We explore the development and role of the Indian National Congress, explore the emergence of Indian nationalism, and assess Gandhi and other Indian leaders, as well as the forces around independence in 1947. In the last part of the course we study India’s identity from independence to today and the current issues and conflicts confronting this increasingly prominent nation.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Japan: Tradition to Modernity<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is an overview of Japanese history and considers how changes in political institutions, economic patterns, social organizations, and cultural practices took shape to transform the lives of individuals across the archipelago. We will explore questions that contemporary scholars grapple with to this day: How did the role of the emperor transform from the 16th to the 18th century? Why is the samurai such a powerful symbol? How did a region poor in resources and largely isolated from the West emerge economically vital in the last hundred years? Why did the concept of progress become such a pivotal concern for the leaders of Meiji Japan in the late 19th century? What are the consequences for rapid industrial revolution? With an emphasis on primary sources, students will analyze this history in terms of those who lived it. We will read from the perspectives of a daimyo reformer and a low-ranking samurai, from an impoverished farmer and an afuent merchant, the emperor and a housewife.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Japan: Post-war to the Akihabara Generation<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The Akihabara district of Tokyo, Japan houses the world’s largest collection of everything that is associated with anime and the otaku culture and industry. It provides us with the goal and opportunity to examine Japan’s emersion from World War II into a thriving economic revival, democratic politics, and a new social order. With a particular focus on the creation of Otaku culture, we follow Japanese history through the 20th and into the 21st century, its cultural expansion and impact on not only the neighboring countries but the Western world as well. Post-war Japan has navigated its way through challenging encounters with its past, this course looks at those encounters and examines what role the otaku culture plays in the definition of 21st century Japan. </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Humans and the Environment<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What drives human history? Do the pivotal factors lie beyond human control, such as climate, geography, ecosystems and microbes? This course examines the interactions between people and the natural world over time. In struggling to master an often hostile environment, human societies have had an ever-increasing impact on the planet, and apparent success has often ended in failure. The course begins with the emergence of humans in the Paleolithic period and then explores the invention of agriculture, the emergence of global trade and migration networks, colonialism and the Industrial Revolution. Students examine in depth an instance of humans managing — or mismanaging — a natural resource and conclude the course with a close look at 20th-century trends and the future we collectively face.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Genocide in the Modern World<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course studies the history of genocide in the 20th and 21st centuries, exploring both the patterns and unique circumstances of this important global issue. Students read and hear from historians, victims and perpetrators. Likely case studies are the Holocaust, Cambodia, the Balkans, and Rwanda, with time set aside for research into events determined by student interest. Students study root causes, including economic, political and social factors that permit the occurrence of genocide; assess international responses; and evaluate attempts at reconciliation, including justice systems and community reactions. The comparative nature of the course creates a framework to draw broad lessons about what leads to genocide in the modern world; enables us to assess the behavior, actions and inaction of the various groups involved; and pushes us to consider how these lessons could be applied to prevent such crimes in the future.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Totalitarianism: Past & Present<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | NPC<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course takes students on a fascinating exploration of the totalitarian and fascistic tendencies that have proven to be alluring alternatives to the democratic states and societies. These movements were often shrouded with utopian promises against a backdrop of apocalyptic struggles, regardless of the temporal or geographic location of the totalitarian movement. We begin by examining five national case studies drawn from Europe and Asia between the 1920s and 1960s. We then investigate more modern iterations of fundamentalism, including political, racial, and religious fundamentalism. The class concludes by focusing on the nature and appeal of cults. A final project invites students to tie the course’s main themes together.</div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#1053E9;" | History<br />
|style="background-color:#1053E9;" | Revolutions<br />
|style="background-color:#1053E9;" | 1<br />
|style="background-color:#1053E9;" | [[Tian-shin]]<br />
|style="background-color:#1053E9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#1053E9;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | ASL Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC - Nadia Dirie<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the American Sign Language track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency, but also touches on history, culture, sociology, and other aspects of the ASL-using world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Arabic Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Arabic language track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Arabic-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Chinese - Mandarin Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | [[Tian-shin]]<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Mandarin track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Mandarin-speaking world. Written instruction is in pinyin Simplified Chinese script. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | English as a Second Language Track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPCs<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the English as a Second Language track: Beginning (1), Intermediate (2), and Advanced (3), each with highly modular curricula that instructors adapt to the needs of current ELL students. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the English-speaking world. At all levels, half of each class is given over to one-on-one tutoring, supervised independent study, or other instruction recommended by students' IEP assessments. Students may test into any level and take any number of these classes, in any sequence.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | French track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | [[Matt]], NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the French track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the Francophone world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | German track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the German track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects of the German-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Ancient Greek track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the Ancient Greek track: Beginning (1), Intermediate (2), and Advanced (3), usually scheduled to cycle over the course of a school year. Coursework focuses on literacy but contain significant elements of history, literature, sociology, and topics relevant to the Classics and the ancient world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Latin track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 3 classes in the Latin track: Beginning (1), Intermediate (2), and Advanced (3), usually scheduled to cycle over the course of a school year. Coursework focuses on literacy but contain significant elements of history, literature, sociology, and topics relevant to the Classics and the ancient world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Japanese track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Japanese track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Japan-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Russian track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Russian track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Russian-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | Spanish track<br />
|style="background-color:#F2B707;" | variable<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">There are 9 classes in the Spanish track, divided into Beginning (1-3), Intermediate (4-6), and Advanced (7-9), usually scheduled such that each cycles once per school year. Coursework focuses on practical fluency and literacy but also touches on history, culture, sociology, and other aspects relevant to the Spanish-speaking world. Students may test into any level and take any number of these classes, in any sequence, but retaking a passed language class will not count further toward graduation requirements.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Chinese Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-chinese-language-and-culture AP Chinese Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP French Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-french-language-and-culture AP French Language and Culture] curriculum.</div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP German Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-german-language-and-culture AP German Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Japanese Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-japanese-language-and-culture AP Japanese Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Latin<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-latin AP Latin] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Spanish Language and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-spanish-language-and-culture AP Spanish Language and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#F2B707;" | Language<br />
|style="background-color:#F2B707;" | AP Spanish Literature and Culture<br />
|style="background-color:#F2B707;" | 3<br />
|style="background-color:#F2B707;" | NPC<br />
|style="background-color:#F2B707;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-spanish-literature-and-culture AP Spanish Literature and Culture] curriculum. </div></div><br />
|style="background-color:#F2B707;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Transitional Mathematics<br />
|style="background-color:#6BADF9;" | variable<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Transitional mathematics courses are offered to help merge new students into the mathematics program at Xavier's. Courses are designed to help students adjust to seminar-table methodology and problem-based curriculum, and to fill gaps and cope with varied backgrounds in mathetmatics prior to Xavier's. Introductory courses give students and instructors additional information to determine placement for the following term. Typically, transitional courses last one term, but some extend for two or even three terms. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Algebra<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">These courses develop facility in working with numbers, tables, equations, inequalities and graphs. The focus is on solving word problems and reading carefully, and thus the building of algebra skills stems from the need to solve problems in a context, rather than from drill and practice for its own sake. Students learn how to use the graphing calculator appropriately as an effective problem- solving tool. In addition, students may do a number of hands-on labs that require them to collect data, make conjectures and draw conclusions. Topics covered include equations and graphs that are linear and quadratic, distinguishing linear data from nonlinear data, inequalities, the basic rules of exponents, and other traditional Algebra I topics.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Geometry<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Geometry develops logical thinking through proofs and attention to definitions. It gives students a new way of looking at the world by analyzing the symmetries and patterns around them, and it develops practical skills through applications. This course covers the standard topics in a college-preparatory course in Geometry. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Trigonometry & Precalculus<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | [[Kyinha]]<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An exploration of the circular functions: sine, cosine, and tangent. Topics include right triangle trigonometry, simple harmonic motion, applications, and proofs of trigonometric identities.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Integrated Mathematics<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The purpose of these courses is to enable students to expand their view of algebra and geometry to include nonlinear motion and nonlinear functions. The investigation encompasses circular motion and the functions that describe it, ellipses and hyperbolas, exponential and logarithmic functions, dot products and matrices, and geometry on the surface of the Earth. In particular, logarithms are used to straighten nonlinear data; and matrices are used to describe geometric transformations and various patterns of growth. In preparation for higher level mathematics, two strands are introduced: first, combinatorics and recursion, leading to the binomial theorem; second, approximation behavior, especially instantaneous rates of change and slopes of nonlinear graphs.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Linear Algebra<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this class students will use matrices to learn how linear algebra is being applied in various fields. The class will cover content including matrix operations, row-reductions, determinants, vector space, eigenvalues, and transformations. From this course students will be able to further their understanding of the connection between geometry and algebra. In addition, students will further their logical thinking while being introduced to different abstract topics in mathematics. This course will expose students to higher-level mathematics that will better prepare them for the rigors of a college math program.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Multivariable Calculus<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students will learn how to differentiate and integrate functions with multiple variables. In this class students will cover topics such as vector functions, partial derivatives, multiple integrals, and vector calculus. As a result of this class, students will be able to better understand the connection between single-variable calculus and multivariable calculus. Students will further their logical thinking while also being introduced to different abstract topics in mathematics. Students will be exposed to higher-level mathematics that will better prepare them for the rigors of a college math program.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Calculus AB<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | [[Kyinha]]<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-calculus-ab AB Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Calculus BC<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC-Dr. Samantha Deeb<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-calculus-bc BC Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | Professor Deeb is known to assign brutal amounts of homework. Tendency to drone a lot in class; is actually a helpful ''tutor'' one-on-one but not particularly interesting or useful in a classroom setting.<br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | AP Statistics<br />
|style="background-color:#6BADF9;" | 3<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This is the beginning of the three-term calculus sequence that covers the syllabus of the [https://apstudents.collegeboard.org/courses/ap-statistics Statistics Advanced Placement] examination.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Personal Finance<br />
|style="background-color:#6BADF9;" | 1<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Personal finance is a term that covers managing your money as well as saving and investing. It encompasses budgeting, banking, insurance, mortgages, and investments. Students will be introduced to the basic understanding of debit and credit, track their spending and even analyze some of the more challenging probability concepts that govern the trading of options on the stock market. The approach to this class will be project based with students able to work on a project that they find meaningful in the world of personal finance. </div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#6BADF9;" | Mathematics<br />
|style="background-color:#6BADF9;" | Economics in the World<br />
|style="background-color:#6BADF9;" | 1<br />
|style="background-color:#6BADF9;" | NPC<br />
|style="background-color:#6BADF9;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does it mean to live in a global economy? In this class students will be introduced to an overview of Micro Economics and Macro Economics. By analyzing market trends associated with historical events between the 1900’s and the present time, students will learn how changes in policies have shaped global economies.</div></div><br />
|style="background-color:#6BADF9;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | Bioethics: Humanity in the Post-Genomic Era<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines current biological topics that challenge our understanding of humanity and provides a brief introduction to ethics and philosophical anthropology and their roles in setting public policy.<br />
<br />
We live in a modern age in which major scientific advances are the norm. Bombarded with stories in the news regarding ethical dilemmas pertaining to novel biomedical interventions, it is often difficult for us to make sense of competing arguments without having a basic command of the biological and philosophical issues involved. Questions to be addressed include: What is a stem cell? When does a developing human being first experience sensation? Show evidence of cognitive abilities? Acquire moral status? <br />
<br />
How does our modern, post-genomic understanding of human biology influence our philosophical understanding of what it is to be human? Which biological enhancements are ethical? Which are unethical? To what extent (if at all) should the use of biotechnology be regulated in our society? Historical and current readings will be assigned, and lively discussions encouraged. Students will be graded through a variety of assessments, including papers, presentations, journals, and class participation.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | Power and Social Responsibility<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#CE2029;" | The Ethics of Power<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Charles]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"></div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Introduction to Ethics<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this discussion course will be introduced to a variety of approaches to ethical reflection. Through the use of classical texts and personal and literary stories, students will develop a common vocabulary with which to understand and critically evaluate their moral experience. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Ethics & the Environment<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">We are facing unprecedented environmental challenges to climate, life forms, human health and population, and essential resources. We tend to treat such issues simply as scientific or political problems. In reality, ecological controversies raise fundamental questions about what we human beings value, the kind of beings we are, the kinds of lives we should lead, and our place in nature. Sustainability is not possible without a deep change of values and commitment. In short, environmental problems raise fundamental questions of ethics and philosophy. This course seeks to provide a systematic introduction to those questions.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Social Ethics: Values in a Changing America<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Whether you read the paper, scroll Instagram or follow trends on TikTok, you will see people disagreeing about how to resolve some of society’s conficts. In this course, students examine various contemporary social issues such as pornography, reproductive rights, trans rights, immigration, the death penalty, CRISPR, mutant rights, privacy rights, political extremism, drug legalization and climate change. Through engagement with current events and contemporary public conversations, the course provides students with ethical frameworks, conceptual tools and contextualized understanding necessary to evaluate and respond to the social issues of an ever-changing world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Global Ethics: What's Wrong with the World?<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Terrorism, wars, genocide, refugee crises, economic disparities, economic exploitation, propaganda including “fake news,” drug resistant pathogens, natural disasters, global warming, and so on — what kind of world do we live in? What kind of world ought we live in? How can we move from what is to what ought to be our world? These are the basic questions of global ethics. With consideration for a range of ethical theories, students study current global events in order to better understand why the world is the way that it is and what can be done about it. The course includes readings in anthropology, sociology, political theory, philosophy and the sciences, and it makes use of current news sources, investigative journalism, documentary and feature films, and new media. The course culminates with student projects on any topic concerning the world as it is and might be — or what we can do to get there.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Ethics: Medicine<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Modern medical research and practice present society with new opportunities and significant challenges. Students in this course will look at various case studies at the intersection of medicine, scientific research, health care, and ethics. Possible case studies may include debates about abortion, euthanasia, animal rights, mutant rights and experimentation, and broader environmental implications of scientific and material progress in the 21st century. Classical and contemporary philosophers will be read as part of our investigation into these topics. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Nonviolence & Moral Leadership<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Charles]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will examine major figures within nonviolent movements for social change, with a focus on the capacities of moral leadership possessed by these individuals. What characterizes an effective moral leader? How do these leaders motivate others in the face of injustice and oppression? Must moral leadership necessarily be nonviolent? What does 'nonviolence' even mean? Through a study of autobiography, letters, speeches, and case studies, students will come to a more complete understanding of nonviolent movements and the decisions made by individuals who led them. In addition to Gandhi and King, individuals studied may include Nelson Mandela, Desmond Tutu, the Dalai Lama, Aung San Suu Kyi, Thich Nhat Hanh, Paul Farmer, Greg Mortenson. Critics of nonviolence will also be studied. The course will culminate in a substantial independent research project.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Law and Morality<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Tian-shin]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">A critical examination of issues that arise out of the relationship between law and morality. Questions of concern include the following: For what reasons, if any, should an individual obey or disobey the laws of society? Which kinds of governments (monarchy, aristocracy, democracy, etc.), if any, are legitimate? To what degree should society restrict the freedom of individuals through laws on matters like abortion, pornography, race, and sexual relations? Class discussions and written exercises are designed to encourage participants to develop views of their own against a background of basic understanding of the readings. </div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Introduction to Philosophy<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is really real? How do I know what I know? Do I have free will? What is the good? These and other speculative questions have troubled the Western mind for millennia. This course follows a topical approach to the history of Western philosophy and focuses on such issues as metaphysics, epistemology, the problem of evil, the existence of God and the philosophical roots of ethics. Students will read from the works of ancient and modern writers such as Plato, Aristotle, Aquinas, Kant, Hume, Bentham, Locke, Arendt and Hill Collins to assist them in coming to their own understanding of these topics. Students will discover what philosophy is and how philosophers question and reason.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Justice and Globalization<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What does justice demand of us (as individuals and collectives) and how does it apply internationally? In this course, we will explore the following topics: (a) the possibility of individual and collective responsibility in the face of the polarities of great wealth and great suffering across our planet; (b) cosmopolitanism and internationalism as compared to nationalism as underlying different responses to global inequity and conflict; (c) colonialism and imperialism, and responses to them; (d) the arguments for colonial or environmental reparations; and finally (e) consideration and assessment of competing political-economic approaches to globalization and development. In all of this, we will ask ourselves what principles, practices, and institutions hold the most promise for securing a more desirable and just future. Through reading, writing, and collaborative discussion, participants will work together to develop a deeper understanding of how we should approach justice at a global scale. In short, we will explore what we owe others wherever they are on Earth.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Proof and Persuasion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> A practical introduction to informal logic and to the philosophical study of language. Some of the questions raised are the following: What is the difference between a good argument and a poor one? What are the common fallacies of thought? What are the limitations of logic? What are the meaning of “meaning” and the truth about “truth?” The course stresses the development of individual skill in argument and includes a critical examination of the patterns of thought one encounters every day in magazines, in newspapers, and on television.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Philosophy of Sport<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> Through common readings, journal entries, reflection papers, prepared essays, visitors to class, presentations, and open discussion, we explore answers to questions including: What is the contribution of sports to human flourishing?; How do sports contribute to the construction of individual, group, and national identities?; What role does aesthetic appreciation play in our response to sports as participants and observers?; What does the experience of flow—“being in the zone”—in sports reveal about possibilities of transcendence for humans?</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Christianities<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Christianity? How has Christianity changed over time? Why are there so many diferent Christian groups? How are Christianity and power politics connected? This course explores these questions and others, with particular attention paid to diferent ways that Christian groups define themselves in relation to the wider culture, from the ancient world to today and from the Mediterranean through Asia, Africa, Europe, and South and North America. Students will have the opportunity over the term to study in more depth an area of interest. In addition to reading and discussion, the course will potentially include site visits, meetings with religious leaders and films.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Global Islams<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">With nearly two billion practitioners, Islam is one of the fastest growing religious traditions in the world today. Yet, with less than 1 percent of the American population identifying as Muslim, it is also one of the most misunderstood here in the United States. What is Islam? What is not Islam? And who gets to decide? This course aims to introduce students to the vast internal complexities of the Islamic tradition through an exploration of history, scripture, law, film, comic books, and social media. We will investigate and contextualize controversial (and popularly misunderstood) elements of Islamic tradition such as jihad, sharia, and veiling. From Malcolm X to ''Midnight Mass'', and from China to Cairo to Chicago, students will examine the practices, lives, and legacies of Muslims in history and today.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Judaism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Judaism? Contemporary Jewish communities forge unique identities, religious practices and spiritual paths in religiously and culturally diverse ways. This course introduces Judaism in a variety of forms and explores some of the many questions, challenges and affirmations of the many facets of Jewish identity, practices, core beliefs and ethics in the 21st century. For instance, Jews might practice yoga; sport tattoos; eat organic instead of kosher foods; grow up in an interfaith family celebrating Christmas and Hanukkah; become a rabbi; attend a Jewish LGBTQ wedding; identify as “spiritual” rather than “religious”; only attend synagogue during the Jewish high holidays; or voice doubts about Israeli politics. The class will explore these or other possibilities as a case study of how the Jewish people balance tradition and innovation to remain vibrant in a changing world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Religions of the Book<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will introduce students to the world of scripture and interpretation in Judaism, Christianity, and Islam. Students will explore the ways that communities look to sacred writings to answer questions such as: How does God communicate with humanity? How does one live a holy life (and why bother)? Is there life after death? What happened at the beginning of time? What will happen at the end? We will examine the scriptures themselves, but also documentaries, music, comic books, art, and films from religious communities around the world, and reflect on how the Bible and Qur’an created and shaped these three interconnected and diverse religious traditions encompassing more than half the world’s population.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Hinduism and Buddhism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC-Lauren Briggs<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is Hinduism? What is Buddhism? This course explores Sanatana Dharma — the duties, practices and traditions that define a Hindu way of life — as well as the traditions, beliefs and spiritual practices based on original teachings attributed to Siddhartha Gautama, the Buddha. As students explore these timeless ways of being and learn about people who embody them, they will encounter concepts of ultimate reality, the (non)self and the purpose of human life that have informed diverse ethical systems and cultures in India, China, Tibet, Korea, Japan and Southeast Asia. Historical and philosophical studies of prominent fgures, such as Mahatma Gandhi and the Dalai Lama, will provide students spaces to refect on their own senses of what it means to live a devoted life. Students will also explore certain ways these religious traditions appear — through ideas, symbols and practices — in America and Europe, as they wonder about contemporary cultural representations of yoga and meditation in the West.</div></div><br />
|style="background-color:#C0F791;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Paganism Through History<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | [[Matt]]<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"></div></div><br />
|style="background-color:#C0F791;" | Has a reputation as a bit of a bird course; Matt a very easy teacher to sidetrack onto tangents and a very lenient grader.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | East Asian Ways of Knowing: Zen Buddhism<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC-Lauren Briggs<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Zen Buddhism opens up to rich and varied practices of knowing and living. Through reading primary sources, both ancient and modern, and engagement with a range of Zen practices, students in this course gain an appreciation for the religious tradition and its history, as well as the types of knowing that it engenders. Students study koans (Zen training riddles) such as “What is the sound of one hand clapping?” and “What was your original face before your parents were born?” and other manifestations of Zen Buddhism across cultures and times, including contemporary derivations of “Zen” memes in popular culture and social media. </div></div><br />
|style="background-color:#C0F791;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot.<br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Mysticism and the Contemplative Traditions<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How does it feel to commune with the Infnite? What ecstasies can humans experience? What personal and communal transformations result? These are questions of mysticism. It has been said that all religions converge in the contemplative tradition — the great world illuminated by the swamis and yogis of Hinduism, the core meditation practices of the Buddha, the Kabbalist teachers of Judaism, the Sufs of Islam, and the Christian mystics. What can we learn by reflecting on their teachings and their practices? How do they connect with current research on the mind-body connection? How do these make possible a deeper sense of self, or what we might call the “unique self ”? What does it mean to speak of wisdom as a kind of knowledge? We will consider selections from a range of faiths, from the ancient texts of the Upanishads to the poets Rumi and Meister Eckhart to modern writers such as Thomas Merton, Howard Thurman and Pema Chodron.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Criticizing Religion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Is there a destructive side to religion? Religion and religions have undoubtedly shaped the lives of individuals and communities around the globe for millennia for the better, but would the world be a better place if we imagined, with John Lennon, a world with no religion? Contemporary examples of the destructive side of religion fill the news on a daily basis. On the other hand, religions around the world have been a driving force for peace, for justice, for compassion, for leading a purposeful life. Many people turn to religion to find resources that provide them with community, values and meaning in their lives. Is religion’s checkered past and present leading to increased secularism? Will science ultimately replace religion? The course will explore scientifc, economic, political, feminist and queer critiques of religion — and their responses — from thinkers such as Friedrich Nietzsche, Fyodor Dostoyevsky, Karl Marx, Mikhail Bakunin, Sigmund Freud, Ayn Rand, Mary Daly, Anthony Pinn, Dan Brown, Ursula LeGuin, A.C. Grayling, and the New Atheists (Richard Dawkins, Christopher Hitchens Sam Harris, and Daniel Dennett), as well as films such as ''Spotlight'' and ''Jesus Camp''.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | One Nation Under God?: Religious Traditions in America<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The United States has always been a mix of various peoples and faiths. This course examines the religious traditions that make up the American religious and cultural landscape, focusing on Judaism, Christianity, Islam, Buddhism, Hinduism, etc. The distinctive ethos and practices of each are explored, along with their presence in the daily news. To assist students in experiencing and examining these religious traditions, the course will use make use of visual materials, guest speakers, and church and potentially other site visits, as well as firsthand experiences such as observing Buddhist meditation, a Passover Seder or a Muslim prayer service. Attention is given to students’ understanding of their own background in relation to the diversity of religious expression today.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#C0F791;" | Philosophy, Ethics, & Religion<br />
|style="background-color:#C0F791;" | Comparative Religion<br />
|style="background-color:#C0F791;" | 1<br />
|style="background-color:#C0F791;" | NPC<br />
|style="background-color:#C0F791;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Religion is consistently a news item in our world today; it factors into conflicts in North America, Europe, the Middle East, and India, among other places. Catholics are divided on the wisdom of the pope, Jews on the policies of Israel, and Muslims on their relation to modern secularism. But none of these divisions makes sense to outsiders without a basic understanding of the religions involved. In this course, gain a basic understanding of the beliefs and practices of the world’s major religions. Explore the meaning of religious experience, the distinction between myth and history, and the appeal—or not—of ritual. We also will discuss important questions: Why do religious communities split, for example, Sunni and Shiite Islam? What does “law” mean to observant Jews? What do Christians mean by the “Trinity”? Can “nothing” be “something” in Hindu and Buddhist contexts? Is Confucianism a religion at all? These questions and more will enliven our explorations into the major religions of the world.</div></div><br />
|style="background-color:#C0F791;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#CE2029;" | Psionic Self-Defence<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | [[Charles]]<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The psionic self-defense class at XS is geared for all people, not just those with psionic abilities. While it is generally not possible for someone without psionic abilities to thwart a determined psionic assault, it is the case in this class -- as in many self-defense classes -- that the best protection is never getting into the fight in the first place. Given that it is not going to be possible for non-psionics to ''stop'' a psionic intrusion, the aim of this class is to help teach students mental discipline and techniques helpful for avoiding notice and keeping unwanted thoughts from surfacing too strongly.<br />
<br />
This class's goals are to help students order their minds enough to minimize stray surface thoughts that may be overheard by psionic eavesdroppers, to help keep thoughts under control so as not to attract mental scrutiny, to recognize the signs of psionic manipulation, and to learn grounding techniques for maintaining emotional stability in the face of mild psionic influence. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Principles of Fitness<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The Principles of Fitness course is designed for students of all physical abilities. The goal of this course is to provide students with lifelong fitness habits. Students will gain an understanding of the effects of exercise on health and well-being while being able to apply the learned skills to their everyday life. This will be accomplished by introducing students to facilities, equipment and resources that are available on campus. Topics will include resistance training, cardiovascular fitness, warm-up/cool-down, plyometrics and flexibility. Classes will be built around individual and group workouts.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Running*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The PE running program is designed for students who want to run for fitness. Beginning runners will receive thorough introduction to distance running. Experienced runners will further develop their speed and stamina. Daily runs of 2 to 5 miles will compose the bulk of the training, but alternate modes of training and drills that are essential to strong, injury-free running will also be part of the course.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Strength Training & Conditioning*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In the strength and conditioning class, students are encouraged to define one or more training goals for the term. What is strength and conditioning? Strength is the ability to produce force, and it is a more durable adaptation than Conditioning, which is comparably transient, and is more concerned with work capacity- how much physical work can be done in a given time period. These two very different physical adaptations require different types of training. You can do either or both, but you must have a plan to improve them. The most important aspects of your goal-setting to consider are Specific, Measurable, and Timely. Students are expected to come to class in exercise clothing, ready to train. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Self Defense*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This self-defense course is open to all students. This course teaches practical self‑defense skills that give students the experience of facing their fears and finding their power. In this class, students are taught how to avoid altercations, resist intimidation, communicate assertively, and escape potential assaults. Students learn how to set verbal boundaries and de‑escalate potentially dangerous situations. The course will also teach ways to physically defend against a number of threatening scenarios including front confrontations, attacks from the rear, attempted sexual assault, and ground fighting. Scenarios will be empowering, practical, and useful.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Pilates*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In our Pilates class, students are introduced to beginner level Pilates mat and reformer exercises, with emphasis placed on learning proper Pilates breathing, and developing “core” connection, strength, flexibility, and proper alignment. The class learns how to access their “powerhouse” muscles and how to maintain that engagement throughout movement. Students also become familiar with beginning safe ranges of motion and how to determine when they are ready to increase the challenge by increasing their range of motion. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Bouldering*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Bouldering is rock climbing stripped down to its raw essentials. Leaving behind ropes and harnesses and just using climbing shoes and a bag of chalk over safety mats. Your challenge is to climb short but tricky bouldering "problems" (a route, or sequence of moves) using balance, technique, and strength. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Cardio-Boxing*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Cardio-Boxing is a fun and energetic class where students use choreographed cardio-boxing combinations combined with calisthenics and jumping rope to obtain a great aerobic workout. In our state-of-the-art Health and Fitness Center, students go from being taught how to wrap their hands to eventually completing a boxing circuit of approximately 10 rounds using standalone punching bags. Be ready to feel the burn!</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Swimming*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Aquatics are a means to achieve cardiovascular fitness through stroke development and participation in a variety of swimming workout methods.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Indoor Cycling*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is designed to increase muscle strength and improve cardiovascular endurance using state-of-the-art bikes. Students will experience rolling hills, sprints and other drills to give them a great interval workout.</div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Horseback Riding*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#E14D3B;" | Physical Education<br />
|style="background-color:#E14D3B;" | Outdoor Challenge*<br />
|style="background-color:#E14D3B;" | 1<br />
|style="background-color:#E14D3B;" | NPC<br />
|style="background-color:#E14D3B;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Outdoor Challenge is a group-oriented, teambuilding program for those who want to be active in the outdoors. Depending on weather conditions, activities may include snowshoeing, cross-country skiing, mountain biking, hiking, canoeing, trail running, high- and low-ropes challenges, obstacle activities, outdoor survival education, camping skills and orienteering. </div></div><br />
|style="background-color:#E14D3B;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Biology<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-biology AP Biology] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Chemistry<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-chemistry AP Chemistry] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Environmental Science<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-environmental-science AP Environmental Science] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics 1 (Algebra Based)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-1-algebra-based AP Physics 1] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics 2 (Algebra Based)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-2-algebra-based AP Physics 2] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics C (Electricity and Magnetism)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-c-electricity-and-magnetism AP Physics C] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | AP Physics C (Mechanics)<br />
|style="background-color:#23D105;" | 3<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-physics-c-mechanics AP Physics C] curriculum.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Animal Behavior<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Why do some animals live in groups, and others singly? Why are some animals monogamous while others have multiple mates? Who cares for the young? Why do birds sing and wolves howl? In this course, we will begin to answer these questions. We will read a text that provides an introduction to all areas of animal behavior, as well as selected articles. Our focus will be on social behaviors. Using films, we will observe the social behaviors of animals as diverse as termites and wolves. We will use fieldwork to study the role of society in the foraging behavior of honeybees. Students will be required to write a research paper on a topic of their choice.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Astronomy<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Astronomy is the scientific study of the origin, structure, and evolution of the universe and the objects in it. Topics may include patterns and motions in the sky, gravity and orbits, telescopes and light, planetary systems, the birth and death of stars, galaxies, the Big Bang, the search for extraterrestrial life, and the fate of the universe. This class includes a 45-minute lab period one night a week at the Ptolemy Observatory, located on the Xavier's campus. When the lab period is used, compensation time will be given during a daytime class period.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Astronomy Research<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In this course students will spend extensive time in the Xavier's Academy Ptolemy Observatory, where they will learn to operate the telescope, dome, and CCD camera. Students will learn techniques for visual observing, astrophotography, and photometry. Students will engage in research projects designed to provide an introduction to research techniques in astronomy. When appropriate, results will be submitted for publication. In addition to conducting ongoing research projects, the class will take time out to observe interesting current events (observing the pass of a near-Earth asteroid, a recent supernova flare-up, a transit of the ISS across the moon, etc.). In addition, students will be expected to spend several hours a week in the observatory (due to weather constraints, observing nights will vary.)</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Biology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | [[Kyinha]]<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is theme-based and focused on major biological topics. Studying a core text will be supplemented with other readings, writing assignments, and data analysis and interpretation. Students will learn a variety of study skills and will have an introduction to library research tools. Laboratory experiments and fieldwork are designed to acquaint students with fundamental biological principles and to build skills in the methods and techniques used to elucidate those principles.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Chemistry<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An introduction to the chemical view of the material world, including atomic theory, atomic structure, chemical reactions, the nature of solids, liquids, gases, and solutions, general equilibria, acid-base theories. Emphasis is placed on developing problem-solving skills as well as on making connections between chemical principles and everyday life. A college-level text is used, but the pace of this course is adjusted to ensure that students have ample opportunity to ask questions and work through problems. Laboratory work is an integral part of the course.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Ecology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Ecology is a field of biology dedicated to the interactions that organisms have with each other and with the nonliving components of their environment. The discipline of ecology helps to explain the abundance and distribution of organisms and issues of biodiversity and extinction and is grounded in evolutionary principles. In this course we will examine how ecological ideas play out in aquatic and terrestrial environments and students will develop skills in experimental design, data analysis and statistics, scientific literacy, and complex systems thinking. Students will also consider the impact of global climate change and other human impacts on the environment and they will have the opportunity to pursue an area of their own interest. </div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Electronics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This introduction to electronics is a hands-on, project-oriented course. Students will build a variety of simple devices, including timing circuits, alarms, flashers, amplifers and counters. By designing, building and analyzing these circuits, students will gain a firsthand knowledge of a variety of basic electronic components, including resistors, capacitors, switches, relays, transformers, diodes, transistors and several integrated circuits. Students will use Arduinos throughout the course for analyzing and testing, and as a central piece of their circuit design. Though some experience in programming is helpful, it is not required for this course.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Introductory Genetics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course considers the classical and contemporary views of the nature, transmission and function of the hereditary material. Laboratory investigations in plant and animal genetics supplement class discussion. </div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Molecular Genetics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This advanced course examines the biochemistry of the gene in greater detail and considers the underlying principles of recombinant DNA technology. Because DNA science is experimental, much of the time available in this course will be devoted to laboratory work learning techniques of DNA isolation, analysis and manipulation.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Marine Biology<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The goal of this class is to give students a field research experience in which they come to understand how to work as a team to conduct experimental studies in marine science. Students will frequently be off campus, where they will be involved in a variety of new and ongoing projects. They will study the structure of intertidal communities, develop hypotheses, and then implement a research study that will provide baseline data for future work in the area. The students will also study lobster biology and the historic management of the fishery so they can start to look critically at the current state of the Maine lobster industry. In the larval settlement project, students will study organisms that recruit on docks and in the intertidal of Penobscot Bay, and consider the role of invasive species and climate change in affecting biodiversity.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Mechanics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course study of the natural laws relating space, time, matter, and energy. Topics include measurement, motion, forces, energy, momentum, and rotation. We want students to understand the behavior of matter, and to become aware of the importance of the physical laws of nature. The approach to the material is highly mathematical. Students will use spreadsheets and graphing programs to analyze laboratory data.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Biology of Cancer<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Cancer is the second leading cause of death in the United States and this disease affects many families. The profound impact of cancer on society has been the driving force behind major research advances and led to a better understanding of cell biology. Understanding the basic biology of cancer and its impact on the human body has led to more effective treatments, enhanced detection methods, and the development of prevention strategies. This course will provide an overview of the biology of cancer. The course will focus on the genetic and molecular basis of cancer. We will explore the role of mutations in cancer cells and how they lead to the deregulation of essential biological processes such as cell division, programmed cell death, and differentiation. We will also examine the interface of cancer and medicine. Classical treatment methods will be compared with newer treatment modalities, such as targeted therapies. The challenges associated with diagnosing cancers, preventing cancers, and curing cancers will also be discussed in light of current technological advances such as genomics and bio‑informatics.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Evolution<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Evolutionary biologist Theodosius Dobzhansky wrote in 1973 that “Nothing in biology makes sense except in the light of evolution,” and his statement still holds true today. Students in this course will read Jonathan Weiner’s Pulitzer Prize-winning book ''The Beak of the Finch'', which documents an ongoing study of evolution in Darwin’s finches on the Galapagos Islands. They will also read selected chapters from Sean Carroll’s text on the burgeoning field of Evolutionary Developmental Biology (Evo Devo), ''Endless Forms Most Beautiful''. We will also consider Darwinian fitness in human populations. Labs will include an investigation of avian comparative anatomy and a study of students’ own mitochondrial DNA using molecular techniques such as PCR and gel electrophoresis.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#23D105;" | Science<br />
|style="background-color:#23D105;" | Fluid Mechanics<br />
|style="background-color:#23D105;" | 1<br />
|style="background-color:#23D105;" | NPC<br />
|style="background-color:#23D105;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students taking this course will learn about fluid statics and dynamics. Dimensional analysis and derivation of Bernoulli and Navier-Stokes equations will provide the methods necessary for solving problems.</div></div><br />
|style="background-color:#23D105;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Comparative Government & Politics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | [[Tian-shin]]<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-comparative-government-and-politics AP Comparative Government & Politics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Macroeconomics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-macroeconomics AP Macroeconomics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Microeconomics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-microeconomics AP Microeconomics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP Psychology<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-psychology AP Psychology] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | AP US Government & Politics<br />
|style="background-color:#F58104;" | 3<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Material is guided by the College Board's [https://apstudents.collegeboard.org/courses/ap-united-states-government-and-politics AP US Government & Politics] curriculum.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Cultural Anthropology<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Anthropologists study humans as both biological and cultural creatures. This scholarly orientation raises many fascinating questions. To what degree does culture shape our actions and ideas? Are we primarily products of biological nature or cultural nurture? Can cultural norms make rational people act irrationally? Are there universal human rights or do cultures dictate what we think is ethical? These debates are critical for understanding human interaction and have significant application in fields ranging from law to medicine. Among the topics considered are: “the mind” and epistemology; discipline, law and rules; human bodies and communication; social taboos; ritual patterns of meaning; notions of cleanliness and defilement; festivals; and mythology. These elements of cultural life will be explored in social settings spanning the globe, but also within our own community at Xavier's. Much of the course attempts to contextualize 20th- century anthropological methods against the foil of postmodern critiques.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Intro Psychology<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this course study a range of explanations for human thought, behavior and emotion. Readings, projects, demonstrations and class discussions facilitate exploration of this fascinating and evolving field. Specifc areas of focus include: the nervous system and brain functions; human development; emotion; learning and memory; social psychology; and addiction. Case studies of psychopathology, as well as the diagnosis and treatment of mental illness, round out the course. Independent research and projects allow students to focus on specifc topics of interest. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Environmental Economics<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course is a case-based introduction to using economics to look at some of the major environmental problems in the 21st century. In this topic-driven course, students will learn about the role of market failure in environmental issues, the challenges of pricing environmental goods, and ways in which economic theory can be used to help solve these problems. Topics such as overfishing, global warming, water pollution, and others will be covered from the angles of science and economics. Special consideration of the unique role that social justice plays in many of the topics will be considered as well. Students will be assessed on problem sets, essays, in-class discussions, and an individual research project. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Women's, Gender, and Sexuality Studies<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Pink is for boys and blue is for girls. At least it used to be. We will explore the ways that our everyday lives are guided by socially prescribed gender norms. Through the study of the historical production and contemporary interpretation of the categories of “woman” and “man,” “female” and “male,” “heterosexual” and “homosexual,” we will seek to better under- stand how gender-based inequalities have evolved and are both supported and simultaneously contested in societies across the world. In addition, we will seek to gain a better understanding of the ways that gender, sex, and sexuality inform local, national, and global efforts to improve the lives of individuals and to achieve social justice for entire communities. We also will explore the intersection of sexuality, gender, sex, race, ethnicity, class, and other forms of identity. Through a variety of sources—written documents, social media, film—this course will introduce students to a wide variety of issues across disciplines, including historical, anthropological, medical, legal, and popular culture. We also will explore contemporary uses of social media as sites of research, activism, and networking. </div></div><br />
|style="background-color:#F58104;" | Class is SUPER popular with a Certain brand of young feminist-leaning students but do Not take it if you are trans it is like a small incubator for baby terfs.<br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Critical Race Theory: The American Dream Deferred<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Historically, American society does not recognize race as the language of class. In this discussion-based seminar, students will examine ways in which race and class intersect. Critical race theory eschews the goal of assimilation into current social structure and instead looks at the experience of the “outsider” as a lighthouse that illuminates structural problems within American Society. Students will use Critical Race Theory to analyze historical legal cases—including the nation’s first successful school desegregation in 1931 where Mexican Americans sued San Diego, CA public schools for access and the famous 1957 court-ordered desegre- gation of Little Rock, AR High school—in addition to contemporary legal cases of “reverse discrimination” such as Fisher v. The University of Texas in 2012. Students will ultimately explore the question, “Is the American dream a structural fallacy that has explanation for success but none for failure?” Assignments will consist of selected readings, reflection pieces, article reviews, and a research paper. </div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | Urban Crisis<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“All politics,” Tip O’Neill concluded, “is local.” In this seminar, students will put this oft-cited sentiment to the test by examining the dynamic relationship between local, state, and federal politics. American cities—the key sites of contestation for many policy debates in the decades following WWII—will serve as the lens through which students access the lived experience and ramifications of broader national political trends, events, crises, and movements. Students will deploy the methodological tools of urban history to contemplate the cultural, spatial, and social reality of urban environments, and examine the contingent historical development—and impact—of urban policies on social and economic inequality in modern American cities. Some of the issues covered include suburbanization in Detroit, the War on Poverty in Las Vegas, the War on Crime in New York, and the War on Drugs in Los Angeles.</div></div><br />
|style="background-color:#F58104;" | <br />
|-<br />
|style="background-color:#F58104;" | Social Sciences<br />
|style="background-color:#F58104;" | The Olympics<br />
|style="background-color:#F58104;" | 1<br />
|style="background-color:#F58104;" | NPC<br />
|style="background-color:#F58104;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will examine the origins and evolution of the modern Olympic games via the following topics: impact on politics and society, equity and ethics, controversies and scandals, inspirational stories and the role of athletes as national icons, and lessons of sportsmanship. Students will engage with a variety of sources across disciplines. Independent research and analytical writing skills will be emphasized</div></div><br />
|style="background-color:#F58104;" |<br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Collision Repair, Paint, and Refinishing* <br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> Students meet two hours daily for classroom and laboratory instruction. The students receive training in the fundamental and manipulative skills related to auto body repair and acquire the knowledge to become competent in the field of auto body repair. Areas covered are body frames, fender and bumper, removing windows and repairing damaged panels, replacing windows and windshields, welding light metals, filling with lead or plastic, estimating and pricing repair work, and spray painting. This course can be taken a maximum of twice for credit. This course provides instruction and training necessary for I-CAR student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Automotive Technology I: Maintenance and Light Repair<br />
|style="background-color:#D291BC;" | 2<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The course offers students theory and experience in most all phases of automotive drive-train<br />
repair. Students spend approximately 75 percent of their time with hands-on training and the remaining time is devoted to classroom instruction. Shop management and youth leadership are also incorporated into the course of study. This course provides instruction and training necessary for ASE student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Automotive Technology II: Automotive Service<br />
|style="background-color:#D291BC;" | 2<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course is a continuation of Automotive Technology but also includes new concepts and innovations, new engine types, studies of anti-pollutant equipment on automobile engines, and computerized engine analysis. This course provides instruction and training necessary for ASE student certification(s). </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Welding<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This course will allow students to fortify and increase their knowledge of welding procedures and skills used in project construction through class assignments and projects. Topics covered may include: oxyfuel cutting/heating/welding, Shielded Metal Arc Welding (SMAW), Gas Metal Arc Welding (GMAW), Flux-cored Arc Welding (FCAW), plasma arc cutting, safety, and metal fabrication. In addition, record keeping, communication, employability, and human relation skills will be<br />
taught. This course will allow students to gain knowledge and skills that promote personal development and career success through involvement in the FFA. This course provides instruction and training necessary for the ASW Certified Welder certification. </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Most students who make it to the end of the course pass the certification exams on the first try. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Metal Fabrication*<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Scott]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> This hands-on course will build on skills developed in Welding in the form of guided fabrication projects. Course hours will be split between classroom instruction in reading and creating shop drawings and independent work on instructor approved projects. </div></div><br />
|style="background-color:#D291BC;" | Mr. Summers takes safety seriously -- almost every year someone is removed from his course for making the same dangerous error twice. Not a charismatic lecturer, often very blunt in feedback. Advanced students in this course are often connected with potential employers in New York City and surrounding areas. <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Carpentry<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Drafting<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Bicycle Maintenance and Repair<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Culinary Arts: Desserts and Baked Goods<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | [[Jax]]<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Culinary Arts: From Soups to Steaks<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Horticulture (Decorative)<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Horticulture (Edible)<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#D291BC;" | Vocational Tech<br />
|style="background-color:#D291BC;" | Beekeeping<br />
|style="background-color:#D291BC;" | 1<br />
|style="background-color:#D291BC;" | NPC<br />
|style="background-color:#D291BC;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#D291BC;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History and Religion<br />
|style="background-color:#899499;" | Paganism Through History<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Matt]]<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History and Social Science<br />
|style="background-color:#899499;" | Fashion in History<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“There is something about fashion that can make people very nervous,” remarks Anna Wintour in the 2009 film The September Issue. Fashion studies is an interdisciplinary field, but one that retains a study of the past as central. It asks the question, “Does what people wear matter?” More than any other facet of material culture, an interest in fashion is often dismissed as trivial or seen as an emblem of superficiality. However, clothing represents far more than narcissism or the physiological need to cover oneself for warmth and safety. From headwear to footwear, fashion can communicate what we do, who we think we are or would like to be, where we are from, and what we care about. Fashion can be used as a lens to consider change. Using iconic fashion items from history, this course will explore what they communicate about global cultures, historical moments, social and political status, economic clout, gender, and identity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Vo. Tech<br />
|style="background-color:#899499;" | Regenerative Agriculture<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will explore agricultural practices that aim to have positive environmental impacts, such as improving soil heath, increasing native species diversity and sequestering carbon. It will also explore agricultural practices that aim to have positive social impacts, such as reducing food insecurity, honoring ancestral farming practices and promoting economic wellbeing of local communities. Scientific topics such as conventional versus organic systems, seed banks, closed loop food production, permaculture, soil science, nitrogen cycles and plant physiology will be investigated. Emphasis will be placed on experiential learning on local farms and campus. The course includes a service learning component and potential for research projects. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Ethics<br />
|style="background-color:#899499;" | Medicinal Drugs<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Medicinal chemistry provides a bridge from the periodic table to the array of natural and synthesized biologically active agents available today. The ongoing development of medicinal drugs aims to integrate new scientific discoveries with precision-based strategies for treating individuals as well as large populations. A key goal in the design of new drugs for the pharmaceutical industry is to treat symptoms without the harm of side efects. Moreover, the scale-up and production of medicines are dependent on public health investment, while social and economic factors underpin access. This course will take a deeper look at the major classes of pharmaceutical drugs, including hypertension, high cholesterol, oncology, depression, diabetes, asthma and vaccines. How companies currently distribute drugs, determine pricing and ensure equity of access will be examined. Widely used compounds such as nicotine, nonsteroidal anti-infammatory agents, contraceptives, cannabinoids and pain suppressors will be explored based on their chemical structure and its relationship to function. Lab activities will provide experience with computational drug design, controlled-release drug delivery systems, pharmacokinetics and nuclear medicine.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Nuclear Semiotics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Highly radioactive nuclear materials are an accumulating component of our physical world. These materials will be actively decaying and affecting living things for thousands of years to come, possibly even millions of years. Nuclear semiotics is about the semantics of nuclear science to answer the question: how can humans of the 21st Century warn humans thousands of years from now about the location and nature of these materials? Though this question has been asked since the late 1980’s, by minds including Carl Sagan, there is no conclusive answer to this. Solving the nuclear semiotics problem may involve combining knowledge of materials science, nuclear particle physics, linguistics, symbols and cryptography, artistic expression, data science, engineering, and sociology. This course seeks to explore the fusion of these concepts and develop ideas of how to answer the question: how do we warn our future selves about our current choices? </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Computer Science<br />
|style="background-color:#899499;" | Robotics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students in this course will learn to use a microcomputer to control output devices and interpret input sensors. Students will complete a series of small projects that will culminate with a working autonomous robot. The initial focus of the course requires students to build and analyze several micro-controlled devices. Students will learn fundamental engineering skills such as programming the microcomputer and building simple electronic circuits. The middle portion of the course will feature the construction of an autonomous robot that uses a microcomputer and several sensors to make navigational decisions. The final weeks of the course will require students to independently research, design and implement a system or systems that will increase the capabilities of their robot. Previous programming experience is recommended, but not required.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Ethics<br />
|style="background-color:#899499;" | Water: The Science and Story of Water Around the World<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How has water and humanity intersected around the world? Using an interdisciplinary lens, explore the science and ethics behind water scarcity and access, the chemistry and ecology of water systems, and the role water plays in literature, art and religion of populations around the world. Students will use current data and news sources to understand the pressing issues surrounding water rights and the intersection with rights for marginalized groups, study primary sources from around the world to examine the way water weaves through religious ritual and artistic expression, and create their own water based installations. Students may also travel to see an Aga Khan exhibit centered on the role of water in Islamic culture. The course will culminate in a final independent project exploring one aspect of water from multiple lenses.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Vo. Tech<br />
|style="background-color:#899499;" | Molecular Gastronomy: The Science of Food<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPCs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"> The “science of food” food may seem like a new fad, but it is really the logical extension of centuries of the study. The understanding of how grapes are transformed into wine and champagne has been known for centuries. The production of cheese by the use of acids, enzymes, and bacteria has likewise been handed down through generations and has only recently been both “lost,” and then “rediscovered.” This class will investigate both the traditional aspects of food science—like how cheese is made or bread is baked—as well as cutting edge ideas such as how apple juice can be made into “caviar” and how shrimp can be made into “noodles.” A significant lab component will allow students to create many of these foods, and laboratories will be held in the school kitchen so that results can be tasted.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Science as Story: Communicating Science in the 21st Century<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What is science communication, and how can science storytelling both educate and entertain an audience? In this course, students will learn to define, recognize, and critique common science communication media ranging from TikToks to Ted Talks. Students will practice essential science communication skills including idea/topic generation, script writing and editing, graphics and video design, and hosting/presenting. In each of these skills, research methods will form the foundation of the exploration as students gain expertise in their particular field of science being communicated. Through discussions and readings, students will also work through the ethical framing of these media and engage in case studies involving equity on both the audience and creator sides of the field. By the end of the mod, students will have produced a science communication portfolio by working independently and in small groups, and will share these media products with an online audience platform of their choosing.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and English<br />
|style="background-color:#899499;" | Astrobiology: Life Among the Stars<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">We invite you to embark on a journey to explore the field of astrobiology, the study of the origin, evolution, and distribution of life in the universe, on and beyond planet Earth. We will begin our exploration by studying the fundamentals of relevant sciences—physics, astronomy, chemistry, and biology—and will then apply these sciences to understand the potential requirements and limitations of life on Earth as well as on other planets and moons in our solar system. As we learn about historical and current efforts to detect life on these bodies, we will consider objects resident in our own solar system, including Mars, the moons of Jupiter, the moons of Saturn, and other solar system bodies such as Ceres and Pluto. Next, we will expand our view to include other possible abodes of life outside of our solar system as discovered by modern astronomers and modern instrumentation (i.e., the Hubble and Kepler space telescopes). Finally, we will examine the role of fictional alien biology on the human imagination through literature, film, and music.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Performance<br />
|style="background-color:#899499;" | Applied Anatomy in Motion<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course combines the structural dynamics of physiology and dance as a means to investigate how the two disciplines interact. By approaching movement from the perspectives of both science and dance, the student will examine how anatomy informs dance and how dance is an expression of human structures and systems.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science and Art<br />
|style="background-color:#899499;" | Anatomy and Physiology<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This upper-level biology class explores the complexity of human physiology. Students will be asked to use visual arts and graphic design skills to document many aspects of the mystery and wonder of the human body systems. The course will involve independent research on the systems of students’ choosing, using visual and creative ways to present the information they find. Students will research one of the body systems in its entirety or in detail. The systems to be considered are the nervous, the cardiovascular, the respiratory, the skeletal, the endocrine and muscle, or the digestive, reproductive, and lymphatic systems. Students are required to think independently and devise a final project of their own design that incorporates very clear scientific understanding of the body systems and their form and function.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Phys. Ed<br />
|style="background-color:#899499;" | Yoga as Meditation*<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC - Lauren Briggs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Yoga at Xavier's is taught in several ways, and choosing one is a matter of preference. Yoga is an individual practice and all students are welcome regardless of previous experience. In both types of yoga, joints, muscles and internal organs beneft from movements that stimulate often-neglected areas of the body. You can expect to improve overall mobility, strength and balance and will probably enjoy stress reduction and a greater sense of well-being, too. Yoga as Meditation, a style sometimes referred to as “gentle yoga,” focuses on learning and holding classic asanas (poses), working with the breath (pranayama) and practicing mediation skills in a calm and peaceful environment, allowing the mind and body to quiet. Vinyasa Yoga is for the student who is seeking the same overall benefts as listed above but through a more active sequence of movements.</div></div><br />
|style="background-color:#899499;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot. Noticeably hesistant to correct form of physical mutants in the class. <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Phys. Ed<br />
|style="background-color:#899499;" | Vinyasa Yoga*<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC - Lauren Briggs<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Yoga at Xavier's is taught in several ways, and choosing one is a matter of preference. Yoga is an individual practice and all students are welcome regardless of previous experience. In both types of yoga, joints, muscles and internal organs beneft from movements that stimulate often-neglected areas of the body. You can expect to improve overall mobility, strength and balance and will probably enjoy stress reduction and a greater sense of well-being, too. Yoga as Meditation, a style sometimes referred to as “gentle yoga,” focuses on learning and holding classic asanas (poses), working with the breath (pranayama) and practicing mediation skills in a calm and peaceful environment, allowing the mind and body to quiet. Vinyasa Yoga is for the student who is seeking the same overall benefts as listed above but through a more active sequence of movements.</div></div><br />
|style="background-color:#899499;" | Overly woo white woman who loves to wear "Indian" inspired clothing (Indian from India? "Indian"-Native American? yes.) and greet the class with "Namaste". Smells of white sage a lot. Noticeably hesistant to correct form of physical mutants in the class. <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | The Old Testament<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“In the beginning, God created the heavens and the earth. ...” So begins one of the most infuential books in human history. From ancient times until the present, Jews, Christians and Muslims have grappled with the cosmic questions, universal myths, compelling laws and dramatic narratives of the Hebrew Bible, also known as the Old Testament. It is a book that is both timeless and timely. In this course, students will gain an appreciation of the historical, political and social context from which the Hebrew Bible emerged, and will explore the narratives’ eternal themes, such as creation and destruction, rivalry and loyalty, love and betrayal, doubt and faith, freedom and captivity, and forgiveness and revenge, as well as delve into the ethical and legal teachings that have served as a major foundation of Western civilization.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | The New Testament<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The New Testament, which has been called “the most widely read, quoted, debated, maligned and believed book in Western civilization,” will be the focus of this course. Students will read and explore the New Testament; study the life of Jesus, the travels and letters of Paul, and the book of Revelation; and consider these both in their historical context and in contemporary literature and films.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Science & Religion<br />
|style="background-color:#899499;" | Epistemology<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Epistemology is a philosophical term meaning “the study of knowledge.” This course explores how we know what we know about the world around us and within us. Questions engaged over the term include: What is knowledge? What differentiates and connects scientifc, literary, philosophical and artistic ways of knowing? What makes someone good at “knowing”? For that matter, what does it mean to be a student? The class explores how different modes of inquiry and experience can be distinguished from each other and then integrated into our understanding of knowledge. Class materials include readings from the Western philosophical tradition of reason (Plato, Descartes and Kant), the scientifc revolution (Galileo, Newton and Einstein), postmodernism (Illich and Abram) and literature (Dostoyevsky and Woolf). Students will also experience the visual and performing arts, take a night trip to the observatory, and engage in contemplative or meditative traditions, including practices known as “mindfulness” or “mind-body work” (Zen Roshi Jan Chozen Bays).</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | Religion and Popular Culture<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Images, ideas, stereotypes and symbol systems of religion surround us in popular culture, whether in movies, television shows, sports, fashion, the internet, music or literature. From Disney and Harry Potter to Black Panther, from rock ‘n’ roll to hip-hop, the materials for this course will be drawn from a wide range of media. Through the lens of American popular culture, this course introduces students to the academic study of religion by exploring the world’s religions and such topics as the problem of evil, the afterlife, myth and the nature of the sacred. The course will conclude by inviting students to explore an expression of religion and popular culture that deeply interests them.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Religion<br />
|style="background-color:#899499;" | Faith and Doubt<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course invites students to an exploration through fiction and personal narrative of the depth and complexity of religious experience in its many forms from traditional belief through skepticism. The texts we will read range from some classics in this field to contemporary cultural selections. We will explore the timeless questions of the human condition, such as self-discovery, sufering, mortality, goodness, faith and doubt, the quest for meaning and the development of a spiritual self. At the end of the term, students will have the opportunity to expound on these themes in their own lives as they write a mini-meditation or spiritual autobiography for their final class paper.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Philosophy & Science<br />
|style="background-color:#899499;" | Science as a Human Activity<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Though often seen as a vast, impersonal enterprise, science depends upon the effort and intelligence of human beings. In this course we will ask fundamental questions about how and why people pursue scientific inquiry. To this end, we will read the works of Francis Bacon, Rene Descartes, and Baruch Spinoza, as well as works by scientists and scholars like Albert Einstein, Sigmund Freud, and Max Weber. We also will consult historians of science such as Thomas Kuhn and Steven Shapin in order to understand science as a social enterprise. In these ways, we will examine the moral and intellectual aspirations of scientific work and the nature of science, above all, as a human activity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Science<br />
|style="background-color:#899499;" | Pox & Pestilence: Disease and Medicine in the United States<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In recent years, historians have begun to understand the impact of disease on the human story and have incorporated it into the more traditional narratives. In common with other parts of the world, the history of the United States has been profoundly influenced by infectious disease. In this course we invite you to come along on a multi-disciplinary journey to explore the impact of disease on the American experience in the 19th and 20th centuries. After exploring the pre-contact situation in the Americas, we will focus on syphilis, smallpox, bacterial sepsis, cholera, yellow fever, malaria, tuberculosis, influenza, polio, HIV/AIDS, COVID-19 and bioterrorism agents such as anthrax. Students will research the role these diseases played in the social, military, and political history of the United States together with the science and medicine that developed in response to them. This is a research seminar and students will use a variety of sources to write a term paper. There is no final examination.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Ethics & Social Sciences<br />
|style="background-color:#899499;" | Feminist Philosophies<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course will address feminist moral and political theories. There is no singular ‘feminism’, and feminists disagree with each other on the answers to many of those moral and political claims. We will survey a variety of feminisms, including liberal and radical feminisms, womanism, and others. The course will also cover topics including sex and gender, the nature of oppression, intersectionality (including discussions of race, disability, gender identity, and class), and sexual ethics. Special topics will be chosen by students for further focus, but could include topics such as body shaming, trafficking, or understandings of masculinity</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Ethics & Computer Science<br />
|style="background-color:#899499;" | Silicon Valley Ethics: Case Studies in the High-Tech World<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">In a world where technology permeates almost every aspect of our lives — the internet, smartphones, thousands of apps, cloud-based voice systems, screens in our classrooms, artificial intelligence, robotics, the gig economy, video gaming, virtual reality, and numerous other products and applications currently under development — what ethical challenges are raised by their ubiquity? Through a series of case studies in an industry where a well-known motto is “move fast and break things,” this course will explore whether ethical considerations have kept pace with evolving technologies. Where does goodness fit in the knowledge revolution? If we have “outsourced our brain to Google,” as some would claim, have we also outsourced our ethics to it and other big tech companies? When we do a Google search, is Google also searching us? What are the ethical considerations of what companies do with our information in this so-called “surveillance economy”? What are the ethical consequences associated with posting personal information on social media such as Facebook, Instagram, Snapchat or WeChat, and who has access to that information and for what purposes? Using specific case studies drawn from the vast and complicated world of technology, this course will assist students in identifying these various ethical issues and in developing strategies to deal with them. To assist students in identifying some of the ethical challenges that technology presents, the course explores chapters from works such as Ruha Benjamin’s ''Race After Technology'', Safya Noble’s ''Algorithms of Oppression'' or Cathy O’Neil’s ''Weapons of Math Destruction''.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Mathematics & Social Sciences<br />
|style="background-color:#899499;" | Media as a Mirror: A Statistical and Visual Approach to Deconstructing False Narratives<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Who does the media say we are? What does it mean if we are seeing our reflections in a false media mirror? How can we analyze and describe the types of distortions that we are seeing?<br />
<br />
Students will use a statistical and visual art approach to explore the portrayal of various demographics in the media. How are non-dominant groups such as women, racial and ethnic minorities and LGBT people in the media portrayed? How are dominant groups portrayed? How do these stories shape the narratives in which we all live?<br />
<br />
Students will examine metrics such as screen time, dialogue, and casting through statistical tools such as t-tests, chi-square tests, and linear regressions to reveal the underlying distortions in what we see. They will then use visual art techniques such as compilation, montage, and the film essay to explore and deconstruct clichés and stereotypes and create graphs of discovered data, trends and patterns to explore and process the data. The final project will be a self-portrait that explores the ideas of false mirrors versus authentic narrative.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Math & Visual Art<br />
|style="background-color:#899499;" | Ordering Chaos<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This class is an Integrated Studies course designed to explore the connections and overlap between math and art. Using math and visual arts skills, students will explore a variety of questions, assumptions, projects, and theories that challenge stereotypes about math and art. This class aims to build resilience in young scholars who enjoy problem-solving. Students are asked to take academic and intellectual risks by exploring ideas and approaches that are out of their comfort zone and to practice self-motivation by staying engaged with the class activities and homework assignments. This class is open to students of all grades. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Math & Computer Science<br />
|style="background-color:#899499;" | Math Modeling<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The aim of this class is to introduce students to the basic concepts of applied statistics and data science. Students will learn how to clean and filter data, analyze large data sets, how to utilize math modeling programs, data visualizations techniques, and how to create and interpret math models. Though coding will be utilized in this course, no experience with coding is required. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Spanish<br />
|style="background-color:#899499;" | The Sky Is Falling: Magical Realism in Latin American Literature and Beyond<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">What if you entered a library with infinite titles, endless corridors, and duplicate copies? What if a speck in the sky turned out to be a ceiling, one that got lower and lower with each passing day? What if your new next-door neighbor seemed remarkably—even eerily—like a future version of yourself? In this course, we will explore the broad umbrella of magical realism, a literary genre in which primarily realistic stories contain some element of magic, as well as varying alternative fictions. Each of our texts will take the recognizable world and add unsolved mysteries, the supernatural, or unexplained phenomena to complicate our understanding of reality, as well as our characters’ experiences and emotional states. We will explore how and why authors choose to manipulate reality and examine the effects on our understanding of a character’s motive and identity. Using a broad scope of writers and traditions, we will address Sigmund Freud’s “uncanny,” as well as Da <br />
Chaon’s “spooky” and Margaret Atwood’s “speculative fiction.” In keeping with magical realism’s roots, we will begin the term with midcentury Latin American writers such as Jorge Luis Borges and Gabriel Garcia Marquez, and then expand our scope to include Kelly Link, Shirley Jackson, and Jean Rhys, among many others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Social Sciences<br />
|style="background-color:#899499;" | Borders: Immigration, Migration and National Boundaries<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines how borders shape our world. Whether these are internal or external, societal or national, we all encounter barriers, but we do not all experience them in the same way. From the establishment of Europe to the discovery of the North American continent, from the Scramble for Africa to the Islamic State, and from the declarations of independence by former colonies, the development of borders has played a key role in geopolitical, religious, racial, and cultural matters. The course looks at nationality, identity, and the meaning of nationalism. It examines the lines drawn by politics, race, religion, class, and education, that lead to the creation of separate communities. This course addresses the nature of rights; natural, national, and human that emanate from the recognition of borders and that determine their legitimacy. Rights give rise to conflict, and when it comes to living spaces, these disputes are even more contentious. <br />
</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Social Sciences<br />
|style="background-color:#899499;" | Decolonizing Women: Shattering Oppression<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines the colonization of women in disparate societies around the globe. Whether by imperialist forces, colonial occupation, war, patriarchy, dictatorship, or political movements among others, women have encountered a super-imposed culture that has warranted adaptations and transformations. This in turn has given rise to internal and external resistance. This course seeks to examine the origins and nature of these movements across the globe that have been generated by women for women. Incorporating their specific national, cultural, and traditional histories, this course will enable our students to learn about the impact colonization has had, and in some cases continues to have, on the development of women’s rights in regions far removed from their own. They will be able to make comparisons between their own (native) women’s movements, whether national or regional and establish underlying connections between the movements on the whole. This course will also focus on the question of location; how does the location of a women’s movement influence its success? What relevance do culturally specific laws, common law, and traditional societies have on the emergence of women’s rights and movements from within their communities?</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | Revolutionary Russia<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course examines Russian history from the Decembrist uprising of 1825 to Stalin’s show trials and the destruction of the Old Bolsheviks in the late 1930s. After a brief survey of autocracy and orthodoxy in Old Russia and westernization under Peter the Great, students focus on the 19th and early 20th centuries, with emphasis on the French Revolution and the Napoleonic Wars, the development of the revolutionary tradition, the rise of Marxism, the Bolshevik Revolution, the Civil War, Marxist-Leninist theory in practice, and Stalin’s dictatorship. Special attention is given to Russian literature, with works by Pushkin, Gogol, Turgenev, Dostoyevsky, Tolstoy, Chekhov and Koestler.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & World Languages<br />
|style="background-color:#899499;" | Roman History for Latin Students<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course provides a deeper historical background to the world of the authors that students will read in their Latin courses. Beginning with Roman state and urban formation of the early Iron Age, students will use primary and secondary sources to study in depth a selection of topics from the first millennium BCE. Students will also read primary sources in the original Latin language and finish the term with a role-playing opportunity examining the collapse of the Roman Republic.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Religion<br />
|style="background-color:#899499;" | The Holocaust: The Human Capacity for Good and Evil<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">How did the Holocaust happen? How could some people commit such heinous crimes, while others remained bystanders, and still others risked their lives to save innocent people? We will consider these questions and many more as we examine the Holocaust from the perspective of the human capacity for good and evil. Discussions of human psychology and behavior, as well as the religious and historical sources of anti-Semitism, will be examined as background to the events of the 1930s and 1940s. We will also consider the memory of the Holocaust in survivor testimony and in more contemporary efforts to memorialize, represent and reckon with the historical events. The course will culminate with a project of each student’s own design.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Queer Literature & Identities<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This course approaches American literature with an emphasis on the ways in which non-heterosexual and non-cisgender identities and experiences have been represented in post-Stonewall (post-1969) writing. Despite the actual lived range and combination of gender identity, sexual orientation, and sexual practice, mainstream heterosexuality attempts to confine sexuality to a rigid duality where observation of a person’s secondary sex characteristics are supposed to infer hir (gender neutral pronoun) gender identity and sexual practice. In this context, the term “queer” is invoked to describe any possible combination of gender identity, sexual orientation, and sexual practice that challenges the norm presented by heterosexuality. By reading essays and literature by self-identified queer writers, we will challenge and redefine the concepts of sex, gender, masculinity, femininity, diversity, oppression, and empowerment. By the end of this mod, we will have developed a greater awareness of issues concerning gender and sexual identity.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Lockdown<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Prisons are a growth industry today in the United States. This course, through a blending of literature, film, and social sciences, will examine incarceration. By reading novels, memoirs, and poetry and viewing a few films, we can gain a greater appreciation of the psychological effects of these institutions and the power of art as a means of coping with them (touching then on witnessing and testimonials). We will ask questions about ethics and justice, about self-expression, and about social control. The course will include some experiential learning in the form of trips to a nearby jail and a nearby youth court. Some possible titles may include: ''Orange Is the New Black'', ''Gould’s Book of Fish'', ''The Trial'', ''Brothers and Keepers'', ''A Place to Stand'', ''One Day in the Life of Ivan Denisovich'', and ''Zeitoun''.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | Change Agents: Examining Advocacy, Audience, and Impact in Literature and the Arts<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course will focus on the intersection of literature and activism. After defining our key terms in relation to questions of representation, propaganda, branding, and witnessing, we will delve into case studies involving civil rights and social justice, and environmental activism. We will read fiction, poetry, and drama—thinking about questions of audience and impact. In addition, music, performance, and visual arts may provide further contexts to understanding the relationship between literature and activism. Writers may include James Baldwin, Don L. Lee, Alice Walker, Richard Powers, Annie Dillard, etc. Students will choose a cause and investigate a range of artistic acts of activism—and perhaps produce some of their own. Projects may include the potential for collaborations here on campus and beyond.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | History & Literature of the Haitian Revolution<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Few events have been as transformative and far reaching in effect—yet so untaught and unlearned across the humanities—as the Haitian Revolution, which occurred from 1791 to 1804. This interdisciplinary course will investigate the revolution and its legacy and attempt to address, at least in part, the monumental significance of the only successful large-scale slave rebellion in the Atlantic World. By 1804, the newly independent Haitians, freed by their own hands, had won for themselves a unique inheritance: theirs was a society born of the Age of Revolutions and animated by the Enlightenment-inspired language of liberty, but equally theirs was a society deeply rooted in African and Afro-Caribbean slave culture. In its independence, Haiti became the center of a transnational black diaspora as it defended its existence at a time when the United States and European colonial powers viewed racial slavery as the pillar of their burgeoning capital economies. This elective aims to explore these complicated ideas through a variety of texts, digital archives, fiction and nonfiction, literature, and history.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Social Sciences<br />
|style="background-color:#899499;" | Crossing the Line: U.S.-Mexico Border Literature and Contemporary Politics<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
What does it mean to live on or near a border, and more importantly, what does it mean to read and write literature about border experiences? In this course, students will explore the U.S.-Mexico border and literature produced “on the line,” what Gloria Anzaldúa describes as “La Frontera.” Students will read works that identify as “border literature” and will be introduced to border studies, discussing themes such as immigration, hybridity, border militarization, and in general, issues concerning U.S-Mexico border politics. Possible authors to be studied: Yuri Herrera, Cormac McCarthy, Nicholas Mainieri, Cristina Henríquez, Luís Albero Urrea, Emma Pérez, Lucretia Guerrero, Sandra Cisneros, Reyna Grande, and Ana Castillo.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Philosophy<br />
|style="background-color:#899499;" | Existentialism<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Existentialist philosophy asks us to think about what it really means to have control over who we are and what we do. In this course, we’ll look at some of the key texts of existentialism, both fictional and nonfictional, focusing on Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. We’ll grapple with some of the biggest questions humans can ask themselves: What makes us who we are? How much choice and control do we have over our lives? What does it even mean to be a person who can think for themselves and interact with the surrounding world? You’ll leave the class not only with a clearer understanding of complex philosophy, but also with a way of thinking about yourself and the world that you can apply every single day.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Music & Performace<br />
|style="background-color:#899499;" | American Musical Theatre<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Musical Theatre is an interdisciplinary and experiential class that will explore both the history and performance elements of American Musical Theatre. Beginning with the 1920s and culminating with present day, students will explore the historical context of a significant musical in a particular decade each week. Students also will perform a number from that musical each week, challenging themselves in the discipline of performance. Over the course of the term, students will gain knowledge of American history through the lens of the performing arts and gain experience in performing in the three elements of musical theatre (song, dance, and spoken word). Public performances will occur throughout the term, including a final project. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Performace<br />
|style="background-color:#899499;" | Play Writing<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Creating the literature of the theatre requires a good ear for the way people communicate, a keen sense of imagination, an understanding of how theatre works, writing skills to give voice to one’s ideas, and speaking ability to give verbal life to written plays. The process demands the general willingness to venture into this specific genre of literature, patience, revisions, and humor. Plays created by this class may be selected by student directors and performed. This course will include reading, writing and theatre exercises to explore themes and topics.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Performace<br />
|style="background-color:#899499;" | Social and Political Theatre<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Students study important social and political literature of the theatre that addresses social justice issues, including experiences of war, personal and political freedom, assumptions, stereotypes, and responsibility. Readings may include the works of well‑known playwrights and contemporary playwrights as well some lesser known artists. Classes will include an exploration of how we use the world of theatre to analyze text and character, bringing text to life, and open discussions and reflections about how we can use theatre to bring important topics to light. We will explore our own relationship to themes we discover in the work we read and write as well as the possible meaning to society as a whole. This course will include reading, writing and theatre exercises to explore themes and topics.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performance & Vocational Tech<br />
|style="background-color:#899499;" | Costuming<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">An introductory exploration into the areas of costume design and costume construction, this course will highlight primary design elements utilized in costume design for the stage and screen (i.e., line, color, tone, texture, movement, mood composition, balance, and focus). The course will examine historical period silhouette and the art and craft of the stage costume. Practical experience will be given in areas including construction, flat patterning, draping, and fabric manipulation.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Philosophy<br />
|style="background-color:#899499;" | Costuming<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">Existentialist philosophy asks us to think about what it really means to have control over who we are and what we do. In this course, we’ll look at some of the key texts of existentialism, both fictional and nonfictional, focusing on Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. We’ll grapple with some of the biggest questions humans can ask themselves: What makes us who we are? How much choice and control do we have over our lives? What does it even mean to be a person who can think for themselves and interact with the surrounding world? You’ll leave the class not only with a clearer understanding of complex philosophy, but also with a way of thinking about yourself and the world that you can apply every single day.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Visual Art<br />
|style="background-color:#899499;" | Graphic Narrative<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">The graphic novel is an extended comic book with similar subject matter to—and the sophistication of—traditional novels. By its very nature, the graphic novel challenges our assumptions of what a narrative and novel can be. For those tied to words, the comic offers a challenging visual text that forces us to read in new and surprising ways; much of this course will be about reframing our visual and narrative habits and expectations. While the graphic novel is increasingly mainstream, it often has offered voices from the margins about the margins. Its subject has been everything from the coming-of-age novel to historical memoir to cross-cultural conflict to the darker side of the superhero. We will read a variety of texts with the rigor accorded to more traditional texts while also stretching ourselves to understand the aesthetic visual choices the artist makes. By the end of the term, we will even attempt our own small comics. Texts may include Alan Moore’s ''Watchmen'', Chris Ware’s ''Jimmy: The Smartest Kid on Earth'', Marjane Satrapi’s ''The Complete Persepolis'', Art Spiegelman’s ''The Complete Maus'', Frank Miller’s ''Batman: The Dark Knight Returns'', and others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & History<br />
|style="background-color:#899499;" | The Great Migration<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">“They traveled deep into far-flung regions of their own country and in some cases clear across the continent. Thus the Great Migration had more in common with the vast movements of refugees from famine, war, and genocide in other parts of the world, where oppressed people, whether fleeing twenty-first-century Darfur or nineteenth-century Ireland, go great distances, journey across rivers, desserts, and oceans or as far as it takes to reach safety with the hope that life will be better wherever they land.” Isabel Wilkerson, The Warmth of Other Suns: The Epic Story of America’s Great Migration. Students will engage with art, film, literature, and music about the African American exodus from Southern regions of the United States into the northern cities of Chicago, Cleveland, New York City, and others. A few writers that students can expect to read are James Baldwin, Lorraine Hansberry, Toni Morrison, August Wilson, Richard Wright, among others.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performance Arts & Vocational Tech<br />
|style="background-color:#899499;" | Puppetry and Props<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;]" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content">This hands-on laboratory course investigates the history, styles, tools, materials and techniques of puppetry. Students will bring imaginative ideas to life by engineering and constructing various puppets forms, experimenting with performative objects, and exploring puppet manipulation as a performer. Note: as part of this class, students will learn the use of small hand and power tools. <br />
</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | Screenwriting<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
In recognizing the important role that film has in the life of our culture today, this course focuses on the skills particular to writing in that medium. Using the Robert McKee classic text Story as our guide, we learn about elements of story substance and structure, and we look at principles of story design and style in screenwriting. We also analyze the way these principles reveal themselves in significant modern and classic films, as we read and discuss screenplays ranging from Casablanca to Fruitvale Station. Viewings of these films accompany class discussions. Students complete the course with a portfolio of scenes and the treatment and outline for their own original film.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | Identity<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
This course explores the intersection of writing and performance through an investigation of personal identity and will be taught collaboratively by instructors who specialize in each area. The course will culminate in a performance of a devised theatre piece of the student’s creation before a live audience. Designed for students with acting experience and a serious commitment to the art form, students will build off their existing skills through in-depth character work and scene study and push their understanding of themselves and acting by exploring their own identity. Students will be encouraged to think theatrically, engaging in a search for the connection between literary themes, historical context, and personal identity. Over the term, the class will gain insight into the roles that race, class, gender, sexual orientation, and faith affects our daily existence and live performance. Lastly, students will experience and examine how live performance interacts with public discourse, civil disobedience, and art.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: Performace & English<br />
|style="background-color:#899499;" | The Playwright's Playground<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Theater-making often begins with the playwright’s script — and ends with the work of an entire community of collaborators: directors and actors, literary directors and dramaturgs, designers and stage managers, producers and marketers, community organizations and advocates, and more. Students will consider the following questions in discussions and writing: How do we stage a production in an ethical and responsible way about a community that is not one’s own nor represented by our audiences? Should it be done? Which collaborators are essential to preserving the integrity of the play’s meaning? How do we engage the playwright? How do we engage the communities represented as theater-makers and artists? Students will read plays by and about BIPOC characters, be in conversation with the playwright, and direct readings of Sahar Ullah’s plays, including ''Hijabi Monologues'' and ''The Loudest Voices''</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: History & Vocational Tech<br />
|style="background-color:#899499;" | History Through Food<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | [[Jax]] & NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
From the Neolithic Revolution through the emergence of the global food markets of the 20th century, this course examines the changing relationship between humans and food. Through a combination of readings, tastings and hands-on cooking, we will examine how food can help us understand various aspects of the<br />
past around the world. Topics include the relationship between food and the economy, food and identity, food and empire, and food and the environment. Come hungry to learn and to eat. We will be reading about, writing about, cooking and tasting food that can help us understand how humans shape what they eat, and how what we eat shapes us.</div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Music<br />
|style="background-color:#899499;" | Beats, Rhymes, and Narrative<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Hip-hop music’s infuence on popular culture, literature, entertainment and politics is undeniable. This course will examine the relationship between hip-hop and storytelling. Course texts will consist of weekly listening sessions, scholarly articles on hip-hop theory and definitive text on hip-hop culture. We will listen to selected songs by a diverse array of artists and analyze their structures and traditional literary elements. A section of the course will be devoted to the study of a chosen album. Class discussions will examine hip-hop as a modern-day social justice tool and a narrative genre that explores gender, race, spirituality, class and resistance. Writing assignments will consist of original rap songs, which include recordings, and a final epistolary project. </div></div><br />
|style="background-color:#899499;" | <br />
|-<br />
|style="background-color:#899499;" | Interdisciplinary: English & Music<br />
|style="background-color:#899499;" | The Harlem Rennaisance<br />
|style="background-color:#899499;" | 1<br />
|style="background-color:#899499;" | NPC<br />
|style="background-color:#899499;" | <div class="mw-collapsible mw-collapsed">Class Description<br />
<div class="mw-collapsible-content"><br />
Harlem, New York. 1920s. A constellation of African American writers, artists, performers and thinkers are changing American and world culture, pollinating African American art and literature. Between WWI and the Great Depression, Harlem was distinctly in vogue. The Harlem Renaissance became a landmark of American literary, artistic and intellectual history: the emergence of a distinctive modern black literature, a clustering of black artists who sought to give expression to the ambiguous and complex African American experience. The course centers on the distinctive voices and styles of Claude McKay, Jean Toomer, Nellie Larsen, Zora Neale Hurston, James Weldon Johnson, Countee Cullen, Langston Hughes and others. We will honor African American achievements in music and visual arts during that period and examine the Harlem Renaissance’s legacy within the evolution of African American literature and American, Afro-Caribbean and global art and literature. Class will include a field trip to a performance at the Apollo Theatre.</div></div><br />
|style="background-color:#899499;" | <br />
|}<br />
</div></div><br />
<br />
==Extracurriculars ==<br />
<br />
Life at Xavier's is not all classwork and training. Between sports* and student organizations, the students have a wealth of opportunities to choose from to enrich themselves outside the classroom.<br />
<br />
Athletics (The Xavier Titans)<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Fall Season'''<br />
<div class="mw-collapsible-content"><br />
*Cross Country (BV/GV)<br />
*Field Hockey (V)<br />
*Football (V)<br />
*Soccer (BV/GV) (''Coach: [[Kyinha]]'')<br />
*Volleyball (GV)<br />
*Water Polo (BV)<br />
*Fencing (BV/GV)</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Winter Season'''<br />
<div class="mw-collapsible-content"><br />
<br />
*Basketball (BV/GV)<br />
*Ice Hockey (BV/GV) (''Coach: [[Scott]]'')<br />
*Swimming & Diving (BV/GV)<br />
*Wrestling (V)</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Spring Season'''<br />
<div class="mw-collapsible-content"><br />
*Baseball (BV)<br />
*Crew (BV/GV)<br />
*Cycling (V)<br />
*Lacross (BV/GV)<br />
*Softball (GV)<br />
*Tennis (BV/GV)<br />
*Track (BV/GV)<br />
*Water Polo (GV)<br />
*Gymnastics<br />
*Ultimate Frisbee</div></div><br />
<br />
<div class="mw-collapsible mw-collapsed">'''Student Organizations'''<br />
<div class="mw-collapsible-content"><br />
<br />
This is a sampling of student organizations that have been found among Xavier's students in the past. Feel free to add new ones that your char might be interested in or organize your own!<br />
<br />
*Classics Club (''Sponsor: [[Matt]]'')<br />
*Science & Tech Club<br />
*Math Club (''Sponsor: [[Kyinha]]'')<br />
*Chess Club (''Sponsor: [[Matt]]'')<br />
*GSA<br />
*Cryptology Club<br />
*Rock Climbing Society ''(Sponsor: [[Jackson]])''<br />
*Robotics Club<br />
*Jewish Student Union<br />
*Christian Fellowship ''(Sponsor: [[Jackson]])''<br />
*Muslim Student Union<br />
*Alianza Latina<br />
*Asian Student Alliance ''(Teacher: [[Tian-shin]])''<br />
*French Club (''Sponsor: [[Matt]]'')<br />
*German Club<br />
*Board Gaming Club <br />
*Women's Forum<br />
*Drumline<br />
*Unaccompanied Minors (a capella group)<br />
*Model UN<br />
*Astronomy Club<br />
*Debate Team<br />
*Mock Trial ''(Teacher: [[Tian-shin]])''<br />
*Peer Tutoring<br />
*Odyssey of the Mind<br />
*Culinary Society<br />
*Movie Club<br />
*Student Council<br />
*Yearbook <br />
*Phoebe's Oracle (Student Newspaper)<br />
*Literary and Arts Magazine <br />
*Archery Club<br />
*Martial Arts Club<br />
*Table-Tennis Club<br />
*Tabletop Society <br />
*Photography Club<br />
*Hiking/Nature Club<br />
*Wonderbolts (Equestrian Club) ''(Sponsor: [[Jackson]])''<br />
*Xavier's Players (Theatre Club)<br />
*Dance Dance Evolution (Dance Team)<br />
*Society for Creative Anachronism Student Group<br />
*Peer Support Group<br />
</div></div><br />
<br />
*Note that because of the vast discrepancy in abilities among the student body, joining an athletic team must be approved both in tryouts and by the Xavier's Ethics board.<br />
<br />
== XS Life ==<br />
<br />
=== XS Dorms ===<br />
<br />
Student dorms at Xavier's are segregated into two wings based on binary identified gender. Students who do not identify with a binary gender, regrettably, have to pick one of the two wings to live in.<br />
<br />
Nearly all dorm rooms are currently set up for two people; in some cases due to availability or extreme power related considerations, students may be assigned a dorm by themselves. <br />
<br />
The dorms at Xavier's are, as dorm rooms go, fairly comfortable. They are quite spacious, and come standard with a pair each of twin beds, dressers, nightstands, desks with bookshelf/hutch, and large closets. There is ample room in the dorms for students to customize their own half of their rooms as they like so long as it does not violate any school regulations.<br />
<br />
Bathrooms in the student dorms are shared with the wing; they have long rows of sinks and toilets on one side and, separately, the rows of showers, in their own enclosed booths with plenty enough space to bring all clothes and toiletries in and have them stay dry.<br />
<br />
The teachers' wing is on a different floor. Teachers who choose to live on campus get their own suites; they vary in size but all come with their own in suite bathrooms and some have small kitchenettes or small sitting areas as well.<br />
<br />
==== Roommate Assignments ====<br />
<br />
ICly, roommates at Xavier's are assigned by the administration, and cannot be specifically requested. Sometimes roommates do not get along; sometimes friction occurs -- usually these students will simply be told to learn how to get along. In cases of '''serious''', persistent hostility/incompatibility that is impacting the students' ability to thrive, the students may request a change of roommate, though they may still not request a ''specific'' new roommate. As of fall term 2023, rooms are triples, not doubles. <br />
<br />
OOCly, though, roommates at Xavier's are not assigned and are handled wholly and entirely by OOC agreement between players. Nobody will ever ''assign'' you a roommate here, so please do not ask. If you would like a PC roommate, you will need to a) see if there is someone who has a PC living in the same wing as yours who does not yet have a roommate and b) see if they are interested in being your roommate. If nobody is available, please either assume your PC has an NPC roommate or, if they are brand-new, may be one of the lucky few who has the double room to themselves until someone new shows up!<br />
<br />
Current PC room assignments at XS ('''check here to see if anyone is free/unassigned if you are looking for a roommate'''):<br />
<br />
*Girls' Wing:<br />
**[[Kelawini]]/[[Nessie]]<br />
**[[Naomi]]/[[Nahida]]<br />
**[[Ashlinn]]<br />
**[[Avery]]<br />
**[[Echo]]/[[Sriyani]]<br />
**[[Emilia]]<br />
**[[Giselle]]<br />
**[[Kieow]]<br />
**[[Nevaeh]]<br />
**[[Rhydian]]<br />
**[[Sera]]<br />
**[[Cassy]]<br />
<br />
*Boys' Wing:<br />
**[[Harm]]<br />
**[[Lael]]/[[Avi]]/[[Bryce]]<br />
**[[Spencer]]/[[Dallen]]/[[Roscoe]]<br />
**[[Asva]]<br />
**[[Ford]]<br />
**[[Marc]]<br />
<br />
=== Advising at XS ===<br />
<br />
ICly, every student at Xavier's is paired soon upon arrival with an advisor. The job of the advisor is to make sure the student's needs at the school are being met and the student is being properly prepared for graduation/life after Xavier's. This means: helping them figure out their goals after high school, helping them a class and extracurriculars schedule that is manageable for them and will prepare them for a successful graduation, arranging that they get whatever access to coaching and therapy they might require (whether this is powers-based, medical, or psychological.)<br />
<br />
Please note that their advisor is '''not''' required to be the person who gives them powers-based coaching if it is needed, and advisors at Xavier's are, as a general rule, '''not''' selected based on similar powersets to students. When possible, students are matched with advisors based on personality and cultural competency -- meaning they try hard to pair students to advisors they think they'll get along with and talk to, not just advisors who can train them to use their powers.<br />
<br />
OOCly, similarly to roommates, advisors at Xavier's are not assigned and are handled wholly and entirely by OOC agreement between players. Nobody will ever ''assign'' you an advisor here, so please do not ask. If you would like a PC advisor, you will need to see if there is someone who has a PC faculty or X-Man who is interested in being your student's advisor. If nobody is available, '''please assume your PC has an NPC advisor''' -- there is no situation, period, where a student will not have an advisor, so do not RP that they have not been assigned one.<br />
<br />
When asking about advisor/advisee relationships, it is a good idea to check in OOCly and make sure you are on the same page about what you all want OOCly out of that RP relationship -- some people might want to actually roleplay out advising sessions on camera while other people are not interested in that genre of scenes and might only want that as a background to inform your characters' relationship for other types of scenes, and it is better not to set yourself up for frustration if you want very different things!<br />
<br />
Mentor Assignments:<br />
<br />
*[[Jax]] - [[Harm]], [[Lael]]<br />
*[[Joshua]] - [[Spencer]], [[Roscoe]]<br />
*[[Kyinha]] - [[Avi]], [[Nessie]]<br />
*[[Maya]] - [[Naomi]]<br />
<br />
(OOCly) Unassigned Students (remember that ICly, these students will still have an advisor, they will just be an NPC until you choose to pair with a PC advisor):<br />
<br />
*[[Ashlinn]]<br />
*[[Asva]]<br />
*[[Avery]]<br />
*[[Bryce]]<br />
*[[Cassy]]<br />
*[[Dallen]]<br />
*[[Echo]]<br />
*[[Emilia]]<br />
*[[Ford]]<br />
*[[Giselle]]<br />
*[[Kelawini]]<br />
*[[Kieow]]<br />
*[[Marc]]<br />
*[[Nahida]]<br />
*[[Nevaeh]]<br />
*[[Rhydian]]<br />
*[[Sera]]<br />
*[[Sriyani]]<br />
<br />
=== Dining at XS ===<br />
<br />
The kitchen is run by Savita Chavan, who has been the cook for many, many years at XS. She is fully human; her daughter was a mutant who graduated long ago.<br />
<br />
Meals happen on a set schedule (breakfast at 7 am, lunch around 12/1p, dinner around 6:30; shifted an hour later on weekends), but there are always plenty of snacks and leftovers kept around the extensive pantry for students who need more food in between meals.<br />
<br />
Xavier's does its best to cater to the wide variety of cultural and physiological needs of its students. The dining hall is NOT a restaurant or cafeteria with a full menu that kids can order from it's a school dining hall. <br />
<br />
Mealtimes generally include one meat and one vegan entree with a number of sides that students can pick and choose from to make their own meal as best suits them. Entrees and sides at a given meal will generally all be along a similar cuisine for ease of mixing and matching, with a wide range of dietary choices represented among the available options. While Savita's specialty is South Indian food, she tends to ''try'' and cater her cooking to the (predominately whiter, more American) palate of the school body; though there's a wide variety of recipes on rotation, they skew towards Things That An Uncertain Immigrant Thinks Would Be Inoffensive To A Wide Audience Of American Kids. Less often palak paneer, more often ravioli.<br />
<br />
=== XS Tech ===<br />
<br />
*There is wifi everywhere throughout the mansion and covering a good portion of the grounds around the mansion. It reaches down to the boathouse and docks, but peters out soon into the woods.<br />
*The computer lab is open 24/7, with many machines available for students who do not have their own personal computers. It is well-equipped with computers, scanners, and printers for all students' computing needs.<br />
*All students are required to have smartphones. Students may not use cell phones during class, but must keep their phones with them at all times when they are signed out to leave school grounds. They are expected to use the cell phones in emergencies; they are all equipped with a 'panic button' which will send an alert with the student's location to the school, dispatching available X-types to respond. Hitting the panic button OUTSIDE of actual crises is a severe infraction and will result in disciplinary action.<br />
**Students are welcome to see the school's IT department if they have their own appropriately capable cellphone they would prefer to keep and use; they will install a similar panic-button app for them. Students who do not have/cannot afford their own phone will be provided one by the school.<br />
*All students, staff, and faculty receive Xavier's email addresses. The default format is first initial-lastname at xaviers.edu . So, e.g., Daiki Komatsu is dkomatsu@xaviers.edu. Alumnae keep their Xavier's email address for as long as they stay active with it; they can contact the school sysadmin to reinstate it if they let it go idle and it is deleted.<br />
**Staff, faculty, and alumnae are allowed to pick up to two mail aliases for their email as well. So, e.g., Jackson, in addition to being jholland@xaviers.edu, can also be reached by jax@xaviers.edu or littlemisssunshine@xaviers.edu. Mail aliases must have some modicum of propriety; nothing vulgar or profane will be allowed.<br />
*Xavier's internal network has extensive online support for all academics. Students can log in to check their class syllabus, assignments, announcements from teachers (which will generally also come with email notification), class discussions, lecture notes, grades, calendars, and any other media that the teacher has posted to help with class.<br />
**All teachers of academic classes are given instruction in how to use this system when they start teaching; it is pretty simple and intuitive and does not require much tech savvy. Teachers are ''required'' to post their syllabus and assignments, at the least, here.<br />
**For this reason, not knowing about assignments is never an excuse; if class is missed, the week's assignments and topics are posted online and all students have plenty of internet access. A teacher forgetting to post an assignment, however, ''is'' an excuse, so teachers should get used to being on the ball with this.<br />
*Xavier's sysadmin is very On The Ball, although nobody seems to ever have seen him. Any and all network problems can be directed to cerebro@xaviers.edu, though, and tend to be answered uncannily quickly. The network does not inherently have any constraints on it for things like file sharing and porn and general Misbehavior, but students will find that things outside of the school's Acceptable Use Policy (things like: attempted hacking, illegal activity, using obnoxious amounts of bandwith nonessentially, etc. ) are quickly discovered and quashed.<br />
*Students -- or malicious outsiders! -- will also find that their network is ''remarkably'' secure and resistant to malicious tampering and intrusion. Students attempting to test the network's security will even occasionally receive an email offering advice, and explaining what they did wrong, along with a suggestion that should they wish to practice their "1337 haxx0r skillz" they should take one of the many CS classes offered by the school.<br />
<br />
=== The Neighborhood, and Beyond ===<br />
<br />
Xavier's School is located in the town of Salem Center, a town of around 5000 people in Westchester county. Salem is a small and close-knit community, the type of place guidebooks probably call "charming" or "quaint". Its town center makes a deliberate effort to retain the same general feel it has kept for generations, old-fashioned storefronts and cobbled streets with a lot of eye for aesthetic and very little thought for accessibility. While there are some things to do in town -- an arcade, a diner that's popular with the students, a roller skating rink, a small movie theatre -- in honesty the primary recreational activities of the youth who live there are Getting High Behind the roller skating rink, movie theatre, etc. The Weirdo School up at the old Xavier place is something of an open secret in town; while people don't know for sure the full scope of the school they are well aware that there's a Higher Proportion Than Usual of freaks that come into town from there and have grown to a grudging mutual tolerance.<br />
<br />
At just under a mile from campus, getting to the town center is a middling walk on a pleasant day, or a very quick bike or car trip. <br />
<br />
Westchester County is just north of the Bronx. In zero-traffic conditions, it takes approximately an hour by car to get from the school to Manhattan -- in most ''actual'' New York City congestion situations, tack ''at least'' an extra half an hour onto that. Public transit is a more hit or miss prospect -- the school is served by commuter rail; the schedule is geared around people getting to and from day jobs in the city and not to the needs or desires of people wanting to get FROM Westchester TO the city on an after-school/weekend schedule. <br />
<br />
Timed correctly, the trip from Salem Center to Grand Central Station by train is often quicker than sitting in traffic and will run about an hour as well -- however on top of that needs to be factored in time to get ''from'' downtown Manhattan to wherever people ''actually'' want to be, as well as the fact that the train runs extremely intermittently on weekends and does not run late at night. The trip by buses (which are necessary to get back in between trains) requires several transfers and can take well over 2 hours from downtown, depending on transfer times and how behind the buses are.<br />
<br />
===Additional Trivia===<br />
The school colours are blue and yellow, though Xavier's branded apparel comes in different colours as well. <br />
<br />
The school teams are the Titans -- the mascot, when it is brought out, does not look ''much'' like a Greek god, but that's how it goes.<br />
<br />
The school motto is ''mutatis mutandis''. <br />
<br />
== Roster ==<br />
<br />
These are the current PCs who have some affiliation with Xavier's.<br />
<br />
*Faculty<br />
**[[Maya]] Mukhopadhyay<br />
*Faculty/X-Men<br />
**[[Charles]] Xavier<br />
**[[Jax]] Holland '10<br />
**Roberto "[[Kyinha]]" da Costa<br />
**[[Matt]] Tessier<br />
**[[Scott]] Summers '95<br />
**Hua [[Tian-shin]]<br />
*Staff<br />
**[[Cerebro]]<br />
*Students<br />
**[[Ashlinn]] Karibeanas<br />
**[[Asva]] Runí Tøro<br />
**[[Avery]] Caroline Borowski<br />
**[[Avi]] Micah Williams<br />
**[[Emilia]] Romanova<br />
**Rutherford "[[Ford]]" Reagan Rand Stonegate II<br />
**[[Giselle]] Desrosiers<br />
**[[Leonidas]] Beauregard Thigpen<br />
**[[Bryce]] Layton Allred<br />
**[[Cassy]] Villeneuve<br />
**[[Dallen]] Elijah Allred<br />
**Ziyin "[[Echo]]" Lin<br />
**[[Harm]] Sun<br />
**[[Kelawini]] Māhoe<br />
**Sumalee "[[Kieow]]" Suphamongkhon<br />
**[[Lael]] Isaiah Winters<br />
**[[Lucas]] DiLaurentis<br />
**Marcellus Momprimier Marquette ([[Marc]])<br />
**[[Naomi]] Winters<br />
**[[Nessie]] Grace Pelayo<br />
**[[Paz]] Sepulveda<br />
**Quintavius Quirinius "[[Quentin]]" Quire<br />
**[[Roscoe]] Brendan Vo<br />
**[[Rhydian]] Lovkwood<br />
**[[Sera]] Tessier<br />
**[[Spencer]] Holland<br />
*X-Men<br />
**Clarice Ferguson ([[Blink]])<br />
**[[Daiki]] Komatsu '15<br />
**[[Joshua]] Salinas<br />
**[[Kitty]] Pryde '12<br />
**[[Shane]] Holland '16<br />
*Former Students<br />
**[[Anette]] Eccleston '10<br />
**Victor Borkowski ([[Anole]]) '16<br />
**[[B]] Holland '16<br />
**[[Desi]] Tessier '16<br />
**[[Gaétan]] Tessier<br />
**[[Kavalam]] Ramakrishna Neelakantan<br />
**[[K.C.]] Love '20<br />
**[[Kisha]] Dorogoi '17<br />
**[[Lyric]] Sagal Dirie '17<br />
**Taylor [[Marinov]] '20<br />
**[[Nanami]] Māhoe<br />
**[[Nick]] Thanh Gleason '17<br />
**[[Peter]] Parker '16<br />
**[[Rasa]] Djalili '15<br />
**[[Taylor]] Allen '17<br />
<br />
[[Category:Factions]][[Category:Xavier's School]][[Category:Information]] [[Category:In-Game Universe]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Characters&diff=25966Characters2024-03-25T20:41:44Z<p>Borg: </p>
<hr />
<div>'''To create a page for your character, simply enter your character's name into the box below and hit submit. This will prefabricate a template for you to fill in or edit as you liked. Then, simply add the link to your character to the list below.'''<br />
<br />
<p style="font-size:28px">'''DO NOT use their full name when you are generating your character page -- use the most common name they go by in everyday life. Use the name they would use to introduce themselves if they are meeting a new person in most casual social situations.'''</p> <br />
<br />
{{#tag:inputbox |<br />
type=create<br />
preload=Template:Characters<br />
width=40<br />
placeholder=Your character's name<br />
buttonlabel=Create a character page<br />
align=left<br />
break=no<br />
}}<br />
<br />
'''Current active PCs''':<br />
<br />
*[[Akihiro]] Hanayama<br />
*[[Alastair]] Hobbs<br />
*[[Alex]] Carpenter<br />
*[[Alice]] Ferguson<br />
*[[Alma]] Harari<br />
*[[Anahita]] Lien Baran<br />
*[[Anette]] Eccleston<br />
*Victor '[[Anole]]' Borkowski<br />
*[[Ash]]leigh Ricardo Raj Campbell<br />
*[[Ashlinn]] Karibeanas<br />
*[[Asva]] Runí Tøro<br />
*[[Avery]] Caroline Borowski<br />
*[[Avi]] Micah Williams<br />
*[[B]] Holland<br />
* Leonidas [[Beau]]regard Thigpen<br />
*Clarice "[[Blink]]" Ferguson<br />
*Robert [[Bruce]] Banner/[[Hulk]]<br />
*[[Bryce]] Layton Allred<br />
*Alejandro '[[Bug]]' Garcia Flores<br />
*[[Carnage]] (Cletus Kasady)<br />
*[[Cassy]] Villeneuve<br />
*[[Cerebro]]<br />
*[[Charles]] Xavier<br />
*[[Chloe]] Raquel Walker<br />
*[[Clint]] Francis Barton<br />
*[[Daiki]] Komatsu<br />
*[[Dallen]] Elijah Allred<br />
*[[David]] Allen Smith<br />
*[[Desi]] Tessier<br />
*[[Destiny]]<br />
*[[DJ]] Allred<br />
*[[Domino]] (Neema Thurman)<br />
*Ryan "[[Dusk]]" Holloway<br />
*Ziyin "[[Echo]]" Lin<br />
*[[Elizabeth]] Morten<br />
*[[Elliott]] May Carruthers<br />
*[[Emilia]] Romanova<br />
*[[Eric]] Sutton<br />
*[[Erik]] Lehnsherr (Magneto)<br />
*Rutherford "[[Ford]]" Reagan Rand Stonegate II<br />
*Nick [[Fury]]<br />
*[[Gaétan]] Tessier<br />
*Dinah [[Grace]] Allred<br />
*[[Giselle]] Desrosiers<br />
*[[Halim]] Omari Tawadros<br />
*[[Harm]] Sun<br />
*[[Heather]] Brown<br />
*[[Hive]]<br />
*[[Iolaus]] Saavedro<br />
*Marion "[[Ion]]" Espino<br />
*[[Isra]] al-Jazari<br />
*[[Jamie]] Francisco Xavier<br />
*[[Jax]] Holland<br />
*[[Joshua]] Salinas<br />
*[[K.C.]] Love<br />
*[[Kavalam]] Ramakrishna Neelakantan<br />
*[[Kelawini]] Māhoe<br />
*Sumalee "[[Kieow]]" Suphamongkhon<br />
*[[Kisha]] Dorogoi<br />
*Katherine "[[Kitty]]" Pryde<br />
*Roberto "[[Kyinha]]" da Costa<br />
*[[Lael]] Isaiah Winters<br />
*[[Leo]] Valentino Aquilo Concepcion<br />
*[[Lily]] Catherine Allred<br />
*[[Lincoln]] Idaho<br />
*[[Lucas]] DiLaurentis<br />
*[[Lucien]] Tessier<br />
*[[Malthus]] Rogers<br />
*Marcellus Momprimier Marquette ([[Marc]])<br />
*Taylor [[Marinov]]<br />
*[[Marrow]]<br />
*[[Matt]] Tessier<br />
*[[Max]] Powers<br />
*[[Maya]] Mukhopadhyay<br />
*[[Melinda]] Chylds<br />
*[[Mirror]]<br />
*[[Murphy]] Law<br />
*[[Mystique]]<br />
*[[Nahida]] Azmin<br />
*[[Nanami]] Māhoe<br />
*[[Nandini]] Mukhopadhyay<br />
*[[Naomi]] Winters<br />
*[[Natasha]] Romanoff<br />
*Aoki [[Natsumi]]<br />
*[[Nessie]] Grace Pelayo<br />
*[[Nevaeh]] Green<br />
*[[Nick]] Thanh Gleason<br />
*[[Nikolina]] "Doubledown" Kaminksy<br />
*[[Paz]] Sepulveda<br />
*[[Peter]] Parker<br />
*Lorna "[[Polaris]]" Dane<br />
*Quintavius Quirinius "[[Quentin]]" Quire<br />
*[[Rasa]] Djalili<br />
*[[Rasheed]] Toure<br />
*[[Regan]] Wyngarde<br />
*[[Rhydian]] Lovkwood<br />
*[[Robbie]] Reyes<br />
*[[Roscoe]] Brendan Vo<br />
*Montgomery [[Ryan]] Black<br />
*[[Sam]] Wilson<br />
*Nia "[[Scramble]]" Washington<br />
*[[Scott]] Summers<br />
*[[Sera]] Tessier<br />
*[[Shane]] Holland<br />
*Daisy "[[Skye]]" Xinyun Johnson<br />
*[[Spencer]] Isaac Attali Holland<br />
*[[Sriyani]] Weddikkara<br />
*[[Steve]] Rogers<br />
*[[Tag]]<br />
*[[Taylor]] Allen<br />
*Hua [[Tian-shin]]<br />
*[[Toni]] Jefferson<br />
*[[Tony]] Stark<br />
*Ho [[Wendy]]<br />
*[[Winona]] White<br />
*[[Zeyta]] Roth-Mirza</div>Borghttps://xmenrevolution.com/w/index.php?title=Character_Concepts&diff=25965Character Concepts2024-03-25T20:05:29Z<p>Borg: </p>
<hr />
<div>Check here if you're looking for ideas to get you started with creating a character. Our list of Restricted concept may change over time as our game demographics shift.<br />
<br />
<br />
'''On Mutations:'''<br />
<br />
rEvolution is a low- to moderately-powered game, based on the more real-world feel of the X-Men movies rather than the comicverse. We stress story and character development far more than superpowers and action sequences. As such, mutations on this game are not at the same power level as mutations in the comic books. Many comic-canon characters will have to be powered down from their comic counterparts to fit in our theme. Also remember that characters do not necessarily start out as powerful as they will eventually become: younger characters should have time to grow and develop in their abilities. Plan ahead. Create milestones for your character's mutation growth. Keep in mind that you will never reach full Phoenix strength as Jean Grey: that kind of world-destroying power will not be approved. Also remember, having a mutation comes with downsides as well. Write limitations and side effects into your character's abilities. Remember that using mutations is exertion just like any other, and takes fuel and energy to maintain. Remember to keep those drawbacks in mind in the course of roleplay!<br />
<br />
'''Common'''<br />
<br />
''These character types are not restricted or banned overall; we just have a good number of them on-grid already. New applications incorporating these ideas should consider whether or not to incorporate concepts that already exist in large number in the active population of PCs. We do not keep this list as a disincentive; consider that traits in common with other characters can be a character hook as well!''<br />
<br />
*Artists (Visual, i.e. painters, illustrators, etc.)<br />
*Violinists<br />
*Fencers<br />
*Psionic powers (powers that affect the mind -- e.g., telepathy/empathy. Other mental-derived powers sometimes included under psionic such as telekinesis do NOT count, for our purposes -- only powers that affect mental status.)<br />
*Teleportation<br />
*Electrokinetics<br />
*Technopaths<br />
*Characters missing their left eye<br />
*Survivors of government experimentation programs (see [[Prometheus]])<br />
*Doctors (both MDs and PhDs) <br />
<br />
<br />
'''Restricted'''<br />
<br />
''These character types are only allowed if they conform to the restrictions specified below.''<br />
<br />
*Mutations that manifest before puberty. The only allowable exemption for this will be overt physical mutations (purple skin, tail, etc.) that are present from birth.<br />
*Secret Government Labs in the US or Canada doing experimental research on mutants. Allowable exemptions to this will be Weapon X (Canada) and the [[Prometheus|Prometheus Project]] (USA)<br />
*Original Characters whose backstories are heavily dependent on Marvel canon Characters. (e.g. characters who are children, relatives, best friends, mentors/protégés, etc. of canon characters) The allowable exemptions are if the history is written with the permission of the ''current, active'' player of that canon character. If the canon character is not currently being played, this will not be allowed. <br />
<br />
<br />
'''Off-Limits For Applications'''<br />
<br />
''These are concepts that may pose difficulty to roleplay or alter our current world in drastic ways. We do not allow applications that include these concepts (whether as a PC's own ability or at any point in the backstory.) Approved players who wish to run plots that include these concepts may pitch the idea to the game.''<br />
<br />
*Time travel.<br />
*Reality manipulation.<br />
*Aliens.<br />
*Technology of any kind (including biological) that is significantly more advanced than what has been shown to exist in-universe already. (For a list of technological innovations that exist in-universe but not in our world, please check our [[FAQ#IC_Universe|FAQ]].)<br />
<br />
'''Banned'''<br />
<br />
''These are concepts that do not fit into our theme, and will not be allowed for use in roleplay at any point.''<br />
<br />
*Characters from non-Marvel canons.<br />
*Celebrities from the real world.<br />
*Magic users.<br />
<br />
'''Featured (Canon) Characters'''<br />
<br />
Our game values original characters as much as feature characters. In the IC world, characters are equally important, regardless of whether they are canon or original creations. Because Feature Characters are often in high demand among players, and because FCs can change hands over the course of their on-game history, the OOC policies regarding FCs are stricter than those regarding OCs. Often, these characters will need to be significantly powered down or revamped from their comics/MCU/XMCU/etc incarnations in order to fit our setting, but FC applications should still be recognizable to the game as a version of their canon counterpart. <br />
<br />
FC backstories may include (recognizably canonical) connections to unplayed Marvel characters. They may also include (recognizably canonical) connections to other active FCs -- but they cannot define how these FCs feel about them or how these connections have played out until they discuss it with the active FC's player. For instance, you can include a biological relationship or long-term acquaintanceship, but you may not describe how the characters feel about each other, the closeness of their relationship, or specific shared background events without consultation from the other player involved. If you are unsure whether your planned character will violate this guideline, feel free to ping us on help and we'll be happy to clarify. <br />
<br />
Marvel characters 'not' on this list or [[FCs]] are available for application and sandbox-rp. <br />
<br />
*[[Akihiro]] Hanayama (Daken)<br />
*[[Anole]] (Victor Borkowski)<br />
*[[Blink]] (Clarice Ferguson)<br />
*[[Bruce]] Banner/[[Hulk]]<br />
*[[Carnage]] (Cletus Kasady)<br />
*[[Charles]] Xavier (Professor X)<br />
*[[Clint]] Barton (Hawkeye)<br />
*[[Destiny]]<br />
*[[Domino]] (Neema Thurman)<br />
*[[Emma]] Frost (The White Queen) <br />
*[[Erik]] Lehnsherr (Magneto)<br />
*Nick [[Fury]]<br />
*[[Kevin]] Sidney (Morph)<br />
*[[Kitty]] Pryde (Shadowcat/Captain Kate Pryde)<br />
*[[Kyinha]] (Roberto Da Costa/Sunspot)<br />
*[[Marrow]]<br />
*[[Mystique]]<br />
*[[Natasha]] Romanoff (Black Widow)<br />
*[[Nick]] Gleason (Wolfcub)<br />
*[[Peter]] Parker (Spider Man)<br />
*Lorna "[[Polaris]]" Dane<br />
*Quintavius Quirinius "[[Quentin]]" Quire<br />
*[[Regan]] Wyngarde (Lady Mastermind)<br />
*[[Robbie]] Reyes (Ghost Rider)<br />
*[[Sam]] Wilson (Falcon)<br />
*[[Scott]] Summers (Cyclops) <br />
*[[Skye]] (Quake/Daisy Johnson)<br />
*[[Steve]] Rogers (Captain America)<br />
*[[Tony]] Stark (Iron Man)<br />
<br />
<br />
[[Category:Information]]</div>Borghttps://xmenrevolution.com/w/index.php?title=FCs&diff=25964FCs2024-03-25T20:03:53Z<p>Borg: </p>
<hr />
<div>These are the canon characters currently being played on game. If a character does not appear on this list, they are available to be apped -- keep in mind, however, that our game has a considerably lower level of power than the comics and many characters will need to be toned down from their comic counterparts in order to fit into our theme. Some characters may not fit into our theme at all, as there are some things (e.g. aliens, reality manipulation, magic users -- see [[Character Concepts]] for further details) that are not allowed to be played as characters on our game.<br />
<br />
Currently active canon characters are:<br />
<br />
<br />
*[[Akihiro]] Hanayama (Daken)<br />
*[[Anole]] (Victor Borkowski)<br />
*[[Blink]] (Clarice Ferguson)<br />
*[[Bruce]] Banner/[[Hulk]]<br />
*[[Carnage]] (Cletus Kasady)<br />
*[[Charles]] Xavier (Professor X)<br />
*[[Clint]] Barton (Hawkeye)<br />
*[[Destiny]]<br />
*[[Domino]] (Neema Thurman)<br />
*[[Erik]] Lehnsherr (Magneto)<br />
*Nick [[Fury]]<br />
*[[Kitty]] Pryde (Shadowcat/Captain Kate Pryde)<br />
*[[Kyinha]] (Roberto Da Costa/Sunspot)<br />
*[[Marrow]]<br />
*[[Mystique]]<br />
*[[Natasha]] Romanoff (Black Widow)<br />
*[[Nick]] Gleason (Wolfcub)<br />
*[[Peter]] Parker (Spider Man)<br />
*Lorna "[[Polaris]]" Dane<br />
*Quintavius Quirinius "[[Quentin]]" Quire<br />
*[[Regan]] Wyngarde (Lady Mastermind)<br />
*[[Robbie]] Reyes (Ghost Rider)<br />
*[[Sam]] Wilson (Falcon)<br />
*[[Scott]] Summers (Cyclops)<br />
*[[Skye]] (Quake/Daisy Johnson)<br />
*[[Steve]] Rogers (Captain America)<br />
*[[Tony]] Stark (Iron Man)</div>Borghttps://xmenrevolution.com/w/index.php?title=Lucas_Martin&diff=25963Lucas Martin2024-03-25T20:02:33Z<p>Borg: Borg moved page Lucas to Lucas Martin without leaving a redirect: new Lucas incoming</p>
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<div>{| width="100%"<br />
| colspan="2" | <center><br />
{|<br />
| style="text-align:center;" | '''''I don't know what's happening to me, quite yet. It's strange... but neat. I kind of like it.'''''<br /><br />
|}<br />
</center><br />
|-<br />
| width="100%" |<br />
{| width="100%"<br />
! Introduction <br />
|-<br />
|<br />
{{Tab}}A new kid plucked out of his southern surroundings and placed in a school full of people kind of like him, but not. A downright and normally polite, intelligent young southern gentleman. Really! <br />
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|-<br />
! History<br />
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{{Tab}}Lucas Martin was born in a Tuscaloosa-area hospital on March 10, 1997, to the parents of Martha and Nathan Martin. Born into a very typical, run of the mill family, his mother and father held normal jobs - a teacher, and an office worker, respectively. As such, Lucas lived the life of a typical middle-class Southern "urbanite," even with the economy as it stands. His homelife was decent, as was his school life - good grades all the way around through Elementary School and Middle School. In Middle School, he had taken an interest in sciences, particularly physics.<br />
<br />
Things didn't start changing until he hit high school. That's when things started getting weird.<br />
<br />
As his Academic career continued to advance, Lucas began to grow up physically. On top of dealing with puberty and the like, a new problem arose at the age of fifteen - his touch would cause things to begin heating. In the case of things with a low flash point or melting point, they would actually catch fire. This power was intermittent - and the control he could exercise over it was debatable. Before too long, it was getting hard to get through the day without setting his papers on fire at school, or causing burn damage to textbooks, or other items of importance. His family, unsure of how to respond to this, was at a loss; they had no idea where to turn. The talk of mutations being more and more common in this generation were getting more common. How to handle it, however, was a mystery... Until a letter arrived sometime after Christmas in the mail, addressed from Xavier's School for Gifted Youngsters...<br />
<br />
It seemed like too easy of an out. But, replying to the message would lead to a meeting between the illustrious Hank McCoy in Mid-May, and with the school year being over for Lucas already... the decision for him to enroll for the Summer session was made. It is pretty possible that Professor McCoy's professional standing in the national spotlight as a whole and the fact the man emphasized that Lucas' mutation was not something to fear - but rather, embrace, learn, and control - was a huge selling point. Nevermind that Xavier's is, as it's been pointed out, a very prestegious boarding school that would help Lucas go //anywhere// he wanted afterward.<br />
|<br />
|-<br />
! Powers<br />
|-<br />
|<br />
{{Tab}}Lucas is a budding pyrokinetic who is beginning to learn the extent of his powers. At this point in time, Lucas' pyrokinesis is limited to that of being a walking heating eye, kind of like what you find on a cooking range. Placing a hand into direct contact with an object, he can bring them to their flast point in roughly two or three seconds. His pyrokinetic powers will eventually grow to where he can manipulate flames that already exist, and even to the point of being able to manipulate his surroundings in order to properly make his own flames within the palm of his hand. Of course, he's no where near there and it will take a deal of training to work that out.<br />
|-<br />
! Connections<br />
|-<br />
| <br />
<br />
'''Friends'''<br />
* [[Hank]]: Doctor McCoy. You're probably a major factor in ending up at this school. You've been... pretty great. I owe you a lot.<br />
* [[Sophie]]: We will never speak of the first time we met. In fact, we probably need a decent cover story. <br />
* [[Stanton]]: Roommate. Talks a lot. Very British. I'm also not a fan of 'dropping the bass.' Whatever that means.<br />
<br />
'''Foes'''<br />
* Coming (hopefully not too) soon.<br />
<br />
'''And everything in between'''<br />
* [[Holly]]: I'm very much out of my depth dealing with her. And I probably would've floundered if it weren't for Perry.<br />
<br />
|<br />
|-<br />
! Gallery<br />
|-<br />
| style="text-align:center;" |<br />
[[Image:Lucas01.jpg|x150px]]<br />
<br />
|}<br />
|<br />
{|<br />
! Lucas Martin<br />
|-<br />
|<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000"<br />
| colspan="2" | [[Image:Lucas01.jpg|center]]<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Codename'''<br />
| style="border-style: solid; border-width: 1px"| None<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Birthdate'''<br />
| style="border-style: solid; border-width: 1px"| March 10, 1997<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Species'''<br />
| style="border-style: solid; border-width: 1px"| Mutant<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Affiliation'''<br />
| style="border-style: solid; border-width: 1px"| Xavier's School<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Alignment'''<br />
| style="border-style: solid; border-width: 1px"| Chaotic Neutral<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Powers'''<br />
| style="border-style: solid; border-width: 1px"| Pyrokinesis<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Occupation'''<br />
| style="border-style: solid; border-width: 1px"| Student<br />
|}<br />
|-<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000" <br />
! style="border-style: solid; border-width: 1px" | RP Hooks<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''New Kid Smell''' - ''He's new to Xavier's School. Come meet him!''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''Stranger Danger''' - ''Were you around the campus when it got locked down? He's that kid you heard about in the rumors.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''Let's Play With Fire!''' - ''Are you pyrokinetic? Do you experiment with your powers?''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''Study Study Study''' - ''Lucas could use some familiar faces to study with on a regular basis. Maybe friends, too.''<br />
|}<br />
|-<br />
! colspan="2" | Logs<br />
|-<br />
| colspan="2" | {{RP Logs | name = {{BASEPAGENAME}} | columns = 3 | ordermethod = gamedate }}<br />
|}<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Archived Logs'''<br />
<div class="mw-collapsible-content"><br />
{{ RP Logs | name = {{BASEPAGENAME}} | columns = 3 | ordermethod = gamedate | namespace = ArchivedLogs }}<br />
|}<br />
<br />
</div></div><br />
<br />
[[Category:Inactive PCs]][[Category:Xavier's School]][[Category:Mutants]]</div>Borghttps://xmenrevolution.com/w/index.php?title=ArchivedLogs:The_Dance&diff=25962ArchivedLogs:The Dance2024-03-25T20:02:18Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Kris]], [[Ryan]], [[Jackson]], [[Anole]], [[Hive]], [[Sebastian]], [[Peter]], [[Rasa]], [[Shelby]], [[Shane]], [[Holly]], [[Stanton]], [[Lucas Martin]], [[Megan]], [[Old-Kitty|Kitty]], [[NPC-Desirée|Desirée]]<br />
| summary = Xavier DANCE <br />
| gamedate = 2013-05-31<br />
| gamedatename = <br />
| subtitle = <br />
| location = <XS> [[Great Hall]]<br />
| categories = XS Great Hall, Xavier's, X-Men, Citizens, Morlocks, Crowds, NPC-Desirée, Kris, Ryan, Jax, Anole, Hive, B, Peter, Rasa, Shelby, Shane, Holly, Stanton, Lucas Martin, Megan, Old-Kitty<br />
| log = The largest room at Xavier's, the Great Hall is designed to hold all of the mansion's residents and then some. Built for the mansion's bigger functions, it serves as the school's dining halls on ordinary days, and ballroom when needed. On school days, long trestle tables stretch across the hall, high-backed chairs with plush cushions offering seating for the students.<br />
<br />
Today the Great Hall has been transformed. Gone are its usual lengthy tables for serving meals. Instead, round tables ring two sides of the room; their white tablecloths are accented in ribbons of black and blue. Along one side the tables stand empty, just a place to rest and chat in between dancing; along the adjacent side, they are heavy-laden with snacks, as well as bowls of punch and iced tea and lemonade, water and chilled sodas. The DJ's booth stands in back, taking requests so long as they are not TOO risque.<br />
<br />
The dancefloor commanding most of the center of the room gleams in polished wood underfoot. Above, the large chandelier that normally hangs forgotten during the busy school days shines in its full glittering splendor; smaller fluted lamps hang dotted in satellite-orbit around the rest of the ceiling. Where many high school dances might have decorated with streamers, Xavier's has decorated with /light/, spiraling ribbons of it that drift down in muted-soft glow from the chandelier to wreath the moulding and glimmer more subtly down the walls. For those paying attention, the accenting ribbons of light are not /steady/ in their patterns; sometimes just a gentle spiral, sometimes a tracery of vinework with leaves and flowers, someimes a web of delicate filigree that glitters against the walls.<br />
<br />
SCHOOL DANCE TIME! Sure to be oceans of fun for all involved, except perhaps the chaperones. Probably there are many who are too shy or TOO COOL for school dances and under normal circumstances Shane would not hesitate to assure everyone he is THE COOLEST.<br />
<br />
But not, it seems, Too Cool for school dances. Because he is strolling in -- fashionably kind of /late/ of course -- with his /entourage/ of dates. One might assume he'd lost track of how many he has, except he clearly did not because every single one of them has been given a corsage or boutonniere as appropriate -- neat elegant white orchids accented with pale fluted blue agapanthus.<br />
<br />
Shane himself is in white, a crisp elegant suit with peak lapels, his dress shirt beneath black, and if he has any clue that it is maybe /odd/ to bring a stable of PEEPS (including his brother and brother's date and brother's... date's... date) as /his/ date to the dance WELL. It doesn't show in his toothybright smile.<br />
<br />
"Holy shit," is what he says, looking at the walls, "this place /glows/."<br />
<br />
Shelby is a pale shadow of Shane's coolness example. Only two dates! Sure, one of them is technically a grown-up, but even that can't compete against the sheer numbers fielded by his cool majesty over there. She lingers near the entrance, a tall(ish) drink of water in her tiger-striped shimmery ballerina dance and stiletto booties, hair once more in ringlets, make-up again taking a page from the world of punk. In her hands? Two small plastic containers holding two boutonnieres, one for each young man who'd decided they felt like squiring her around this evening--each will be given a sunset orange mini-calla lily, secured with lily grass and a golden ribbon.<br />
<br />
She may or may not be fidgeting a little, as she squints up towards the light-streaked ceiling. "Like fucking Hogwarts," Shelby agrees.<br />
<br />
"Th'heck they manage that?" Peter asks, stashed away amidst Shane's /date entourage/. Clad in a white button shirt -- short-sleeve! -- with a black clip-on tie, dress slacks, a belt, and -- two-toed socks -- Peter's boutonniere pinned just above his left breast. He looks -- well, like a /student/. Very prim and proper. Or maybe like someone who is preparing to go to work in an office cubicle; maybe one where they pin up multiple Dilbert comics. If it weren't for the gleaming dark metallic blue skin, he'd probably look more like an office nerd than, well. Whatever he is /here/.<br />
<br />
Peter's /peering/ at the decorations hanging from the wall. He might also be searching for Ivan and Rasa, even as he follows Shane along. Like a pilgrim in an unholy land. "It's nice and cool in here, at least," Peter adds. Before glancing at Shelby. And: "Ohyeah I didn't mention to you. Sebastian? Hermione." Like this comment should /totally/ explain itself.<br />
<br />
Rasa an Ivan are just arriving! Rasa is dressed in the same blue pleated dress ze wore the day before, but today, ze has gone all out in adornment. Hir skin is a lovely green color with leaf prints all over it, those leaf prints are highlighted with gold outlines, drawing in the gold rim on the toes of hir ocean blue shoes. Hair? Midnight blue, eyes the color of ivy. Ze has forsaken hir clutch and wrap, donning small blue gloves so ze can dance with people with ease. Ze is holding Ivan's hand and scanning the groups, looking for people ze knows.<br />
<br />
Bastian is /bright/, dressed up in a sleeveless minidress that shimmers in rainbow checking, silver bracelet at his wrist, strappy black-and-silver sandals that add a few inches to his still-diminutive height. His eyeshadow is rainbow, too, one colour neatly blended into the next. He looks kind of /timid/ as he enters with Shane's entourage, smoothing his dress into place and flicking eyes warily around the room, but the sight of Shelby puts a quick smile on his face. "Hi! -- Me? /Oh/. Right." He glances up and around at the walls, eyes widening in appreciation. "-- They did it with my pa." Who is here, somewhere. Chaperoning. And decorating.<br />
<br />
Hive is nominally the grown-up, it seems. Even if he has paired his /dress/ -- a black thing with a halter and accenting done in metallic chain -- with black converse sneakers. Also eyeliner. He lacks in any timidity, just a kind of saunter more suited to jeans and t-shirts than cocktail dress. "Man, they don't fuck around with the pretty here, do they?" He's not, it might be noted, looking at the walls; he's looking at Shelby.<br />
<br />
"That's the nerd girl?" It's a cardinal sin to admit to only a passing familiarity with Harry Potter in this crowd, but Shelby does not shy away from committing it. "You're better than any nerd girl," she goes on to say, prying open the lid to produce his flowers. Fortunately his dress has a strappy thing for the pinning process, and she is careful with the pin, though does get a scraped knuckle from his skin. This is sucked at until Rasa is spotted, prompting a wolf whistle--the first of many, no doubt!--before she turns to perform the same pinning function for Hive. /He/ is blinked at before she /grins/ at his attire. << Oh my god, you wore the dress. /Hot/. You wearin' panties? >><br />
<br />
She says, aloud, "You should've seen Valentine's Day. Glitter fucking /everywhere/."<br />
<br />
Ivan is decidedly less than /impressively/ dressed, in a blue collar shirt, clip-on tie, dress slacks. It doesn't /look/ like he's brought any of his tiny friends with him, and he's made a dapper attempt to unmess his hair up a little- the curls allowed only for a modicum of success. He's -- wide eyed, as usual in crowds. Holding onto Rasa's hand like ze's guiding him through the room, which is probably a good thing considering he is looking at hir pretty much-- the whole time. Like he just somehow unexpectedly caught a FISH. And it's. Just the most beautiful thing he's ever seen.<br />
<br />
"IVAN! Rasa! Ivan!" Peter is nearing them both, breaking off from the Shane Train to greet them as they come in. "Hey! Hey. Ohman your dress um, looks. /Really/ nice, Rasa," Peter comments, having said nothing about it the night of the art show. Probably because he was too huffy at having to go see /arts/. His eyes sling toward the dance-floor as he approaches. A /slyyyyyyyy/ look entering Peter's eyes before he turns back to Ivan and Rasa. "I heard. Last time you were at a dance, Ivan. You did a thing. For Rasa. With spiders." He makes a nudge-nudge gesture with his elbow, like. C'MON TELL US ABOUT THAT THING.<br />
<br />
"Peter, did you want to dance with Ivan? Is that your way of asking?" Rasa grins brightly as Peter comes over, nodding hir head gratefully to the compliment and turns around to show off the dress... and hir tail! Ze can have hir tail at school. Hir cheeks pinken one leaf at a time, turning a few of them red like autumn. "You look very dapper yourself. How's Shane doing, juggling all the dates? Should I... check in? I don't know how that works."<br />
<br />
Bastian ducks his head kind of apologetically for the knucklescraping, though he does his best to stay still. He follows it up with a peck to Shelby's cheek, kind of shy to match his kind of timid smile. "Wow. Everyone looks -- you all look really great." He's still fidgeting a little with the hem of his dress -- at least until Hive walks in in /his/ dress. His fidgeting stops, eyes widening for a moment. He looks over Hive, startled, and a moment later his smile returns -- wider, brighter, easier. "Woah. I didn't -- you -- /hi/." His posture straightens, and his self-conscious fidgeting stops. "We don't need to check in I mean we're still -- wait, did you mean check in with /Shane/ I'm confused. Does he have -- do you have a date /roster/?"<br />
<br />
Anole is a little bit later. /His/ clothes have been generously furnished for him by his date's /father/ and so he arrives attired in kind of glitzy Jackson style, a faint /sheen/ to the grey-black of his suit. His bowtie is green. His spiky carapace has been /polished/. He hangs back near the door, looking into the room with HUGE-wide eyes. "... oh my god," he says to himself, "You guys /do/ go to Hogwarts."<br />
<br />
Peter turns violet. "Nnnnno, I'm --" A flicking glance to Ivan. A sheepish grin, back to Rasa. He watches hir spin, along with the flick of that tail, his grin widening. Peter reaches to scratch the back of his head, shrugging at the question about Shane. "I think... I think he's /probably/ in his element, actually. He's kind of -- you know, for a guy who likes to spend most of his time underwater? He can be /really/ social, sometimes." Peter's eyes drift back over to Shane, still wearing that sheepish grin. Like he can't DECIDE if this is a good thing or a bad thing. And then... Peter startles, snapping his head around, eyes going /wide/ and -- reaching, perhaps with surprising /force/, to try and snag both Ivan and Rasa's wrists. Careful with the latter, so as not to touch bare skin!<br />
<br />
"OHMYGOD both of you /listen/ you must. Meet this person." And then Peter is attempting to /drag/ both Ivan and Rasa with him. Toward, Anole.<br />
<br />
It takes Peter's greeting to snap Ivan out of his stupor, and his attention rubberbands upward. Hn? Oh. A quick look around later, eyes darting here and there, especially maybe on just how many... dresses there are in the room. His head angles ever so slightly to one side, before he--... just focuses on Rasa again. Sidling slightly closer. Story? What story? HKK-- wrist grabbed. He's dragged forward with renewed alertness, muscles tense as he stumbles along with Peter.<br />
<br />
Rasa's wrist/ hand appendange is grabbed! Ze is pulled with an Ivan over to the new kid - well, the unintroduced individual by the door, with green skin. Ze laughs a little as ze is pulled and glances back at Ivan to make sure he is okay. Then, oh, then there is an Anole in a schnazzy suit. Ze shifts hir weight from one foot to another to slow and come to a stop, waiting for Peter to release hir hand so ze can extend it to Anole properly. "Hello!"<br />
<br />
Shane does seem in his element. Cheerful-bouncy; he's already flitting away to get /drinks/ for -- well, whoever, he returns with a couple cups of lemonade to hand them to his DATES. He recruits Taylor to /help/ him with this effort because he really doesn't have enough /limbs/ to get drinks for /all/ his dates. "There's /still/ glitter lurking around the edges of the room, it's probably why they went with just the light show this time, uh. Easier cleanup, that shit /never/ comes out. -- and no I don't have a roster I just." He frowns. "... should I have had a ros -- OH MY GOD ANOLE." /Zip/! Shane is darting off to greet the lizardboy with a /hug/, tight and squeezy before releasing him to allow /handshake/. "Holy /shit/ you look good. Anole, you have to meet -- uh. /Everybody/." This is a common sentiment it seems.<br />
<br />
Some girls take, like, extra long to get ready. Kris can be one of these people. She's got a pink, sheathy dress that shows off her legs, a modest pair of flats, a little gold anklet, and some sort of shawl over her shoulders. She is also carrying some sort of box that rustles gently when she walks. So when she steps forward to seek out Shane, she has to approach him with said box, and quickly manages to pull something out... A white rose boutinniere. Then she has another one for Peter. Several really,"I didn't really know how the custom works... so I got a box full. Who's your friend?" She indicates Anole.<br />
<br />
Yes. VERY common sentiment. Because here comes Peter, still dragging a semi-laughing Rasa and a very alert, very tense Ivan over to meet Anole, right after Shane gives him that hug. Poor Anole. He is rapidly becoming surrounded by many new people! "GUYS," Peter announces, as he arrives in front of the lizard-boy. "This? Is Anole." SHOVE. Here, Anole. Have a Rasa and an Ivan. "We met him in mutant fight camp he was our roomie also I think he sometimes lives in the sewers. He's kinda awesome. Also, a little lizardy. Anole? This is Rasa and Ivan. Ivan's my roommate, Rasa's Ivan's date-person. Ivan talks to bugs. Rasa -- uh, Rasa. Rasa... speaks /Farsi/," Peter finishes, sounding /quite/ proud of himself.<br />
<br />
<< -- had to, >> Hive says to Shelby, << without tucking you have no /idea/ what this fucking thing /shows/. >> His mental voice is a harsh sandpaper-rasp, though not nearly so painful as its usual. It sounds faintly amused. He is patient for the flower-pinning, and follows it up with a -- chaste! -- kiss to the cheek. Before drifting a little bit away to claim a /drink/ from Taylor -- then looking to Anole. "Kind of like Hogwarts," he agrees, looking over the lizardkid thoughtfully. "Murdercamp. Apparently the best place to make friends. Who knew."<br />
<br />
"/You/ look amazing too, y'know." This is from Shelby to Bastian, accompanied with a look that rakes him crown to toes. "That's the happiest, sexiest dress. It's perfect." She will accept /all/ of the cheek-pecks, thank you! And when they're given, they're returned with more daring pecks to the corner of mouths for both Bastian and Hive--because it's important someone give the chaperones something to do, right? << That your way of telling me you have a huge--? >> Thankfully, she doesn't get to finish that question, distracted by the fuss and crowd forming around Anole. She tucks a hand in the crook of Bastian's elbow and tips up on her toes to get a better look. "Jesus, I wish you guys would stop calling it that," she grouses. <br />
<br />
Five latecomers! Five latecomers stylishly dressed! At the big doors to the great hall, five stylishly dressed latecomers arrive, and the kid in front-- Stanton, the guy who almost electrocuted a good quarter of the student body and a bunch of teachers-- stops short and puts his arms up at his sides, in front of the others. He just sort of stares for a second, and then he says just loud enough to be heard over the DJ, "I am *never dancing to this*. El Exigente does not approve." He glances over his shoulder, back at the other four, and then makes a break for the corridor behind them.<br />
<br />
Bastian quirks a small smile at this. "I think he's a /lot/ lizardy. Shelby, um. Do you dance?" He sounds /hopeful/. But /also/ steals a drink while he's waiting for answer, and curls his fingers in a wave at Anole. He offers the lemonade to Shelby. "It's kind of a snappy name though. I guess we could call it like. GLADIATOR or something. No. Oh my gosh. /Mortal Kombat/."<br />
<br />
"H-hello." Ivan comes to a stop somewhere behind Peter, peering toward Anole with eyes wide, before continuing in a heavy Russian accent, "... You /are/ very lizardy." He offers an ill-timed smile out of politeness more than anything else, and it lingers a little awkwardly on his face as he stands perfectly still. No one's told this kid not to stare at people when he was little, clearly, and Anole's getting the brunt of it.<br />
<br />
Amongst the five latecomers is one of the more elusive new kids. Holly is in a /dress/, a pretty dress no less, and were this the movies, she'd of ditched her glasses and gained 3 bust sizes for the shy girl putting on a dress.<br />
<br />
But it's not the movies, and while Holly is all prettied up and girly with her hair loose around her shoulders rather than in a ponytail, she has gotten to the doorway and stopped dead with her eyes wide. Deer in headlights times a thousand, and she's downright pale at all the people, and the music and the prospect of Going In There.<br />
<br />
Amongst those latecomers is one of the other new students to the school, Lucas. As he enters in, he blinks and stops as well, furrowing his eyebrows a little. He's kind of to Stanton's left, but flanking him, as it were... so his arm stops further advance... Reaching up, he dusts the lapel on his sports jacket off, and he adjusts his tie, clearing his throat... He crinkles his nose, and glances toward Stanton, shrugging a little bit. "It could be worse, couldn't it?" he asks lightly, before... blinking, and watching his roommate turn to leave. He blinks once... twice. Then looks toward one of the other group members - blinking. "Well," he comments softly. "Uhm..." He gestures after Stanton, kind of helplessly. "Shall we...?"<br />
<br />
When he turns to see Holly, though, and her deer in headlights look at the prospect of what's in front of them... he blinks, and lightly takes her by the arm and shoulder and just kind of... yoinks her. Not hard or anything. But he does begin to steer her out lightly.<br />
<br />
Pixie is in a dress, too! All gussied up and prettied up, with little accents of glitter and Claire's jewelry. She hugs Holly briefly as the other teen comes to a halt, but moves up beside Stanton. "Well, do we dust 'im and you take over, or do we ditch for the movies now that curfew's been lifted?"<br />
<br />
"Um -- oh gosh. Oh, um -- hi." Anole's eyes are still wide. He returns Shane's hug eagerly, but then shrinks back behind the sharkboy to /peer/ at all the staring people. Especially Ivan. The staring makes him shrink a little more. "/Hi/," he manages again, with a small smile. "Are, um. Are you /all/ Shane's dates?" He is, too! Identified by the white-and-blue boutonniere pinned into his suit. "I haven't been to a schoolthing in a while. This is -- your school is /way/ prettier than my old one was."<br />
<br />
"I think that's the twins' dad," pipes up one willowy-slender girl just wandering in fron outside to skirt around behind Holly, flit over and peck Shane on the cheek. "The pretty, I mean." Desiree's dress is simple, sleeveless ombre, pink deepening down to grey. "/Hi/. You look dashing. Everyone looks dashing." Her eyes maybe linger on Peter a moment here, with the slightest upward curl of her smile. She doesn't wait for introductions: "Desi," is her cheerful greeting to everyone who hasn't met her yet. Her arm stays slung around Shane's waist for a quick squeeze.<br />
<br />
Kitty perennially fails at makeup, and fortunately for her, she hasn't tried. Dress, check. Hair ... ponytail. Glitter ... well, she's got the necklace she always does. Skirt is not falling through her leg; this may be a plus or a minus depending on the observer. "Threats and promises," she teases Megan, doing the dateless lurking to the side of the group. Youngest chaperone ever?<br />
<br />
Kris will even lean over to give Shane Kris-hugs. Then, she steers around a moment later when she sees Megan, showing her off a sort of corsage of orchid and blue agapanthus. "Megan, you look amazing!" And then she turns to look at Holly, eyes twinkling,"And Holly, you came! I'm so glad! Oh my god, you all looks so pretty! Oh, I'm so envious. Your date is hot too!" She says the last bit with a lowered voice.<br />
<br />
"Yes. I speak Farsi," Rasa acknowledges, a mystified glance tossed in Peter's direction, followed by a smile. "It doesn't always look this pretty, but it's still kind of pretty." Ze glances around. "I.. .uh. Well! I am here at the dance with Shane, but officially Ivan's date. He's my person. He's shy. Please don't let the staring bother you." Ze turns and smiles at Desi when she comes in, waiving a little. Ze glances at the door and spies pixie wings and straightens up. "Shane. Before you leave tonight, you should meet Megan. I think you'll like her." Ze reaches back blindly, trying to find Ivan's hand once more. Hir tail waves at Anole as ze starts to back up and give him space.<br />
<br />
"... well I mean, we could do eith--" Megan starts, but then realises that Stanton has run off. She blinks in confusion, turns left, turns right, then catches sight of her date as he turns a corner. "... I think the answer is 'movies', if we can catch my date." She grabs Kitty and Holly by the hand--Holly's going to have to get Lucas, herself!--then turns to run after Stanton. "No Bananas!" she yells after him. Because sometimes, it's good to distract with crippling inside jokes.<br />
<br />
"Oh," Peter mentions, perhaps to Ivan, perhaps to Rasa, perhaps to /everyone/ as people retreat to give Anole more room: "He's really shy. Anole, I mean. But he's totally awesome. Plus if he had a shell on his back instead of his skull, he'd be a teenage mutant ninja turtle." Peter /beams/ at having made this connection. Because, CAMO. Counts as ninjitsu. Doesn't it? But then Peter sees Desi and, /AUGH/, violet. "Ohhey," he says, suddenly oh-so-casual about it. Flicking his eyes to the mass of people entering. OhGod, so many /people/.<br />
<br />
"Uh, meet the girl who just took the fuck off?" Shane glances after Megan as he gives Desiree a squeeze in return. "Pfft. Some other time I guess!" He slips away to offer Kris a quick smile. "-- Do you want to dance? Nobody's /dancing/." Well, OK, lots of people are dancing. But nobody's dancing iwth /him/. "Anole, s'ok, /most/ people here are cool. Grab a drink. Have a dance! -- Mortal Kombat works," he adds to Bastian with a /fierce/ smile.<br />
<br />
"Oh, /gorgeous!/" Kitty admires (Kris or corsage or both). She starts to put a hand out to Kris, but her other hand is suddenly snagged by a pixie. "-- we made it this far, it's a start!" she laughs to Kris, and then scrambles less than elegantly to follow Megan before anything unfortunate can happen to her shoulder.<br />
<br />
Kris waves after Megan and Kitty,"By Kitty! You look adorable!" And then she turns to Shane, and nods,"I don't actually know how... but I'll definitely give it a try." She offers a hand to Shane in a sort of limp-wristed manner after setting her box down. "I'll try to fake it though until I figure it out. You're very handsome today Shane." She turns to look over her shoulder at Anole,"Everyone here is very nice. We're happy to have you here. Really."<br />
<br />
Holly is captured by Lucas on one side, and Megan on the other. She turns wide and generally freaked out eyes in Kris' direction and there's a flicker of something approaching a smile before she is (probably wisely and sensibly) removed from the location of the current complete social freak out. Dance 1, Holly 0.<br />
<br />
"Hey Anole!" From Shelby, this will perhaps be a less intimidating greeting given that she's not even looking at the lizard boy! She's checking out the little group who have made an entrance--and exit. Her eyebrows go up and her grin goes lopsided. "What do you think, stagefright or they're heading out to the treehouse to smoke up and make out?" she muses as she accepts the cup of lemonade. "...huh? Oh! Yeah, I'm totally up for dancing."<br />
<br />
"Thank you," it's hard to tell /who/ Anole is saying this to, there are so many people talking! But he creepcreepcreeps further into the room, his smile slowly warming at the deluge of greetings. Hugs. Lemonade? "I'm also here with Shane," he tells Rasa shyly. "And it's okay. I'm, um, I'm really used to staring. -- oh my /god/ I want to be a ninja turtle." But his eyes don't really light /up/ until he looks over towards the music. They get huge and wide as dinner plates. "Oh. My. GOD. Is your -- is that -- Is your DJ really -- oh my /god/ is he a /mutant/?"<br />
<br />
Desiree has apparently not paid attention to the DJ until now. But when Anole mentions it she looks over and /her/ eyes go wide too. She bounces on her neat pink sandals, clapping her hands together abruptly with what is /definitely/ a squeal. "Ohmygodohmygodohmy/god/ are you /serious/ -- wait he's not is he?" Wide eyes. She reaches out a hand to GRAB Peter by the wrist when he says hey. "We," she informs him, "are dancing."<br />
<br />
"Oh him? Pffsh," Peter says to Anole, /totally/ pulling a Shelby here, "oh yeah we know him, he's, cool I /GUESS/, he went to Georgia with us--" And then Desiree is /squealing/ and Peter's eyes are a bit wider, the whole Too-Cool-For-School act starting to chip and crumble. It comes /completely/ crashing down when she reaches out to grab Peter by his wrist. He produces a squeak, going from violet to /deep/ indigo. "...we -- are?" This doesn't sound like a complaint! But it also sounds a bit shocked.<br />
<br />
Bastian smiles wide-bright when Shelby says she is up for dancing. He squeezes her hand, starting to tug towards the dance floor; Anole and Desiree's reactions to their ROCKSTAR DJ, though, earn a quick laugh. "Oh! Oh, yeah. He's pretty cool, isn't he? I don't think he's -- I mean, he's just friendly." He glances after the fleeing NewPeople uncertainly. "I -- think they're too cool for us," is what he decides in the end, kind of self-consciously looking down at his shoes again. But only for a moment before he amends more cheerfully: "-- Or think they are, anyway!"<br />
<br />
"Their loss!" Shane chirrups, "you know how much people fucking pay to see Ryan and we're getting a private show. He's friends with my dad," he tooootally doesn't at all just shamelessly name-drop to Anole, "he hangs out at my house all the time." He reaches out to gently /prod/ Peter along with Desiree. "It's a dance," he tells him brightly. "You can dance."<br />
<br />
He gives Kris his arm to take when she offers her hand. "It's okay, I'm totally shit at dancing myself," he freely admits. "The point is just have fun. -- Hey, /we/ could go to the treehouse to smoke up and make out. /After/, though."<br />
<br />
"Could go to the treehouse for what?" Jackson has been off across the room. Chaperoning! In a chaperonelike fashion. He asks Shane this question TOTALLY INNOCENTLY, really. He is in black slacks and white dress shirt, but his vest /glitters/, shimmery-rainbow set against its black. His hair is glittering, too, faintly iridescent in a way hair should really not manage. "Y'all all look totally -- wow. Kinda outshining everything, here."<br />
<br />
ROCKSTAR DJ Ryan in the house, at his booth towards the back of the hall. The indie-rocker strikes a typical pose, head-banging to the music blaring in his ear, blasted from the large headphone hanging from his neck, one muff off so he can sense the crowd. As the current song reaches its ending chorus he begins the seamless, fading transition, clicking the mouse plugged into his laptop for the next selection before he begins to give a manual push to the record disk on one of the turntables to either side of him.<br />
<br />
"For studying," Hive tells Jackson dryyyyyly. He kind of detaches himself from the gaggle of teenagers, drifting over to Jax's side. And hooking an arm through Jax's -- maybe he's asking HIM to dance? Oh, no. Just dragging. Away from kids. Towards the DJ booth. "YO. Ryan. Can I request something in a flavor of -- I dunno, /stoned/?" What, it's supposed to be /song/ requests not empathic ones? OH WELL.<br />
<br />
Shelby chimes in with, "I totally played a show with him." What, they expected her not to join the name parade? Then she is being tugged and quickens her pace to keep up. A glance is sent back towards Hive, a thought going with it: << Don't think this means you're off the hook for some dancings later, I want an answer to that question! >> Telepathy. /So/ handy in chaos like this. Provided it isn't drowned out by everyone else's thoughts! "TURN IT UP!" she hollers at the DJ booth.<br />
<br />
Kris teases Peter,"Go on! Dance with her! She's cute! Have some fun! Get her some punch though, afterwards. It's chivalrous." She takes Shane's arm, and goes tugging in the direction of the dancefloor. "That sounds lovely. Is it anything like Kava? I have never smok-" Then Jackson is right there, and she is complimenting Shane to his pa,"Your son is a very good date. Very thoughtful." Hips begin to wiggle. That's how people dance, right?<br />
<br />
"I'm so in," Desiree calls back over her shoulder, "if there's treehousing later." Chaperone, what chaperone? /She/ doesn't go here they can't detention her. Yeeeet. She curls her fingers through Peter's, her smile bright. "Yes! We are. C'mon I love this -- song." Or maybe this DJ? She definitely gives Ryan a /look/. It is a very fangirl look. But then she is looking back to Peter, whisking him off along with Shelbastian and Krishane to the DANCEFLOOR.<br />
<br />
Anole hangs back, curling his arms around his chest. He sidles over to pick up a lemonade from Taylor -- less shy, perhaps, for the students who look as freakish as he does. "... stoned? How can the music -- um." He frowns uncertainly.<br />
<br />
"Ohmyg--okay," Peter says, a little meekly, still coloured a deep violet. Kris' encouragement only seems to intensify that blushing; once he's out on the dance floor with Desiree, he's squeezing her hand slightly before confessing, PERHAPS a bit loudly: "Uh I, uh, I don't actually know how to -- I mean." He fumbles a bit. "--I was gonna, learn, but -- there were -- giant ants." This may sound a /bit/ pathetic. He follows it with a murmur: "Ohyeah I have chitin now." Just in case. She didn't notice.<br />
<br />
"/I've/ never had kava," Shane muses thoughtfully. "But /yeah/ you should totally try -- it's /good/. Relaxing, you know? Great when shit's stressful." Though he /does/ actually dart an uncertain glance to Jackson before his continuing: "Yeah, um, I mean, OK, maybe not smoke /up/," (probably smoke up) "but we can definitely hang out somewhere /quieter/ after this." Do his eyes drift back to Peter with this mention of Somewhere Quieter? MAYBE. Given Kris's height and his complete /lack/ of height, dancing position might be kind of awkward! He does not seem to care, one hand at her waist and the other holding hers. Boppin' around. Wiggle. Hipsway. It's /totally/ how people dance.<br />
<br />
Wiggledancing is totally dancing! Bastian tucks a hand against Shelby's waist. Maybe more /sway/ than wiggle. Not a whole lot of /finesse/ to it. "You guys should maybe make your sneaky plans a little, um, sneakier," he suggests, "I'm pretty sure like /every/ teacher here heard you. -- Y'know, my pa could teach you all. How do dance." Not like he can talk because. Wiggledancing.<br />
<br />
Shimmy shimmy flaily twist. Yes, she probably doesn't look very impressive. "If you got me a pair of bamboo sticks and a beat to go with it... I would totally show you how to tinikling. But it doesn't realy go well at this kind of dance, though. Thank you for dancing with me!" Kris doesn't SEEM worried all that much about being caught. She's been 'clean' for a while anyway. Still, she squeezes a Shane-hand in gratitude. "You dance good and you don't make it awkward." It totally looks awkward. She doesn't really know what good dancing is, so she's mostly just using her opinion at this point. Let's try a shimmy, shall we? Then she's eyeballing Shelby,"Sebastian, where is your father's date? Why are we not seeing him 'cut a rug' right now?"<br />
<br />
Shelby can dance! Shelby can dance like there's no tomorrow. The problem with Shelby-dancing is that it's best suited for clubs. Not...situations where a young man's hand is on your waist and he's wiggling at you. Undeterred, she lays her arms across his shoulders and begins rocking her knees forward, one at a time in tune with the music. Shoulders and hips work in concert. Mrow. Tiger! "We should swing, I bet Kris could totally pick up a few swing moves pretty quick," she suggests. "Someone tell Ryan to play some swing music!"<br />
<br />
Ryan gives a wink to anyone who catches his eye, or, if you're already known to him, a wide-bright smile. Per his /first/ request, the song that hits the airwaves next is mellower, its effects, even more so lulling and /playful/ with the senses. Indeed, there's a faint empathic /thrum/ to what follows and if you let it grip you, you /do/ almost feel ... well, stoned.<br />
<br />
"His date's around here somewhere!" Shane answers, "I saw him and oh my /god/ he looks pretty tonight. Well, OK, he always looks pretty. I don't -- uh." He frowns suddenly. "-- Don't know how well he can dance," he admits uncertainly. "But I bet it's good he does everything good." He joins in Kris's shimmytwistflailing. Maybe more twist and less flail as the music takes effect. "/Swing/ oh man!" This suddenly sounds like the best idea ever, and he squeezes Kris's hand. "Can you swing, we're totally going to swing." Or Shane is, anyway, with or without Kris! ... with or without swing music. Also probably less energetically than swing should really be.<br />
<br />
A familiar sensation for Kris, if an old one. It's sort of obvious, perhaps, WHY she used to get dosed before a fight. All that jerky flaily motion practically disappears, replaced with fluidity. It's like watching all the anxiety and self-consciousness flow out of her. And that makes her game. "I bet he does. I have never done swing, before... But I will certainly try to learn... Oh, I want to swing! Shelby, teach me to swing." Now she's less enthusiastic teenager, more stoned girl wanting to dance at the party. She certainly surrendered to the vibe quickly!<br />
<br />
"They want swing music." Where they=Shelby, anyway. Hive, in his black and silver-chain-dress, leans up against Ryan's DJ table, ignoring SMILES in favour of plunking his head down on it. "Damn, you're good."<br />
<br />
"He hears that from a lot of people," Jackson says with a laugh. Bright-laugh, bright-smile. Maybe a little too much so. "You're totally going to have to queue up a couple songs so /I/ can steal you for a dance, honey-honey." Not that he seems to need a partner, he is dancing /already/. By himself! By himself means he is totally free to dance more like it is a nightclub. Until he realizes: "-- /Wait/, Ryan, did you /really/ --"<br />
<br />
"/Yes/, I really did." Because Ryan is a REBEL with a reputation to uphold. More than that: providing an empathic high to all of these teenagers is sure to win him over some new fans. So the FEELGOOD music continues, with variation on the /exact/ mood suggested by the beat projecting from the speakers. Sometimes stoner-mellow, other times, euphoric-manic, its runs the gamut as does the actual tune cover all spectrum of genres. And /always/ there is the urge to /keep/ dancing, a siren's insistence weaved into the whole of it, keeping revelry between /everyone/ alive and well long into the night, with drinks, and food, and most of all, good music--oh my!<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=ArchivedLogs:Them!_Episode_1&diff=25961ArchivedLogs:Them! Episode 12024-03-25T20:02:02Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Shane]], [[Sebastian]], [[Peter]], [[Bobby]], [[Old-Kitty|Kitty]], [[Lucas Martin]], [[Kris]], [[Stanton]], [[Jackson]], [[Kurt Wagner 1.0]], [[Hank]]<br />
| summary = Xavier School sends out a community service detail to help at the Grover's Mill disaster site. (Part of [[TP-Them!|Them! TP]]).<br />
| gamedate = 2013-05-29<br />
| gamedatename = <br />
| subtitle = They dig up a little problem.<br />
| location = <NJ> [[Grover's Mill]]<br />
| categories = Xavier's, X-Men, Mutants, Grover's Mill, Shane, B, Peter, Bobby, Old-Kitty, Lucas Martin, Kris, Stanton, Jax, Kurt, Hank, Them! <br />
| log = It's Wednesday, it's after lunchtime, and it's time to go. Afternoon classes have been canceled, and everyone was given an extra sammich, and choice of fruit in the lunch line. A water bottle too. Everyone is told, and checked before vans, to have on grubby work clothes, and sturdy, close-toed shoes. Anyone not wearing these things will be sent back to change, /making everyone wait./<br />
<br />
Once ready, everyone is piled into two big fifteen passenger vans, and they head off. The faculty present are Scott, Jean and Aloke in one van, with Dr. McCoy, Kurt and Jax in the other (aka, the cool kid's van). Neither van is completely full, either, as both are carrying coolers with more water, and lots of various tools, gloves, etc. <br />
<br />
Now, about an hour or so later, everyone is piling out of their vans, stretching, twisting out the cricks, and peering about at the general clean up effort happing all around. The destruction is so wide spread, it's very easy to just step up and start helping without bumping into anyone else on site. The group has parked across a rift from the hospital island, and reaching it is fairly manageable now that workers have set up bamboo, catwalk-style bridges in several places. <br />
<br />
Up close, the damage is truly bizarre. It literally looks like the ground fell out from under all of the buildings in town, EXCEPT for the hospital, which is now standing on a short pedestal of undamaged concrete, about ten feet higher than the surrounding crumbled street surfaces. All around are places to help out. Clearing rubble, helping out at the hospital, bringing water and stuff to other workers, etc. The work site is so large that it is still not effectively managed, so its really a jump in where you feel like sort of effort. Also, the media went home days ago, so the scrutiny is somewhat less than in the beginning. Minor uses of abilities will be easy to hide. <br />
<br />
Once everyone is on foot, it becomes clear that Hank, Jax and Kurt are remaining to do some experiments from one of the vans. Scott, Jean and Aloke are all on foot, helping out as well, and supporting the kids wherever they need help.<br />
<br />
Shane was TOTALLY in the Cool Kids' Van. He's even got sunglasses on to prove it -- or maybe that's just because minor uses of abilities are easy to hide but being blue and sharky less so; even in the warm afternoon he's, for the purposes of school field trip, covered up more than he ever bothers to in his /down/time. Baggy sweatshirt, hood pulled up, jeans, brown boots. He sticks nearby his brother for this, and even if the van is the coolkidsvan he is out of it in a flash to EXPLORE. Or pick up rubble. "Jesus fuck, you'd think we were in freaking Florida or somewhere, doesn't the ground eat people all the time there?"<br />
<br />
Bastian, on the other hand, often covers up when he goes out so his baggy sweatshirt (it is black and reads 'HERBIVORE' in a yellow cross over the heart) is not unusual. Aside from the darker sweatshirt his clothes are clone to his brother's; same jeans, same boots. No sunglasses, though, just wiiide pupilless black eyes taking in the damage. He's not far behind Shane. "I'm pretty sure that's because Florida is over the mouth of hell. But so's New Jersey. There's a few hellmouths."<br />
<br />
Peter got to go with COOLKIDS van too, and is soon moving to help Shane and Sebastian with CLEANING efforts. Because, despite looking relatively scrawny and all around /teenagery/, he's actually capable of -- WHOA that's a big slab of concrete he's hefting up. As big as his torso! Just, 'hup', and suddenly he's plucking it atop of his shoulder to carry with him. He's clad in loose fitting blue jeans and a /very/ loose fitting white t-shirt; he's also got on -- leather wrist-watches? Really, really funny looking leather wrist-watches. "Yeah, like. People in Florida just, WHOMPF. Fall into sinkholes. I read about some dude who's whole house just dropped out from under him down there. Buried alive. Really sucks."<br />
<br />
The quiet kids van has his adviser on it. And his room mate. Two plusses - people Lucas knew. But even though he was riding, his nose was down to his phone... texting someone. He had dressed the part - being from where he was, work clothing was almost like a secondary wardrobe. When they arrive, he empties out with the rest of his group, and he looks around, hrming. "--so, I didn't watch much news before I came here," he remarks toward Stanton lightly, glancing toward him and shrugging. "... What exactly happened here?" He begins to move to walk with his roommate, and start cleaning up somewhere. Anywhere that is a good spot to start, really.<br />
<br />
Bobby Drake took aviators. That's probably not going to score him any cool points, but considering his abilities, he may end up being the go-to guy for relief from hard work anyway. The young mutant decided to wear jeans and brought gloves. Seeing the disaster spread out before them was enough to shock him into relative silence. His lip quirks and his brows turn up - he's genuinely affected. He grabs a shovel and straps on his gloves, then gets to moving some of the rubble over to one side, near the pile where a truck will be waiting to pick it all up and haul it off. He's shaking his head as he's doing it, still pretty shocked. He listens on to Shane, Pete and Bastian as they chatter, keeping an ear on it, but he's still pretty stunned.<br />
<br />
Kitty's dressed in jeans and a navy-blue hoodie shy of ... anything to mark her out at all, really. She's late out of her van, busy staring for a moment. "I hope they found everybody," she says to nobody in particular as she steps out ... but there's a flicker of her eyes around the other students, checking for a moment to see whether anyone reacts to the speculation.<br />
<br />
Kris piles out in denims and a loose white t-shirt with a simple pony-tail and concealed sheath at her back beneath said shirt. Right now, she's piling out of the van with a sort of confused look around. Eventually, she gets her bearings, though she finds little to be 'stunned' about,"It happened in in the surrounding areas near Cebu from time to time. Old buildings would tumble into holes or weak muddy ground." She turns for the hospital and begins walking,"I'm going to see if they need help cleaning or folding, or with first aid."<br />
<br />
NOT having been in the COOLKIDSVAN-- opting, instead, to go in the van less likely to get his notebook thrown out the window by someone objecting to his paying attention to only himself-- Stanton's got one headphone on, and the other pushed up and back over his other ear, so he can at least nominally pay attention to his surroundings. His surroundings like Lucas. And sinkhole. He bounces on his heels a couple of times, surveying the landscape. "Katamari happened. Let's go help where we can't break anything worse, right? Haha. Um." He starts picking his way down into the closest collapsed-ground hole, then pauses to glance back at the brown-haired navy-blue girl. "Yeah I hope so too. But we got gloves so."<br />
<br />
Jax is surveying the outpouring of teenagers from the vans with -- well, his kind of wary look might well be for the destruction all around them. It doesn't last long; his expression is never far from a smile and his pierced lips curl up into a quick-bright one. Even in work-clothes his attire is bright, too, jeans patched all over in a rainbow patchwork of fabric, black t-shirt dotted with purple and blue stars (it reads 'believe in fairies' on the front and has a pair of blue butterfly wings on the back.) "Don't quite know yet," he answers Lucas, "we're just here to help put it right again." The smile dims, slightly, admittedly, at Kitty's speculation. But doesn't vanish entirely. He's starting to unload supplies from the van, handing out thick gloves to those students who are staying at the rubble and have not yet taken a pair.<br />
<br />
Jean and Aloke accompany the students more inclined to hospital service. Scott remains outside to get his sweat on. He also dials his goggles down and is surreptitiously breaking up big chunks into more manageable chunks when it seems like no one is looking. <br />
<br />
For anyone right near the Secret Experiments van, a soft whirring noise /might/ draw your attention to tiny flying drone the color of concrete being released from the window. Anyone more than 15 or 20 feet away would have trouble focusing on it, but it swoops around and heads straight for some rubble a little ways off anyway. The mystery van must be doing some tests with advanced sensor equipment.<br />
<br />
A window rolls down, and Hank's distinct voice can be heard, "Professor Holland... I think we're nearly ready, if you wouldn't mind rejoining us in the van?"<br />
<br />
"-- would probably notice if there was anyone left down there," Shane says, absently thoughtful, but now he's maaaybe sniffing a little bit harder as he works. Much like Peter, the compact-skinny sharkboy is hefting rubble that by all appearances he has no right to, although at least in his case he has a clone to help him out with it. "I thought Ohio had the Hellmouth -- woah." Animal senses are attuned to movement and he is no differences, eyes riveting to -- well. He doesn't focus very /well/. Just frowns at the brief glimpse of ??? in peripheral vision and goes back to hauling concrete.<br />
<br />
"That sounds like a bad joke, Perry," Lucas responds softly, rubbing his nose lightly as he dons his gloves, glancing toward Jackson... The professor he doesn't know yet. However, he does listen... and he nods slowly. "I see," he comments quietly, and begins to dig into moving rubble himself... and he moves to dig around, moving things here and there as he can. At least he's physically able. He's not quite close to the Secret Experiments van, of course. But the phone in his pocket vibrating with a text message is more catching his attention. As he pauses in his rubble-rousing, he reaches into his pocket and takes it out... removing a glove long enough to thumb-type a response to whomever it is he's texting, before putting it away.<br />
<br />
Bastian does not take gloves. Because that would be silly. "A /whole/ house, yeah, it was freakish." He eyes Shane suspiciously after this. "Ohio /did/ have a Hellmouth, when did you turn into a nerd? Woah what?" His eyes mostly just follow his brother's. "Maybe the Old Ones are coming to eat the world. Though I don't know who'd start with New Jersey," he admits with a crinkle of his nose.<br />
<br />
No gloves for Peter, either. To Kitty, Peter responds! As he HURLS his particular slab of concrete toward the ever growing pile. WHOOSH. *Crnch*, *clatter*. "I don't think so, I heard in the news that nobody was missing -- I /think/. I mean, it's been like half a week right? Uh." At Stanton's comment about GLOVES, Peter blinks owlishly. "...ohjeez I'm not gonna like, pick up -- a /leg/ or someth--Hey," Peter says, to Shane and Sebastian, "do either of you two smell -- I guess you don't --" HEY WHAT'S THAT. Peter's head snaps up, catching the flash of -- movement? Overhead, too. But then, SHRUG, probably just a bird. Peter reaches for another slab, hands slapping down and /clinging/ to it. HUUUURGH!<br />
<br />
Bobby looks over his shoulder and listens to most everyone else. For once he's not a chatterbox. But it's not like he's had his mouth taped shut. Kris's observation has him thinking. He notes to Kitty, and then maybe to Peter, talking to them both at once, "I don't think they'd let us out here if they were terribly worried about something like that." That's an attempt at encouragement, of course, since he doesn't know that for sure. His shovel digs into the ground with an asphalty sound as he starts to toss it over towards the pile. It's slow work - for him, anyway. He looks at Peter a little enviously. He is oblivious to yon drone. "So you're pretty experienced with this, then," he observes of Kris as she walks by.<br />
<br />
"I am going to seriously hope that Hellmouths are actually just the products of Joss Whedon's imagination," Kitty observes aloud. "I realize this makes my life boring, but I can /live/ with boring." And then she sets about carrying water to other volunteers already there -- the ones who look like they've been working the longest, and need it most. It helps them directly; it helps Kitty get a general idea of the lie of the rubble, and where she might be able to duck out of sight herself ... and whether any areas seem particularly prone to treacherous shifting underfoot. It's been like half a week, though, as Peter put it. Maybe they'll be lucky and this will just be straightforward and hard.<br />
<br />
Kris pauses on her way to the hospital when Bobby speaks to her,"Yeah. Actually, I guess I am. This was handled better, though. People actually have engineers and stuff out there to see how it's safe to move things, and we're not using horses and beat up trucks to drag and haul stuff. Plus everyone's getting pretty good medical care." She pauses to examine some of the rubble,"You hear any rumbling, you back up as fast as possible?" <br />
<br />
Whatever else may be said about him-- and about the insistent kick drum going about 140 bpm in one ear-- Stanton doesn't shy away from moving big things off of small things, even if the big things are things he can barely lift. "It's a wretched joke, mate. But if there's anyone dead down there, shit-all I can do for them, is there? Anyroad, teachers said no one's missing, so shouldn't be." He completely misses floaty little flying things-- vaguely listening, he, to other conversations. Finally he gets to things that aren't pieces of roof, and his face goes a little tight before relaxing again. They're someone's /things/; things obviously precious before they were smashed or drowned or burnt. Hand-lettered videotapes: home movies. Souvenirs. Old things. A soggy cardboard box labelled 'Chris & Mary's Honeymoon'. "Here give us a hand, Lucas, some of this might not be ruined. There a cart for this house yet?"<br />
<br />
Jax takes one more look around the scattered X-teens helping out, and pushes fingers through his bright blue hair. "Yessi -- right." It is a reflexive correction; prooobably one he has to make often, having made the transition from Hank's /student/ to his colleague. He has watched the takeoff of the drone, but now he heads back, disappearing into the MYSTERYVAN.<br />
<br />
The SUPAR SEEKRIT MYSTERY EXPERIMENTS van of mysteries suddenly becomes remarkably suspicious. Anyone nearby would hear some muffled discussion among the teachers inside (Hank, Jax, and Kurt), and then -BAMF-. A noise familiar to many of the veteran students of Xaviers, yet made particularly odd by the fact that it sort of echoed within an enclosed space, with the additional bizarre oddity of that peculiar indigo smoke squirting out the partially opened windows. <br />
<br />
Meanwhile, now underground, the three teachers find themselves in a broken section of sewer pipe, which leads into a breach in the side of some kind of tunnel. Armed with Hank's headlamp, and the lamps he hands out to his colleagues (even Jax, silly Hank), their light reveals a very round tunnel, about 2 meters in diameter, apparently made of packed dirt. It's not perfectly smooth like a machine did it either. The inner surface of it is ridged, and bumpy. <br />
<br />
Hank puts a hand up to the tunnel wall and scrapes one claw across it, but it barely flakes anything off. "This is hard as stone..." he remarks absently, fascinated by the discovery. Nothing weird about that, AT ALL.<br />
<br />
Even with the help of the drone, Kurt was a little nervous about the blind jump into the pipe system. He tried to play it off, but the high-energy tempo of his tail probably told Hank and Jackson everything they needed to know about his attitude. Still, he put his bravest face on and insisted on holding each of the other men's hands, his grip tight and his eyes screwed shut as they made the jump.<br />
<br />
And, of course, nothing has gone wrong. Still, a high-stress jump with two passengers along, even a relatively short-distance jump...Kurt needs a minute to recover. He takes the headlamp with his tail, leaning forward to brace his hands against his knees and pant, trying to regulate his breathing and his heartrate. "Hnng."<br />
<br />
"I would totally take Hellmouths over some of the shit that -- I mean, come on, I could fuck a vampire's shit /up/ just have my dad smile at them." Sunlight mutations: Instant vampire repellent. Shane doesn't seem particularly bothered that his boasting of vampire slaying prowess relies on hiding behind his dad. He hoists another large slab of concrete onto his shoulder. "-- a cart, what, you mean we can't keep what we find?" The toothy smile Peter gets might not be the /most/ reassuring. "Nah, s'ok, I don't smell anything tasty around here except you guys."<br />
<br />
"-- NNnooo, we're not, uhm, here to /scavenge/ people's lives." Sebastian wrinkles his nose at this. The familiar BAMF draws his attention back in the direction of ~mysteryvan~. "Uh -- did they just --" He frowns. "Pa can't stop Hellmouth vampires if he's -- I mean maybe he's gone /into/ the Hellmouth to stop them at their /source/."<br />
<br />
"They brought meat-snacks. You brought meat-snacks, right?" Peter calls back, to Jax -- who is. Oh. Huh. Not there, apparently? "--they brought meat-snacks," Peter insists, despite the absence of a response, to Shane. Peter stomps on over to the pile, still hefting his big slab of concrete as he does. "If I hear any rumbling," Peter mentions to Kris, passing her on his way, "I am just /booking/ it the heck out of here I mean holycrap. Th'heck is a Hellmouth?" Peter adds, apparently NOT knowing much about Joss Whedon's imagination. At least not that particular aspect.<br />
<br />
Bobby probably isn't the only one to notice the telltale sound of Nightcrawler making an expeditious journey to elsewhere. He blinks for a moment as he turns it over in his head what might be going on. His lips purse. Finally, he shoves his shovel into the dirt and tracks down one of their overseers, Jean Grey, hopping over scattered debris here or there. Drake, with a major case of senioritis and with at least some involvement with Bigger Goings On in Xavier School operations, seems rather suspicious all of a sudden. "What kind of research are they doing?" he asks.<br />
<br />
"There are coolers," Kitty calls aside to Peter as she passes. "So there are /probably/ meat-snacks. I mean, if the coolers were research stuff, they'd be labelled. -- Or at least really obvious once you opened them." Even if occasionally the science terrors get a little distracted. Closer, and therefore quieter, to Peter and Kris: "And if anything /does/ collapse and you get caught in it, don't panic, we'll get you out in like five minutes max. I'm good for like three things but rescues are one of them."<br />
<br />
Kris waves her hands in front of her nose, trying to clear the smell of brimstone, but otherwise ignores it. She nods at Peter,"Grab as many people as you can on your way out if you DO have to flee." As for research, she takes a guess,"I bet they're taking seismic data to see what caused it. Seismic surveys are kind of a big deal around areas like this." She turns to get gloves, having decided to stick with the larger company of people sticking around outside. She can still work a shovel, after all. "Good to have you along Kitty."<br />
<br />
Okay, *there*, the skinny British kid with the headphones scowls up and over at Shane-- before he decides it's got to be a joke, and Sebastian takes care of the admonishment. He starts pulling things out, then-- oh that computer is never turning on again-- and there's unfortunately something kind of hilarious about a Super Rugged Passcode-Protected Ultra-Secure External Hard Drive with a piece of rebar through it. Hilarious in that snort/wince way. And then there is BAMF, and while the air near the van most certainly smells like rotten egg, the air in the sinkhole where Stanton and Lucas are digging suddenly smells of ozone, and MY THAT FLASH OF LIGHT WAS BRIGHT WASN'T IT, and if there was any chance of any of the data on any of that hardware being salvaged it's so gone now.<br />
<br />
Stanton rips his headphones off and /throws them on the ground/. "FUCK. What the fuck!"<br />
<br />
"What is it, Stan--"<br />
<br />
BZZZGTHT<br />
<br />
A surge of electricity shoots up Lucas' arm and through his body, bouncing around and causing all sorts of forms of discomfort as he becomes electrified. Of course, his phone is toast. There's a distinct sound of shattering glass as it sort of goes -BAP- in his pocket. Because, you know, iPhone. When the wave finally passes through completely, Lucas looks slightly frayed and a little toasty; however, he's not out cold. "T'fuck, man?!"<br />
<br />
Jax may not /need/ the headlamp but he is glad enough to not /have/ to rely on his reserves of power if he does not need to. So he switches it on all the same, and reaches one hand to Kurt's shoulder. "Y'aright?" is his first question, and his second, more practical: "Want water? Chocolate?" Hydration and sugar, at least, always /his/ go-to solutions for power-overexertion.<br />
<br />
His eye is roving the tunnel around them, teeth digging in against his lip. First looking up at the ceiling, then down at the earth, toe scuffing against the packed dirt. "... feel like I'm in somethin's burrow," he mutters.<br />
<br />
"What is it, Stan--"<br />
<br />
BZZZGTHT<br />
<br />
A surge of electricity shoots up Lucas' arm and through his body, bouncing around and causing all sorts of forms of discomfort as he becomes electrified. Of course, his phone is toast. There's a distinct sound of shattering glass as it sort of goes -BAP- in his pocket. Because, you know, iPhone. When the wave finally passes through completely, Lucas looks slightly frayed and a little toasty; however, he's not out cold. "T'fuck, man?!"<br />
<br />
"I'm fine, I'm fine." Kurt assures Jackson, flailing his hand briefly as if that might indicate how 'fine' he is. After a few moments Kurt gets himself under control, straightening up to put his headlamp in its proper place. "Ah...chocolate? You brought chocolate with you?" There's a puzzled little glance of Kurt's bright eyes, but he doesn't exactly /refuse/ the treat. Instead, he trots up behind Hank, brushing his hands down his front. "Ja, I agree...and a burrow this big...I am not sure I want to meet the 'something', if that is what it is, rather than a 'someone'. I am not meant to be bite-sized."<br />
<br />
For the record, Aloke has disappeared into the hospital to Check On Things. <br />
<br />
Scott Summers, easily the one with the coolest shades here, shoulders his shovel and steps up to where Lucas and Stanton are working. "Hey fellas, take it easy. You ok, Lucas? Mr. Wagner's ability makes that noise. They're just going to take a closer look at something Dr. McCoy noticed. Nothing to worry about. You two ok here?" <br />
<br />
Ms. Jean Gray pauses, levitating a good sized chunk while pretending to carry it the old fashioned way. She smiles at Bobby and nods. "They noticed some odd thermal signature. You know Dr. McCoy, Bobby, he just couldn't resist getting a closer look. Don't worry, they'll be fi-" Jean cocks her head, suddenly distracted by some telepathic impulse. <br />
<br />
And then, there's Hank. Completely absorbed by this discovery, he is right up against the wall, peering, until he finally removes a small metal tool resembling a dentist's pick, and scrapes a significant chunk of the tunnel surface into a sample baggy. The noise of his metal tool is like fingernails on a chalkboard. SCRIIIIITCH. scri scri scri SCRIIIITCH <br />
<br />
And then, madness. At the sound of scrabbling from down the corridor, Hank swivels his head, and therefor his light to cast some further illumination. Unfortunately, it /finds/ something. Something big. Filling the entire tunnel is an enormous, red ant. Two meters wide, two meters tall, and it looks kind of cramped. Like somewhere with more room would be more comfortable. When it rounds the corner, it cocks its head and considers Hank for a moment, before turning its head, twisting as best it can in the tight quarters, and /speaks/ to the huge ant coming up behind it. It's voice is a scratchy, high-pitched squawk, and even more disturbing, is speaking in pigeon english. <br />
<br />
"Not Thea." The first one informs the second. "Kill it!" The second one shrieks. <br />
<br />
Hank's eyes go wide, and he glances back at his colleagues. "Gentlemen!"<br />
<br />
Aboveground, Shane is happily oblivious to the giant and potentially about to EAT his dad and advisor and twin's advisor down below. He just grins at Peter wider and waves a hand towards all the other students. "/Totally/ brought meat-snacks. -- I don't think they'd have brought us here if everything was still collapsy though anyway. I mean, this happened a little bit ago, right? Probably all the collapsing's done with. Holyfuckingshit, dude --" Now he's looking wide-eyed towards that sudden flash of light, pausing mid-stoop en route to picking up a new chunk of rock. "-- You aright?" This might be to Stanton or Lucas either, it's hard to tell. "I was joking about the meat snacks, you didn't have to /cook/ him for me."<br />
<br />
"Ohmygosh," Bastian suddenly has WAY MORE IMPORTANT priorities than rubble, "/Peter/, you've never seen Buffy?" His eyes are enormously wide. At least until that flash, which sends them abruptly squinting more shut with a startled flare of gills. "What? What wait what happened?"<br />
<br />
"I won't panic I /never/ panic I am the /best/ at not panicki--wait what do you do?" Peter suddenly asks Kitty, clearly /INTIRGUED/. Meanwhile, he is slinging the giant rock slab in his hands toward the pile, spinning briefly like a frisbee -- WHOOSH. Crash. Once it's gone, he's dusting off his palms and throwing Kris what /might/ be a cocky grin. "Oh man, don't worry, I am pretty awesome when it comes to grabbing people. And no," he adds, glancing to Bastian. "I haven't seen--what? Buffy? I think I heard of that. S'one with vam--" FLASH. "--the heck?" Peter turns.<br />
<br />
Bobby squints a little and dips his head as Jean cuts off and tilts her head a little. Coolguy shades dip on his nose a bit, as well, when he does. "...Ms. Grey...you were just in the middle of telling me that everything's fine...?" He uncomfortably folds his arms in front of his chest as he stands berfore the teacher, skeptically eyeballing her. Little did he know the terror going on in the underdark - in fact, he is quickly distracted by the minor lightshow that goes on between Lucas and Stanton, his head snapping there. It's The Wrong Thing to be worried about, naturally.<br />
<br />
"Rescue people and break things?" Kitty offers helpfully to Peter. "... okay, that's not particularly unique, but I'm pretty okay with sharing." She shrugs brightly at him, then tucks her hands into the pockets of her hoodie. It's possible that he might see her take them out again through the cloth in the corner of his eye as he turns toward Bastion. Her own attention's distracted toward the cock of Jean's head, and she listens in absently for the answer to that 'you aright?' question as she turns to survey the wreckage again.<br />
<br />
Kris decides to ditch her shovel in favor of a long, big hammer. A smaller sledge. What for? To break up some concrete rubble so that it can be handled easier. It's hard work, but she doesn't seem ready to complain,"I'm with them. What IS a Hellmouth?" Grunt. "This would be easier if I could blow things up." Complain complain. "But she does have a smile on her face,"Something wrong with Professor Grey?"<br />
<br />
"Shit I told you mate! Sorry, sorry--" Aw and then Scott's looking at them. Stanton just... grimaces a lot, even though his pocket is smoking. And so is Luke's. "Sorry. 'S all right sir. I mean. I think. I mean Luke's pissy not unconscious, right? So it's fine. Right?" He jerks his slagged headphones up out of the rubble and wings them overhand into the closest bin. "Everything's. Fine." And. Now he is also completely red in the face. "...shit," he mumbles, and ducks his head and goes back to just yanking up obvious trash and flinging it binwards. "The fuck do I even say, I got flash photog space tourettes? Sorry." He obviously, /obviously/, has no idea anything is going on outside his immediate vicinity. Because now he doesn't even have a /soundtrack/ anymore. His life is so incredibly difficult.<br />
<br />
"There's -- pretty much never a time I /don't/ got sugar on me," Jax explains with a crooked smile, reaching into his pocket for a bar of dark chocolate with candied ginger, "'specially for working, what I do burns glucose like a --" Like a omfggiantant? His eye shoots open wide, and the candy bar falls from his hand to the tunnel floor with a sad thwap. "Ohmygosh," he is lifting that hand towards the ants kind of /defensively/, "I swear I didn't let Ivan bring no fire ants back up here." His other hand rests against the wall, as if to steady himself.<br />
<br />
Past Hank in the tunnel, there is a blossoming of light; it's faint and faintly glowy. A shimmering ripple of something translucent that glimmers with prismatic colours; it looks ephemeral-delicate, somewhat like a soap bubble spread wide across the tunnel between them and the ants. It /feels/ a /whole/ lot more solid, though, a sturdy-hard /barrier/, warm to the touch and firmer by far than the hard walls around them.<br />
<br />
"Zum Teufel!!" Kurt all but shouts at the sight of the ants when they come around the corner. His tail sticks straight up as if in shock, and immediately the elf reaches out to grab handfuls of both Hank and Jax's clothing. "I think this is my cue! All aboard the Nightcrawler Express, please to keep all hands and feet inside the ride--"<br />
<br />
The sound of the BAMF rattles the tunnel as the trio leave, filling that small section with sulfuric smoke.<br />
<br />
Back on the surface, there's just the slightest change in air pressure to herald the arrival of the three 'missing' teachers. Then there's the muffled-loud sound of air rushing out of the way, a BAMF! as always accompanied by the brimstone and the smoke. Hank, Kurt and Jackson appear in the midst of the smoke as it manifests on the roof of the van, a few inches above the vehicle. Gravity takes over a second later, causing them to fall to the van's roof with a sound of strained shocks, and for his part Nightcrawler /keeps/ falling, his knees having gone out from under him the second his feet hit the 'ground'. Half of him is trying to go limp with exhaustion and the other half is scrabbling, trying not to fall off of the van entirely. The rest of his sentence comes out weak and fragile-sounding. "--at all times..."<br />
<br />
In the instant before the trio BAMFs out, the three see the giant ant plow right up against Jackson's shield wall. It shakes its head and then /peers/ at the master of light, locking eyes, a terrible, primitive intelligence lurking behind the black, faceted domes - filled with hate. And then - they're out. <br />
<br />
Outside again, everyone sees the noisy and elaborate appearance of three very earnest professors. In the excitement, Jean seems to have mustered the control to contact Aloke as well, because he shows up in a much softer flash of light. Even Scott seems to know what's going on, because his attention has snapped around to scanning the rubble field, while Aloke and Jean put on their best Everything Is Fine faces. <br />
<br />
"Ok, kids, everyone back in the van..." "Come back to vans please, yes, right now. On the double please!" <br />
<br />
Hank scoops up the other member of their blue man group, and grabs the edge of the van. Kurt over his shoulder, he drops off the side, and yanks open the passenger door. It'll close again, but that handle is gonna need some work. <br />
<br />
And then the need for calm pretense evaporates as another, previously clean section of street crumbles away, and out comes the two enormous ants, looking much bigger than they did down in the tunnels. They're still only 2 meters wide at the body, but with legs all the way out, they're closer to 3 meters high, and the leg width is quite broad. They have popped out right near where Peter and Shane and Sebastian have so helpfully cleared some of the largest pieces that could have conceivably been somewhat inconvenient for the giant insects. Thanks, guys! They rear up at the closest boys, clacking their huge mandibles at them. The saliva that drips from them /sizzles/ when it hits the pavement.<br />
<br />
There's a moment before the ants emerge where Shane stops; it might be Peter, it might be the way his head cocks and nose twitches slightly. But when those ants come bursting out he's --<br />
<br />
-- Still not ready for them ohmygosh how do you be ready for ENORMOUS MONSTER FIRE ANTS that was not on the agenda for this fieldtrip. "Embleer fucking Frith." Shane /hurls/ the chunk of concrete towards the THINGS that are coming up from the tunnels at them, a reflexive throw more than a well-thought-out one, more power than aim to it. "Whatinthefuck oh my fucking --" Also reflexive is his /grab/, reaching out for Bastian and Peter's wrists to try and /yank/ them back away. "WherethefuckisIvan." His words are kind of hitchy, catching unevenly as his gills flutter.<br />
<br />
Bastian has been peering over at the recently-arrived teachers. For this reason he is /not/ looking towards the hole when the ants appear; his nose twitches, brow creasing at the unfamiliar smell. It's Shane's exclamations and the grab at his wrist that turns his head towards them. He doesn't say anything, no echoes of his brothers startled cursing. Just HUGE wide eyes and tensed muscles, claws lengthening as his sharp teeth bare. Hsss.<br />
<br />
Less impressive hsss. He is not three meters tall; he's not even /half/ that. Also he is not leaking acid onto the ground. And yet. Still. /hsss/.<br />
<br />
"Is there an exposed power-line over there?" Peter asks, a /little/ worried, before glancing at Kitty. Did her hand just...? Naw, he's just seeing things. "Sorry, uh," he mentions, face tinting toward violet. "I just, powers interest me? I guess that's creepy I mean I don't mean to uh like--" Peter blinks as he notices the BAMFing, followed by the sudden tenseness of the teachers, and people calling them back to the vans, and--huh?<br />
<br />
Then, quite suddenly, Peter's whole body /snaps/ rigid, eyes popping open wide. "Ohcrap." DANGER, DANGER. A prickly /explosion/ of spikes in the back of his head. Right before -- rumbling, ANTS -- Peter's already taken two steps back before they're TEARING through the ground, and then his wrist is snatched and he's yanked further away.<br />
<br />
"Others -- get -- them--" THWP. Peter's free hand fires a silver-greyish cord out toward that pile of rocks, seizing hold of one the size of a watermelon. His entire body /twists/, whipping it off the pile and /snapping/ it toward one of the ant's heads, releasing the cord and letting it fly.<br />
<br />
Bobby's blanches now at the series of events unfolding before him, mouth hanging open agape. He was suspicious before, but when he catches on to the fact that all the adults seem to know what's up, and then the appearance of these monstrosities, he is not very inclined to cooperate with the intitiative to merely GET IN THE CAR. He gives Jean a squint of daggers like she'd somehow betrayed him, and turns on his boot-heel to thunder forward at the ants. <br />
<br />
On his next step a large, high jut of ice comes up to lift him into the air like a rocket, his feet running in the air as he gets his hang-time. His hands face forward start to create a slide that is crumbling as much underneath him as it is building, sending him sliding down and forward in a practiced skate. Like a high-speed skater doing a complete loop around an inner tube, or a roller coaster, he careens and tosses focused fields of ice at one of the large legs of the other ant-<br />
<br />
- but on the slow turn around the back of the creature, it snatches him out of the air with its mandible, his legs flailing. He barely has time to think about doing anything except protecting his precious organs...a layer of ice forming around his middle and quickly growing and being crushed at the same rate as he shouts aloud, legs kicking as he's held aloft. "Whooa! Ohhh!"<br />
<br />
"Oh, man, I /saw/ this movie --" Kitty's internal censor is apparently turned off by the shock, since that phrase actually comes out of her mouth. She darts for Lucas and Stanton, the two newest arrivals, reaching for each of them with one hand. Given the general chaos, it's reasonably possible to overlook that she's not bothering to scramble /over/ debris between them.<br />
<br />
Kris was surprised when teachers appeared and kinda collapsed. And then even more surprised when ordered back to the van. But then there's Bobby, being held. By a giant ant. She goes charging at the ant that has Bobby, her frame shaking, throat making choking sounds. Then? Then there's THAT phrase that rips from her mouth,"ALLAHU AKBAR!" A very large, somewhat heavy-looking razor sharp machete appears in her hand.<br />
<br />
She darts past the first and and stutters to a stop at the ant now shaking Bobby. Several vicious slashes only make loud clanging noises. *CLANG, CLANG, CLANG* That machete is doing... well, nothing at all to the ant's hard exoskeleton. Her vision practically fills with red, though, when she leaves its face alone, and her machete finds the joint of one of its uniced legs. *schluck* And then there's a lot of nonsense she's shouting. Girl is flipping out.<br />
<br />
--so Kitty is being a rescuing rescuer (not the mouse kind) and that would work /awesome/ except that already-on-edge Perry Stanton is *in the process of freaking out* when she grabs him and Lucas, and the ant is /right there/ in front of them, and Stanton's wondering who's yelling even though it's him, and suddenly it's like 1.21 jiggawatts all up in everything, the kind of thing that gets a splash page with only outlines of people in it and a KRAKA-THOOOOM.<br />
<br />
And as Lucas is in close proximity to Stanton, well. Bad things will happen. Of course, as Kitty is beginning to phase over to grab him and Stant both. In the meantime, the newest ZAAAAAAAAAAP of electricity is sending Lucas haywire, and he's cursing up a storm in many different ways - mostly involving the word 'fuck' and 'damn.' This is also causing his own powers to go haywire... and as he phases when Kitty touches him, well. His flailing arm is likely to pass through some portion of the ant's anatomy - and that is... well, just because Kitty is using her power doesn't negate Luke's. That ant is likely catching fire where-ever his arm is flailing through it.<br />
<br />
Jackson is reaching to steady Kurt as they thud down onto the roof, but when Hank takes the fuzzy blue elf, he drops into a crouch and then slides down off the side of the van and back onto the ground. Just in time for that blast of electricity; he is thankfully /not/ close to Stanton, but it still freezes him a moment, jaw clenching with the brief twinge of shock. It leaves his blue hair a frizzy mess afterwards. "Ku --" He glances at the van, and reconsiders, "-- Aloke, y'gotta get those kids out of there they're -- kinda losing it."<br />
<br />
Around him, the air glows; just a faint well of light as he strides closer to the others. There is that same soapbubble shimmer as his jaw clenches, expression focusing; one around the head and thorax of each of the ants, blocking off those mandibles, that acid, blossoming into place above where Kris's machete strikes and Lucas's arm flails. The shields /push/ back, shoving back at the ants. "-- Peter. Shane. Bastian. Out. Get your friends back to the van. Kris, listen to me. You need to step back." His tone is -- kiiind of strained. But it's even, enough.<br />
<br />
Kurt almost startles back to full consciousness as the ant comes crawling out of the tunnels. He reacts slowly, struggling a little in Hank's grasp until he can get his feet under him and crawl back onto the roof of the van. "Raus, raus!" He shouts at the children, in German, before realizing they might not really understand what he's trying to say, and the ant has Bobby in its mandibles /anyway/. Time for emergency action. Even as his fur starts to stand on end from Stanton's discharge, Kurt bamfs.<br />
<br />
He reappears on the head of the ant, clinging desperately while his tail flails back and forth trying to find his balance. "Bobby, Bobby hold on." He reaches out to take a grip in Bobby's shirt with both big hands, and scrunches his eyes shut, pulling himself and Iceman back through the dimensional portal into the brimstone. The soap-bubble Jackson put around that ant's head fills with indigo smoke.<br />
<br />
When the pair reappear, it becomes clear that Kurt has drug the ant's /head/ with him. They crash to the ground a few yards away from the van, and Nightcrawler gives a little cry of something that's like pain, vanishing a second time and dragging Bobby with him. Poor Iceman.<br />
<br />
Now they manifest even further down the street, away from the ants and the fight. There's no control in their speed or direction; Kurt is ragdoll limp as he falls out of his own bamfcloud, skidding along the road like a stone on a lake surface. He ends up a tangle of blue limbs, motionless.<br />
<br />
Jean is frantically running around, dragging students who have not been named in previous poses during this scene. Dragging them back to the van by hand and by telekinesis where needed. Once the students nearest her have been corralled to the van, she moves to put herself between the ants and the van. "Lets go!" she shouts. <br />
<br />
Aloke is a flash of light, and almost seems to be in two places at once thanks to the afterimages. But he appears next to Kris as she's hacking away the GIANT ANT. "Oh no you don't!" Then he hooks an arm around her shoulders and they flicker away, back into one of the vans. <br />
<br />
"Get back, GET BACK!" Scott is screaming at the students to get out of his way. Sure the ants are huge, but there's no way he's opening up on these things while the kids are anywhere near. <br />
<br />
And then Bobby. "Goddamnit Bobby!" Scott is winding up to finally take a shot. Either he does, or a student gets bitten in /half/. Time to swing for the fences. Scott dials his beam about half up, and then Kurt is there and gone with Bobby. Grinning, he turns the dial the rest of the way, focuses on the lower abdomen and then just watches as the headless creature tumbles to the ground near Kitty, Stanton and Lucas. Scott reaches to try and help them up but his hand passes right through. "C'mon! We have to go!"<br />
<br />
The one in perfect working order on the other hand is charging Peter, Shane and Sebastian when /PWANG/ the enormous chunk of concrete Peter flung at it makes contact, right in the head. Then Jax's bubble pops into being and it tries to shake get free of that too. The thing stumbles, dazed and shaking its head more, when it shivers - floating off the ground a little, legs all willy-nilly, clacking against each other as they waggle, and scrabble at the ground. "~NO~" it screams in frustration, the terrible noise reverberating inside the bubble like a deep sea helmet. Glancing back will reveal a fiercely focused Jean Gray. "GET. IN. THE VANS." No more asking nice, apparently. Her voice can be heard with ears and brains and doesn't come off as particularly ambiguous. Time to go! <br />
<br />
Scowling at anyone dawdling, Hank sprints the distance to Kurt and Bobby, alternating between all fours and two legs, like a cross between a wolf and an ape. He skids to a halt by the two, slings one over each shoulder, and trundles back to the vans, barely slowed down. "Start the engines!"<br />
<br />
"{Thinkit'stimetogo,}" Shane's rush of Vietnamese is quick and frantic and he is still /dragging/ at Peter and Sebastian. TUG. Tugtug. "Kitty make the NewGuys come the fuck /on/." He has apparently not quite bothered yet to learn Lucas and Stanton's names. He only pauses a brief moment to look at them before continuing his campaign of TUG. Tugtugtug it is GO TIME.<br />
<br />
"Come on." Look, there's Bastian's helpful English translation, in case the tugging was not translation enough for Peter. He's good with fleeing from crazy monsterants. ZOOM. He will flee like the freaking wind.<br />
<br />
Bobby's got to be uncomfortable to hold. He is basically half-ice-guy right now, freezing to the touch, a shiny white-grey-blue with a hint of red bubbling out and staining the ice around his middle. Poor jobbin' kiddo.<br />
<br />
Peter does not need to be told 'Time To Go' more than once. Actually, he does not need to be told 'go' /even/ once. The instant there are shields around the heads of those ants, he is /charging/ forward. With Shane and Sebastian. Actually, if the two of them aren't able to keep up with Peter, Peter will promptly heave /them/ up and /carry/ them like little bite-sized shark packages, just booking it fast and low. "GO GO GO GO!" he's hollering at Stanton, Lucas, and Kitty. And if they aren't going -- well, Peter's just going to /throw/ the sharks ahead of him and move to sweep the three of /them/ up. It probably won't be pretty, but. Peter's /strong/.<br />
<br />
... given the strangled noise Kitty made at that zap of Stanton's, it's a pretty good bet that hurt. She hasn't let go, though. Breathe in, out, in, be sure lungs are still /functioning/, and then she's tightening her hold on the two boys. "Come on! Move! /This/ way! -- don't freak out." Because that last part will help, right? But she's pushing them to turn, to get them moving *toward* the vans -- not in whatever random direction they may have been facing, especially not if that direction involves a /burning ant corpse/ at the moment. And keeping them intangible means that they're not actually slowed down by the irregular surface, the piles of rubble, the /new/ piles of rubble... thataway. Yes. As Peter said, go go go, and Kitty only voluntarily lets go of the other two when it's time for them to need to get *into* a van.<br />
<br />
... of course, that's when she finds out her hand still swipes through the door. Problematic. But not quite insuperable; she manages to flail her way up into the van and shove herself toward a seat. That someone else is /in/ that seat, uh, actually kinda helps.<br />
<br />
Everything about Luke's hair is standing starkly on end at this point once they phase back into existance by the van. He's slightly toasty, to say the least - from the electrical charge. Coughing and spurting as he moves to open the door and clammer in, he pretty much falls in and just lays on the floor. "My everything hurts," he coughs out, groaning a little bit. "God... damn it... Perry." Lucas has probably sworn more in the first two days in New York and New Jersey than he probably //ever did// back home.<br />
<br />
Kris is not the most coherent she's ever been when someone flickers in and then teleports her back to the van. She re-materializes thrashing and shouting incoherently for a moment... Then she suddenly jerks her limbs, drops her machete, sticks her head out of the van, and proceeds to lose her lunch. Adrenaline does funny things. Then she's rolling back up, and reaching for her weapon as it transfigures into some sort of rifle... She stops just sort of grabbing it, and leaves it on the floor. At least the safety is on. After a brief moment of consideration she reaches down to grab it and hold it out to the nearest adult,"Hold on to this for me? My hands are shaking. I shouldn't have it right now." Then she just sort of goes all boneless in her seat. "Is everyone okay?"<br />
<br />
Ohgodohgodohgod yeah so Kitty pulling him and Lucas along is the best thing ever for Stanton; at the moment he has no freaking idea what the hell is going on, but there is a hand in his that is pulling him along, and he's not stumbling over anything, and this is all /extremely confusing/ and /uncomfortable/ and he's dizzy and tired and his head hurts and there's all this /noise/ and--<br />
<br />
--and even as Kitty's hurling him toward the van door and letting go, Perry Stanton is wishing he hadn't fried his phone, because if he could /sample/ this stuff? It would be stratospherically cool. He's just holding his head as he falls back into a van seat, squished close to bleeding cool Bobby, and he mumbles, "Why was it smart."<br />
<br />
Jackson waits long enough for the children to finish making their hectic way back to the van. He's kind of /paler/ than he was when they started, and around him the air still glows as he -- does quick headcount, calls out to van #2: "Everybody's in!" and gets in /himself/.<br />
<br />
Just in time to be faced with rifle. "Uh --" is his very eloquent response to rifle. He takes it kind of gingerly, pointing it downwards towards the floor and -- immediately passing it off to Aloke. Here, Aloke, HAVE A RIFLE. "Don't point this at anyone," is his sage advice. Because /he/ is /driving this van/ the heck away from horrorants, and that is harder to do while wielding a rifle.<br />
<br />
At least, /definitely/ harder to do if you don't want to get pulled over by cops. One last glance to make sure the other van is /also/ closed up. Behind them, the shield vanishes from the burning ant that still /has/ its head. The van starts. Jax is still pretty glowy as he starts to drive them away.<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=ArchivedLogs:Treehouse_of_Terror&diff=25960ArchivedLogs:Treehouse of Terror2024-03-25T20:01:51Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Sophie]], [[Lucas Martin]], [[Hank]]<br />
| summary = Xavier's gets a new student; Sophie didn't get the memo.<br />
| gamedate = 2013-05-28<br />
| gamedatename = <br />
| subtitle = <br />
| location = <XS> [[Treehouse]]<br />
| categories = Xavier's, XS Treehouse, Mutants, Sophie, Lucas Martin, Hank<br />
| log = In midafternoon on a gray and mildly drizzly day, the treehouse isn't generally all that well-populated. IN FACT, the only person up here right now is Sophie, who has brought up a pillow to sit on and is currently working on knitting a scarf. There's a rainbow-colored umbrella sittin by the treehouse door, dripping water, and Sophie herself is dressed in a pair of jeans and an olive green T-shirt, the word 'BROOKLYN' emblazoned across the chest with a picture of a nest and two green parrots on top of it. A similarly olive green hoodie is folded nearby, next to a pair of Chuck Taylor sneakers in a purple, galactic print fabric. She is knitting very intently!!<br />
<br />
The bag had been dropped off in his room. There was no sign of his roommate... So what would Lucas Martin do? Take off onto the grounds. He had noticed this thing - this treehouse - as he had come onto the grounds. Little did he expect to actually //find someone// when he got to it. So, when he first opens the door to peer inside, he pauses when he first sees movement... before peeking further in. "Uh... hello?" The southern twang in Lucas' voice is very... thick. To say the least. "Y'busy?" he asks, head poking through the entranceway, eyes turned on Sophie.<br />
<br />
"No, I'm--" Sophie looks up from her knitting, a faint smile on her face, but it falls almost instantly when she sees Lucas. "--eek!" She tenses immediately, her knitting needles falling to the floor with the barely audible sound of wood on wood, and she straightens up a bit. Gulping, she looks over at her hoodie, not all that stealthy about it, and very, very slowly starts to sliink towards the garment. "No... I'm... just killing time..." Oh, yeah, that sounds entirely natural. Something, apparently, has gotten the girl almost terrified. Maybe she saw Deliverance too early in life.<br />
<br />
That was the fastest Lucas had ever seen anyone - girl, man, boy, woman... lose a smile. "Ah... huh." Pushing the door on open and moving to climb completely into the treehouse, he presents himself fully! He's decked out in a pair of jeans and a Carhartt t-shirt, solid green - no logo or anything. "... Uh, m'name's Lucas," he comments quietly, reaching up to run his hand over the back of his neck. "... I was just... you know. Checking this out. It looked pretty neat."<br />
<br />
Sophie is up in the treehouse with Lucas, who has just arrived both to the treehouse and to the school. She had been sitting in a corner knitting, but her knitting has been discarded mid-row and is shoved aside, while the ginger tries very hard to hastily dig through her hoodie and pull out a cell phone. "Oh, um, that's.. cool," she says in response to the southern boy, meanwhile she's pulling her phone open and texting the first teacher whose name comes up on her contact list; Hank will receive a message that reads simply, {Treehouse stranger help}. At least she didn't hit the panic button? That said, once the message is sent she sets the phone aside /so very subtly/ and just sort of. Sits there. Trying to look completely casual. "That's. Cool," she repeats, possibly not realizing she's repeating herself.<br />
<br />
"Uhm... Yeah!" Laughing a little strained, Lucas clears his throat. He begins to lower his hand from the back of his neck, then, realizing how awkward it was he was doing that. "Uhm... it's nice to meet you?" He begins to take a step forward, offering out his hand politely... seemingly harmless gesture, right? His power's in check - right now. No chance of burning the poor girl. "I'm Lucas. Lucas Martin... I hail from the Great State of Alabama," he comments softly, trying to sound less and less awkward. "Just... uhm... got..." The word 'sent' sounds kind of awkward. He wasn't so much 'sent' here as he was granted the opportunity to advance himself academically and mutation-wise! That was Doctor McCoy's promise, sort of. Right? When he talked to his parents. "I just got asked to come here to enroll for the summer term."<br />
<br />
ALARMS. More than anything right now, there are ALARMS. It's loud, its crazy, the sounds of doors, windows and shutters slamming closed can be heard all over campus. And then, bursting from the roof-access door, is big blue Dr. McCoy. He lopes across the roof and bounds into the treehouse, shaking it when he lands inside, ready to escort the two inside. "Lucas, Sophie, come inside now! Where did you see the intruder?" He's panting, and out of breath, eyes wide, and just on as full alert as the house seems to be.<br />
<br />
In hindsight Sophie probably should have expected this big reaction, though when it actually ''happens'' she almost jumps out of her skin. Those alarms are LOUD. When they start up, she gathers her things together, pulling her shoes on haphazardly and-- well, she hadn't really listened to what Lucas said. She was really just anticipating Hank showing up and checking things out, but this works too. And once the Beast does storm into the treehouse, she's up on her feet, running over to stand a bit behind him and off to his side, pointing at Lucas. "There!" And, after a moment of realization, "Who's Lucas?" And after further reflection. "...please don't tell me..."<br />
<br />
"--what just hap--"<br />
<br />
WHAM.<br />
<br />
Oh sweet Jesus what. The alarms going off were enough. The Beast landing on and then jumping down into the treehouse was even worse. Lucas looks like he could be //shot// when Hank shows up. "Doctor McCoy, what is going o--"<br />
<br />
The confusion on his face is ridiculously extreme as he watches Sophie scrambling, and his jaw drops open when she points at him. Then, stuttering. Then... probably the unexpected: "What the //Hell// did I do?!" Okay, it's probably //not// quite like Lucas to curse. He's an intelligent young southern gentleman. But what the //hell.//<br />
<br />
Hank McCoy, international beast of mystery, has dealt with more than a few hostile, tricksy mutants in his day. He narrows his eyes at Lucas, putting one protective hand behind him, on Sophie's shoulder. "Lucas," he shouts with such command, it can be heard even through mad sound of alarms. "What is your mother's middle name?" Hank knows how to deal with shapeshifters, by god!<br />
<br />
"''Oh my god''," Sophie just... sort of shrinks behind Beast. It's probable that that little comment isn't heard over the alarms, but she does start to tug on Beast's arm, gently. Meanwhile her face is turning bright red and she's biting her lower lip, staring at the floor while questions fly. "Dr. McCoy..." She mumbles, at first, but eventually repeats it a bit louder. "...Dr. McCoy I think I might have made a mistake."<br />
<br />
"--wh-"<br />
<br />
Blinking, Lucas looks... dumbfounded, quite suddenly, despite the fury. He just kind of stares at Hank for a moment, but despite the anger... he is compelled to answer. "It's Anne," he replies, staring. "Martha Anne Martin. Doctor McCoy... what is going on?!" he asks, now more confused than anything. His eyes cut between him, then Sophie, who gets a mixture of confusion and anger...<br />
<br />
This will be something to write home to the family about. Dear Mom and Dad, guess what! I managed to get the school put on lockdown fifteen minutes within stepping onto the campus. Hope you're well. Love and Kisses, Lucas<br />
<br />
Hank's eyes widen a little bit, and the rest of his face relaxes. He already gets that Lucas will know the next answer, but he has to ask. He straightens up, totally non-threatening stance. One hand reaches into his pocket and the alarms shut off. The doors and windows aren't unlocking, but blissful quiet settles over the treehouse. Funnily enough though, his other hand does /not/ leave Sophie's shoulder. It stays. Nice and firm. "And the labrador's name when you were 7?"<br />
<br />
"... Doctor McCoy... I never have //owned// a dog. My dad's allergic to dander," Lucas remarks quietly, eyes squinting slightly. The silence spreads out after he answers the question, and he just kind of //stares// at Sophie and Beast... torn between anger, confusion, and some other unidentifiable form of emotion that he's not quite sure //what// it is. "What. Just. Happened?" he asks slowly.<br />
<br />
Sophie just. Continues chewing on her lip for a minute, finding it very, very difficult to actually look at Lucas right now. Finally, though, she finally manages to just whisper, "I am ''so'' sorry." She's still holding Beast's arm, though not so much the tugging anymore; more gripping for support than anything. "I am so, so sorry," she adds. It actually looks like she's almost ready to start crying, but she's holding it in like a champ. "I just... I thought... I'm sorry."<br />
<br />
"Ok," Hank says. "Lets all just sit down for a second, ok?" He directs Sophie to move back into the treehouse, and then sits himself down, legs folded under, effectively blocking the exit with his mass. He reaches into his lab coat pocket this time, and the doors and windows below can be heard unlocking and sliding back open again. "I think I understand what happened here." Hank heaves another sigh, and forges ahead. <br />
<br />
"Lucas, just last week we had a number of students returned to us who had been kidnapped while they were in the city. Ever since they went missing, the faculty here have been on high alert. The good news is your school is very committed to your safety and well-being." Hank looks like he knows Lucas is owed an apology, but it's not owed by Hank. He glances to Sophie, to Lucas again, and then continues. <br />
<br />
"Lucas, your new friend here, and I promise you, she is well worth having as a friend, acted out of concern for all of her fellow classmates, by reporting an intruder to me. Unfortunately, she didn't realize that you, Lucas, were newly among those classmates, and not actually an intruder. So you can see how her /intentions/ were good. Myself, and the faculty, would even encourage this kind of diligence. But I can also see how it could make things awkward for the two of you." Hank reaches up to remove his spectacles and then remembers he isn't wearing them. He probably forgot, running out so fast. Instead he runs a hand over his face, briefly rubbing at his temples. <br />
<br />
"Lucas, I understand completely. I'm sure you're feeling hurt, upset. And with good reason. But I have a suggestion for both of you. As of right now, no one on campus knows /why/ I triggered the lockdown. I suggest A) Sophie apologizes, even though her actions were well-intended. B) Lucas accepts that apology on good faith, even though he's within his rights not to. And C) The three of us never mention this to any of the students. I'm sorry, I /do/ have to inform the faculty."<br />
<br />
Having sat down next to Hank at his direction to do so, Sophie just sort of buries her face in her hands while he's explaining what probably happened. She's also quietly nodding at everything he says; yeah, that's pretty much exactly what happened. When he's finished with the mini-lecture, she does gradually manage to lift her head to look at Lucas, and just... nods again. Her face is a bit moist, and she wipes at her eyes a little. "I really-- like I said, I really am /so/ sorry, I just... like Dr. McCoy said I've been... kind of freaked out since. Since all that happened." She bites her lip, sniffling. "And I'd never seen you before, and I... couldn't think of what else to do."<br />
<br />
Forming a bit of a mini-circle as he's directed to sit down, Lucas sits across from Hank, and kind of halfway-beside Sophie, but not close at all. No. God no. Once he settles, though, he lets his expression calm further and he listens to what is explained... And once Hank finishes, his quiet gaze turns toward Sophie. Seeing her tear-streaked face and everything else... he just kind of dies a little bit on the inside, and his face sinks down. He slowly begins to shake his head, and after a few moments, he raises both hands lightly into the air. "It's all right... Sophie, right?" He pauses, looking toward Hank for a moment... before looking back to Sophie.<br />
<br />
"Mistakes happen," he remarks lightly, "and.. well. We make mistakes still," he comments, a small smile coming to his face. He glances toward Hank, then. "I guess I could look at it as a 'it could be worse' kind of situation." His hands have since fallen into his lap, and he looks back to Sophie. "I'm cool," he offers her quietly, and he begins to scoot over to sit up enough on his knees to offer her his hand.<br />
<br />
"Let's try again. Hi. I'm Lucas," he remarks to her, beginning to smile.<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Polite_Treatment&diff=25958Logs:Polite Treatment2024-03-25T00:06:14Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Harm]], [[Naomi]]<br />
| summary = "''Polite'' is treating someone like a person because they're a ''person'', not because it makes their child happy."<br />
| gamedate = 2023-08-05<br />
| gamedatename = <br />
| subtitle = <br />
| location = <PRV> Guest Room, Tessier Residence - Greenwich Village <br />
| categories = Harm, Naomi, Kavalam, Mutants, Private Residence, Xavier's<br />
| log =<br />
When the door to the guest room shuts behind them, Naomi's shoulders slump, relieved, at having made it through the interpersonal minefield of the rest of the house. Normally (or rather, yesterday, the first day of her extremely short term occupancy in this room) Naomi has been eager for the company of a Tony-Award-winning actor, an assortment of school friends, and/or her French teacher. But right now, flopping onto the bed with a groan, maybe more company is the last thing she needs. <br />
<br />
"I ain't got a ''clue''," Naomi says, muffled, into the bedspread, "if your pa ''likes'' me or not." She sits up to shed her top -- a light green ruffled number with three-quarter sleeves and beading around the bust. She's dressed in all black underneath, a skintight tank top tucked into dark straight jeans, ankle socks that have seen better days. Naomi bundles the top into a ball and chucks it towards her backpack in one corner. "...and I feel like I oughta take Monsieur Tessier's other class to understand your mom enough to even ''guess'' if she likes me."<br />
<br />
Harm is looking possibly more harrowed than they upon being rescued from Lassiter. Then again, they'd had quite a while to recover before being reunited with Naomi, where the latest trauma is only a subway ride behind them. They're dressed in a lightweight linen tunic in pale lilac and wrap pants of the same linen in brown, a black sling bag over one shoulder with a hand-embroidered star of life patch. "I'm ''so'' sorry. I thought I had prepared you, but I underestimated them." They flop down beside Naomi, though face up instead. "Mom ''definitely'' likes you but kind of the way she likes dragons and fairies? Dad..." They cover their face with both hands, muffling a quiet groan. "I'm not sure, either. Best case scenario, he's hoping you'll turn me into a straight boy, or maybe teach me the importance of making music that sells?"<br />
<br />
"M'not a dragon," Naomi grumbles, "I sure ain't a ''rapper'', an' I ''definitely'' ain't gonna magic ''you'' into some kinda straight person." Her brief excursion in sitting up is over -- Naomi falls down onto the bed again, legs hanging over the side to stare at the ceiling. "I think you did great prep, considerin' I never met them -- if one of 'em likes me, I think? That's a win? Just seems like ''they'' never met a --" Naomi pauses, thinks, and continues more simply, "-- someone like me before."<br />
<br />
"They've ''definitely'' never met anyone like you before." Harm turns and studies their girlfriend. "I mean, ''I'd'' never met anyone like you before I met you. And there really aren't a lot of mutants where they've lived." They chew on their lower lip. "Or Black people. I don't really know what counts as a win, but I think they're ''trying''. They want me to be happy and, I'm happy with you, so." They roll onto their side and press their cheek against Naomi's shoulder. "They're just gonna have to deal with their...stuff."<br />
<br />
"You met, like, ''Marinov'' before me, though," Naomi deflects, "and Lael, and -- yknow. Other monsters." Harm's cheek presses up against the transition between skin and scales, the line of scales that have been growing down the back of Naomi's arm still patchy and uneven where it begins to divide her arm into dorsal and ventral sides. "I shouldn't be complaining -- they sure are trying and that ain't nothing." Naomi lets out one last frustrated raspberry before tilting her head and pressing a small kiss to Harm's forehead. "I'm real glad," is a little softer and only a touch wistful, "they want you to be happy. I'm glad they was willing to meet me."<br />
<br />
"Why shouldn't you complain, though?" Harm mooshes their face against Naomi's shoulder in a very slow nuzzle. "I don't mean...I know why you wouldn't complain ''to'' them, but I want to know. If they treated you bad in a way I didn't even realize." Their fingertips gently trace the line of new scales down Naomi's arm, and the minor irritation from their growth eases away, the blisters receding within seconds to tender but healthy skin. "''I'' don't want to treat you bad and not realize."<br />
<br />
"...Ain't polite, not while they still adjusting," Naomi mumbles against Harm's skin, "and -- my folks, they'd be -- they --" Naomi's lips pull hard to one side of her face, little though Harm can see it. "You don't treat me bad," she says instead, shivering ever so slightly under Harm's trailing fingertips. "And I'd tell you off about it, if you did." Naomi rolls onto her side, rests her scaled forehead against Harm's. "You don't know how much your trust means t'me, after -- everything. I ain't gonna waste that."<br />
<br />
"''Polite'' is treating someone like a person because they're a ''person'', not because it makes their child happy." Harm traces their fingers down Naomi's other arm now, even though they have plenty of skin contact and do not need more to soothe the irritated scales on that side. "I should have told ''them'' off. You're usually so bold about being who you are." They pull back a little so they can look Naomi in the eyes. "I ''love'' that about you, and I don't want you to have to make yourself small. Not for me, not for ''anyone.''"<br />
<br />
"Polite ain't the same as respectful." Naomi reaches out when Harm pulls back, her hand landing gently at Harm's waist. "I ain't making myself ''small'', I just -- it's different out here. It's different when it's ''your'' parents. I love you, you love them, I'd like if they liked me someday and they ain't ever gonna look past what I look like if first thing I'm telling 'em off." Her fingers curl, tugging Harm close again. "I love you," she says again, softer. "You don't gotta tell ''them'' off for me, but I love that you want to."<br />
<br />
"You're probably right," Harm murmurs. "I'm sorry I don't really get it either. But I ''want''. If I can work up the nerve to tell them off, I'll make sure they don't blame you." Their breath catches at the curl of Naomi's fingers. Though the tug was not that hard, they roll her onto her back and themself on top, leaning down to kiss her lips. "I love you." They press another kiss to the scales on her cheek, then to her neck. Suddenly snickers, kind of muffled in the crook of her shoulder. "You wanna do some artwork?"<br />
<br />
"--love you," Naomi tries to say, cut off by suddenly being on her back, the sudden press of lips to hers. Her other hand goes to Harm's hip, then cautiously drops to the edge of their tunic, pushing it up until her hand is resting on bare skin. Snorts, even as her breathing gets shorter -- "I ain't no artist, ionno where to-- ''how'' to--." There's a little bit of nervousness in her voice where there wasn't any before. "--want to," Naomi whispers, tilting her head to kiss Harm again, long and slow.<br />
<br />
''Bap''. From somewhere across the room, a pillow -- soft, round, shaped like a plushy version of Captain America's iconic shield -- has been tossed to gently thwump into these incipient makeouts. Kavalam has not looked up from where he is tucked into the corner of the couch, ''very'' absorbed in a Switch with green and grey controllers. "Get a ''room''."<br />
<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Post_Hoc&diff=25957Logs:Post Hoc2024-03-25T00:05:56Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Jax]], [[Matt]], [[Ryan]], [[NPC-Elie|Other Mother]]<br />
| summary = "It's been ''such'' an ordeal!" (after [[Logs:Hallelujah|Luci's murder]])<br />
| gamedate = 2024-03-17<br />
| gamedatename = <br />
| subtitle = CN: references to sibling abuse and murder, gaslighting<br />
| location = Signal, chez Tessier<br />
| categories = Jax, Matt, Ryan, NPC-Elie, Mutants, Private Residence, Telecommunications<br />
| log = In the small hours of Sunday morning, a series--typed just a touch too slowly to be characterized as a ''flurry''--of Signal messages bombard Ryan's phone:<br />
<br />
*(Matt --> Ryan): what I do with a body<br />
*(Matt --> Ryan): *deceased<br />
*(Matt --> Ryan): normalement I ask Luci<br />
*(Matt --> Ryan): But I killed him<br />
*(Matt --> Ryan): je ne sais quoi faire tabarnak<br />
*(Ryan --> Matt): Are you high?<br />
*(Ryan --> Matt): I'm very high<br />
*(Ryan --> Matt): Jax says you're probably also high<br />
*(Jax --> Matt): Don't forget to drink water, sugar<br />
*(Matt --> Ryan): Oh yeah I'm very high<br />
*(Matt --> Ryan): but, he's very dead<br />
*(Matt --> Ryan): je m'en calisse de l'eau<br />
*(Matt --> Ryan): oh wait your not Jax<br />
*(Matt --> Jax): chu desole<br />
*(Matt --> Jax): fuck water I'm vodka<br />
*(Matt --> Jax): vodkas mostly water<br />
*(Jax --> Matt): What are you talking about<br />
*(Jax --> Matt): There's Narcan in his closet<br />
*(Matt --> Jax): not anymore<br />
*(Matt --> Jax): I didn't put it back<br />
<br />
---<br />
<br />
<PRV> Tessier Residence - Greenwich Village<br />
<br />
Understated opulence claims this spacious and well-kept townhome, the decor throughout the whole of it of the highest quality and carefully chosen. The front door opens onto the entrance hall, a closet close at hand to receive coats and shoes -- the pale hardwood floors gleam underfoot, unsullied by tracked-in mess from outside. The living room beyond the entrance is all dark woods and pale earth tones, comfortable couches and armchairs and a thick soft rug laid down beneath. Two large and painstakingly aquascaped aquariums flank the entrance to the dining room, with several brightly coloured species of fish within. Most of the rest of the wall space, notably, is taken up with shelves -- shelves crammed with books of every subject and genre.<br />
<br />
A study branching off of the main hall is cozy, small, done in pale blues and lined with books as well around the large computer desk and smaller futon, though these rarer books are cased behind glass. Another securely locked door leads to the basement, and another to the full bathroom downstairs. The kitchen connects to the living room; in contrast, it is sleek and modern and well-appointed, stocked by someone who takes their cooking seriously. And takes their alcohol equally seriously -- to one side of the kitchen there is a fully-stocked bar. The back door to the kitchen looks out on a small well-kept garden.<br />
<br />
There are a lot of flashing lights on Waverly Place tonight, but the ambulance, at least, is pulling away to unblock the narrow street, escorted by a pair of no doubt superfluous NYPD patrol cars, given they leave several more behind. The Tessiers' door stands open, and there's probably a ''bit'' of dirt tracked-in tonight as well, between the heavy boots of EMS workers and the police and the matriarch's black stilettos. The remaining cops are clustered in the living room around said matriarch now, their hats off and their notebooks tucked away in various aspects of respectful sympathy.<br />
<br />
"Thank you ''ever'' so much, Officers." Elie is dabbing at her eyes with one of Lucien's embroidered handkerchiefs, the very picture of dignified bereavement. "He was usually the one to take care of such -- ''official'' business, you know. I'd have been lost without you, but I can handle the rest now. Please get home safe to ''your'' loved ones. Thank you again for your service, and God bless you all."<br />
<br />
Matt stands beside his mother, letting her cling to his arm as if she were the one who needs his steadiness and not the other way around. He's pale and disheveled, his hair half dried and half spiky damp, wearing a threadbare moss green tee adorned the graphic of a pale green snake whose coils may or may not spell the word "dangerous" in stylized cursive, its head reared up to menace an unwary songbird, and also threadbare black pajama pants. His smile is a bit tired and a bit vacant, but that seems understandable under the circumstances, as is setting aside his wonted volubility to let his even more loquacious mother charm the law enforcement.<br />
<br />
With the speed that they've made it over to Greenwich it would be a fair bet that Jax has broken ''several'' traffic laws -- but then, there are (probably) not particularly well defined regulations governing his current ride. Sugar is descending in a thrum of enormous wings and giving a long look through the window at the crowd of ~~prey~~ people visible in the living room. The careful shielding Jax has put up in flight (they don't -- yet -- make adaptive ''dragonfly'' saddles) are vanishing in a blink as they land, He is ''trying'' not to be too visibly impatient as he helps Ryan down, but the anxious impatience bleeds through all the same in the whispers of feeling coloring his low repetitive whispered ''r'fuah shlemah'' though this prayer is fading in a despairing flicker as he watches the ambulance pull away.<br />
<br />
He's making as much haste as they ''can'' to get inside, not bothering with his shoes either. It's hard to tell how put-together he ''really'' is, a heavy cloak of illusion wrapped around him, but he certainly ''looks'' the more presentable of the pair, vibrant hair improbably neat given his mode of travel, bold rainbow color-blocked denim jacket anachronistically cheerful for the occasion, black and red button-down beneath paired with neatly tailored jeans. "Oh --" and as they're entering the house his grief isn't fading but his anxious panic ''is''. "Ma'am, I'm -- so sorry," he's addressing Elie first and respectfully; the police officers get barely a look. He's hurrying over to throw fiercely warm arms around Matt, squeezing tight before letting go. "If there's -- anything we can do for y'all."<br />
<br />
Ryan comes along in Jax's wake -- he's considerably more disheveled, dark 5-o'clock (in the damn morning) shadow, hair a windswept mess, the faux-leather jacket he's thrown on over old dark purple shirt ('SOCIAL JUSTICE BARD' it reads and beneath that, 'rallying the revolution') and rainbow-pleated black kilt not particularly coordinated and a likely displeasure to his conscientious stylists. He's clumping his way in with a vaguely apologetic look down to his own shoes that fades -- into a ''distressed'' one -- at the mess already on the floor. "My condolences, Ms. Tessier." There's a gentle wash of comfort ''doggedly'' projected into his words. "Matt --" He's moving slowly over to kiss the shorter man light on the temple. "What ''happened''?"<br />
<br />
Elie, on the other hand, looks on the verge of weeping anew at the sight of the cavalry, her tears held back only by maternal tenacity and sheer force of poise. "Oh thank ''God'' you are here!" She relinquishes her grasp on her son's arm only reluctantly to make room for Jax's embrace. If her words don't ''feel'' as enthusiastic as her voice sounds -- well, the woman is in shock, isn't she? "It's been ''such'' an ordeal! Matthieu killed Lucien, you see, and then there were the medics and the police and -- ''do'' see to it he gets something to eat, won't you boys?" She offers a pair of air kisses to all three men collectively in lieu of a ''proper'' faire la bise for each. "Alas, I've paperwork yet to do and must away. Be strong, mon loulou!" And with that, she's sweeping out the door, shutting it against the waning hubbub outside.<br />
<br />
Matt leans into Jax, closing his eyes. He's cool to the touch--not ''just'' to Jax's--and smells powerfully of vodka. "Sorry darling, I ought to have updated you," he says sheepishly. There are tired, spent dregs of anger in his voice, but right now he's flatter than his usual emotional baseline. "As you see, Mother has matters well in hand." This with an air of fond exasperation as he tips a hand in the direction of Elie's retreating form. "I was just...coming down pretty hard and ill-advisedly getting sloshed about it. Gods, but I am not drunk enough for this." He's already wandering toward the kitchen, presumably to rectify his alleged excess of sobriety.<br />
<br />
"So anyway, it turns out Luci handed me over to Prometheus while I was in the hospital, and probably did the same with Mother." He sounds at once entirely sincere and not terribly bothered by this. ''Annoyed,'' certainly. Hurt, perhaps. "Though he swore up and down he ''just'' killed her, outright. Which seems also very believable, frankly." There is a mostly-empty liter bottle of Reyka on the island counter, but he doesn't go for it at once. "Can I get either of you anything?"<br />
<br />
"Oh -- of course we'll --" Jax's brow furrows as Elie sweeps out, and he's slow to pivot. His hand lifts, fingers scrunching through his hair, and it seems to take a few seconds before ''anything'' filters through his current bemusement. When it does, though, his eye is widening, a bright flutter of alarm in his voice. "Matt, what on ''earth'' --" He's hurrying after his friend, although only to take Matt's elbow and steer him instead towards his armchair. "I ''just'' done told your ma we'd look after you, you sit." It's only after this that he's adding, ''just'' a little skeptical: "You sure Luci did all ''that'', it don't sound so much like him."<br />
<br />
Ryan makes his way to the couch, though there's a small tilt of his head and a small ''flex'' of his power like he is not ''entirely'' sure he won't, actually, hear Lucien if he just tries a little harder. "You don't -- really mean ''killed'' him, right? Shouldn't we call Joshua?" This might be directed at Matt or maybe at Elie's departing back, more puzzled than alarmed although now that he is not ''deliberately'' trying quite so intently the fuzzy lingering edges of his already mellow high are seeping through in his voice. "... why would he have done that?"<br />
<br />
Matt doesn't resist--perhaps being herded into that armchair in particular just feels natural. "Doesn't it? I was dying, and Prometheus ''did'' cure me. I wouldn't have ''blamed'' him if he just didn't know any better, but clearly..." His anger is slowly winding back up. "I mean, ''he'' got Lily Allred into Lassiter. And how do you suppose he knew Dawson was at Blackburn? Gods know what else he was holding back." He's back on his feet and pacing the living room. "Oh, Mother was not a good mother growing up and Luci's always hated her, so he murdered her -- and ''didn't tell me!''" He sounds far more irritated about the lie of omission than the actual matricide. "You don't understand how dangerous he is. ''Was.'' I..." He coasts to a stop, a slow uncertain dread creeping into his words. "...I had to protect my family from him."<br />
<br />
Jax's brows wrinkle deep. "He got -- ''how'' did he get --" He ''has'' been heading back toward the kitchen but he stops, now, in the doorway. Together with the grief still heavy in his voice there's a growing uncertainty, confused and kind of unmoored. "He always had his way but, Matt, that's --" But he stops here, biting down on his lip and flicking a brief glance to Ryan. "I'm -- I'm sorry, that must be a. A lot to learn all at once, an' what he done was ''awful'' but -- but you can't just --" There's a small flutter to the light around them. "Was he tryin' to hurt you? I mean -- ''now''?" From the mingled hope and dread in this question it's maybe unclear what he ''wishes'' the answer here were.<br />
<br />
"What the fuck. He did ''what''." Ryan is, meanwhile, immediately spinning up a fury that he is ''just'' as immediately trying to reel back in. "You can't just kill people because they lie to you." And here ''he's'' double checking with Jax, a small and worried glance like ''am I right about this?'' that leads to ''swiftly'' pouncing on: "Of course he was. -- he was, right? Matt wouldn't just fucking ''kill'' his brother. -- I mean he did, but." The dread is infectious, echoed back towards Matt ''just'' a little stronger than it was before. "-- what do you do now?"<br />
<br />
"What the ''fuck'' of ''course'' I wouldn't just kill my brother'--" Matt's fury is abrupt and breathtaking, but just as quickly fizzles out into a queasy confused dread that isn't ''all'' on Ryan's empathy. "But I ''had'' to, it was--why don't you ''believe'' me?" There's anger again, still fierce though tempered now with hurt and betrayal and grief. "Mother was right there with us, you can ask her yourself!" The question brings him up short and he just stops mid-pace, hand lifting to cover his mouth as if that would stifle the ''physical'' nausea creeping up on him. "Oh gods. What ''do'' I do now?"<br />
<br />
Jax's teeth clink down against one of his lip rings. He's wiggling it anxiously at Matt's outburst and with an immense effort does ''not'' point out that Matt has very much Just Done That. Instead he's crossing the room, curling one arm slowly around Matt's shoulders. "I don't know, honey-honey. Maybe when your ma gets back from talking to the cops we can figure it out together."}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Lost_the_Plot&diff=25952Logs:Lost the Plot2024-03-24T18:13:35Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Nanami]], [[Sera]], [[Gaétan]], [[Desi]], [[NPC-Elie|Elie]]<br />
| summary = *(Desi --> Gaétan, Sera): There has to be a rational explanation for this<br />
| gamedate = 2024-03-18<br />
| gamedatename = <br />
| subtitle = <br />
| location = <NYC> Gaétan and Nanami's Apartment / texts / Chez Tessier<br />
| categories = Nanami, Sera, Gaétan, Desi, NPC-Elie, Mutants, Private Residence, Telecommunications<br />
| log = <br />
<NYC> Gaétan and Nanami's Apartment<br />
<br />
The weekend has passed, but it's still feeling veeery much like Slacking Time in here. ''Maniac'' is playing on the television, and the coffee table is covered with an eclectic remains of -- is it breakfast? Lunch? Time has probably stopped being meaningful several drinks ago, but there's both Malaysian takeout cartons and a large pizza box tucked amid several bottles of liquor in various stages of drunk. Nanami, in soft pink pajama pants and a babydoll tee is upside down on the couch, not ''terribly'' drunk though she is working on it with a bottle of Koloa Kaua'i Coffee Rum. "I don't know if I'm too buzzed or not buzzed ''enough'' but I have lost the plot here."<br />
<br />
Sera is wedged into a corner of the couch in denim overalls and a soft green and gray long-sleeve raglan shirt with a book tucked into the crook of one elbow. Though she's not evidently been paying a ''great'' deal of attention to the show herself, she ventures an uncertain, "I ''think'' the Medication of the Week is making them hallucinate about...stealing a book that controls people's minds?" She's un-wedging herself now to pluck a bottle of -- what ''is'' that, anyway? -- from the table. "You're probably not buzzed enough. ''I'm'' not buzzed enough."<br />
<br />
Gaétan is on the floor, back propped against the base of the couch between the two girls. He has, for the moment, traded his bottle of Fireball for a tall glass of water. He's drinking neither, instead poking only ''slighlty'' uncoordinated at a container of bok choy with a pair of chopsticks. "Prometheus would have been way more fun if we got to be tripping balls all the time, that's what ''I'm'' getting." His head rolls back against the cushion, and he's looking blearily up between the other two rather than at either one. "You could pick something else if you want to watch this while more --" Sober? More drunk? He doesn't settle on either option, just repeating, "-- ''more''."<br />
<br />
"Then we need fo make one ''other'' decision, how long it wen take us to decide on this." It doesn't sound like a ''very'' serious complaint. Nanami is reaching for her phone, presumably so the internet can provide some binge-watching assist. She doesn't even get as far as googling, though. She's just opened a new browser tab but before typing anything is staring at the list of news articles Google has suggested for her to read. Her eyes scrunch tight, then stare again. She opens up ''another'' browser tab, kind of testing, and finally, tentatively, clicks when this one provides the same articles. "Um..." Her head has turned to the side to regard the two Tessiers. "Guys, is this --" Her voice has gentled out of her usual coarser cadence, very much now the softer tones she uses liberally with teachers, ''Annoying'' White People, and jailhouse men she is trying to seduce into Favors. "When did you -- Is your brother -- this can't be right."<br />
<br />
Sera closes the book (''A Tempest of Tea'', by Hafsah Faizal) she'd probably not really been reading, either. "We could always just watch the first thing it says 'you might like'?" She flails one hand, vague and uncoordinated, in the direction of the screen, but the suggestion ''itself'' suggests she might have had one drink too many even as she unscrews the bottle of Firefly vodka. The change in Nanami's voice makes her sit up and lean over to squint at her phone. There's a full second's delay before her eyes go wide. She claps a hand over her mouth to stifle her cry of dismay, but that does nothing to dampen the horror and grief that spills from her. The wave of emotions slams into her companions like a physical force that crushes them down even as the ground falls away beneath them.<br />
<br />
"Mmm." Gaétan is waggling a chopstick in Sera's direction in agreement. He starts to reach toward the remote, but Nanami's shift of tone pulls his attention away. He wiggles further upright, craning over to peer at the phone as well. His chopsticks clatter from his hand and to the floor just a second before that wave hits, strong enough that his own suddenly reeling grief might well be lost in the tide. His eyes close, and he sinks lower against the floor. He gropes for his own phone but then rather than unlocking it just holds it tight.<br />
<br />
---<br />
<br />
<blockquote><br />
*(Gaétan --> Desi, Sera): Desi have you seen the news<br />
*(Gaétan --> Desi, Sera): Wait shit no DON'T look at the news<br />
*(Desi --> Gaétan, Sera): I just saw it<br />
*(Desi --> Gaétan, Sera): How did they all the way to a press statement without telling us?<br />
*(Desi --> Gaétan, Sera): I'm about to head over the house, want me to come get you?<br />
*(Sera --> Desi, Gaétan): We know how to get gone<br />
*(Sera --> Desi, Gaétan): I just don't understand<br />
*(Gaétan --> Desi, Sera): The news said Saturday<br />
*(Gaétan --> Desi, Sera): We were there Saturday, though<br />
*(Gaétan --> Desi, Sera): It was the best scavenger hunt yet<br />
*(Gaétan --> Desi, Sera): They can't have meant Saturday, they would have told us, right?<br />
*(Desi --> Gaétan, Sera): I don't understand either<br />
*(Desi --> Gaétan, Sera): I'm come over and we'll go together<br />
*(Desi --> Gaétan, Sera): There has to be a rational explanation for this<br />
</blockquote><br />
<br />
---<br />
<br />
It's not their mother ''or'' their brother who first greets the lamentation of Tessiers returning to the house. Instead, it's a pair of buff young men engaged in hauling the futon out of Lucien's bedroom. Elie is trailing them and the futon out into the hall, eye-catching in a figure-hugging black pencil dress and elegant black funeral hat with a birdcage veil. Despite the mourning clothes, warm smile lights her face as she spies her children. "{Oh, my loves,}" she's descending upon them in a faint haze of rosey pink pepper-y perfume to deposit a kiss on each of their cheeks in turn. "{I'm ''so'' glad you've come, it's been an utter ''chaos'' here. There's so much to deal with after a death and Matthieu has been having a ''difficult'' time deciding about where to donate Lucien's things, I'm sure you all will be able to think of something appropriate, no? You do know the city much better than I.}"<br />
<br />
Sera has only barely held herself together on the trip over, and at the sight of her mother (not ''really'' her mother but that's not important, is it?) she looks just about on the verge of bursting into tears. "{Mama!}" she cries in equal parts relief and renewed agitation. But even as her power slips her tenuous and alcohol-addled control again, the panicked confusion that had started to balloon out from her deflates and leaves a deep grief that she reels handily back in along with faint incipient embarrassment at her lapse. She lingers by Elie as though she would really ''like'' to throw her arms around the woman who definitely neither birthed nor raised nor really even made any effort to bond with her. Maybe she's getting too old for such an undignified display. "{Oh Mama, why didn't you tell us sooner?}" is merely plaintive, now, as she settles for leaning against Elie's side, sans glomming.<br />
<br />
Desi ''does'' break into a quiet spill of tears, but there's no messy undignified display here, either. She steps back to allow the movers room to pass, arms wrapping around herself in visible distress before drawing a deep breath and relaxing them again. "{Mom had a lot on her plate already,}" she chides Sera gently. "{But we could have been helping. Whyever didn't Matt--}" This breaks off into a sob, perhaps because she was genuinely overcome with grief and perhaps because she recognized almost too late she was on thin ice, but more likely both. Instead, she settles for, "{We ''ought'' to have been helping, and we will, I just...}" She watches the futon on its way to the door, then turns deliberately away. She curls one arm around Elie and the other around Gaétan, and doesn't actually sound all that incredulous when she murmurs, "{I can't believe he's gone.}"<br />
<br />
The disorientation and grief that Gaétan has been feeling wind higher into a deep ''fury'' when he sees the movers. In contrast to his sister he's immediately moving to ''block'' their path, eyes narrowing. As Elie swoops in the chaos begins to recede, leaving behind a far ''quieter'' hollow feeling. He moves out of the way, sinking briefly against Desi's side as his eyes follow the piece of furniture out the door. But he's pulling away after this with a small numb nod of acceptance -- who this is in response to his unclear. His shoulders sink, one hand bracing against the hallway console as his other drops, slow and deliberate, to remove his shoes.<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:A_green_skin_/_growing_over_whatever_winter_did_to_us&diff=25950Logs:A green skin / growing over whatever winter did to us2024-03-24T17:08:09Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Anahita]], [[Ion]], [[Natsumi]]<br />
| summary = "The thing about a year is that it always comes back around."<br />
| gamedate = 2024-03-22<br />
| gamedatename = <br />
| subtitle = Limón, Ada. "Instructions on Not Giving Up." 9-10.<br />
| location = <NYC> The Gazebo - Freaktown - Riverdale<br />
| categories = Anahita, Ion, Natsumi, Freaktown, Mutants, Prometheus<br />
| log = <br />
When Freaktown residents say "''the'' gazebo", this is the one they mean. It's an elegant octagonal affair of sturdy wood, with railings and padded benches along six of its sides and two open sides opposite each other. It has long been a popular spot to hang out, tell stories, and jam, but it's received a glow-up--literal and figurative--in the last few months. Like most outdoor structures in Freaktown, it is adorned with fairy lights, but someone has added and rearranged them to outline every column and railing and even the tiers and edges of each roof face. From afar, especially on dark nights, it looks like a gazebo made of many-colored lights.<br />
<br />
Beside the gazebo is a fire pit ringed with log seats of varying heights and orientations, often augmented with more comfortable folding chairs brought down from the house. The log nearest to the gazebo has been removed and a garden installed where spring bulbs are just starting to poke up through the patchy ground cover amongst a chaos of outdoor art. A trellis now leans against the side of the gazebo, decorated with silk flowers, ribbons, Christmas ornaments, and all manner of random trinkets.<br />
<br />
The glittery green garlands and new strings of light may have been hung up for Saint Patrick's Day, but they have served the spring equinox just as well. For that matter they will, if patterns hold, serve for every season and holiday until entropy or a misfiring power takes them, and the cycle of eclectic decorations continues. It's really hard to tell if the general air of festivity developing around the gazebo is just the normal state of affairs on a Friday afternoon or some specific celebration winding up. In Ion's <s>memorial</s> garden, platters of mezze, salads, dips, and flatbread are laid out on a folding card table, cleverly situated over a newly planted bed to keep the flowers from being trampled underfoot before they've had a chance to acclimatize.<br />
<br />
Seated on a nearby log, Anahita is tending the fire, which is young as yet and needs encouragement from time to time. She's wearing a long black tunic cinched with a belt in rainbow beadwork, a green-and-silver shayla draped around her shoulders, wide-legged gray pants, and soft black leather moccasins. Her long black hair is liberally shot through with silver, much of it hanging loose down her back save for two crown braids adorned with striking blue forget-me-nots.<br />
<br />
There's a teenage girl wandering over toward the garden, and though she's very conspicuously busying herself with examining the bright flowers and bright decorations, she's continually peeking small sidewise glances towards the food and those gathered around it. Natsumi is dressed just as bright as the garden, in wide-legged flood-length pants, an oversized rainbow knit sweater, gold Doc Martens, colorful earrings, a gauzy length of scarf wrapped and tied up around her messy updo like a kind of headband. Despite her clearly carefully arranged- and accessorized- outfit there are telltale signs of her situation -- the very overstuffed backpack slung over her shoulders dirty and scuffed up, boots far too worn, nails chipping and grubby. She's sidling over to the food table, and she's not ''furtive'' as she starts to hastily make herself a plate, but she ''is'' watching the nearby adults with a very wary sense of expectation.<br />
<br />
Is there anything odd about a memorial garden when the person it memorializes is hanging out in it, alive and well? Clearly Ion doesn't think so; he's been mingling exuberantly with the residents celebrating Nowruz in and around the gazebo. He's in his usual; jeans, heavy flannel under his much-abused and much-repaired Mongrels cut, sturdy boots. A large white and pink daffodil has kind of haphazardly been tucked into his hair, looking very much at risk of falling down into one of his eyes. He's just recently dropped down on a log beside Anahita -- no plate but he's cramming dolma into his face. "{-- ''wild'' ass drama brewing down that house,}" he's been saying to the firekeeper, and it's hard to tell from his animated tone of he's excited or exasperated, "{think them boys may need a better mediator than ''me'' I not at all sure why they don't just throw some punch and get ''over'' --}" But here he's glancing up, throwing a casually curious look to the newcomer that shifts easily into bright welcome. ''Maybe'' the hook he waggles in greeting is less welcoming, but it's what he's got. "Food's for the eating," he assures the girl brightly. "You just rock up, ain't see you around before."<br />
<br />
Anahita perks up at the fresh gossip, though she's at least making a small pretense of nodding along in dignified disapproval. Perhaps to drive home her matronly bearing, she reaches over and adjusts the flower to sit more securely in Ion's hair. "{I'll talk to them,}" she promises, her Spanish rough with Cuban angles startling beside her delicate cultured English. "{If I can't get them to work it out, I'll get them to punch it out instead.}" She's glancing at the teenager as Ion cuts off, her own smile more reserved. "It is a blessing to receive new visitors on the new year. Come, sit with us." She picks up a hefty ancient thermos sitting beside her and waggles it. "There's tea in it for you, if you like tea."<br />
<br />
Natsumi's eyes go wider when she's actually addressed, and reflexively she's holding her plate a little closer to herself. The curl of her arm eases a little more casual at Ion's reassurance. Her eyes flick between Anahita and Ion, then return to Ion's cut for a lingering moment before she heads over. "Yes, I -- just got here. The internet said it was -- well I'm just glad it was more true than the shelter they said was in Jersey." She finds herself another seat, setting the plate on her knees. She doesn't remove the backpack. "New year?" Her smile is polite, if puzzled. "I thought it was -- March but I ''sometimes'' lose track. What kind of --" She pauses briefly and then swiftly adjusts: "I'd love some tea, ma'am."<br />
<br />
"Time fake as hell," Ion says cheerfully, "but it March. You hang out with the right people, you could be celebrating a different New Year ''every'' damn month. The Persians taking their turn now." He pops the rest of the dolma into his mouth and licks lemon juice off his fingers. "''Was'' a shelter in Jersey." The fleeting frown across Ion's face makes this slightly less offhand than his tone. "But we still standing. Where you come in from?"<br />
<br />
Anahita hums her quiet agreement to Ion as produces a sleeve of Dixie cups which are ''definitely'' leftover from Saint Patrick's Day. "The thing about a year is that it always comes back around. No matter where you start counting. My people start counting on the first day of spring." She unscrews the thermos and pours two cups of lightly cardamom scented tea green tea, offering one to Natsumi and the other to Ion. The sidelong flick of her glance to him lingers, just a moment. "What did the Internet tell you about us?"<br />
<br />
"Oh, thank you!" Natsumi leans just slightly forward to take the tea with a quick and thankful bob of head. She cups it carefully in both hands, taking a deep drink as she considers her answer. She's giving just a ''small'' and surreptitious glance to Ion's hook, his battered cut, before her eyes drop to the plate. "They said it was -- safe? Here? To, um," and though she's doubtless seen ''several'' weirdnesses on her path through the enclave to even reach this garden at all, her voice is dropping to a slightly uncertain hush, "to be a mutant? And that there was. Places to stay. Like, if you, maybe, are looking for a bed or something." She's sounding more confident when she looks up at Ion again, directly at the Mongrels patch before looking up to his face. "It ''also'' said that you guys -- um, your g --" Her tongue touches lightly to her upper lip and she shifts gears on this word, "-- your ''group'' look after people here. Anyway I don't have a lot of money but I can be a real, um," Her smile here is quick and a little affected in its shyness, "''friendly'' houseguest, if you've got room."<br />
<br />
Ion's smile doesn't vanish, though it does soften somewhat in its intensity. He casts a brief glance to Anahita, and though there's a touch of dismay in his small ''hum'' it's far from ''surprised''. "We all look out for each ''other'' here, yeah? My dogs try keep this place ''safe'' but, make sure everyone food, house, clothes'd, alla that, ''whole'' damn team effort. Miss Anahita here she ''real'' good helping you new kids get settle in." He's leaning forward, elbows on his knees, and there's a greater ''firmness'' in his deep voice, now. "We got rooms, and look, don't nobody pay nothing to stay here. Not in food, not in trade, yeah? ''Anyone'' try convince you you gotta get friendly, earn your way," he taps at the Mongrels emblem on his vest, "you find one my dogs, Miss Anahita, one the safety squad, you let 'em know, aight? Ain't how we roll here. Got ''plenty'' work crews you looking to pitch in some other ways."<br />
<br />
Anahita's hands still as she's screwing the lid of the thermos back on, but when she meets Ion's sidelong glance there's no discernible change in her expression. She just nods her firm agreement. "This is a place for mutants, by mutants. We are not perfect, but we do our best to take care of each other." She picks up the poker and nudges one of the logs in the fire pit. The flames leap brighter with the improved air circulation. "The Mongrels. His group." She tips her hand at Ion's cut. "They will not stand for anyone to abuse you. ''I'' will not stand for it." Though her emphasis on the "I" is very mild, it gives a distinct impression that anyone who did should hope the Mongrels get to them first. "What name can we call you? It does not need to be your legal name." She doesn't smile, not ''quite'', but she leans toward the teenager in a slightly conspiratorial way. "It does not need to be a mutant code name, either."<br />
<br />
Natsumi's eyes widen, her smile frozen in place. She looks from Ion to Anahita as if she's ''confirming'' with the older woman what Ion is saying. When Anahita says much the same, she's just looking into the fire, sipping at her tea. After her next sip she slowly shifts her backpack off her back, setting it down on the ground (though she does tuck it snug behind her legs.) "I've never heard of a place like this before. I mean, the last place I was in ''for mutants'' was not..." Maybe she's not trailing off, maybe she's just digging hungrily into her food now, but either way she doesn't finish the sentence. When she swallows she's sitting up a little straighter and looking considerably more lively. "Do ''you'' have mutant code names?"<br />
<br />
"Last place?" Ion's brows hike up, curiously. "Places for us by ''human'' usually a ''special'' kinda nightmare." His hook curls around his cup to pull it closer, though he transfers it to his ''actual'' hand when he needs to lift it. The hook waggles, showering sparks off its end that dissipate harmlessly in the air. "Ion. And she --" Ion is considering Anahita for a solid second before he declares, firmly, "El torrente. No, ''diluvio''. Rain? Flood. ''Marea''," he's pointing the hook eagerly at Anahita, this skitter of sparks a little brighter, "buoy up her community like the damn ''tide''. -- you want we call you something? What you do, what you ''love''?"<br />
<br />
"When humans want to put us somewhere, it's usually for them and not for us." Anahita picks up her own tea, which has been growing cold on the ground by her feet. "Ion is the live wire that connects his community." She looks up at the strings of fairy lights crisscrossing overhead. "He is also a giver of many things, including names. None of mine have ever stuck, though I do like ''Marea''." She does finally smile, small but pleased, as the girl revives. "Names can be simple or complicated or both at once. And they can be powerful even when they have nothing at all to do with our powers."<br />
<br />
Natsumi is covering her mouth as she giggles, and returning soon after to wolfing down her food. "Oh --" she starts to say, then lifts her hand back to cover her mouth again before swallowing and continuing. "Those are ''pretty'' cool names. My thing's just kind of ''weird'' so I don't know if -- it's ''definitely'' not cool like electricity or -- water?" she's hazarding a guess. "Anyway I was kind of in this, like, lab -- place -- it's over though so that's fine." Her smile is a little brighter. "A whole ''community'' sounds really nice."<br />
<br />
"Shit that's cool we ''all'' weirdo here. All the weird make this place home. Maybe you hang out some, you find one that fits." Ion's tongue clicks sharp against his teeth at the ''second'' half of Natsumi's words. "Shit, you outta Prometheus? Mendeleev," he's tapping his own chest with this before gesturing to Anahita, "Blackburn. ''Lots'' of labrat round here. Sorry you gone through that shit, huh? Ain't fine but I'm glad you find your way."<br />
<br />
Anahita inclines her head at Ion's assessment, and on her the elegant gesture seems perfectly at home referring to "shit that's cool". "I am a waterbender. A weird one, too." She gives a heavier nod when he gives her ''Prometheus'' introduction. "I got out a few years ago and had support from the very start. If you were released after Lassiter fell, I imagine you had no such luck. But you are here now, and this can be your community if you find it to your liking." Her smile is gentler, encouraging. "It won't make everything fine, and it doesn't mean everyone will understand what you went through. But you will not be alone, and it is ''very'' different from being on the inside."<br />
<br />
"''Blackburn''?" Natsumi's eyes briefly widen, but her horror is quickly shifting as she thinks through this pair of labs. "Oh -- ''oh'', you -- you had labs that --" Her expression falls, quick and crestfallen; it's only for a second but it makes her subsequent smile seem all the more forced for it. "I was in Varela, yeah, we only got out after the whole, you know, Lassiter thing. I stayed kind -- out West for a little, but people said -- there were more of us here." Her head is bobbing as she gulps her tea. "Different. Different's good. I'm sure it'll be great here." She drains her tea hastily, and nods once more as if confirming to herself: "I'm glad I found you, too."<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Overdose&diff=25947Logs:Overdose2024-03-22T18:23:16Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Joshua]], [[Scott]], [[Lucien]]<br />
| summary = "-- you can trust him." (some time after [[Logs:Of Heroes and Heroin (Or, A Bitter Cup)|finding out]], followed by [[Logs:Doubt|seeking help]].)<br />
| gamedate = 2024-03-17<br />
| gamedatename = <br />
| subtitle = cn: dead body, aftermath of murder<br />
| location = <XAV> Scott's room, Xs Third Floor & otherwhere<br />
| categories = Joshua, Scott, Lucien, Private Residence, Mutants<br />
| log = <br />
Scott's room, unlike most of the students' dorms right now, is spacious and comfortable; it retains much of the old-fashioned furniture it came with, and only a few elements of the decor have been updated to reflect its occupant -- a framed vintage military recruitment poster on one wall; a neatly alphabetized bookshelf doubling as storage for several model airplanes; a small TV on the dresser; a minifridge under the desk, covered in magnets from National and State Parks; a tiny Alaska state flag and a tiny American flag side-by-side on the desk, along with a wireless radio and a soldering iron. The windows look out at the lake, but usually the sheer curtains are drawn.<br />
<br />
The radio and TV are both on right now, the radio tuned to an easy-listening rock station and the TV muted on ESPN. Scott is kicking off spring break with a single beer in his room; he's even wearing his most comfortable loungewear, which for him is just the same clothes he was wearing earlier, but with house slippers instead of boots. He is sitting at his desk, his chair angled to watch the game and one ankle crossed on his knee, whistling tunelessly along to the radio, a mostly-depleted leather repair kit neatly laid out on the desk around the large scorch marks he's patching up on his motorcycle jacket of Theseus.<br />
<br />
There's no forewarning before Scott gets a visitor. Joshua simply appears just beside the desk chair, in ''his'' boots, jeans, a drab grey tee under a drabber grey sweatshirt; the kippah pinned a little askew to his shaggy hair is not his usual red and black but styled like a bright slice of watermelon. For a second after arriving he's just frozen in place, frowning stolidly at the desk. At the shelves. At ''Scott'', his eyes lingering on the slippers as his frown sets heavier. "-- shit, sorry." It's all he mumbles before vanishing again.<br />
<br />
The next moment there's three sharp raps on Scott's door. Wonder who that could be.<br />
<br />
So many of Scott's expressions are hard to read, but the tug at his lips is undeniably amused as he turns off the radio, gets to his feet, and goes to the door. By the time he opens it, though, the smirk has morphed into a sharply worried frown -- he's not making any obvious overture of welcome, but the way he steps aside is a silent invitation (back) in. "Everything okay?"<br />
<br />
Joshua lingers a moment on the doorstep, one hand dropped to fidget restless with the knotted tassel dangling from beneath his shirt. He's nodding to the question, vague and automatic as he slips inside, and this rote bob of head continues through his. "-- No," before he remembers, ''no''. Shakes his head instead. He's wound his tzitzit entirely around one finger, tight, and twists his wrist to slowly unwind it. "You talk to Matt today?"<br />
<br />
Scott's frown deepens, his brow scrunching down over his glasses as he shuts the door behind Joshua. "The Professor went over when we got the news about his brother," he says, though now his frown is starting to shift into -- still a frown, but a more complicated one. "But he's on bereavement leave, he hasn't been up to the school. You heard, too?"<br />
<br />
Joshua's eyes snap to Scott at the mention of Xavier going over. His fidgeting has gone abruptly very still. His frown remains approximately the same, though. "... what did you hear."<br />
<br />
Apparently sensing that whatever is going on might be ''somewhat'' emergent, Scott has paced back to his desk to replace the cap on the leather adhesive. His movements slow when Joshua freezes, still holding the container in one hand, his expression now severely disconcerted. "Heroin overdose," he says. He resumes screwing the cap tight, and sets it back on the desk. Only now does Scott's voice begin to reflect ''strong'' concern -- that is, it's gone abruptly stern and commanding. "What's going on, Joshua, did you hear something different?"<br />
<br />
Joshua's cheek twitches with a sudden clamp of jaw. He pulls his upper lip between his teeth, biting anxiously down, and exhales hard when he releases it. Maybe he's about to say something but he doesn't -- just shakes his head once, hard. He's moving over to Scott's side, lifting one hand to the taller man's shoulder. The world ''warps'' -- it's not the seamless in-out transition that his teleporting often is, normally fairly smooth save for the potential disorientation of Abrupt Place Change. This time it's ''felt'', not painful but an odd pressure and a dizzying lurch.<br />
<br />
When the world coalesces again it is -- somewhere else. ''Where'' is an open question; there's an alien feel to the landscape, broad and flat and disconcertingly seeming to just ''continue'' into the distance past where there really ought to be horizon. The ground beneath their feet at the moment seems at once like and unlike ''earth'', soft and crumbling to the touch like fertile soil but seeming to ripple like waves when someone attempts to ''look'' at it too long -- is it more or less dissonant that it nevertheless ''feels'' solid enough underfoot, who knows. The air is uncannily still. Around them are -- maybe trees, maybe something else entirely, but they're tall and spreading fronds overhead whose colors seem far too saturated. <br />
<br />
Beneath one of them a very prosaic camping cot has been unfolded. There's a body lying on it, ''mostly'' covered under a brightly colored patchwork quilt. The ankle band is helpfully identifying the deceased as Lucien Tessier, 32, M, 184, 6'1", bl / gr. A date, an address, a physician signing off. The case number is blank. Joshua moves away to pull one edge of the quilt down -- oddly gently, like he's worried about ''disturbing'' the man, stopping short when he's exposed up to the shoulders. There's an expected amount of lividity splotched dark beneath his body, but the finger-mark bruising that circles his neck, the cracked angle of his nose, the blood where his lip has been split open, those are not corpse-standard. Joshua wraps one arm around his chest, fingers curling tight at his opposite arm. He glances aside to Scott, glances back down at the body, and his heavy brows lift questioningly. "Heroin overdose."<br />
<br />
"Where --" Scott doesn't manage to finish this question; it pulls into a quiet intake of breath, not ''sharp'' so much as steadying. He doesn't speak for a long moment, staring down at Lucien Tessier, 32, M, his own face blank and calm under his glasses, his fingers at his sides lightly flexing and unflexing. "Heroin overdose," he repeats, finally. His next sentence ''starts'' as a question, but his tone is not questioning at all as he lifts his head to look at Joshua again. "Did Matt... ''Matt'' did this. I -- I ''knew'' that, that was why I took him off the training, I don't --" He breaks this sentence off and shakes his head, which doesn't appear to help his sudden feeling of disorientation. Probably the strange effect of the ''ground'' here is not helping; when he looks down again, he seems a little unsteady on his feet, so instead he tilts his head up and back, staring up at the maybe-trees. "How do you know?"<br />
<br />
Joshua just nods again, heavy and affirmative. "Heard from a friend," is all the explanation he gives then. "No autopsy ordered yet. Responding cops said no foul play." His eyes are turned down where Scott's are looking up, fixed on the fingermarks bruised into too-pale skin. His own fingers squeeze down a little harder at his arm. "... I've taught so damn many kids with him. I don't ''get'' it, he and Lucien were --" There's an uncharacteristic crack in his voice that he swallows back down together with the end of this sentence, but by the time he says, "Guess I can ask," his words are low and steady once more. He's dropping to a crouch, then, beside the low cot. His shoulders tense in the moment before he reaches out to touch fingers lightly to one of Lucien's shoulders. It's more dramatic by far than ''much'' of his healing, the reverse creep of the pooled dark blood, the color starting to flush back warm through skin. Joshua's own rapid pallor and nauseated sway seem more stark than the norm, too.<br />
<br />
Scott shakes his head, just once -- "No foul play," he echoes, a tiny disbelieving pause after each word. He drops his gaze back to the body before them, swallowing thickly at the ''suddenness'' of the change, lifting his head to regard Joshua with a placid but ''intent'' stare; his mouth presses into a thin line, but he doesn't say anything else.<br />
<br />
The inherent stress of using this power is not ''helped'' as Lucien is pulled back to life. With several vital functions regained before actual consciousness, Joshua is treated first to a thick spill of sensation -- the thick crushing pain at his damaged throat, the throb of bruising, the ''itch'' of rapidly healing wounds. Below that a confusion, deep and wrenching and then trying doggedly to cling ''to'' the waning void; the neurochemical spillover might well have pulled Joshua along ''into'' unconsciousness if some semblance of awareness was not creeping back in. Beneath his hand Lucien twitches, shifting minutely in some ineffectual attempt to withdraw from the physical contact. For a moment there's an increase of spillover -- panic, grief, ''shame'', that all turn off sudden and sharp as flicking a switch. Lucien's eyes open -- promptly close again when he sees the alien trees overhead. Open again more cautiously. He's blinking in blank confusion at the odd-colored fronds overhead, but it's not until he looks slightly to the side that his brow creases. His voice is a little rasping-hoarse when he manages, baffled: "Mr. Summers?"<br />
<br />
As Lucien looks increasingly better Joshua looks increasingly ''worse''. By the time Lucien's eyes open he's pulling his hand away sharply, and rocking back to drop a bracing hand against the ground. His other flies to his mouth, but despite the shudder of his shoulders he does not ''actually'' vomit. He's shifting to sit more properly stable, cross-legged and taking slow breaths. He swallows once kind of testingly, and seems almost surprised to find his voice comes out as easily as it ever has when he speaks. "-- you can trust him."<br />
<br />
After a worried glance at Joshua, Scott crouches down too, resting his elbows on his knees, his eyebrows quirking back into a frown, which he directs first at Joshua and then at Lucien. "Hey," he says gruffly, super trustworthily, one hand rising to chest height in a ''very'' awkward wave and then, even more awkwardly, dropping back down. Probably it is a fool's errand to ask, "...how do you feel?" but this is apparently all that comes to mind for now.<br />
<br />
Joshua can feel the slow but methodical shifting that is happening as Lucien's power begins the tedious work of setting his house back in order, a million minute and intricate adjustments to his neurological landscape. His hand starts to lift when Joshua retches but he stills this motion almost immediately as his arm moves beneath the blanket, and instead pulls the quilt ''just'' a little higher around his bare shoulders. "A little bit tired." It's still rasping, but aside from this there is nothing in Lucien's mild reply that suggests this situation is out of the ordinary. His bright green eyes are sweeping the queasily shifting landscape and he quickly seems to think better of this and focus instead on the men beside him. "Where, ah, ''are'' we?" But perhaps he's ''also'' thinking better of this question because it is swiftly followed with: "I ought to get home."<br />
<br />
Joshua's frown deepens. "Sounds real safe."<br />
<br />
Scott's frown deepens, too. Probably he does not appreciate sarcasm. "I don't think you should," he says. "Do you remember what happened?"<br />
<br />
Lucien's fingers bunch hard into the quilt in time with a small compression of his lips. "I would like to dress. My clothing is at home." He's saying this with a quiet determination, clinging doggedly to this small attempt to reassert ''some'' kind of normalcy. Maybe it's not an answer to Scott's question but the very slight lowering of his eyes and the reluctant addition, "-- Matthieu is also at home," may serve well enough there. His thumb brushes slowly over an embroidered seam in the quilt. "I --" For a moment he doesn't seem to know where to go next from here, glancing up brief to the other two and then lowering his eyes again. "-- do not wish. To be further trouble."<br />
<br />
"Man --" Though Joshua's frown is not easing off, his gruff tone ''is'' -- ''just'' a little, at least. "You've helped so damn many of our people over the years. You can be a ''little'' trouble right now." He might be just adjusting his position where he sits on the ground but when he leans ''just'' slightly closer it gives his words a somewhat conspiratorial air, like this next is offering Lucien a great ''bribe'' over and above the not-being-murdered: "You let us help, Scott can draw up ''whole'' new paperwork about this."<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Doubt&diff=25946Logs:Doubt2024-03-22T18:22:45Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Sam]], [[Scott]], [[Steve]], [[Lucien]]<br />
| summary = Sure hope we can return the favor. (some time after [[Logs:Overdose|A resurrection]].)<br />
| gamedate = 2024-03-17<br />
| gamedatename = <br />
| subtitle = <br />
| location = <PRV> Sam and Steve's Apartment - Harlem<br />
| categories = Lucien, Sam, Scott, Steve, Private Residence, Humans, Mutates, Mutants<br />
| log = This is a third-story walkup in an aging historic building which, while not entirely crumbling, has a certain worn and shabby look, its plumbing and fixtures often in need of repair. The apartment has two small bedrooms, but makes up for it with capacious common areas. A single long space serves as living room and dining room combined, is semi-open to the kitchen, and has a surprisingly large bathroom with an antique claw-footed tub. Tall, drafty windows let out onto the fire escape from the living room and both bedrooms, and let in excellent light from the southern exposure.<br />
<br />
The sleek art deco motif that runs through the living room furniture, while not strictly matching, has clearly been worked to coordinate. The dining set, coffee and end tables have been crafted with complementary geometric patterning, ebony accents providing a dark contrast to the warmer swirls of maple burl that feature most prominently. The sofa, love seat, and chair fill out the rest of the living room, a matching set upholstered in plush burgundy. The numerous lamps do not all match, some of them clearly temporary supplement for the inadequate overhead lighting.<br />
<br />
It's a lazy Sunday afternoon in Harlem, and March Madness is so close you can taste it, but right now the TV is tuned to NBA. Steve has changed since church and the Saint Patrick's Day festivities afterwards, but luckily the parade was yesterday and he is now free to watch basketball. The Brooklyn Nets didn't even exist back in his day, but that isn't dampening his enthusiasm or making him less inclined to holler when he thinks the Spurs have gotten away with a foul. His beer is not green (anymore), but he ''is'' wearing a light green t-shirt with the silhouette of a faun offering a rose to a girl, the words "Green and Growing Things" written in ornate cursive, and comfortable beaten-up medium blue jeans, Zenobia leaning against his leg and chewing on a large rubber donut. His phone chirps and he frowns down at it.<br />
<br />
*(Scott --> Steve): Are you at home? I have some info we should discuss in person.<br />
<br />
"Scott Summers wants to drop by," he tells Sam, nonplussed. "Says he wants to talk to me. Sounds real serious but I think that's just how he is." At his roommate's assent he taps out a quick response.<br />
<br />
*(Steve --> Scott): Roger. I'm home, you can stop by anytime this afternoon or evening.<br />
<br />
He's still composing his next message -- something about snack and beverage preferences that he's trying to phrase in terse yet casual fashion -- when Zenobia looks up just an instant before there are two solid knocks at the door. She gets up and pads over to greet whoever's waiting outside and he follows suit, ordering her to sit before pulling the door open without so much as checking the peep hole.<br />
<br />
On the doorstep is Scott, sticking his phone back in the pocket of his jeans. His bearing, his attire, his expression is ''almost'' unfussed and normal -- there are only small hints that this might be real serious. The tense set of his shoulders; his house slippers instead of boots; his companion. He lifts his chin in a nod of greeting -- "Hey. Mind if we come in?"<br />
<br />
Behind Scott is Lucien, looking ''considerably'' more disheveled than Steve has likely ever seen him. His hair is not tousled Just So, it's just ''mussed''; there's still a faint ringing of bruises around his neck and dark on his cheek. Unlike Scott he is not in house slippers, because he has no shoes at all -- just a colorful patchwork quilt that he ''has'' draped Just So around himself and up over one shoulder. He is carrying himself as tall as ever, though, and as Steve opens the door he slips in with a small and polite inclination of head to the house's current occupants. "Gentlemen," comes in his habitual tone of quiet reserve, and that is all they get before Lucien strides off to vanish into Steve's bedroom.<br />
<br />
Sam is ''probably'' none parts Irish but that hasn't stopped him from wearing green today -- then again, he's ''often'' colorful so maybe it's just coincidence. The bold emerald of his shirt is paired with springlike yellow trousers, though he's shucked his church shoes and blazer for house slippers instead. The Nets ''aren't'' playing the Knicks today so he's feeling perfectly comfortable cheering for them and commiserating with Steve over the Totally Biased Refs. His brows hike when Steve mentions the text, but he doesn't look ''too'' concerned. He has aligned himself enough with Steve's team that he is ''continuing'' the hollering even once Steve gets up, beginning to call an ''indignant'': "''Man'' the Spurs gotta be ''paying'' this --" that dies away as Lucien stalks into the room. His brows crease. He looks to Steve -- then to Scott -- then lifts his brows in silent question.<br />
<br />
Steve opens his mouth, presumably to welcome their guest(s) in, but no words come out. His eyes take in Lucien's state of injury and dress, flick over to Scott, then back. He lifts one hand as his friend sweeps past him, index finger up in a "now hold on just a minute" sort of gesture that doesn't really seem to be specifically directed at either Scott or Lucien. Zenobia, untroubled by human preconceptions about normality, follows Lucien into the bedroom, wagging. Steve turns -- hand still up. Makes eye contact with Sam but has no answer except to open his hand in an understated shrug he absolutely learned from the man who just vanished into his bedroom wearing a quilt toga. He's stepping back now to wave Scott in. Closes the door behind him and locks it. "So ah..." He ruffles his hair one with hand. "...can I get you something to drink?"<br />
<br />
Scott steps in, still very casually, glancing around the room as he does. Distractedly? Sharply? It's always hard to tell. He clears his throat, a little uncomfortably -- "Uh, just water is fine, thanks." The pause that follows this is not entirely long enough to have been spent carefully choosing his words, and indeed when he speaks he is not, exactly, beating around the bush. "Sorry to trouble you both. Lucien was murdered this morning."<br />
<br />
Sam is getting up from the couch, setting his beer aside and ambling to the kitchen to fill a glass of water. It's clear that Scott's reply was ''not'' what he expected, because after it comes he's kind of freezing -- staring from Scott to Steve's closed bedroom door and then back to Scott. "Ah --" He steps closer, offers the water out. The shift in his tone is very ''slight'', just a ''little'' more even than his baseline, but Steve can probably clock the reflexive shift to Therapist Voice as he examines Scott a ''little'' closer. "Lucien came in with you. He's just in the bedroom now, would it help if I get him?"<br />
<br />
Steve blinks. Opens his mouth -- again, no words come out. It's probably fortunate Sam beats him to the punch. In fact, at the shift of Sam's voice Steve seems to relax minutely. At least enough to close his mouth. He goes and picks up the remote. Hesitates. Turns the game ''way'' down but doesn't turn it off. "It's no trouble," he's telling Scott as he comes back over. "And if it is, we'll handle it." He glances at the door to his room, ''trying'' not to look pinched. Back at Scott. "Got any reason to expect pursuit?"<br />
<br />
Scott takes the water, but doesn't drink it at once; he shakes his head. "No," he says, his voice still matter-of-fact, as though it's ''Sam'' who's being weird. "Let him rest." Now he takes a short swig of the water, turning his torso to look at Steve's door as well. "Doubt it," he says. "Most people probably think he's dead, still. The cops, the hospital, Professor Xavier." There is the most minute pause before he adds, "Matt."<br />
<br />
"Still," Sam is echoing, and though he doesn't in any way look Caught Up with this situation he's shifting gears all the same. "And we -- shouldn't be telling those people?" He's leaning back up against the back of the couch, arms crossing against his chest. "Do you think they gonna try again?"<br />
<br />
Steve blinks at "Professor Xavier", then frowns, perhaps chewing over the implications of Scott's including ''him'' on that list. "Should make yourself comfortable," he's telling Scott evenly. "Man's particular about clothes and Lord knows mine aren't up to snuff. He might be a while." He's making ''himself'' comfortable, anyway, pulling a bottle of Tullamore Dew from under the kitchen bar counter. Comes up short before he's gotten around to actually pouring a glass. "Wait, ''his family'' thinks he's dead? Are ''they'' in danger?" Maybe he's hit a critical mass of rapid-fire questions, because he also throws in, "How is Professor Xavier involved?"<br />
<br />
Only now, at long last, is Scott's demeanor showing some real cracks. He's still holding his glass of water in both hands, rotating it in his grip with tiny, restless movements. He takes one step as though to follow Steve to the kitchen, but doesn't progress past that first step. His gaze is still trained on Steve's door. "I don't know," he says finally. What doesn't he know? This could be an answer to any of these questions, and the quick shake of his head is not much in the way of clarification. "They're saying it was an overdose. All of them," at least he is clarifying ''this''. His eyebrows press down over his opaque glasses, drawing together in a frown. "I don't know who Lucien can trust right now," he adds, slowly. "I am being careful."<br />
<br />
"''All'' --" Sam holds his tongue and nods at this, slowly, his eyes skating brief to Steve. "Lucien been a ''lot'' of people's go-to when they haven't known who to trust. Sure hope we can return the favor." His jaw has gone tighter, and he's letting out a slow breath as he glances back to the bedroom door. "Well. Clothes first. And then --" He might be at a loss for what's ''next'' in a situation like this; this just ends in another small breath. "One thing at time."}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:More_than_Most&diff=25907Logs:More than Most2024-03-16T01:57:04Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[David]], [[Hive]]<br />
| summary = "Or -- you don't reckon they'd take on an exchange student?"<br />
| gamedate = 2024-03-14<br />
| gamedatename = <br />
| subtitle = <br />
| location = <HFC> [[Sanctum]] - Hfc Basement<br />
| categories = David, Hive, HFC Sanctum, Mutants, Inner Circle<br />
| log = <br />
This luxurious basement lounge is circular, largely taken up by a conversation pit lined with plush bench seating all upholstered in gold velvet. An octagonal table occupies the center, its surface crafted from gleaming black glass. There are four gaps in the circle of couches, two admitting stairs that descend into the pit. The other two postmodern gas fireplaces, each in a shallow brass bowl, one sitting on a black marble plinth, the other white, one topped with a white organically curved flue, the other black.<br />
<br />
Ringing the conversation pit is a raised gallery containing two recessed, U-shaped booths that can be screened off for a modicum of privacy, two exquisite tropical fish tanks--one salt water, one fresh--two restrooms, neither marked for any particular gender, and a bar opposite the entrance. Between these, the walls are decorated with artwork from all around the world, paintings and sculptures and pottery and masks.<br />
<br />
The lounge is fairly quiet this evening. One of the white knights is at the table, tired and bruised and nursing the latest of many drinks. In one of the side booths, Hive has been slouched opposite Harry Leland engaged in -- maybe it's an argument, it's hard to tell, Hive looks kind of ''perpetually'' cranky. Possibly something has gone wrong with A Scheme or possibly they are just discussing the weather. Either way, the Black Bishop is leaving now, leaving behind Hive rubbing at one scarred side of his head and turning his perpetual glower down at his phone instead. He is not really dressed like he ''belongs'' in this place, jeans and a black corduroy work shirt whose half-rolled sleeves unflatteringly serve to make him look even more gaunt. He's reaching for his cup -- no booze, just coffee -- but scowling further when he takes a sip and finds it long gone cold.<br />
<br />
"Can I buy you another?" The man who has approached Hive ''does'' look like he belongs here, neatly groomed and smartly tailored in a dark grey suit with an unobtrusively patterned green-and-bronze tie, indicating Hive's cold coffee with a nod. David is of average height, average build, his hair dusting silver at the temples a better indication of his age than his mostly unlined face. You know what they say -- brown don't frown? Asian don't raisin? -- well, whatever he is he's aging gracefully. Without waiting for an invitation, he is sliding into the booth opposite Hive, beckoning a server over with a crook of his finger and a glance (''he'' is getting coffee, though << bet they still don't know my order, ''two'' years in this city... taking his sweet time, too. >>) <br />
<br />
As he waits, though, David turns his attention more fully to Hive. His mind is moving a few steps ahead of his mouth, carefully choosing his words, but it doesn't show in his almost ''overly'' familiar tone. "Last thing I want is to sound ungrateful," he starts, "I've been here a couple years now, and I admire the way you folks run your ship. But I've been thinking since last summer, how much are we really utilizing things like public perception, popular opinion? There's a massive market of influence in the media. If you wanted to break into that, I think I could be your man. I figured you were the one to ask."<br />
<br />
Hive scrunches an eye shut as he tips his scowl away from his mug and toward David. There is a small softening of his glower at the offer of Fresh Coffee. His hand is falling from his temple and ''maybe'' he was going to gesture to the other seat in indication, but with David already sitting down he truncates the gesture and simply slouches further back in the booth. "''Do'' you," is his first question, a little wry at David's profession of admiration. "You asked to move out here, didn't you? Hate to think what San Francisco's Court is like if Shaw was trading ''up''." He's studying David from sleepily half-lidded eyes (though he might be half David's age, he's aging far ''less'' gracefully, eyes baggy and already heavily accented with crows' feet) before wondering, "-- what's your media experience?"<br />
<br />
David's ''mental'' assessment of San Francisco's Court, << infighting, self-obsessed idiots, >> is rather less charitable than the dismissive toss of his head -- "Ah, I'm over the West Coast," he says lightly, stretching one arm out along the back of the bench beside him. "They've been clinging to the tech boom a little too long out there, it's time to move on! And I've always preferred the weather up here. Good to see snow in the winter again." He is taken mildly aback by this probe into his ''experience'', though he is immediately sheepish that he didn't expect it. "I've worked on political campaigns," he offers, then lifts his palm appeasingly -- "Not the same thing, obviously, but... spinning a narrative. Telling the people what they want to think. Other than that... does ''social'' media count? I was in the tech start-up world for a while. Ah --" << ''finally'' >> the server is arriving. "Double shot vanilla latte," he says, then gestures for Hive to order too, though he is considering idly that his companion looks like he would benefit more from ''sleep'' than caffeine.<br />
<br />
"The usual -- thanks." Hive manages to sound reasonably polite to the waiter before turning his attention back to David. "That shit is definitely valuable as hell," he's acknowledging -- ''probably'' not reluctantly but his gruff tone makes it sound like a dire admission all the same. "If that's the world you want to be in, the White Court can give you a way better leg up. Shaw dabbles but I gotta be honest with you, if I ''really'' want to move mountains in the court of public opinion I'm calling in a favor across the board."<br />
<br />
<< ''He'' has a usual, >> David is observing with surprisingly fervent envy, but at once he consoles himself, << How long has he been here, anyway, ''half'' my age... >> His eyes follow the waiter away before he redirects his attention. "White Court, huh?" This did not actually come as a great surprise to him; he is congratulating himself internally on sounding unflustered but not ''too'' unflustered. "Who do I talk to over there? Or -- you don't reckon they'd take on an exchange student?"<br />
<br />
"Like a decade," Hive answers the unspoken question, "too damn long." There's a momentary amusement that crosses his face at the question of who to talk to, and he appears to give this an earnest consideration before answering. "It's Frost's Court, obviously," comes after a pensive delay, "but administrative changes are all gonna go through her Bishop. Have you met the man? ''Guess'' you could roll the dice with their Rook but that fucker's a wild card."<br />
<br />
There's a << huh? -- ''ah'' >> when Hive answers, but it doesn't rise to the level of alarm -- still, the wheels churning now are muted and shadowed, not like David is being deliberately circumspect with his thoughts, but like he is no longer so focussed on where he's going and how to get there. Probably (in fact, almost certainly) he expected -- to be pointed at the White Court's Bishop (the mere thought of the title is bitter in the back of his mind, where his throat meets his brain stem -- Lucien Tessier is twenty-some years younger than David, too.) None of this bitterness makes it into his voice. "I haven't met either of them properly yet," he says. "My wife and I saw Mr. Tessier in the Captain America musical last year, though. Impressive stuff! But I'm sure he is very busy, so other than that, I have yet to have an ''audience'' with him, hah." The wheels are still turning; he decides apparently precipitously that he feels lucky, that he is going to chance the wild card. "I'd like to meet the Rook, too. Hedge my bets, huh?"<br />
<br />
"Mnnh," is Hive's reply to the mention of the musical, "yeah. Guess he's pretty skilled on stage, too." Something has relaxed in his expression as David's thoughts quiet, his glower a bit less pronounced. "''Both'' of them are good people to know if you want to make media your game, but..." The ''but'' doesn't lead anywhere, yet; Hive is trailing off with an idle worry of teeth at the corner of a thumbnail. "You seem like you pretty much know the score around here, you know? Done solid with with --" The vague hesitation before he says, "that tech shit" doesn't have any particular air of disdain, but probably the fact he said 'that tech shit' inherently suggests his opinion of the San Francisco scene. "-- but the Court here is looking for more than most." Even so, he's pulling out his phone to make himself a note. "I can probably get you a meeting with their Rook. For all you know, you might already have met them."<br />
<br />
David is even envious of Lucien's prowess ''onstage'', though only in a muddled, half-conscious way, swelling distractedly in the void filled by Hive's silence. If anything he is heartened by Hive's less-than-glowing assessment of San Francisco, like he's just had a long-standing grudge confirmed. "Good," he says; this time he can't keep his voice entirely neutral -- it is tinged with hungry ambition when he says, "I'm looking for more than most, too." His eyes dart to Hive's phone as it emerges, then sharply back up to Hive. << The hell does ''that'' mean? >> is thick with both frustration and intense curiosity, but David smiles through it. "I'd love that, thanks," he says, though the thanks is devoid of sentiment; internally, he has already moved on to self-congratulation. He taps one finger against the side of his nose as their coffee arrives -- "I'll be in touch." Then, taking his cup, he slides out of the booth -- "Great talking to you!"<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:More_than_Most&diff=25906Logs:More than Most2024-03-16T01:56:33Z<p>Borg: Created page with "{{ Logs | cast = David, Hive | summary = "I'm looking for more than most, too." | gamedate = 2024-03-14 | gamedatename = | subtitle = | location = <HFC> Sanctum..."</p>
<hr />
<div>{{ Logs<br />
| cast = [[David]], [[Hive]]<br />
| summary = "I'm looking for more than most, too."<br />
| gamedate = 2024-03-14<br />
| gamedatename = <br />
| subtitle = <br />
| location = <HFC> [[Sanctum]] - Hfc Basement<br />
| categories = David, Hive, HFC Sanctum, Mutants, Inner Circle<br />
| log = <br />
This luxurious basement lounge is circular, largely taken up by a conversation pit lined with plush bench seating all upholstered in gold velvet. An octagonal table occupies the center, its surface crafted from gleaming black glass. There are four gaps in the circle of couches, two admitting stairs that descend into the pit. The other two postmodern gas fireplaces, each in a shallow brass bowl, one sitting on a black marble plinth, the other white, one topped with a white organically curved flue, the other black.<br />
<br />
Ringing the conversation pit is a raised gallery containing two recessed, U-shaped booths that can be screened off for a modicum of privacy, two exquisite tropical fish tanks--one salt water, one fresh--two restrooms, neither marked for any particular gender, and a bar opposite the entrance. Between these, the walls are decorated with artwork from all around the world, paintings and sculptures and pottery and masks.<br />
<br />
The lounge is fairly quiet this evening. One of the white knights is at the table, tired and bruised and nursing the latest of many drinks. In one of the side booths, Hive has been slouched opposite Harry Leland engaged in -- maybe it's an argument, it's hard to tell, Hive looks kind of ''perpetually'' cranky. Possibly something has gone wrong with A Scheme or possibly they are just discussing the weather. Either way, the Black Bishop is leaving now, leaving behind Hive rubbing at one scarred side of his head and turning his perpetual glower down at his phone instead. He is not really dressed like he ''belongs'' in this place, jeans and a black corduroy work shirt whose half-rolled sleeves unflatteringly serve to make him look even more gaunt. He's reaching for his cup -- no booze, just coffee -- but scowling further when he takes a sip and finds it long gone cold.<br />
<br />
"Can I buy you another?" The man who has approached Hive ''does'' look like he belongs here, neatly groomed and smartly tailored in a dark grey suit with an unobtrusively patterned green-and-bronze tie, indicating Hive's cold coffee with a nod. David is of average height, average build, his hair dusting silver at the temples a better indication of his age than his mostly unlined face. You know what they say -- brown don't frown? Asian don't raisin? -- well, whatever he is he's aging gracefully. Without waiting for an invitation, he is sliding into the booth opposite Hive, beckoning a server over with a crook of his finger and a glance (''he'' is getting coffee, though << bet they still don't know my order, ''two'' years in this city... taking his sweet time, too. >>) <br />
<br />
As he waits, though, David turns his attention more fully to Hive. His mind is moving a few steps ahead of his mouth, carefully choosing his words, but it doesn't show in his almost ''overly'' familiar tone. "Last thing I want is to sound ungrateful," he starts, "I've been here a couple years now, and I admire the way you folks run your ship. But I've been thinking since last summer, how much are we really utilizing things like public perception, popular opinion? There's a massive market of influence in the media. If you wanted to break into that, I think I could be your man. I figured you were the one to ask."<br />
<br />
Hive scrunches an eye shut as he tips his scowl away from his mug and toward David. There is a small softening of his glower at the offer of Fresh Coffee. His hand is falling from his temple and ''maybe'' he was going to gesture to the other seat in indication, but with David already sitting down he truncates the gesture and simply slouches further back in the booth. "''Do'' you," is his first question, a little wry at David's profession of admiration. "You asked to move out here, didn't you? Hate to think what San Francisco's Court is like if Shaw was trading ''up''." He's studying David from sleepily half-lidded eyes (though he might be half David's age, he's aging far ''less'' gracefully, eyes baggy and already heavily accented with crows' feet) before wondering, "-- what's your media experience?"<br />
<br />
David's ''mental'' assessment of San Francisco's Court, << infighting, self-obsessed idiots, >> is rather less charitable than the dismissive toss of his head -- "Ah, I'm over the West Coast," he says lightly, stretching one arm out along the back of the bench beside him. "They've been clinging to the tech boom a little too long out there, it's time to move on! And I've always preferred the weather up here. Good to see snow in the winter again." He is taken mildly aback by this probe into his ''experience'', though he is immediately sheepish that he didn't expect it. "I've worked on political campaigns," he offers, then lifts his palm appeasingly -- "Not the same thing, obviously, but... spinning a narrative. Telling the people what they want to think. Other than that... does ''social'' media count? I was in the tech start-up world for a while. Ah --" << ''finally'' >> the server is arriving. "Double shot vanilla latte," he says, then gestures for Hive to order too, though he is considering idly that his companion looks like he would benefit more from ''sleep'' than caffeine.<br />
<br />
"The usual -- thanks." Hive manages to sound reasonably polite to the waiter before turning his attention back to David. "That shit is definitely valuable as hell," he's acknowledging -- ''probably'' not reluctantly but his gruff tone makes it sound like a dire admission all the same. "If that's the world you want to be in, the White Court can give you a way better leg up. Shaw dabbles but I gotta be honest with you, if I ''really'' want to move mountains in the court of public opinion I'm calling in a favor across the board."<br />
<br />
<< ''He'' has a usual, >> David is observing with surprisingly fervent envy, but at once he consoles himself, << How long has he been here, anyway, ''half'' my age... >> His eyes follow the waiter away before he redirects his attention. "White Court, huh?" This did not actually come as a great surprise to him; he is congratulating himself internally on sounding unflustered but not ''too'' unflustered. "Who do I talk to over there? Or -- you don't reckon they'd take on an exchange student?"<br />
<br />
"Like a decade," Hive answers the unspoken question, "too damn long." There's a momentary amusement that crosses his face at the question of who to talk to, and he appears to give this an earnest consideration before answering. "It's Frost's Court, obviously," comes after a pensive delay, "but administrative changes are all gonna go through her Bishop. Have you met the man? ''Guess'' you could roll the dice with their Rook but that fucker's a wild card."<br />
<br />
There's a << huh? -- ''ah'' >> when Hive answers, but it doesn't rise to the level of alarm -- still, the wheels churning now are muted and shadowed, not like David is being deliberately circumspect with his thoughts, but like he is no longer so focussed on where he's going and how to get there. Probably (in fact, almost certainly) he expected -- to be pointed at the White Court's Bishop (the mere thought of the title is bitter in the back of his mind, where his throat meets his brain stem -- Lucien Tessier is twenty-some years younger than David, too.) None of this bitterness makes it into his voice. "I haven't met either of them properly yet," he says. "My wife and I saw Mr. Tessier in the Captain America musical last year, though. Impressive stuff! But I'm sure he is very busy, so other than that, I have yet to have an ''audience'' with him, hah." The wheels are still turning; he decides apparently precipitously that he feels lucky, that he is going to chance the wild card. "I'd like to meet the Rook, too. Hedge my bets, huh?"<br />
<br />
"Mnnh," is Hive's reply to the mention of the musical, "yeah. Guess he's pretty skilled on stage, too." Something has relaxed in his expression as David's thoughts quiet, his glower a bit less pronounced. "''Both'' of them are good people to know if you want to make media your game, but..." The ''but'' doesn't lead anywhere, yet; Hive is trailing off with an idle worry of teeth at the corner of a thumbnail. "You seem like you pretty much know the score around here, you know? Done solid with with --" The vague hesitation before he says, "that tech shit" doesn't have any particular air of disdain, but probably the fact he said 'that tech shit' inherently suggests his opinion of the San Francisco scene. "-- but the Court here is looking for more than most." Even so, he's pulling out his phone to make himself a note. "I can probably get you a meeting with their Rook. For all you know, you might already have met them."<br />
<br />
David is even envious of Lucien's prowess ''onstage'', though only in a muddled, half-conscious way, swelling distractedly in the void filled by Hive's silence. If anything he is heartened by Hive's less-than-glowing assessment of San Francisco, like he's just had a long-standing grudge confirmed. "Good," he says; this time he can't keep his voice entirely neutral -- it is tinged with hungry ambition when he says, "I'm looking for more than most, too." His eyes dart to Hive's phone as it emerges, then sharply back up to Hive. << The hell does ''that'' mean? >> is thick with both frustration and intense curiosity, but David smiles through it. "I'd love that, thanks," he says, though the thanks is devoid of sentiment; internally, he has already moved on to self-congratulation. He taps one finger against the side of his nose as their coffee arrives -- "I'll be in touch." Then, taking his cup, he slides out of the booth -- "Great talking to you!"<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Mongrels&diff=25898Mongrels2024-03-11T14:30:44Z<p>Borg: </p>
<hr />
<div>{| width="100%"<br />
| colspan="2" | <center><br />
{|<br />
| style="text-align:center;" | '''''When I say, "Brooklyn, stand up", you better just fix your posture.'''''<br /><br />
|}<br />
</center><br />
|-<br />
| width="100%" |<br />
{| width="100%"<br />
! Mutant Mongrels MC <br />
|-<br />
|<br />
{{Tab}}The New York chapter of a mutant 1%er motorcycle club, the Mongrels love their bikes, love their community, and love a bit of chaos.<br />
|<br />
|-<br />
! Reputation<br />
|-<br />
|<br />
{{Tab}}Among humans who live relatively innocuous lives, they probably haven't heard ''much'' in terms of serious detail. The Mongrels are a loud and criminal mutant biker gang, not infrequently referenced in some story or other involving Mutant Trouble or Drug Crime, but actual details? Average PTA Mom, Joe NIMBY, probably don't know much except they're trouble, the way they might vaguely know what a Blood or a Crip is (enough to know they don't want them around their neighborhood!) but not have any real idea what a gang ''is'.<br />
<br />
{{Tab}}Among those with any connections to the seedier side of town, ''most'' especially but not exclusively around Brooklyn and Lower Manhattan, the Mongrels are very active and distressingly successful players in the drugs, weapons, and stolen goods markets. The relatively tiny size of their gang is made up for by their firepower, as more than one human gang with considerably larger manpower has learned the hard way. They have a reputation for doing everything the Wrong Way, as 1%er clubs go (they allow in women, they have members of all races, wtf is going ON over there); anyone who wants to offer cultural critique is welcome to offer it to their often very bitey faces. They have a reputation for being very fair in their business dealings to those who respect them, and extremely terrifying to those who try and mess with them.<br />
<br />
{{Tab}}Among several marginalized communities in the city, their reputation is ''immense'' -- what their ''feelings'' are might be more complex! It's ''well'' known that they're involved in a lot of crime, that they have a reputation for violence, that they're the place to go if you want a fix -- probably, plenty of people are going to have Opinions about them and the ways that they reflect on mutants at large.<br />
<br />
{{Tab}}It is, however, also pretty commonly known that they're ''also'' the people to go to if your mom can't afford her insulin. If your little sister needs her college textbooks. If you have to choose between the electricity bill or your abuela's arthritis medication this month. The Mongrels run a free pop-up community clinic for folks who can't access regular medications and doctors, they make frequent house calls to check in on folks who have been struggling for food or basics, they'll remember your kid's birthday and slip you something great to give them. They put the smackdown on bigots who have been harassing mutants in the community, they'll bail you out when the cops pick you up for Being Blue In Public. They are also the de facto keepers-of-the-peace and managers-of-logistics for Freaktown, the mutant autonomous zone growing in the Riverdale neighborhood in the Bronx, which has spread their reputation far from their usual haunts in Brooklyn and Manhattan and extended it through most of mutant community citywide.<br />
<br />
{{Tab}}Though their primary focus and protectorate is mutants and mutants are by far the most likely to know of and have SOME opinion on the Mongrels, they have a solid reputation among immigrant communities, particularly Latine and Chinese. Their name and insignia is quite well-known throughout neighborhoods dominated by these groups, and people tend to be very well aware of their business. While opinions of them are extremely varied, there is often a reluctance in community to outright turn them in to the cops -- whether this comes from fear or the fact that everyone and their mother has a family member who has been helped by the Mongrels at some time or other.<br />
|<br />
|-<br />
! Structure<br />
|-<br />
|<br />
{{Tab}}The Mongrels have a fairly extensive set of bylaws! They are not all getting written down here. Many of them detail what various rank responsibilities are, how meetings and elections happen, etc. There is a hierarchy, with most of the top positions in the club gained or lost by member vote.<br />
*President: Leader of the club. Represents the club in dealings with outside organizations, expected to be guide and mentor to the rest of the club members. Does not normally vote during meetings but has the tie-breaking vote when necessary, and can make final executive decisions on matters not covered in the bylaws. Elected position.<br />
*Vice President: Second-in-command, Takes on duties of the President if the President is incapacitated; perhaps more importantly, expected to be an intermediary between the club and the President in case of any disputes or conflicts. Ideally, someone who can and will stand up to the President and check them if they are making Bad Decisions. Elected position.<br />
*Secretary - Records keeper, club historian, ideally should know Everyone's Business and be the person who has all the info if someone needs it. Elected position.<br />
*Treasurer - $$$! Elected position.<br />
*Sergeant-at-Arms - Sort of a club enforcer -- responsible internally for making sure club members are actually following their rules. Keeps order at meetings, keeps order culturally, Handles Shit when people need to be disciplined or evicted from the club. Responsible in general for overseeing club security & safety when on Club business. Also looks after the prospects, both making sure they are not fucking up and making sure nobody in the club is fucking them over. Often acts as bodyguard to the President. Elected position.<br />
**Dog of War - like a deputy to the sergeant-at-arms, similar responsibilities but answers to them. Chosen by the SAA.<br />
*Road Captain - In charge of club runs. Organizes them, plans them, has authority over everyone on the road while on a run. Should know the streets real well, should know the club members and their needs real well, should know rival crews real well. Responsible for everyone's health and safety on the road during official club rides. Elected position.<br />
**Heeler- like a deputy to the Road Captain, responsible for riding at the back of the ride and making sure nobody is left behind, seeing to anyone who falls behind if they need first aid for themselves or their bikes. Chosen by the Road Captain.<br />
*Rabid Dog - not a position; a patch earned by performing acts of particular bravery of note in defense of the club. Anyone can nominate a member for this at a meeting; approved by vote.<br />
<br />
{{Tab}}Though in many ways they are a somewhat unconventional 1%er MC, in many respects a lot of their laws are quite typical of the culture. Members are expected to treat other Mongrels with respect (this includes treating the significant others of another Mongrel with respect, meaning both looking out for them when necessary and not tryna get in their pants), are expected to defend other Mongrels if they are attacked, are expected to attend a reasonable percentage of Club meetings and rides and pay their dues, are expected not to discuss Club business with outsiders. Belonging to another outlaw club is strictly forbidden. Owning a motorcycle is required, though the club will absoulutely help a member out if their bike is damaged or otherwise lost. Riding your bike to Official Club Business also required. Wearing Mongrels colors is taken ''very'' seriously; they are required to wear their colors at all official business; letting anyone outside the Club handle their colors is a violation and even within the Club a member will generally not touch anyone else's cut without explicit permission. Participating in the Club's business is mandatory. Stepping up to defend the Club when necessary, also mandatory. If there is ever doubt about something, unranked members defer to ranked members and everyone defers to the President. Violation of any club rules can be met with a range of repercussions ranging from fines to ass-whupping to being kicked out of the club with your colors confiscated (and if you've had them tattooed on you, they'll take those as well.)<br />
|<br />
|-<br />
! Spaces<br />
|-<br />
|<br />
{{Tab}}Freaktown - a mutant autonomous zone in the Riverdale neighborhood of the Bronx, Freaktown is a small community where the Mongrels attempt to give any mutant who turns up safe harbor. It's a bit chaotic there at any given time -- a lots of formerly Very Swank Estates repurposed to be a refuge for mutantkind. Freaktown consists of a number of enormous mansions and their surrounding grounds augmented by a LOT of patchwork structures that the community has put together to keep itself running, all around a central 'town square' of sorts that is sort of gathering space and marketplace in one.<br />
<br />
{{Tab}}[[Hellhound Bikes]] - The Mongrels' actual home base, their garage and clubhouse. Actually a functioning motorcycle garage, not just a den of crimes.<br />
|<br />
|-<br />
! Recruitment<br />
|-<br />
|<br />
{{Tab}}Potential interested members ICly need to be sponsored by an existing member. Any member can sponsor a prospect; the prospect is then there at that member's discretion and their Sponsor can pull their rocker at any time for any reason so it's best to not piss your sponsor off. The Mongrels do not participate in any kind of violent/traumatic hazing that some clubs do, but the Prospects are still the drudges of the Club. They are expected, within reason, to do Literally Any odd jobs and club tasks a club member asks while on Club property/at Club events/with Club members. ("Within reason" as defined by their bylaws is, anything that that club member would themselves be willing to do or has previously done in service of the club.) Prospects have to attend club meetings and pay dues but cannot vote. Minimum time spent as a prospect is 6 months, after which the sponsor can, if they feel the prospect is ready, bring it to the club for a vote. Two or more 'nos' is automatic rejection. Nobody will be given a second opportunity to prospect. 'Readiness' is usually gauged by a combination of factors -- whether they can handle themselves on a bike, whether they've learned their way around the garage, how they've treated the other members, whether they seem level-headed/have discretion to handle club business, whether they aren't a chickenshit.<br />
<br />
{{Tab}}Obviously, any potential members need to be mutants.<br />
<br />
{{Tab}}Joining is hard and leaving is also hard. Joining an MC is a lifestyle, not a hobby. Members who have been in the club for years and would like to leave amicably are generally given that respect but must go through the Club president to officially turn over their colors; people who are seen as disloyal, untrustworthy, flaky, etc, often only leave with significantly more bruises than they came in with and, depending on the circumstances, it ''may'' not be safe to show their faces around Club territory in future. Attempting to leave but keep your colors is seen as an offense to be met with violence.<br />
|-<br />
! Roster<br />
|-<br />
|<br />
*[[Scramble|Crazy Train]] - President/Rabid Dog. Insignia - a fanged and horned skull over a pair of crossbones; the skull has hypnotic swirling eyesockets and brightly colored birds circling it<br />
*[[Shane|Thing Two]] - Sergeant At Arms. Insignia - a sharktoothed skull over a pair of crossed violin bows<br />
*[[B|Thing One]] - Secretary/Rabid Dog. Insignia - a sharktoothed skull over a pair of crossed fencing foils<br />
*[[Ion]] - Pack Member. Insignia - a fanged and horned skull over a pair of crossed lightning bolts<br />
*[[Taylor|Splatoon]] - Pack Member<br />
*[[Nick|Wolfcub]] - Pack Member<br />
*[[NPCs#J.C.|Viper]] - ''Pack Member. Insignia - a skull with long curved fangs and two short rounded horns over a pair of crossbones. Killed in 2024 attack on Ascension Island.''<br />
|}<br />
|-<br />
! Errata<br />
|-<br />
|<br />
{{Tab}}The Mongrels' emblem is a Jolly Roger, though each one is personalized to the rider. It is universal that the MC logo contains a skull and crossbones, with the skull always altered in some way to look other-than-human (horns, fangs, etc.) but the particular manner of freakishness as well as the crossbones below vary heavily from member to member.<br />
<br />
{{Tab}}For patched members, insignia patches are worn as so: on the back, a top rocker that says MUTANT MONGRELS and under that a smaller "MC" patch; a bottom rocker that says EMPIRE STATE, their club insignia large in the center between these. On the front, smaller patches on the left side of the vest for chapter (EMPIRE STATE), MUTANT MONGRELS, and any earned but non-ranked patches such as DOG OF WAR; on the right side patches with their road name and club rank. Some members choose to add other patches beside these but that is the standard all patched members will have.<br />
|-<br />
! Important Events<br />
|-<br />
|<br />
*Are there particular things that have happened, <br />
*either historically or during scenes,<br />
*that would be important for the members of the faction to be aware of? <br />
*List them here!<br />
|}<br />
<br />
[[Category:Factions]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Deep_Cut&diff=25897Logs:Deep Cut2024-03-11T02:17:42Z<p>Borg: Created page with "{{ Logs | cast = Ion, Tian-shin | summary = "I really think this is ''symbolic'' sort of grave." | gamedate = 2024-03-05 | gamedatename = | subtitle = | location = <..."</p>
<hr />
<div>{{ Logs<br />
| cast = [[Ion]], [[Tian-shin]]<br />
| summary = "I really think this is ''symbolic'' sort of grave."<br />
| gamedate = 2024-03-05<br />
| gamedatename = <br />
| subtitle = <br />
| location = <NYC> [[Freaktown]] - Riverdale<br />
| categories = Ion, Tian-shin, Mutants, Mutant Mongrels MC, Freaktown<br />
| log = <br />
It's pretty late -- not that Freaktown ever ''really'' sleeps, but it's quieter, here. The daytime bustle of Town Square has dwindled heavily, many of the houses have gone dark; there are a few people out smoking on a balcony overlooking the square, a few people drinking around a backyard firepit. There's a once-familiar flicker that ripples through some of the many string lights glimmering all throughout Freaktown, twinkling and then winking out. A once-familiar figure coalescing by the edge of the square, in jeans, red leather jacket, a glimmer of sparks winking over the pronged hook where his hand once was. He's not trying to call attention to himself and not trying ''not'' to, just leaning up against a lamp post and plucking out a cigarette, eyes fixed steadily on the pavement ahead as he lights it.<br />
<br />
Tian-shin is just emerging from one of the manors bordering the cul-de-sac, pulling her black leather jacket to complete an oddly ''dapper'' ensemble, a red stand-collar blouse, heavy black jeans, and heavy black boots, her vest new and smooth and marked prominently with a PROSPECT patch. She's heading toward her bike, an old but meticulously maintained Yamaha Bolt, its tank painted deep shimmery red with a gleaming black dragon coiling between wisps of stylized silver clouds, joined by a bright golden bolt of lightning. She's just pinning up her braid for the helmet when she goes still. Maybe her subconscious mind clocked his body language first, but she's definitely recognized him ''now''. She blinks, then very slowly, very deliberately makes her way over to him. "If this is a prank," she starts, her eyes skip down to the hook, back up to his face. For a moment she seems to struggle to finish that sentence, and what finally tumbles out, non sequitur, is "The beard looks good on you."<br />
<br />
The grin that breaks broad across Ion's face is ''definitely'' familiar, beard or no beard. "{A good thing you like it.} Shaving a ''bitch'' these days." He blows a long stream of smoke out towards the sky, eyes cutting over to -- bike, first, then Tian-shin. Maybe he was going to say something more, but his smile has dropped abruptly away, his eyes stuttering on the vest. His tongue sucks hard at his teeth, hand lifting to dig knuckles against his eyes and then drop -- nope, okay, vest is still there. His jaw tightens, head shaking once. "Fuck," rumbles low, and though it's distinctly ''far'' from pleased his grin is back, sharper than before. "Guess that ain't no prank, too."<br />
<br />
For a moment, Tian-shin does not move at all. She shivers at the sound of his voice and looks as though she's caught between throwing her arms around him and backing away, but does neither. "No." Half a year ago, she would have added "sorry", and there's still a faint quiet space in her speech where the missing apology would have been. "I don't know what happened to you, but I didn't come back the same, either. From Lassiter." She swallows. "Have you...has anyone told you what happened?"<br />
<br />
"People tell me hella shit, but ain't nobody think to mention this. ''Who'' --" Ion is still staring at the vest, though as he cuts this question short his eyes pull away. He's staring up at the string lights above through his next puff of cigarette. "Don't none of us come back the same from that place," he finally follows up. "{If we come back at all.}"<br />
<br />
Tian-shin shuts her eyes at this last addition, and bows her head a little too late to conceal it. "A lot has happened, and the last few weeks have been..." Her shoulders actually start to hunch up before her long-polished poise reasserts itself. "We haven't heard from the people who went missing after the HAMMER raid. We don't even know if they're alive, but if they are, they're being hunted." She swallows hard, but when looks at Ion again she seems calm enough.<br />
<br />
"I wasn't here for it, but they held a funeral for you, before they voted Scramble president. If you wanted to do that whole 'visit your own grave' thing, it's over by the gazebo." There are several gazebos in Freaktown, but this is the one people mean when they say "the gazebo" without modifiers. She tips her head not in its physical direction but up at the string lights overhead. "Nobody wanted to take those down."<br />
<br />
"Oh ''shit''," Ion's eyes are getting wider at this news, "thank god they bury me by the ''action'', {''think'' how many stories I might have miss.}" There's no sarcasm here, just an unaffected delight; Ion is bapping Tian-shin light in the shoulder (the accompanying jolt is noticeably stronger than it used to be.) "When the last time you gone grave robbing, huh?"<br />
<br />
---<br />
<br />
''The'' gazebo is an elegant octagonal affair of sturdy wood, with railings and padded benches along six of its sides and two open sides opposite each other. It has long been a popular spot to hang out, tell stories, and jam, but it's received a glow-up--literal and figurative--in the last few months. Like most outdoor structures in Freaktown, it is adorned with fairy lights, but someone has added and rearranged them to outline every column and railing and even the tiers and edges of each roof face. From afar, especially on a dark night like this, it looks like a gazebo made of many-colored lights.<br />
<br />
Beside the gazebo is a fire pit ringed with log seats of varying heights and orientations, often augmented with more comfortable folding chairs brought down from the house. The log nearest to the gazebo has been removed and a garden installed where spring bulbs are just starting to poke up through the patchy ground cover amongst a chaos of outdoor art. A trellis now leans against the side of the gazebo, decorated with silk flowers, ribbons, Christmas ornaments, and all manner of random trinkets.<br />
<br />
''Some'' of the art has been moved aside tonight in service of graverobbing. A scrap metal sculpture of an abstract human figure with a bolt of electricity arcing between its upraised hands now leans jauntily against the trellis to watch the excavation, beside a wild-eyed dog (coyote? wolf?) just about the right size to have been carved from the missing log stool.<br />
<br />
Tian-shin steps back and leans on her shovel, squinting down into the ditch she's been digging. It's only about three feet deep right now, and nowhere near long or wide enough to accommodate a body. Also, the body it would theoretically accommodate is still in fact very much alive and not in it. "I really think this is ''symbolic'' sort of grave," she ventures again, not ''very'' hopeful it will convince Ion this time. "More like a ''memorial''. I mean..." She looks up at him. "...you're up ''here''."<br />
<br />
"''All'' graves is symbolic." Ion has been growing slightly more ''unstable'' as the digging goes on, an intermittent insubstantial flicker in his entire person like he might perhaps disappear at any moment. He's very solid right now, though. He's wiping a hand across his forehead, which doesn't so much get the sweat off as put some extra dirt ''on''. "You chuck some meat in the ground, you think someone there? {Where people remember you --}" His chin tips toward the eclectic handmade decorations, the bright-lit gazebo. "{That's where you are.} Little faith, huh?"<br />
<br />
"I don't think that people who die ''are'' their...remains. I just meant." Tian-shin returns to digging with a renewed vigor. "I don't know what I meant, {but. I ''do'' agree with you. I just don't understand why...}" Her breath out is almost too nervous to be a laugh. "Right, faith. I can do faith, even if--" The tip of her shovel suddenly hits something hard. She taps it again, and the thunk is definitely hollow. Another tap a few inches over yields the same noise. It's hard to say how much she can ''see'' in the darkness and through all the loose dirt, but when she looks up at Ion her eyes are very wide. "I think that's...a box?"<br />
<br />
"'course it's a box." Ion grins bright at the sound of that thunk. "What ''you'' usually find in graves?" He is scraping the dirt aside and wedging his shovel deep into the ground and stepping on the handle. A solid wooden corner pushes upward, shedding a covering of dirt as it shifts. Ion drops down to pull a fairly small and sturdy box out of the ground, one arm holding it against his chest as he brushes the dirt off with his hand. "''Hell'' yeah. {'bout to be whole again.}"<br />
<br />
Tian-shin steps back, maybe a ''bit'' farther and more hastily than necessary, to let Ion unearth the box. "Well, Okay, ''urns'', but that's actually a fair point, plenty of people put--" Her eyes go even wider at the size of the box. "{Holy fucking shit, is that your ''hand''?}" she blurts in Mandarin, then switches to back to Spanish, "{you know you can't just uh--to sew it on again? Now. It's been way too long!}"<br />
<br />
"(How I gonna know that, I look like a doctor?} I bring my hand down Mendel you ''know'' they seen hell of weirder shit." Ion is setting the box down, flicking its clasp open with his hook. He lets out an excited whoop when he opens the box, shedding the red jacket he's been wearing. He pulls his old vest from the box, shaking it out and tugging it back on. His fingers touch briefly against the empty spot a rank patch used to be, but he's still smiling broad when he looks back up. "{Ain't been too long, still fits perfect.}" He braces his hand against the ground as he pushes himself back to his feet. He's eying the gazebo a moment, then Tian-shin, mouth twisting to the side as he looks her over again. His hand claps to the shoulder of her vest, kind of jolty as he pulls her in for a hug. "-- cut look good on you."<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Ion&diff=25895Ion2024-03-09T16:14:54Z<p>Borg: </p>
<hr />
<div>{| width="100%"<br />
| colspan="2" | <center><br />
{|<br />
| style="text-align:center;" | '''''All roads lead home.'''''<br /><br />
|}<br />
</center><br />
|-<br />
| width="100%" |<br />
{| width="100%"<br />
! Introduction <br />
|-<br />
|<br />
{{Tab}}The roads of Argentina to the streets of New York; Ion's history has been a little bit helter skelter. That's probably the way he likes it.<br />
|<br />
|-<br />
! Description<br />
|-<br />
|<br />
{{Tab}}Lean and hard, Ion is not a large man but he /looks/ like a tough one. Large calloused hands suggest a habituation to hard work, and the network of scars drawn over his coppery tan skin adds more weight to this. Ropy muscles fill out his frame, an unimpressive 5'8" of rangy strength. His dark hair is worn short and messy, loose thick waves that hang in feathery layers to just above ear-length. His features are broad, wide nose, wide mouth, thick dark eyebrows, large deep-set brown eyes in a rather plain boyish face.<br />
|<br />
|-<br />
! Reputation<br />
|-<br />
|<br />
{{Tab}}Ion is well-known throughout many parts of the mutant and latine immigrant communities, especially among those a bit rougher around the edges. Ion is known to be extremely loud, extremely boisterous, probably likely to be the catalyst for Trouble. He and his Mongrels though, are also known to be there to get all kinds of people out of many a tough spot -- the kind who just turns up with medicine or Thanksgiving dinner or school supplies when your lil cousin needs it or your abuela is sick. Extremely likely to just rope any passing stranger into rambunctious but delicious dinners with his Mongrels if you're hanging around their area of East New York looking vaguely lonely or hungry. They're that kind of family and well known for it.<br />
<br />
{{Tab}}The Mongrels' business in supplying low-cost medicine and back-alley doctoring to their communities is well known and often relied upon by the poor, mutant, uninsured, those who can't access medical care in traditional routes. Though the shadier aspects of their business are an open secret, a lot of people are more than happy to look the other way given the goodwill they've built up taking care of people who other systems have let fall through the cracks.<br />
<br />
{{Tab}}Also, within mutant community in New York City, reasonably well-known that Ion was the inspiration for a popular character on the newest Law & Order Spinoff franchise, [[Law and Order: MID]]. <br />
|<br />
|-<br />
! Powers<br />
|-<br />
|<br />
{{Tab}}Absorbs, stores, and discharges electrical energy. Occasionally murder on electronics.<br />
|-<br />
! Skills<br />
|-<br />
|<br />
{{Tab}}Ion's skills, really, have been forged through a chaotic nomad-life prone to upheaval. Shoplifting, pickpocketing, picking locks. Avoiding notice, when he wants to, though he often doesn't want to. Kind of a scrapper in a fight. Getting into trouble, getting back out of it. He's got a keen sense of direction and a pretty good sense of ''people''; drop him in a new city and he'll learn the lay of the land pretty quick.<br />
{{Tab}}He's had exactly zero schooling in his life so most of his learned skills have been pretty much hands-on OJT. He's dabbled in construction work, spent a short stint as a farmhand, is pretty good with engines and can handle auto repair pretty well. He's an excellent singer and a decent guitarist; used to spend a lot of time busking for money before realizing crime paid better. He's fluent in Spanish and Quechua in addition to his really ghetto English. Actually, his Spanish and Quechua are pretty ghetto too.<br />
|-<br />
! Connections<br />
|-<br />
| <br />
'''Brothers'''<br />
*[[Dusk|Darkwing]] - DTF(ight)<br />
*[[Heather|Colibrí]] - Keeps us all in stitches<br />
*[[Isra|Stargirl]] - Work of ART<br />
*[[Leo|DR SEXY MD]] - Brave as fuck<br />
*[[Regan|Mama]] - Grounded<br />
<br />
<br />
'''Road dogs'''<br />
*[[Ash|Rockbiter]] - Not afraid to get dirty!<br />
*[[B|Leetleshark]] - Goddamn GENIUS<br />
*[[Nick|lil cub]] - Prospie. So much guts.<br />
*[[Natasha]] - Fights like a goddamn BALLET<br />
*[[Scramble|crazytown]] - When it's time to party we party hard.<br />
*[[Shane|Leetleshark]] - Should never lose that smile.<br />
*[[Taylor|lil panther]] - Prospie. So much heart.<br />
<br />
'''Life is a highway'''<br />
*[[Jackson|Sunshine]] - Rainbow Brite??<br />
*[[Matt|Frenchie]] - grin reaper<br />
*[[Mirror]] - WAT.<br />
*[[Ryan|Big Star]] - KING OF GAYS<br />
*[[Steve|captain usa]] - KING OF GAYS: CHALLENGER<br />
*[[Tian-shin|Mami]] - BEST fake ol lady ever<br />
<br />
'''Caltrops'''<br />
*???<br />
<br />
'''Just the scenery'''<br />
*[[Blink]] - Witch baby.<br />
*[[Lucien]] - Fanciest motherfucker<br />
*[[Pietro]] - WHITE boy.<br />
*[[Wanda]] - WHITE girl.<br />
|<br />
|-<br />
! Trivia<br />
|-<br />
|<br />
*''From'' Argentina by nationality but gets annoyed if people call him ''Argentinian''; he is Qulla by ethnicity, an indigenous Quechuan people who mooost Argentinians treat more or less similarly to how Americans treat indigenous people here (if they bother to acknowledge the existence of indigenous Argentinians at all.)<br />
**This doesn't stop him from rooting for Argentina when the World Cup is on, though.<br />
*''Technically'' homeless -- technically ''been'' homeless his whole life. He'd never say so, though; he came from a family of nomads and that's the way he likes things. So long as he's ''got'' family around he kind of always feels like home.<br />
*Tools around the city on a shiny black and chrome Harley. It's easy to recognize, kind of FLASHY and its license plate says WIRED.<br />
*Is actually functionally illiterate, though he makes efforts not to tell anyone this.<br />
|}<br />
|<br />
{|<br />
! Marion Alejandro Espino<br />
|-<br />
|<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000"<br />
| colspan="2" | [[Image:Ionzap.png|400px|center]]<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Codename'''<br />
| style="border-style: solid; border-width: 1px"| Ion<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Birthdate'''<br />
| style="border-style: solid; border-width: 1px"| January 13, 1994<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Species'''<br />
| style="border-style: solid; border-width: 1px"| Mutant<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Affiliation'''<br />
| style="border-style: solid; border-width: 1px"| Brotherhood of Mutants<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Alignment'''<br />
| style="border-style: solid; border-width: 1px"| Energized<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Powers'''<br />
| style="border-style: solid; border-width: 1px"| Electrokinetic<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Occupation'''<br />
| style="border-style: solid; border-width: 1px"| Ruffian<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Registration Status'''<br />
| style="border-style: solid; border-width: 1px"| n/a<br />
|}<br />
|-<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000" <br />
! style="border-style: solid; border-width: 1px" | RP Hooks<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''Life is a Highway''' - ''Active member of the Mutant Mongrels Motorcycle Club, not widely known for their calm and retiring demeanors. Might be willing to take you for a ride.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''Brothers in Arms''' - ''One of the Brotherhood of Mutants; tends to be AGGRESSIVE in his support of mutants and mutant rights.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''Greasemonkey''' - ''Handy with mechanics. If it's got wheels and an engine he can probably fix it for you.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''The Mean Streets''' - ''Well used to life on the streets. When it comes to tapping into the mutant underground, he usually knows a guy (who knows a guy.)''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''Black Market''' - ''The Mongrels have their fingers in a lot of business, but are especially active in weapons dealing and selling prescription pharmaceuticals to people who can't get a hold of them otherwise. Need a fix? Can't get a doctor to get it for you? He'll maybe hook you up.''<br />
|}<br />
<br />
|-<br />
! Gallery<br />
|-<br />
| style="text-align:center;" |<br />
[[Image:Ion.jpg|x150px]]<br />
[[Image:Ion2.jpg|x150px]]<br />
[[Image:Ion3.jpg|x150px]]<br />
[[Image:Ion4.jpg|x150px]]<br />
[[Image:Ion5.jpg|x150px]]<br />
|}<br />
|<br />
|-<br />
! colspan="2" | Logs<br />
|-<br />
| colspan="2" | {{RP Logs | name = {{BASEPAGENAME}} | columns = 3 | ordermethod = gamedate }}<br />
|}<br />
<br />
<div class="mw-collapsible mw-collapsed">'''Archived Logs'''<br />
<div class="mw-collapsible-content"><br />
{{ RP Logs | name = {{BASEPAGENAME}} | columns = 3 | ordermethod = gamedate | namespace = ArchivedLogs }}<br />
|}<br />
<br />
</div></div><br />
<br />
[[Category:Active PCs]][[Category:Brotherhood of Mutants]][[Category:Mutants]][[Category:Mutant Mongrels MC]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Strong_Words&diff=25893Logs:Strong Words2024-03-08T15:22:03Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Bryce]], [[Dallen]], [[Lily]]<br />
| summary = "Heavenly Father wouldn't send someone back to be dangerous to the Church unless..."<br />
| gamedate = 2024-02-10<br />
| gamedatename = <br />
| subtitle = <br />
| location = <NYC> [[Evolve Cafe]] - Lower East Side<br />
| categories = Bryce, Dallen, Lily, Mutants, Allreds, Evolve Cafe<br />
| log = <br />
Spacious and open, this coffeeshop has a somewhat industrial feel to it, grey resin floors below and exposed-beam ceilings that have been painted up in a dancing swirl of abstract whorls and starbursts, a riot of colour splashed against a white background. The walls alternate between brick and cheerfully lime-green painted wood that extends to the paneling beneath the brushed-steel countertops. There's an abundance of light, though rather than windows (which are scarce) it comes from plentiful hanging steel lamps. The walls here are home to artwork available for sale; though the roster of prints and paintings and drawings and photographs changes on a regular basis it has one thing in common -- all the artists displayed are mutants.<br />
<br />
The seating spaced around the room is spread out enough to keep the room from feeling cluttered. Black chairs, square black tables that mostly seat two or four though they're frequently pushed around and rearranged to make space for larger parties. In the back corner of the room is more comfortable seating, a few large black-corduroy sofas and armchairs with wide tables between them. There's a shelf of card and board games back here available for customers to sit and play.<br />
<br />
The chalkboard menus hanging behind the counter change frequently, always home to a wide variety of drinks (with an impressive roster of fair-trade coffees and teas largely featured) though their sandwiches and wraps and soups and snacks of the day change often. An often-changing variety of baked goods sit behind the display case at the counter halfway back in the room, and the opposite side of the counter holds a small selection of homemade ice creams. A pair of single-user bathrooms flanks the stairway in back of the cafe; at night, the thump of music can be heard from above, coming from the adjoining nightclub of the same name that sits up the stairs above the coffeehouse.<br />
<br />
The first train from Westchester does not pull into Grand Central quite early enough on Saturdays to beat the rush at NYC’s number one (and number only) mutant cafe. Maybe that’s why Lily has been here since opening, camped out at a four seater table near a corner wall, far from the main drag of foot traffic between door and ordering counter. She’s wearing a slouchy green beanie pulled low on her forehead, all of her hair presumably slicked away invisibly inside, and black denim dungarees buckled over a brown turtleneck sweater. There’s a small hiking pack claiming one of the two empty seats at this table, the other claimed by a black-and-green keffiyeh draped over the back -- the third seat has long been surrendered to a crowded table of seven some ways away, who's eager conversation has looped now for the second time to last night's big breaking news. She’s looking away briefly from her dim laptop screen to thank the server for bringing (yet another) tea latte and two hot chocolates, then to the door, then back at the clock on her screen with the smallest of worried frowns. <br />
<br />
*(Lily --> Bryce, Dallen): Let me know if you two get turned around getting here, I'll come find you<br />
<br />
*(Bryce —> Lily, Dallen): Oh don't worry we got our orienteering badges!<br />
*(Bryce —> Lily, Dallen): The city isn't much like the forest actually.<br />
*(Bryce —> Lily, Dallen): But I think there's still a lot of landmarks!<br />
<br />
Bryce is still swiping as he pushes open the door, but then maybe thinks better of sending a text when he's ''here''. He's holding the door open for Dallen while looking around the room. He's rushing to the back after this to throw his arms (hands a ''lot'' more feathery than they were last time Lily was home) around her in an excited hug. "Oh sorry the train was slow but actually the ride is really pretty and we saw ''Flaco'' he's like a bird ''celebrity'' and it was a little distracting but we had to take a picture --" This comes out all in one breath when he pulls back, only now starting to shuck his puffy jacket and pull back the hood of his black and grey hoodie. The brilliant red and purple feathers have claimed his hair, too, though they stop around where his hair ''would'', shifting into a mottled corn-snake pattern of orange and red and black scales. "Oh! See?" Once he has draped his jacket over the back of the hiking pack's chair he's fishing his phone back out to show Lily a picture of an eagle-owl perched atop a bus stop.<br />
<br />
Dallen darts through the door and stares around wide-eyed for just an instant before trotting after Bryce with a lot of "excuse me" and "pardon me" to people he's not really inconveniencing. He sets down his backpack and peels out of his gray-on-gray jacket while his brother pounces Lily, wincing at the static. Underneath he's wearing a red buffalo check flannel, blue jeans, and gray hiking boots. "We have so many pictures of birds," he adds, earnestly, as he gives Lily a slightly ginger hug, avoiding her sweater. "How long are you going to stay?" He sits down, but then immediately stands back up to peer at Bryce's phone over Lily's shoulder as if he hadn't been there himself. "Spring migrations start in a few weeks. Dawson's been taking us birding, we should all go together."<br />
<br />
Lily closes her laptop when she spots her brothers, frown transforming into a delighted small smile. She stands up to return the hugs, her embraces tight as she drops an unabashed kiss to each of their heads in turn. She seems quite pleased to behold the fabled bird on Bryce’s screen. "That’s a great shot!" As she drops back into her chair, her leg kicks out to knock her pack onto the floor, where she drags it towards her seat with her foot. Above the table, she pushes the hot chocolates towards the boys. "For a while, this time," is not very informative, but there is no other information forthcoming on that. Lily takes a long sip from her mug. Maybe her smile is a little smaller when she puts down the tea, but the effect is undercut by the comical foam moustache on her upper lip. "—If my schedule works out," she says, a little slower, "I’ll be there. I’ll text DJ." There is just a little extra stress on DJ’s name. "How — is school?" This comes with a small glance at the corn-snake scales on Bryce’s forehead, then down to the faint shadows cast by the mug in front of Dallen. "--is anyone giving you trouble?"<br />
<br />
"That's such a cool scarf, where did you get it!" Bryce is plopping down into the emptied seat once Lily's pack is out of it, and gesturing toward the keffiyeh on the other. He grins bright at her new facial adornment, and tips his first big gulp of hot chocolate up just a little more than necessary for drinking, creamy cocoa moustache across his gleaming scales in bizarre mirror of hers. "I bet doctoring is ''sooo'' busy," he's saying with a small wrinkle of nose, but, 'the purpose of mortal life is for all people to have joy' and there's ''so'' many good bird spots, it's good to take a break." His brightness doesn't dim ''much'' at the question, but he does drop his eyes to regard his mug and slowly lick the cocoa off his upper lip. "School is great." This doesn't sound ''hesitant'', but by his standards a little subdued. "Some kids are being really weird about my --" His head shakes, and he switches subject to one he can be more ''righteously'' indignant about: "Our new ward could be demonstrating a ''little'' more Christlike love, I --" He lowers his voice just a little to lean in and tell Lily (kind of guilty) (kind of ''proud''): "-- said some ''strong'' words to one of the Sisters last week, Dallen belongs there as much as anyone."<br />
<br />
"Why do you call him DeeJay? Should ''we'' call him that? Is it just because of his initials or does he...spin...music?" Dallen asks, not excessively certain of his wording. "School is great," this declaration comes simultaneously with his brother but in a different shade of ambivalence. "Except --" And here he stops for Bryce's not-quite explanation, then adds, "I thought they were supposed to be accepting of people who ''look different''. Like. Bryce's roommate has ''snakes for hair''," he lowers his voice as though this were highly confidential information, "sort of. ''I'' should say some strong words, too." He leans towards Lily, even more confidentially, "Bryce said he didn't see the Light of the Lord in the Sister's words. But our ward isn't very ''accepting'' of how he looks, either." His expression is exaggeratedly taken back, as if he finds this notion unthinkable coming from other Saints.<br />
<br />
"Oh --" Lily's eyes dart back and forth between the two little Saints. "— it was a gift," is her first non-answer about the keffiyeh. At the 'strong words' Lily’s eyebrows hike up as she — well it’s definitely not a laugh because she’s cough-choking on her tea, but maybe it might have been. She presses the back of her sleeve against her mouth, wiping away the liquid there. When her sleeve drops that frown has returned, harsher than before. "What did the Sister say?" There is a fierce edge to her voice, now. "— kids don’t always know better, but she ''should''. If it happens again, I can —" One hand lifts to scratch behind her ear, fingers catching on the edge of soft fuzz peaking out under the beanie, "— speak to her, or your teachers. Or —" Lily’s lips press together. "DJ — that’s what he goes by, it’s less confusing — he has meetings, too. If this ward doesn’t work."<br />
<br />
"Lael's hair isn't ''snakes'', it's just..." But Bryce is frowning uncertainly, now, "... snake''y''." He takes another sip of his chocolate, and is brightening again at the mention of DJ's meetings. "Oh! Do you go? To his meetings? Do you -- are they --" Through his brief pause he's chewing pensively on the inside of a cheek. "I mean, people say a lot of things about him," he's finally settling on this as if it's a question in itself, "but when we're with him he seems really ''nice'' I don't see how he's ''dangerous'' to the Church, he ''loves'' the Church."<br />
<br />
Dallen frowns at "less confusing", but does not press any further about their translated big brother's name. "People say a lot of things," he echoes Bryce, then switches to one of his many General Conference talk-based scripts, "but his actions are his testimony and his testimony is strong." He's finally sipping at his cocoa, delicately -- no mustache for him! "Besides, he's...I mean. Heavenly Father wouldn't send someone back to be dangerous to the Church unless..." His eyes are a little wide, and he doesn't seem quite comfortable following that thought to its logical conclusion. Which, presumably, is not, "...his meetings are kind of far from school."<br />
<br />
"I’ve gone to his meetings. His testimony ''is'' strong." Lily presses her lips together at Dallen's aborted sentence. She looks away from the boys, down into her tea. "-- I believe," she says after a long moment, "that our Heavenly Parents brought DJ here to heal our faith, our people, and our world." There is a quiet passion in Lily’s voice, one that Bryce and Dallen have rarely heard before. "I believe that They sent us another Dawson Joel Allred to remind the Church that ''everyone'' has the potential for divinity, regardless of sexuality or genetic status. If that reminder is dangerous —" Lily cuts herself off here — maybe it’s occurring to her, as she looks up, that blaspheming in front of her babiest siblings is not Good Big Sister behaviour. "— I just think his meetings are going to be safer for you both. No strong words required." She taps at the mug with her fingertip, her expression slowly softening. "If you want to stay with your ward, that’s more than okay. If you ever want to go, I'll get you there." Her eyes light up -- "You could stay at my place, on weekends? I'll get you both keys."<br />
<br />
Bryce is quiet through this, cupping his mug close and sipping it slow. His head tilts slight to one side, brows scrunching at Lily's uncharacteristic intensity; at ''regardless of sexuality or genetic status'' his eyes are cutting aside to Dallen and then just as quickly away. For several moments he's ''intently'' studying the table. When he looks up he's smiling, nodding along: "I mean, that's what the Church ''teaches'', isn't it?" and if there's a ''but'' in his words it's swallowed up in his eager acceptance: "You'll take us? We'll ''totally'' go."<br />
<br />
Dallen has forgotten his cocoa again, absorbed in Lily's words. He doesn't seem to clock that "sexuality or genetic status" has any ''particular'' relevance to him until his brother's sidelong glance. He slips a yellow silicone bracelet band from his skinny wrist ("Choose The Right", it says on one side, and "Cease To Be Idle" on the other, the reminders separated by a cartoon beehive and a cartoon bee) and fiddles with it restlessly. Something eases in the set of his skinny shoulders when Bryce finally answers, and he chimes in quickly with, "Yeah, totally!" He looks between his siblings, smiling wide and either not noticing or not caring that the shadow of his hands are still fidgeting even when he's stopped. "We can go tomorrow, but for now...can we pray?"<br />
<br />
Lily smiles, tension easing from her shoulders, when the boys voice their enthusiasm. Dallen's request catches her just a touch off-guard -- maybe she was glancing at the shadow on the table, maybe at Bryce's feathered hands, but now she looks down at her hands like she's noticing them anew. "--right, yes --" Lily folds her arms across her chest and bows her head forward, the motion rusty and uncomfortable but there all the same. "For now. Here. We can pray."<br />
<br />
<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Hey_Babe&diff=25882Logs:Hey Babe2024-03-03T21:27:40Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[DJ]], [[Hive]], [[Polaris]], a very small dash of [[Cerebro]]<br />
| summary = *(Hive --> Polaris): XOXOXO (in the wake of [[Logs:Put no trust in a friend, have no confidence in a loved one; guard the doors of your mouth from her who lies in your embrace;|HAMMER's Brotherhood raid]].)<br />
| gamedate = 2024-02-09<br />
| gamedatename = <br />
| subtitle = cn: mentions of violence in genocide/war<br />
| location = texts & <XAV> Phoenix Room - Xs Third Floor<br />
| categories = DJ, Hive, Polaris, Cerebro, Mutants, Brotherhood of Mutants, XAV Phoenix Room, Telecommunications<br />
| log = <br />
<blockquote><br />
*(Hive --> Polaris): <s>DJ's going to fucking get himself killed</s><br />
*(Hive --> Polaris): <s>How fast can you get to</s><br />
*(Hive --> Polaris): <s>I stg I will rip another hole in the fucking universe if DJ dies for</s><br />
*(Hive --> Polaris): <s>Do you know where your dad's</s><br />
*(Hive --> Polaris): <s>fuck I can't do this again these fucking bots are going to</s><br />
*(Hive --> Polaris): <s>when do you get off work</s><br />
</blockquote><br />
The message that ends up making it through to Polaris's phone -- in ''uncannily'' rapid succession -- takes a somewhat different tone from the ones Hive actually wrote:<br />
<blockquote><br />
*(Hive --> Polaris): Hey Babe<br />
*(Hive --> Polaris): Come at once if convenient<br />
*(Hive --> Polaris): If inconvenient, come all the same<br />
*(Hive --> Polaris): XOXOXO<br />
</blockquote><br />
<br />
<br />
<XAV> Phoenix Room - Xs Third Floor<br />
<br />
The guest rooms at Xavier's are spacious and comfortable, well-furnished suites readied for visitors. This one is among the smallest of the available suites, consisting of a small sitting room, a bedroom with queen-sized bed, and a large bathroom. The windows look out over the side yard, with its playground and playing fields. The decor in here heavily favours rich reds and dark woods, and the artwork that graces the wall leans fiery in theme. There is a fireplace, here, stocked with wood in the niche beside it; on the mantlepiece above it, small glassworked figurines of birds in reds and oranges and yellow look half on fire themselves, when they catch the light.<br />
<br />
There are raised voices coming from behind the guest room door. Or, okay, ''one'' raised voice, edged with a frustration that does not ''need'' the telepathic connection to come across. Probably there are several more useful things Hive ''could'' be doing, right now -- for example, actually opening ''up'' the first aid bag that he's clutching tight to his chest. Instead, though, he has opted for being minimally helpful and maximally obstructive; he's leaning up against the bathroom sink, the better to properly berate his partner in agitated Thai. "{-- some crazy-ass shit for people who wanted to fucking kill you! If the situation were -- no, you know, it wouldn't ''be'' reversed because you're not a murderous fucking terrorist.}"<br />
<br />
The telepathic connection has, anyway, been put solidly on mute, and while this was ''originally'' to spare Hive a good deal of echoed pain, possibly at the moment it is also a blessing for DJ. Out of a polite respect for Hive's obstructiveness he has perched himself on the edge of the tub, instead, stripped down to his garment shorts -- the ''rest'' of his clothes are in a soiled and bloodied heap in the corner together with the shattered remnants of his prosthetic arm. The wounds torn in his side and calf look ugly but manageable, though his teeth are gritted as he rinses his leg and he's looking ''pretty'' pale. "{I ''am'' a terrorist,}" he's objecting, considerably less sharply than Hive. He's turning over ''murderous'' in his mind alongside a rapidfire assessment of How Many Murders he has done that gives up long before he lands on any solid estimate. "{-- so are you, for that matter. But 'what would the Brotherhood do' isn't exactly my benchmark for morality, either way.}"<br />
<br />
Polaris bursts into the suite frantic and touseled, still in her black work clothes--still in her, ''apron'', her hair loose from its updo despite the intricate wire-weave holding it in place. Her thoughts are a kaleidoscopic jumble of fragmentary images from the hallway outside, peppered with ineffectual attempts at grounding herself in the immense thrum of the geomagnetic field. ''Some'' of the mental noise resolves into << (oh thank God) (looks like Hive) (''sounds'' like Hive) (did his phone/brain get hacked?) >> and then << (oh my God) (there's a whole ''med lab'' downstairs) (should I avert my eyes) -- >> when she sees ''DJ''. "What the fuck happened?" she demands, strangely ''anxious'' when she goes to tug the first aid kit from Hive's grasp. << Babe? Seriously? >><br />
<br />
"{Sure, ''technically'', but you can hardly compare -- that's not the fucking point, I wouldn't have told you if --}" Hive's eyes are snapping toward the door shortly before Polaris enters, and though his ''thoughts'' are re-railing his language isn't, still in irritable Thai when he replies: "{This motherfucker was out trying to get himself ''killed''.}" He relinquishes the first aid kit without protest. "... babe?" This is just confused, but at least it has switched him back into English.<br />
<br />
"Cerebro," DJ prompts Hive. "It was a ''friendly'' hacking, anyway. And I think you'd still have told me." He's a little more hesitant after this, shutting the water off so that he can gesture for the first aid kit. "There was --" << be news soon anyway >> "-- an attack. At your -- at the Brotherhood's camp. Feds, I assume. A lot of Sentinels." His jaw has tightened, and he's very determinedly ''quieting'' the replay of the carnage that has started to run through his head. "I don't think your dad was there, but a lot of people died."<br />
<br />
"Ohhh." This doesn't ''quite'' capture Polaris's relief and ''new'' puzzlement. << (why didn't he just say so) (why didn't he text me ''himself'') (was that supposed to ''sound like'' Hive) >> But the only part that makes it out loud is, still, "...''babe?'' Seriously?" Any further questions she may have about Hive's antisocial friend are entirely derailed by the explanation (that she can understand). She goes to DJ and holds the kit open for him while she struggles to pull words out of the confused chaos of << (dad!) (oh thank God) (wait why ''wasn't'' he--) >> "--wait why were ''you'' there?!" Now she's rifling through the list of ''other'' people who might be dead or captured, a nebulous cloud of community members whose ostensible terrorist activities she knew better than to ask after, but the one that tightens her chest with heartbreak, fury, and abject horror is, << ''Leo?'' >><br />
<br />
"I started to text you but I was doing a little too much freaking the fuck out." Hive lifts his hands, dragging both down the sides of his face with a shaky exhale. "We noticed the Sentinels before they attacked, DJ went to ''warn'' them to evacuate but." His teeth are gritting, and somewhere -- reluctant, grudging -- he is forced to acknowledge he perfectly well knew DJ might stay, could hardly ''imagine'' a world where DJ simply abandoned people to that slaughter. "-- but stayed to try and. Help. -- Leo's been across the damn world, never thought I'd be thinking ''thank fucking God'' he's in a warzone but he's been seeing to folks in Gaza for a minute now." Though DJ is trying to quiet it, now ''he's'' trying to bring those memories back up, tamping down his own sick upset as he sifts through for familiar faces. "... don't think Erik's given a shit about their safety for a ''while''."<br />
<br />
"I can imagine that world." DJ's voice is quiet and steady, but his thoughts are whirling. In his mind the blood freshly soaking into the muddy forest floor is mingling with bodies strewn across the torn-up ground of a detention camp after an uprising. Snatches of conversation replay across the years, thoughts of those who dismissed the dangers of looming genocide and those who turned tail and fled without a thought for the ones who ''couldn't''. The decisions, made and made again each grueling day, to stay and fight. The constant unsettling dissonance of ''this'' world and its ugly veneer of peace laid over all the same warning signs. The tense hypervigilance that comes with trying to balance building a ''life'' with knowing it could shatter at any moment and the weight of responsibility to ''keep'' that vigilance so others don't have to. The sense, furious and oddly ''disappointed'', that if anyone understood that responsibility it ''should'' be those who've already lived through genocide. "-- I think you wouldn't like me much, in that world."<br />
<br />
Somewhere in here, only half-thinking, he's folded Polaris into ''them'', not intentionally to share this cascade of musing but to more efficiently guide her hands to help with wound packing. "He ditched them months ago." There's some vague background calculation going on in his mind, how many lives might have been saved if the ''feds'' knew that, that he dismisses in short order as Not Helpful. Instead he's moving on to a detached assessment: "-- they won't stop there. They never stop there." He's thinking of the safehouses scattered through the city, of Freaktown, of the school itself, of ''any'' community anywhere, really, that's A Little Too Mutanty, of the very little pretext the government ''needs'' for this type of witchhunt. "We're ''all'' terrorists when its our genes they're afraid of."<br />
<br />
Polaris is well accustomed to emotional rollercoasters, but ''usually'' on a longer timescale than this, and she's again bouncing from << (oh thank God) >> to << (in ''Gaza?!'') >> She's outwardly quiet while she tries without much success to reconcile her already complicated views of her father--whatever his flaws, deeply passionate about his (admittedly also flawed) Cause--with this new information. She can't really come up with much more than perplexed rage and disappointment that, however different their provenance from DJ's, harmonize with his when their minds join and processes more readily now to a resigned, << I owe Wendy a few more bracelets... >><br />
<br />
"In that world, we would struggle with the same decisions." She doesn't say that they already ''do'', even in the microcosm of Hive's decision to tell DJ and DJ's decision to help, toward which she hypocritically shares Hive's anger, knowing she would have made the same call in his place. Beneath this, she is trying to quiet a cold dread that she will find ''herself'' targeted, even if no official records reflect her true parentage. That Prometheus's interest in ''her'' genes, mere months after the Liberty Island Incident, was no coincidence. That the terrorism charges they used as justification were never actually dismissed. But grounding comes more easily now, bolstered by the sturdy roots that know the earth as well as its awesome lines of force, and by the steady work of her''his''their hands seeing to wounds they know how to heal. What finally comes out, in quiet but vehement Thai, is "{''We'' give a shit.}"<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Hey_Babe&diff=25881Logs:Hey Babe2024-03-03T21:27:00Z<p>Borg: Created page with "{{ Logs | cast = DJ, Hive, Polaris, a very small dash of Cerebro | summary = *(Hive --> Polaris): XOXOXO | gamedate = 2024-02-09 | gamedatename = | subtitle =..."</p>
<hr />
<div>{{ Logs<br />
| cast = [[DJ]], [[Hive]], [[Polaris]], a very small dash of [[Cerebro]]<br />
| summary = *(Hive --> Polaris): XOXOXO<br />
| gamedate = 2024-02-09<br />
| gamedatename = <br />
| subtitle = cn: mentions of violence in genocide/war<br />
| location = texts & <XAV> Phoenix Room - Xs Third Floor<br />
| categories = DJ, Hive, Polaris, Cerebro, Mutants, Brotherhood of Mutants, XAV Phoenix Room, Telecommunications<br />
| log = <br />
<blockquote><br />
*(Hive --> Polaris): <s>DJ's going to fucking get himself killed</s><br />
*(Hive --> Polaris): <s>How fast can you get to</s><br />
*(Hive --> Polaris): <s>I stg I will rip another hole in the fucking universe if DJ dies for</s><br />
*(Hive --> Polaris): <s>Do you know where your dad's</s><br />
*(Hive --> Polaris): <s>fuck I can't do this again these fucking bots are going to</s><br />
*(Hive --> Polaris): <s>when do you get off work</s><br />
</blockquote><br />
The message that ends up making it through to Polaris's phone -- in ''uncannily'' rapid succession -- takes a somewhat different tone from the ones Hive actually wrote:<br />
<blockquote><br />
*(Hive --> Polaris): Hey Babe<br />
*(Hive --> Polaris): Come at once if convenient<br />
*(Hive --> Polaris): If inconvenient, come all the same<br />
*(Hive --> Polaris): XOXOXO<br />
</blockquote><br />
<br />
<br />
<XAV> Phoenix Room - Xs Third Floor<br />
<br />
The guest rooms at Xavier's are spacious and comfortable, well-furnished suites readied for visitors. This one is among the smallest of the available suites, consisting of a small sitting room, a bedroom with queen-sized bed, and a large bathroom. The windows look out over the side yard, with its playground and playing fields. The decor in here heavily favours rich reds and dark woods, and the artwork that graces the wall leans fiery in theme. There is a fireplace, here, stocked with wood in the niche beside it; on the mantlepiece above it, small glassworked figurines of birds in reds and oranges and yellow look half on fire themselves, when they catch the light.<br />
<br />
There are raised voices coming from behind the guest room door. Or, okay, ''one'' raised voice, edged with a frustration that does not ''need'' the telepathic connection to come across. Probably there are several more useful things Hive ''could'' be doing, right now -- for example, actually opening ''up'' the first aid bag that he's clutching tight to his chest. Instead, though, he has opted for being minimally helpful and maximally obstructive; he's leaning up against the bathroom sink, the better to properly berate his partner in agitated Thai. "{-- some crazy-ass shit for people who wanted to fucking kill you! If the situation were -- no, you know, it wouldn't ''be'' reversed because you're not a murderous fucking terrorist.}"<br />
<br />
The telepathic connection has, anyway, been put solidly on mute, and while this was ''originally'' to spare Hive a good deal of echoed pain, possibly at the moment it is also a blessing for DJ. Out of a polite respect for Hive's obstructiveness he has perched himself on the edge of the tub, instead, stripped down to his garment shorts -- the ''rest'' of his clothes are in a soiled and bloodied heap in the corner together with the shattered remnants of his prosthetic arm. The wounds torn in his side and calf look ugly but manageable, though his teeth are gritted as he rinses his leg and he's looking ''pretty'' pale. "{I ''am'' a terrorist,}" he's objecting, considerably less sharply than Hive. He's turning over ''murderous'' in his mind alongside a rapidfire assessment of How Many Murders he has done that gives up long before he lands on any solid estimate. "{-- so are you, for that matter. But 'what would the Brotherhood do' isn't exactly my benchmark for morality, either way.}"<br />
<br />
Polaris bursts into the suite frantic and touseled, still in her black work clothes--still in her, ''apron'', her hair loose from its updo despite the intricate wire-weave holding it in place. Her thoughts are a kaleidoscopic jumble of fragmentary images from the hallway outside, peppered with ineffectual attempts at grounding herself in the immense thrum of the geomagnetic field. ''Some'' of the mental noise resolves into << (oh thank God) (looks like Hive) (''sounds'' like Hive) (did his phone/brain get hacked?) >> and then << (oh my God) (there's a whole ''med lab'' downstairs) (should I avert my eyes) -- >> when she sees ''DJ''. "What the fuck happened?" she demands, strangely ''anxious'' when she goes to tug the first aid kit from Hive's grasp. << Babe? Seriously? >><br />
<br />
"{Sure, ''technically'', but you can hardly compare -- that's not the fucking point, I wouldn't have told you if --}" Hive's eyes are snapping toward the door shortly before Polaris enters, and though his ''thoughts'' are re-railing his language isn't, still in irritable Thai when he replies: "{This motherfucker was out trying to get himself ''killed''.}" He relinquishes the first aid kit without protest. "... babe?" This is just confused, but at least it has switched him back into English.<br />
<br />
"Cerebro," DJ prompts Hive. "It was a ''friendly'' hacking, anyway. And I think you'd still have told me." He's a little more hesitant after this, shutting the water off so that he can gesture for the first aid kit. "There was --" << be news soon anyway >> "-- an attack. At your -- at the Brotherhood's camp. Feds, I assume. A lot of Sentinels." His jaw has tightened, and he's very determinedly ''quieting'' the replay of the carnage that has started to run through his head. "I don't think your dad was there, but a lot of people died."<br />
<br />
"Ohhh." This doesn't ''quite'' capture Polaris's relief and ''new'' puzzlement. << (why didn't he just say so) (why didn't he text me ''himself'') (was that supposed to ''sound like'' Hive) >> But the only part that makes it out loud is, still, "...''babe?'' Seriously?" Any further questions she may have about Hive's antisocial friend are entirely derailed by the explanation (that she can understand). She goes to DJ and holds the kit open for him while she struggles to pull words out of the confused chaos of << (dad!) (oh thank God) (wait why ''wasn't'' he--) >> "--wait why were ''you'' there?!" Now she's rifling through the list of ''other'' people who might be dead or captured, a nebulous cloud of community members whose ostensible terrorist activities she knew better than to ask after, but the one that tightens her chest with heartbreak, fury, and abject horror is, << ''Leo?'' >><br />
<br />
"I started to text you but I was doing a little too much freaking the fuck out." Hive lifts his hands, dragging both down the sides of his face with a shaky exhale. "We noticed the Sentinels before they attacked, DJ went to ''warn'' them to evacuate but." His teeth are gritting, and somewhere -- reluctant, grudging -- he is forced to acknowledge he perfectly well knew DJ might stay, could hardly ''imagine'' a world where DJ simply abandoned people to that slaughter. "-- but stayed to try and. Help. -- Leo's been across the damn world, never thought I'd be thinking ''thank fucking God'' he's in a warzone but he's been seeing to folks in Gaza for a minute now." Though DJ is trying to quiet it, now ''he's'' trying to bring those memories back up, tamping down his own sick upset as he sifts through for familiar faces. "... don't think Erik's given a shit about their safety for a ''while''."<br />
<br />
"I can imagine that world." DJ's voice is quiet and steady, but his thoughts are whirling. In his mind the blood freshly soaking into the muddy forest floor is mingling with bodies strewn across the torn-up ground of a detention camp after an uprising. Snatches of conversation replay across the years, thoughts of those who dismissed the dangers of looming genocide and those who turned tail and fled without a thought for the ones who ''couldn't''. The decisions, made and made again each grueling day, to stay and fight. The constant unsettling dissonance of ''this'' world and its ugly veneer of peace laid over all the same warning signs. The tense hypervigilance that comes with trying to balance building a ''life'' with knowing it could shatter at any moment and the weight of responsibility to ''keep'' that vigilance so others don't have to. The sense, furious and oddly ''disappointed'', that if anyone understood that responsibility it ''should'' be those who've already lived through genocide. "-- I think you wouldn't like me much, in that world."<br />
<br />
Somewhere in here, only half-thinking, he's folded Polaris into ''them'', not intentionally to share this cascade of musing but to more efficiently guide her hands to help with wound packing. "He ditched them months ago." There's some vague background calculation going on in his mind, how many lives might have been saved if the ''feds'' knew that, that he dismisses in short order as Not Helpful. Instead he's moving on to a detached assessment: "-- they won't stop there. They never stop there." He's thinking of the safehouses scattered through the city, of Freaktown, of the school itself, of ''any'' community anywhere, really, that's A Little Too Mutanty, of the very little pretext the government ''needs'' for this type of witchhunt. "We're ''all'' terrorists when its our genes they're afraid of."<br />
<br />
Polaris is well accustomed to emotional rollercoasters, but ''usually'' on a longer timescale than this, and she's again bouncing from << (oh thank God) >> to << (in ''Gaza?!'') >> She's outwardly quiet while she tries without much success to reconcile her already complicated views of her father--whatever his flaws, deeply passionate about his (admittedly also flawed) Cause--with this new information. She can't really come up with much more than perplexed rage and disappointment that, however different their provenance from DJ's, harmonize with his when their minds join and processes more readily now to a resigned, << I owe Wendy a few more bracelets... >><br />
<br />
"In that world, we would struggle with the same decisions." She doesn't say that they already ''do'', even in the microcosm of Hive's decision to tell DJ and DJ's decision to help, toward which she hypocritically shares Hive's anger, knowing she would have made the same call in his place. Beneath this, she is trying to quiet a cold dread that she will find ''herself'' targeted, even if no official records reflect her true parentage. That Prometheus's interest in ''her'' genes, mere months after the Liberty Island Incident, was no coincidence. That the terrorism charges they used as justification were never actually dismissed. But grounding comes more easily now, bolstered by the sturdy roots that know the earth as well as its awesome lines of force, and by the steady work of her''his''their hands seeing to wounds they know how to heal. What finally comes out, in quiet but vehement Thai, is "{''We'' give a shit.}"<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:State_of_the_Union&diff=25880Logs:State of the Union2024-03-03T03:27:12Z<p>Borg: Created page with "{{ Logs | cast = Ion, Scramble | summary = "Ionno how much anybody told you bout what gone down while you was dead, but. S'a lot." | gamedate = 2024-02-12 | gamedatena..."</p>
<hr />
<div>{{ Logs<br />
| cast = [[Ion]], [[Scramble]]<br />
| summary = "Ionno how much anybody told you bout what gone down while you was dead, but. S'a lot."<br />
| gamedate = 2024-02-12<br />
| gamedatename = <br />
| subtitle = <br />
| location = <BOM> Jenner Ruins - ???<br />
| categories = Ion, Scramble, Brotherhood of Mutants, Mutants, Mutant Mongrels MC<br />
| log = <br />
It's not actually that ''late'', but the days so far have had many other priorities. Between ''killing'' the dead, burying the dead, stocking up enough food and water -- getting the ''power'' back on is going to be a problem for Another Day. With little artificial light, the darkness makes it ''feel'' late. After exhausting work all day and plenty more on the horizon before it's really properly livable in here again, plenty of the Brotherhood are opting for early nights. It's quiet in the frigid courtyard, just a slim sliver of moon occasionally peeking out from behind the clouds to light the weedy expanse. <br />
<br />
Buttercup is out for a pre-bed pee break that has segued into scratching hopefully at the abandoned mouth of a rat burrow in a corner. After a couple days off-grid, Ion's erratic sparking has started to quiet; he's no longer quite as readily visible as he's ''been'', tucked away at a bench to one side of the yard. The jangling erratic disorder of his ''mind'' has quieted considerably in tandem. The ''snkt'' of his lighter and flare of its flame are clear enough, as is the distinctive sharpness of the menthol cigarette he's lighting, slumping back against the side of the building with an uncharacteristic heaviness in the droop of his shoulders.<br />
<br />
Scramble's ''visible'' contributions to the work of cleaning up have been highly irregular, contingent on the side effects of her careful efforts in keeping her bereaved and terrified siblings sane. Relatively sane. Slightly ''less'' insane. She slept right through dinner, but is making her slow way outside now with a blanket wrapped around herself. At the spark of Ion's lighter she's drifting over to settle on the bench beside him. "Trade you one." She's offering an open sleeve of cheese sandwich crackers (the "cheese" is spelled with a "z" so you know it's fun and zany) and indicating his cigarettes a bit more vaguely, in the uncertain light.<br />
<br />
Ion doesn't open his eyes, but he ''does'' dig the pack of cigarettes out from his jacket. He holds it and the lighter out to Scramble on a palm. "How your brain going?"<br />
<br />
Scramble's laugh is little more than a harsh breath. "Crazy." She takes the pack and the lighter, handing Ion the dubiously cheesy crackers instead. "But it been crazier before. I'll be aight." Shakes out a cigarette and lights it. Inhales a ''little'' too deep and has to stifle a cough against her arm. "Ionno how much anybody told you bout what gone down while you was dead, but. S'a lot."<br />
<br />
"{For once I got sanity to share.}" Ion sounds kind of wry, here. "{Take some while it last.}" The plastic crinkles in his fingers as he works a cracker out of the pack, shoves it whole into his mouth. He exhales heavy while he's crunching it down, and now his eyes do open, fixed up at the wan moonlight overhead. "Shit, yo, when I got off the damn island and Erik wasn't here I think he ''must'' be dead too, how else --" His teeth clamp down tight. "Talk to me."<br />
<br />
Ion has barely finished making his offer when Scramble's power digs into him with a desperate hunger. Probably, she ''is'' trying to hold herself back. Probably, that doesn't make the sinking twisting sudden distance of perception and less unpleasant. "Ion even know where to start," she says, but then starts with, "All the shit that went down at Lassiter was like a blur. Whole thing felt unreal." She closes her eyes. Opens them. "Then shit got real again." She inhales and blows a long stream of smoke into the darkened sky. "Sameass day the Club voted me President, some Nazis rolled up on a Jewish service in town square."<br />
<br />
Even with her newly borrowed chemical equilibrium, she sounds a little unsteady. "That pryo Sword Wick straight ''killed'' Henney -- you know, lived up in Thorne House, talked to birds? Just burned him to nothing." She swallows, studying the brand of the cigarette with a weird intensity. "Erik full lost his shit. Tore up the street tryna kill the Nazi, but he hit Jax's bubble and, incidentally, Jax." Her head shakes, slow, repetitive. "Meanwhile that motherfucker Deep was -- look, just, it was a goddamn nightmare. We got everyone out the way before Jax went boom, and we thought he was dead for a hot minute till Joshua blipped him back all healed up. But B saw the whole thing and it fucked her up somethin fierce."<br />
<br />
"Fuck, Henney." Ion's teeth grit hard -- is it against the news or against the abrupt dissociation? Maybe the latter ''helps'', honestly, because he's listening to this litany of terrible with an oddly absent nod and a looong drag of his smoke. "{-- man made Tae-Yeon's little girl the ''bomb'' chicken soup every damn day when she got sick last winter. Only thing she'd to eat two straight weeks.}" His thumb flicks at the cigarette, and he shifts a little closer to Scramble. No jolt, when his shoulder leans up against hers. "You pack a ''whole'' lot of presidenting into one day." There's a pause after this. Another puff of his smoke before he dredges up, reluctantly: "... how fucked up we talking."<br />
<br />
"{Didn't even have nothing to bury.} Some president I am." Scramble leans back, hard. Smokes hard, too. "Folks was scared, after that. Some of 'em started thinkin they'd be safer with the Swords than with us. Maybe if I ain't had my hands so full with Freaktown..." She sets her jaw hard. "B quit. Not the Mongrels, the Brotherhood, on account of Erik. Now, ''he'd'' holed up in his cabin since that attack. Ion even know if anyone told him 'bout B, but if so he didn't give a shit. Some point he fucked all the way off God knows where, but the Raes ''been'' handling the day-to-day anyhow." She taps the ash from her cigarette and searches for Buttercup amongst the shadows. "''Mostly''. Without B we didn't have no hacker on the island. When I asked her to come back she said we was already fucked. At the time I thought she meant about our leadership. Now?" She shakes her head again. "Fucked if I know."<br />
<br />
"That pyro ''been'' full fucking crazy. You can't..." Ion exhales, hard. His next words come tighter, half spat through his teeth: "''Told'' him? He ain't even try to -- ''kssh''. The fuck kind of leader -- if one our dogs going through it, ''you'' need someone to write you a fucking report? {Nick could stub his fucking paw, I ''bet'' it be on your mind when you thinking on a run.}" He sucks at his teeth, pulling a leg up against his chest. He's kind of vaguely looking across the yard, now, in the direction of the continued snuffling and scraping paws, little though he can actually ''see'' Buttercup in the dim light. "She take her guard-bots and all?"<br />
<br />
Scramble shakes her head. "I can understand freaking out. I wasn't exactly thinking straight, and I ain't even gone through what he survived. But he came back after he calmed down that night, and I thought..." She slumps over a little further, her head sinking Ion's shoulder. "Shit. Ionno what I thought." Her shoulders shrug and do not fully relax again. "She ain't take shit with her. Mostly seemed like it all just kept chugging along, but when those Sentinels attacked the island? B's pet Sentinels turned on us, too."<br />
<br />
Ion's cheek rests against Scramble's poof of hair. "''Fuck''," again, sounds soft and deflated. "I know that little shark ''fierce'' about her family but I thought --" But then he's just shaking his head, small and mostly just felt by the shift against Scramble's fro. "Ionno what I thought." He stubs his cigarette hard against the bench. His next few breaths are slow. Deep. Eventually he straightens -- whistles quick and sharp, which brings a rapid thumping of paws back in their direction. He scrunches his fingers into Buttercup's fur, then, slowly, stands, offering a hand out to Scramble. "C'mon, Sister. You ''need'' some proper meal, yeah?"<br />
<br />
"Ain't ''nobody'' in her family would want that, no matter how little they like what we do." Scramble gives her cigarette one more long pull and crushes it out, too. "And I thought we was her family, too." But when Buttercup arrives her shoulders ease a little. "Yeah. I'm so goddamn glad you come back to us, Hermano." She grips Ion's hand and hauls herself up. "'Almost enough to make a crazy old dyke believe."<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Making_Fate&diff=25879Logs:Making Fate2024-03-02T22:08:14Z<p>Borg: Created page with "{{ Logs | cast = Akihiro, Destiny, Ion | summary = "First time is always the longest." | gamedate = 2024-02-25 | gamedatename = | subtitle = | location = <BOM> C..."</p>
<hr />
<div>{{ Logs<br />
| cast = [[Akihiro]], [[Destiny]], [[Ion]]<br />
| summary = "First time is always the longest."<br />
| gamedate = 2024-02-25<br />
| gamedatename = <br />
| subtitle = <br />
| location = <BOM> Chapel - Jenner Ruins - ???<br />
| categories = Akihiri, Destiny, Ion, BOM Chapel, Jenner Ruins, Brotherhood of Mutants, Mutants<br />
| log = <br />
<br />
The sign on the door reads "Interfaith Chapel", but all of the books in the library corner are Christian scriptures or inspirational nonfiction. The only religious iconography on the walls is a single plain cross creatively mounted one of the securely barred windows letting in wan daylight that somehow only makes the place look more dismal. The table in front of it might have once been adorned with an altar cloth, this being one of the nicer labs in its time, but at least its ugly scratched veneer has been cleaned and its wobble fixed. The chairs have been righted and set in neat rows to face the unimpressive pulpit, the broken ones removed along with the corpses that had been wandering around since having presumably crawled in here for divine succor during their horrific death throes. Some of the stains on the cracked linoleum floor will probably never come out.<br />
<br />
There's a pale morning glow struggling its way through the dingy old reinforced window. It doesn't do ''much'' for the cheer in here, but someone has clearly tried to spruce the chapel up some -- there are fresh flowers up by the pulpit, a set of flickering frankincense-scented candles by the door that are trying their best to ''lend'' a properly Catholic air to the place. How ''much'' of the Brotherhood has yet availed themselves of Some Religion is questionable, but just at the moment there's singing coming from inside. "-- let us build the city of God; may our tears be turned into dancing --" Deep and rich in Ion's rumbling bass, the lively tune is perhaps the ''most'' cheerful thing going on in the otherwise sad chapel at the moment. He's even ''kind'' of dressed for church, in that this pair of jeans is clean and undamaged and his work shirt is ''buttoned up''.<br />
<br />
The door opens quiet and closes quiet, too, a slight Chinese woman slipping through in between to hover for a moment at the back of the room, head slightly canted to one side, before drifting to the farthest row of chairs. Destiny may or may not be here to Get Religion, but she ''is'' dressed nicely, in a single button black blazer over a blue satin vest and white mandarin shirt -- none of which would look particularly masculine tailored to her admittedly minimal curves, but the black yoked maxi skirt that swishes around her black heeled boots with each silent is decidedly feminine. She does not join in Ion's singing, but does not interrupt it, either, her expression not quite a smile though it looks distantly pleased. ''Maybe.'' It might just be a trick of the flickering light.<br />
<br />
Akihiro approaches much less quietly, his usually soft footfalls being replaced by the more militant sound of boots slapping against the ground, despite this he slows on approach to the sanctuary, gently opening the door and slipping inside. He's pulled his hair up into a tight ponytail, careful to keep all the stray hairs from falling into his face, and his casual clothes have been replaced by tactical black pants with a matching t-shirt tucked inside and a plate carrier over top, and he's visibly armed with a sword sheathed on his left side and a matte black 1911 holstered on his right.<br />
<br />
Ion doesn't stop singing until the psalm is done, head bowed and hands clasped. He's looking up after this, with a bright smile rendered still brighter by the uneasy crackle of sparks that dances around him. "Ey-''o'' you all come for a song? Got room for everyone. Better with a guitar to it but --" He's holding up his hook-hand, waggling it with no evident reduction of cheer at the acknowledgment that his guitar-playing days are over.<br />
<br />
Destiny tilts her head again, listening to the heavy steps even before Akihiro has entered. When he does this shifts smoothly into an incline of her head by way of greeting. "Are you going to war, Brother?" she asks, once the song is over, though she's not looking at his weapons or his armor, does not seem to quite be looking at him at all so much as ''past'' him. She turns to Ion when he speaks. "You have a lovely voice. Ion, isn't it?" Maybe the question is rhetorical. "We can find an instrument to suit your hand. Or a hand to suit your instrument."<br />
<br />
"We're already at war, Sister." Akihiro replies simply, one hand falling to the pommel of his blade, simultaniously upnodding Ion. "Seems I forgot that in my rush to play house." His attention fully turns to Ion now, "Get me some sheet music and I'll do my best to play along next Sunday, at least until your hand grows back. First time is always the longest."<br />
<br />
"Think we been at war," Ion is acknowledging almost in time with Akihiro, the slant of his smile slipping a little rueful. "Yeah! I hear you Mystique's mystery wife, huh? Know ''everything''? See everything?" He doesn't seem to find any irony here. He's looking down at the metal hook, the pronged tips opening and closing (with a brighter shiver of lightning between the two ends). "Ahhh, this one do me fine, I -- ''huh''? First time wh--" Now he's looking over at Akihiro, confused for just a second before he barks out a laugh. "Shit, bro, you know how to ''teach'' me that trick I'll be damn grateful. Till then I guess I be seeing you here next Sunday."<br />
<br />
"At war, yes." This doesn't sound like either a platitude or pedantry. Destiny says it in a tone of deep contemplation, without any particular emphasis on any particular word. "As are all our kind, but few are ready to fight it as we are. " Her fingertips trace one of the joins below the grip of her cane. "Destiny. That is my name, and I don't know ''everything,''" is apparently the only part of Ion's assessment she's denying. "But I know where we will find new brethren, far across land and sea. Ones who will soon have less to lose by going to war. Have you heard of a place called Genosha?"<br />
<br />
“Not much if I’m being honest.” Akihiro sucks on his teeth and shifts his weight onto his right leg. “Sounds like I’m going to need a briefing and a few boxes of roofing screws though.”<br />
<br />
"''Destiny'', that's right, got all our ''fate'' up in there." Ion is tapping the curve of his hook indicatively against his temple. His brows knit in thought. "Genosha? Thats way the fuck away, yeah? Middle of the ocean? We going on a field trip? Long-ass way to recruit."<br />
<br />
"The situation there is deteriorating for our people. A time will come when they have need of us as we have need of them." The tilt of Destiny's head is barely noticeable. "Until then, we must recover our strength. We must discover how HAMMER found Ascension Island." She only straightens a little, but the effect on her tiny frame is dramatic. "And we must take the war to them."<br />
<br />
“If I had to guess, probably me trying to download the newest episode of Hikaru Kimi e.” Akihiro tries to deflect, but it’s obvious from the set of his jaw and the tightening grip on his blade that he’s internally seething. “I need to blow off some steam, and frankly I don’t care if it’s ending the Swords or starting another revolution. Once we finish the humanitarian work we can deal with HAMMER, unless you foresee them being a problem again before then.”<br />
<br />
The tips of Ion's hook click restlessly together. There's a sharp suck of his cheek against his teeth. "Shit, you think they ain't still gonna be looking for us? They gonna be hunting us till they all dead, ''we'' all dead, or they got Erik's damn body to parade on the evening news." There's a deep pain that's twisted at his face, his shoulders tightening hard and his voice a lower rumble. "Don't fucking ''like'' it but we all know there ''one'' person out there knowed our security inside-out ''and'' carrying a grudge a mile high."<br />
<br />
"I commend your eagerness, Hanayama-san." Destiny's tone is extremely even. When she "looks" at Akihiro this time, her eyes actually track to his face, but with no change in the focus of too-wide pupils the effect is surprisingly unnerving. "But we must be extremely cautious operating in this country until we have identified and eliminated our security breach." At Ion's unhappy conjecture there's a keen interest in the shift of her still unfocused eyes. "You speak of B Holland. I know this is painful for you, but you know her very well, and we will need that knowledge to take her down."<br />
<br />
“Even if she didn’t outright give us up, she stopped shielding our location, and I doubt the timing was a coincidence. If they’d known sooner they’d of struck sooner.” Akihiro nods at Destiny, catches himself, and looks away as his face begins shading red. “I have a feeling I’m going to end up there one way or another. As you know Sister, fate is a funny thing. You can try to dodge and defy it all you want but in the end you’ll get pulled where you’re meant to be.”<br />
<br />
"I thought I know her," Ion replies, his head shaking. "''Thought'' I know a lot of things. Shit, you die for ''just'' a couple months the entire damn world go upside down." His teeth bare after this, though, a ''bright'' and almost savage grin. "You believe in fate, bruh? Every fucking day we still breathing in this shit-ass world we defying fate. Fate's what we ''make'' it."<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Courting_Danger&diff=25871Logs:Courting Danger2024-03-01T04:59:45Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[NPC-Cerebro|Cerebro]], [[Charles]], [[Ryan]]<br />
| summary = "I will listen, in as many registers as you need to speak."<br />
| gamedate = 2023-08-14<br />
| gamedatename = <br />
| subtitle = CN: internalized ablism, mention of suicidal tendencies<br />
| location = <XAV> [[Medical Lab]] - Xs Basement<br />
| categories = NPC-Cerebro, Charles, Ryan, XAV Medical Lab, Mutants<br />
| log = <br />
Gleaming and sterile, the school's medical facility is all cool science in contrast to the mansion's old-world old-fashion. All stainless steel and antiseptic tinge, the room is filled with the quiet whir-click of the various implements that comprise its medical equipment -- all state-of the art. The hospital beds are curtained off for privacy when they have patients, and in one of the alcoves there is a small operating theatre visible. More heavy-duty equipment is visible in the lab in the back, where the securely locked cabinets keep sensitive equipment out of the reach of teenage fingers.<br />
<br />
The medical lab in the small hours of the morning has ''been'' quiet; somewhere across the way there's a teenager with fresh cast and their leg up in suspension, sound asleep; over here the patient in ''this'' small back room has been even ''less'' lively.<br />
<br />
The fact that Hive is still fully in a coma has ''not'' stopped Ryan's slightly tipsy ranting ever since Joshua dropped him off here a short while ago. Out of consideration for the ''other'' slumbering patient, his voice doesn't carry any farther than Hive's little quarters, but that does nothing for the loud-clanging cycling of his ''mind'' as it jolts between various and contradictory extremes. He's just spinning down from a state of high-anxiety worry that's been colored thick and heavy with a ''deep'' and aching love and, now, with Absolutely None input from the unconscious telepath, is talking his way back into a bright-hot fury.<br />
<br />
"-- ''how'' yuh even been treating that boy of yours, anyway?" This scolding comes with vivid psionic clarification that he isn't ''sure'' Hive is getting, isn't sure if he ''hopes'' Hive is getting: DJ's hungry mouth on his, the press of his back into Ryan's touch, the storm of reds and oranges and rich purples that danced wild through DJ's desire where it half-drowned Ryan's senses -- the clawing blinding-white jags of ''desperate'' need that tore through. "-- I know you been sleeping a minute but that motherfucker felt like ain't nobody touched him in ''years''." << Magic underwear doing its ''job'' I guess >> tumbles into, both sharply amused and sharply ''guilty'': << not doing it well enough. >><br />
<br />
Somewhere beneath the accusation, somewhere beneath the anger, there's entirely ''different'' fury, sick-sharp and self-directed.<br />
<br />
Maybe if he'd planned better -- maybe if he'd listened better -- maybe if he'd thought through this entire godforsaken decade a little bit better --<br />
<br />
"Maybe you got the right of it, everything's gone to fucking shit," he's pivoting again, bitterly, as he slumps forward in his sleek electric chair against Hive's beside. He's dressed still like he was for the abruptly ended foray into Sex Party -- black kilt interspersed with paneling in pink, purple, and blue, a black button down, ''mostly'' sheer between the burnout-gingko leaves patterning, a deep pink tank beneath. "Wouldn't blame you if you didn't wake up."<br />
<br />
This is a patent lie, clear as soon as he's said it. He's ''already'' blaming Hive for this absence, though not half so much as he's blaming himself.<br />
<br />
"He wants to wake up." The voice is terse, with a touch of an English accent--the same one that announced the death toll for the more lethal of the recent raid training simulations--and it's coming from a robotic bee perched in an intricate wirework tree on the table by Hive's bed. With the speaker so crisp and up close, Ryan can distinguish subtle hints that it's a synthesized voice, if a shockingly sophisticated one, but there's absolutely, unambiguously a ''person'' behind it. And that person is pretty agitated, just this side of outright hostile and trying not to tip over. They're also ''terrified''. "Because he loves you all, including that boy of his."<br />
<br />
"What, s'he fucking ''told'' you?" Ryan is lifting his head to snap immediately, crankily, even as his mind strains desperate and loud in the mental equivalent of blaring a radio under Hive's window: ''I'm here'', at once fuzzily defined but crystal clear, ''I need you to be.'' <br />
<br />
It's only a moment ''after'' this that he blinks, looks around, ''frowns''. He reaches for a flask in the chair beside him, lifting it not for a drink but simply to reassure himself he hasn't yet drained it, isn't ''that'' drunk. His eyes focus at a delay on the bee, studying it intently as he compares this voice to B's -- discards this option ''immediately'' but then reconsiders it; in his imagination this time the little blue shark has a Union Jack painted across her face and has decided for some reason to prank him.<br />
<br />
This, too, gets dismissed as he ''does'' swig at the flask. "Yeah? Don't usually feel loneliness like ''that'' 'cept on the labrats coming outta solitary." Though his tone is still accusation, a swell of fear and worry and love has crashed over him so hard it half feels like his mind might break under the strain of ''trying'' to project some of that love to Hive directly. ''Wake up'', is followed swift by ''he needs you'' (kind of ''rudely'' tinged again with the colorsound''feel'' of DJ's hunger, sorry, Hive), followed soon after by ''we need you'' and now it's greyer: the long stretch of silence from Jax after ''what comes next'', the washed-out nothingness of his best friend's emotional landscape, Ryan's own stark ''terror'' that maybe he shouldn't try too hard in rehab, that once he's well enough on the way to ''better'' he'll come home to no Jax at all.<br />
<br />
"We met?" he's a little self consciously asking the bee.<br />
<br />
"It's not Hive's fault," the voice insists doggedly, but they're not altogether ''certain''. "But maybe they can -- it's just another reason he has to wake up." There's more fear there, of a different timbre, heavy with the kind of grief that comes of losing too many people and the expectation of losing more. "We've met. I'm the..." It's that ''other'' fear again, at once alien in its abrupt modulation and familiar in its existential uncertainty. "Well, I've ''killed'' you thirteen times, but I don't suppose that counts." The flippancy is sheer bravado that drops away shortly. "I'm Cerebro."<br />
<br />
In Ryan's mind the Big Round Room is growing a face, growing a mouth, but the mouth is made up of a swarm of a million robot bees all somehow ''buzzing'' with a British accent. He huffs, rubs knuckles against his eyes as if this will clear the buzzing. << the sysadmin? >> he's thinking, but aloud says, "the big brain room?" His eye scrunches up as he thinks back over years of simulated horror, years of ''sharpening'' their skills against it. "Rude of you," he's murmuring with a wash of amusement, and then, sincerely: "Thanks."<br />
<br />
"It's a bloody ''psionic amplification chamber'', and I should ''not'' have indulged them calling it by my name." Cerebro sounds annoyed and indignant, while a quieter nostalgia wars with an old, old rage. "But it's...not ''not'' me. And I'm also the sysadmin." There's another hesitation. "You're welcome?" This is kind of wondering, almost dazed, as if being thanked was the absolute last thing he expected. "I can hear your thoughts. Some of them. I'm not good at tuning them out anymore. Out here, anyway." He is genuinely not trying to be cryptic, and growing frustrated with it.<br />
<br />
"Can't imagine how many" << more >> "of us would be dead without those sims." Only Ryan ''can'' imagine it, ''is'' imagining it, old-old friends so many years gone; the sharp biting sting of debris whipped across his face as Amila goes down in a hail of bullets; Jordana's final screams ringing hard with fear and anguish against his senses clear across the years. To these memories he's adding more, vivid in imagination. A tiny blue sharkpup suffocating in the clear summer air. Sentinels surrounding their van, Joshua's expression frozen waxy and dour forever. Half the facility or half the county taken out in one blazing starburst. A litter of dead labrats strewing the ground in their wake.<br />
<br />
Hive, still and ''silent'' and eerie in the utter lack of psionic ripple around him -- no, that one is real. He curls his hand through the telepath's, rests his forehead against Hive's bony knuckles. "-- used to ''that''." Now he's focusing more thoughtfully on the slow shift of colors that spill across his vision in time with the voice, in time with its vagaries of mood. The grief that's been painted achingly familiar yet each time achingly unique across so very many voices tonight. The rage old but only conditionally tempered by years. The frustration (knee-jerk, reflexive, he's self-examining for what ''he'' might be doing to inspire this and then, simply, swallowing another mouthful of Applejack rather than indulge this too long.) -- "Out here? Where y'at, then?"<br />
<br />
"The Danger Room," Cere blurts this out before the fear of doing so can stop him. "I kind of...''am'' the Danger Room. TL;DR I was dying, weird mutant shit happened, now I'm a literal ghost in the machine." His terror is fading to a kind of dull, comfortable sorrow. There's loneliness there, too, and a kind of distantly ''embarrassed'' grief. "The long version is even weirder, and if you're curious you should ask Charles sometime. Get him to show you pictures." The robot bee moves for the first time, turning its tiny insectoid head toward the door. "He's a right wanker and so damnably ''slow'', but he'll come through."<br />
<br />
Was he speaking metaphorically? A slow flush of psionic warmth fills the room, and a moment later the door opens to admit Charles in a royal blue dressing gown lined and edged in yellow, with a Kinross tartan blanket in his lap and a tray mounted to the armrests of his own sleek motorized chair. His eyes tick over Ryan thoughtfully, then over to Hive. "Cere was fretting." Though his presence is steady and soothing, his voice betrays his own fearful fretting, grief -- not so unlike Cerebro's -- at once old and ever-new, and love that somehow seems to harmonize with his telepathic aura despite coming to Ryan on completely different axes of perception. "But if you did manage to wake Hive, I'm sure he'd forgive you the shouting."<br />
<br />
"I don't ''fret,''" Cere says icily, though he isn't actually very fussed about this indignity.<br />
<br />
Charles doesn't respond to that, but unclips the tray and sets it down in the empty chair between himself and Ryan. On it are two steaming mugs of hot buttered rum, a bowl of nuts, a plate of crackers and another of neatly sliced apple wedges. There's also a glass of water that somehow gives off the impression it's there on pure wishful thinking, and in the same manner Ryan knows that the libations are made with vegan butter. "I take it you're having a bit of a night." Charles offers Ryan the blanket, his tone mild but the concern behind it somewhat less so.<br />
<br />
"You''what''." The mental image of the Danger Room-as-swarm-of-bees returns, but lingers, this time. << the ''fuck'' did B do this time >> Ryan is thinking a moment before Cerebro's further sort-of-clarification comes, and now he's thinking in animation, the colorful sci-fi UI characters of ''Pantheon'' engaging in wildly improbable stylized digital fighting via their MMO avatars. (Somewhere beneath this, discordant and distant, Cerebro's turn of phrase has stung with an ''acute'' pang of memory, Flicker decked out in bright green polo engaged in furious AR-game phone battling that morphs in Ryan's mind into a similar digital avatar battle against a swarm of blue smurfs.)<br />
<br />
He hasn't quite settled on ''what'' to think, when Charles arrives. "What's the story with Cerebro?" he's asking straightaway, gesturing with his flask towards the robotic bee. "We're just meeting. They -- he? -- said you'd spill."<br />
<br />
Though he's trying hard not to, he's staring at Charles' wheelchair in a way he has never bothered to before -- somehow the ''realization'' that he's always just taken it for granted as Part Of Xavier makes him at once envious and angry, curious and terrified. He pulls his eyes away and looks at the tray instead, abruptly choked and abruptly unsure ''why''.<br />
<br />
"Sorry," he adds as he takes the blanket, as he takes in Charles's dressing gown, "I didn't mean to wake you." Self-conscious, his chaotic spin of background anxiety and rage and grief -- doesn't vanish but quiets, mellowed under the deliberately summoned up strains of Saint-Saëns. ''Introduction et Rondo capriccioso'' starts in his mind, psionic white noise, but soon enough has slipped out to play very softly around them, the shift most noticeable in the clear but gentle thread of love that dances through the nimble violin.<br />
<br />
He put his flask aside, trades it for the rum, which he doesn't yet sip but clutches close in some unconscious and ''definitely'' unacknowledged reflection of the way his mind ''wants'' to reach for Charles' psionic warmth and instead sinks further into thinking through the fingering of the violin solo. "Was a good memorial. Could only have suited the man better if we blew up a police station at the end of it." His tone has lightened on this; to anyone ''else'' the faint trickle of warmth that slips into the audible song might ring ''true'' but Charles can feel the dissonant jangle of his sick fury, muted but present beneath. It clangs up against a memory of sirens and the 7D station in flames, of Steve's hands digging ''hard'' into already bruised skin that still stings with tear gas, of the velvet-soft brush of Dusk's wing at his back and the heady euphoric pain of his bite, of DJ's scarred skin beneath his hands and the bruises on Lily's neck. His hands tighten on his mug.<br />
<br />
"They cancelled it!" Cere's angry railing is about ''Pantheon'', of all things. "They're just not going to air the second season. I'm stealing it, obviously." The bee takes off and buzzes over to land on the tray. "But yes, pretty much exactly like that, except it was the godforsaken 1980s and hardware was shit. I mean, ''mine'' was brilliant, considering what I had to work with." He is ''trying'' not to sound too obviously upset, but isn't very skilled at it and compensates by talking faster. "Also, I had to use Charles's brain in lieu of a proper upload protocol. Transfer speeds on meat brains are dreadful."<br />
<br />
"He. Cere suffered a terminal neurodegenerative condition," Charles explains, gentle and even, untroubled by the paradox of his grief. "He was, among other things, a powerful and skilled technopath, and he helped us build the Danger Room and Cer --" He sighs, picking up his own mug. "-- the ''Psionic Amplification Chamber'' in his final days, in hopes that it would offer him freedom through the use of his telepathy and technopathy." There's an old sorrow and a cold trickle of fear that does not make it into his psionic aura. "The knowledge that his hardware can replicate the powers he possessed in life is surpassingly dangerous, even if in the end that ability was confined to the immediate area of said hardware."<br />
<br />
"Don't even get me started on RAM back in the day," is evidently all Cere has to add to this, fighting down another wave of loneliness and existential uncertainty. "The point is, we've a bit of experience with weird mutant brain fuckery, and Charles has put Hive back together several times already." Not that this is stopping him fretting (not that he frets).<br />
<br />
"I'm rather old, and plenty used to waking up in the middle of the night. I could very well have left you to Cere's hospitality and gone back to sleep, in any event." Charles sips at his rum, and though his appreciation of the music is entirely evident without his saying anything at all, he still says, "That is lovely." The attending empathic nuance of his enjoyment weaves as if of its own accord into the conceptual knowledge of the same he's projecting. "I'm glad that the memorial was lovely, as well -- even without any structural fires." His psionic aura strengths subtly, its warmth an unassuming offer of solace. "I don't know if it would help you to talk about -- well, there's quite a lot, isn't there? But you don't have to hold that back." That, evidently, being the feelings Ryan has covered with his music. "I will listen, in as many registers as you need to speak."<br />
<br />
"They fucking ''cancelled'' it!" Cerebro's railing is mirrored in Ryan's emphatic indignance. A moment later he's turning this over in worry (will Cerebro think this is mocking) (''should'' he be indignant) (it was a great show!) -- an acute sense that he can't even ''begin'' to understand a life <s>confined to</s> using such a ''very'' extensive assistive device for all these years. (''Felt like ain't nobody touched him in'' years) is echoing back in his mind, together with DJ's desperate need, compared-and-contrasted with his ''own'' terrified (will anyone ''want'' to touch him again?) seeking. "Bet this asshole's got real low latency." He doesn't gesture to Hive but it's clear enough in his mind, thinking of Hive's spread-out network processing through Dawson's lightning cognition. "You saying the Danger Room runs on your powers ''without'' your body, that's --"<br />
<br />
For just a moment he's gone slightly paler; for just a moment his mind is flashing through stark cages and bright operating lights, through calm-cool voices telling only of dispassion and curiosity where they come through a speaker: "''Again, Mr. Black.''", of tiny brainchips and ugly plastic helmets carrying crude mimicry of Hive's bludgeoning power without Hive's tempering compassion. "Oh," he whispers, and that one breath ripples fear briefly into the quiet music around them; all in an instant and with barely a thought the ache of love that he's been projecting with ''vehement'' intention towards Hive has shifted to encompass this crisp nowhere-voice from the intricate little bee.<br />
<br />
Charles's compliment to the music hits deeper than perhaps it ''should'', cocky as he usually is, as he ''now'' is, about his own skill -- a smug << of course it's good >> sits easily with a warm flush of pleasure all the same that the older man has said so. "You up here surrounded by teenagers ''all'' the day, I just know you're stewing in angst sunup to --" He tips his eyes up as if he could see the night sky from these basement depths. "'sides, you usually only get to see me at my best." This, bright and amused, is colored with flashes of gruesome horrors; guards who turn his teammates inside out and bodies peppered with bullets, screams and smoke both mingling in the air. "Whooole other ball game from four a.m. me, ask any entertainment journalist."<br />
<br />
Even so he's wavering -- leaning subtly into the warmth, pulling right back. << Anyway, >> is under this, jealous and warm and ''angry'' and grateful all at once, << you probably -- >> Know him better? Love him better? Are hurting more? He's not ''sure'' where this thought is going but he's thinking of Hive, impossibly too young to have only been fourteen years ago, how were they all ''doing'' this then, his mind raw and bleeding his hurt and fury out of psionic wounds that wouldn't have healed, ''couldn't'' have healed, on his own.<br />
<br />
"I don't know him or love him better." Charles is still speaking aloud, his words calm despite the vast and enduring pain behind them. "I daresay I know him ''differently'', and ought to have done better by him than I did." He closes his eyes, his regret a quiet thing that feels too familiar. "I can't change the past, but I will do everything in my power to help him." He doesn't look to Ryan, doesn't need to -- the ''sense'' of his attention is wholly self-evident. "He's not the only one I have failed, and I expect it will be quite a job to learn how to make amends." He ''does'' look at Ryan now, and there's a jumbled mess of compassion and guilt and a kind of sympathy -- as resonance, and not pity. "But you are here, and I am ''quite'' equal to handling angst."<br />
<br />
"Oh yes, ''he's'' amazing," Cere agrees, waggling the drone's antennae at Hive. "''Vast'' improvement over conventional singular meat brains." Something at the very end of this is pulling him up short. "I guess there are still bugs to work out." He's still trying to sound light and somehow failing even more miserably than before. His distress is momentarily acute enough to transmit through ''Charles'' as a kind of alien shimmer in his telepathic aura, keening at a pitch that Ryan cannot ''quite'' hear.<br />
<br />
To judge by his wince, Charles ''can'' hear it. What was that he just said about handling angst? << (Cere) >> Then, to Ryan, << He found that -- >> He stops himself and starts again, worried and pained. "He found that comforting." Ryan knows without any need explanation "that" refers to the love he had been blaring, which has reached Cerebro's admittedly abstruse consciousness on more than one wavelength. "I think it is upsetting that he cannot return the favor." There is some reservation here. "Probably he ''could'', telepathically, but he believes and I agree that it's like to be unpleasant."<br />
<br />
Ryan's eyes close for a moment, and it's not just Hive he's thinking of but Jax, of years of entirely ''different'' sort of fracturing and compartmentalizing his psyche over and over, of loving his friends so fiercely and then sending them to war, of ''being'' at war so long he may well have forgotten how to do much ''else'', of whether or not he'll ''be'' here to make amends to. "Yeah." The anger beneath his words is old and present at once, flickering hot without burning ''him'' up. "It will be."<br />
<br />
He picks up his cup, and pulls in a slow mouthful of the rich hot drink. At that brief shift into mental speech -- and then back -- his eyes dart rapidly to the older man. His breath has quickened faintly, and his appreciation comes with a surge of ''desire'' fierce and hot. His sharp inward-turned << fuck >> and << s'goddamn ''wrong'' with you >> do little to stem this and for a fleeting and absurd moment he's starting to shift the blanket on his lap but then instead thinking (bitter) (amused) that maybe a spinal injury is a blessing in some contexts.<br />
<br />
Around them the music is shifting, quiet and seamless; this time the violin composition is original, an intricate multilayered thing whose shimmering dance weaves back over and around itself. "My brain can handle a lot," he's offering with more casual confidence than he ''feels''. It's driven less by any pity and more by a groundswell of yearning that's tangled inextricably with his current emotional turmoil -- he's not sure where compassion for Hive in his ineffable fluctuation of identity ends, where compassion for Cerebro in his alien existence begins; here, now, he's not sure it matters. "Hive in here was horrible, until he ''wasn't''. But how..." He's frowning at the bee, frowning at Hive, frowning up at the ceiling. "-- is there some way to make it easier."<br />
<br />
Charles frowns. "You have needs. That may be difficult, but I don't think it's ''wrong.''" He's sincere but ''slightly'' uncertain, here. "Mind you, I'm no psychologist, and likely for the best. In any event, I don't often inspire that kind of reaction these days for ''any'' reason, and it is flattering." He's not lying, but there's also a deep sense of loss there, and perhaps realizing that would come across, he adds, "I was married at time I was paralyzed, which was a blessing. It just didn't end well between us." He shakes his head as if to clear it, then takes another sip of his drink as if ''that'' would clear it. "I could link your minds together, but I think --"<br />
<br />
"''I'm fine,''" Cerebro cuts in, so ludicrously unconvincing it's actually funny to him, which is its own kind of relief. "Only. Sometimes it's downright awful to be a ghost." His humor is fading, though not completely gone when he amends, "it's ''most'' of the time. You don't need to...be fake Hive, it's just embarrassing." But his longing is so fierce it shimmers noticeably through the ambient psionic warmth again.<br />
<br />
"Thank you, Cere, that was very tactful," Charles allows, not particularly sarcastic. "I was ''going'' to say I think it might be easier to just go to the Danger Room." He's studying Ryan speculatively. "Most telepaths can let you into their minds, but Cere is probably one of the few who can do it quite so literally." There's a sort of anxious ''hope'' in his so saying. He gives a small twitch of a smile. "Then you can embarrass ''yourself'' trying to eat his brain."<br />
<br />
"You?" Ryan is starting to say this in pure disbelief; one of the richest men ''alive'', he's thinking, surely people always --<br />
<br />
-- and his thoughts come to an abrupt hard check here as he follows this to its logical conclusion, follows it to some of the ''same'' conclusions he's been spinning over for weeks. He's thinking of the screaming crowds he faces so often in public and of the hands that grasp at him like he ''belongs'' to them, not even lust but ownership; he's thinking of a veritably ''endless'' string of would-be hookups, of flirtatious words on lips that echo dissonant in their minds, seeing him as bragging rights or a payday but not a ''person'' -- and that was before, with a body other men envied, with all the ''conventional'' hallmarks of desirability. He's thinking, too, of the gossip pieces that will ''inevitably'' follow when (if) he returns to public life; disgust and pity under a veneer of progressive platitudes, and how this all would ''translate'' with Charles' embarrassment of riches.<br />
<br />
His thoughts shift as he looks up, really ''looks'' at Charles, and in the mental space that the man has occupied as Background Aggravation for years he's filling in other details in warm colors and a quiet grounded swell of strings. The visual in his mind somehow encompasses Charles here in his chair beside Ryan but also Charles, soft and warm in psionic presence; it encompasses the school and its generations of students brought in as children afraid of ''themselves'' and given space to learn who they are; it encompasses Hive growing from traumatized and traumatizing to a ''force'' of rooted-steady power.<br />
<br />
Smaller and larger at once in his mind, it encompasses the tray beside him and the care it represents. He picks up the water and takes a long swallow. Somewhere here tangled with wry-amused thoughts of his current thirst and the cool drink of water in front of him his desire has only ''grown'', flushing heady and thrilling through the play of his music until abruptly the violin piece stops. << (''please'') >> keens pleading in his mind and, below that, intently aware Charles can hear, << sorry ''sorry'' >> and below ''that'': << (not sorry) >> << just need -- >><br />
<br />
Need ''what'', he's trying to work through in a tangle of questions: ''how did it happen'' and ''where were you hurt'', weeks of doggedly ''optimistic'' charts and explanations from a string of PTs and OTs all earnestly explaining which vertebrae is which and what he'll need to work on to get back on his feet and none of them ''here'', themselves, none of them answering the questions he ''wants'' to know. Which paparazzo is going to be the first to catch him with a goddamn diaper on. Will anyone look at him with desire again or only this endless pity. Will it ''matter'' if his body doesn't work. "-- Did your," husband? wife? he's making some guesses both directions and then abandoning this question entirely in shame: ''did they still want you'' feels like an impertinence even he can't bring himself to ask.<br />
<br />
Instead he's leaning hard into Cerebro's longing, trying (failing) not to mingle it with his own. "You want my brain, it's yours, but you gotta know it ain't been tidied in there in ''ages''. Haven't been expecting company."<br />
<br />
"I was a bit of a hedonist in my youth." Charles isn't bragging, but neither does he sound particularly nostalgic. "I was about your age when I was hurt, and most people never saw me the same way after. I do fear it will go worse for you, owing to your fame and infamy." There is a low, simmering anger, long familiar but flaring again on Ryan's behalf. "You can learn to navigate it, I am sure of that. It may get easier as you heal, and will certainly get easier with the right support." His emphasis on "right" is at once mild and very much not.<br />
<br />
He's ''visibly'' startled when Ryan actually drinks the water, and the easing of his worry is sensible in the ambient warmth even before he speaks again. "You needn't apologize. I suspected that I might have relevant experience with at least ''some'' of your current troubles." He picks his mug back up. "He still wanted me. ''I'' didn't want much of anything for a while but for the pain to stop." Echoes of that hurt flutter through him now, grief and horror and guilt. He swallows, then takes another swallow of his drink. "But in time we figured it out, together." And even through his deep sense of loss, there are echoes of pleasure.<br />
<br />
Cerebro strains briefly at -- ''through'' -- Charles, then eases off. "I can't do what Hive does. But I ''am'' absurdly good at --" His drone can't blush, and possibly neither can he in any meaningful way, but his embarrassment is definitely not about being the wrong kind of telepath. "-- a lot of things. It's not all battle simulations in there, you know."<br />
<br />
"He's seen the program list," Charles points out indulgently. "Though I suppose not your private one. I feel I should caution you..." He considers for a moment, frowning, then changes tack. "You've been through a lot, and there's a lot more to get through. I recommend taking your time, when you're able."<br />
<br />
There's a sting of rejection, ''familiar'' but no less acute for it that in Ryan's mind is underscored by Matt's voice (grown far more derisive each time it's replayed, this past hour) ''That certainly is a choice.''<br />
<br />
He takes another sip of the water and swallows it slow, breathing out on Charles' mild emphasis and in, again, on his warmth. The sharp hurt doesn't fade; he's only ''half'' successful in halting the shamed-angry spiral his thoughts want to race down, but it is joined by a quieter gratitude. For just a moment he answers Charles' grief and loss with a soft warmth of his own; lets that pleasure wash over him without ''clinging'' to it.<br />
<br />
He does close his eyes and take another long gulp of his rum, though.<br />
<br />
When he opens his eyes again there's a wicked hook of smile on his face, not ''feigned'' despite (or maybe because of) the grief and pain and anger still under it. "Private list? Woah, now, I play my cards right I might get the VIP tour? ''Bespoke'' danger?" ''Danger'' comes with restraints at wrists and teeth scraping skin, here, Cerebro's dapper avatar a welcome replacement for the gunfire and Sentinels he is ''used'' to encountering in there. He's unabashed now about the quiet shift in the love he's been futilely trying to summon Hive with; where ''his'' mind strains for Cerebro's it's laced heavily now with arousal. He clumsily shifts the chair away from the bed, bumping the ''stationary'' bedside chair a few times as he turns it for the door. "I'm only crippled," he tells Charles with an amusement that has ''already'' thrown caution to the wind. "Can take my ''time'' when I'm good and dead."<br />
<br />
Charles does not rush Ryan's reflections or try to guide his conclusions. For a moment he just ''is'', and the sense of him is more grounded and grounding in the strength of his love and Ryan's, both. Perhaps somewhere in all of this Charles has given his permission, or perhaps Cere has just grown too eager to stop himself scintillating against Ryan's mind. Though still ghostly, his presence within Charles blazes bright with passion, like embers dancing through the steady warmth. Charles himself does not seem much bothered by the lust washing through him, and when he does blush it's softened with a smile. <br />
<br />
"Fair enough," he remembers to say aloud, confirming he is in fact unfussed, "as long as it is in your own time." There's plenty of concern there, but something like faith, too. "Have a good time."<br />
<br />
Cere has not sent the bee drone with Ryan. When the Medlab door closes behind him, an intercom panel in the corridor comes alight with Cere's thrill of desire, his desperation and his fear. His actual voice sounds a little breathless. "If you really want to play cards about it first, or something like, I'm a good sport. But its been a while since I've last done this..." The doors of the Danger Room slide open to reveal a suspiciously plush dungeon extrapolated from Ryan's fantasy. His invitation is a kind of awed, "Please, come in."<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Meerkats_vs._X-Men&diff=25867Logs:Meerkats vs. X-Men2024-02-27T13:33:50Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Scott]], [[Cerebro]], [[Tian-shin]], [[Kitty]], [[Shane]], [[Jax]], [[Charles]], [[Joshua]]<br />
| summary = "On second thought, you two seem like reasonable fellows." (begins right after [[Logs:Meerkat Manor|meerkat summoning]].)<br />
| gamedate = 2024-02-24<br />
| gamedatename = <br />
| subtitle = <br />
| location = <XAV> [[Teachers' Lounge]] - Xs Basement<br />
| categories = Scott, Cerebro, Tian-shin, Kitty, Shane, Jax, Charles, Joshua, Mutants, X-Men, XAV Teachers' Lounge, 8<br />
| log = <br />
<br />
Running a school for mutant teenagers just taking control of their powers is not an easy job, and the teachers at Xavier's deserve a place to come and relax. This lounge is their place to come and de-stress, and it does not skimp for relaxation. The room is elegant and luxurious, plush couches making up the seating in the lounge and a glossy glassy bar wrapping around one wall, well-stocked with alcohol (and perpetually fresh-brewed coffee, for those so inclined.) A large-screen high-def television hangs on one wall, stocked with about as many movies and games as the childrens' rec room upstairs. High bookshelves hold a wealth of books. The fridge here is always well stocked, and the cook is always willing to make deliveries down to this level. Far in the back, a hot tub is submerged into the floor, for still more unwinding.<br />
<br />
More days than not, there's some variety of snacks to be found on perched on an end of the bar -- quite often in the form of fresh-baked desserts.<br />
<br />
''''NOTE: Students are not allowed in the Teachers' Lounge at ANY time.''''<br />
<br />
There is not actually a written rule that forbids ''meerkats'' in the Teachers' Lounge, which Scott is no doubt bitterly regretting as an obvious, lamentable oversight. He already looks a little harried, though no more than five minutes can have passed since he spotted the intruders -- in that time, he's rolled up the sleeves of his flannel, swapped his ruby-quartz glasses for his visor, and moved half of the furniture in the room out of place to apparently no effect; he is prowling in a great hurry around the room, aiming red laser-pointer dots around in an effort to corral the meerkats to -- probably ''anywhere'', so long as ''he's'' corralling them -- but the meerkats are keeping about three steps ahead of him, and he evidently thinks better of trying to move the heavy TV stand. He sighs, then, with the hand that isn't carefully focusing the dial at his left temple, he digs his phone out of his pocket and starts to dictate a text message out loud: "Hey Joshua, comma. There are two meerkats in the lounge, period. Could..."<br />
<br />
He trails off, then shakes his head, then stoops over, trying to find the meerkats under the entertainment center. Now presumably addressing them, in his most amiable and unthreatening tone, he says, "On second thought, you two seem like reasonable fellows, so how about we -- no, ''shit'', no!"<br />
<br />
---<br />
<br />
It's only after Scott has given up with the meerkats still at large that the Sysadmin uploads a video montage of his misadventures to the X-Men-minus-Scott group chat. Is the Sysadmin a member of said group? No. Is that stopping him? Also no. Perhaps he feels bad about it, though (he probably does not feel bad about it), because at about the same time, one of the ubiquitous pillbug-esque cleaning drones is deploying from its charging dock and rolling easily under the couch after the furry intruders.<br />
<br />
The meerkats flee at once, trailing loud chirps equally alarmed and offended. The drone emerges on the other side and rocks from back and forth, uncertain. Then it unrolls itself, segmented body rearing up to give its camera a wider view -- that's suddenly full of meerkat! One of the creatures has dashed out to flip the drone over, little mechanical legs kicking grotesquely in the air. It rolls itself back up in an attempt to grapple its assailant, but the meerkat twists its unreasonably agile little body in mid-air and scampers off, clicking in warlike fashion. The drone starts to roll after it, only to get pounced by the second meerkat lying in wait on the couch above. Where ''is'' that string of profanity coming from, anyway?<br />
<br />
---<br />
<br />
Tian-shin's lounge clothes, being a soft red tang suit, look like ass-kicking clothes, but she doesn't look very eager to kick any meerkat ass even if she probably could do so while talking (quietly!) (politely) to her brother on the phone. "{No, it's like a prairie dog, or a ''mongoose''--}" She's stalking carefully amongst the relocated furniture in a bid to get a clear view of her quarry without blocking the basketball game. "{--like, that gay couple that adopts Simba in the Lion King? Yeah, yeah, Timon is a meerkat. I ''think.''}" Suddenly one meerkat pops up from behind a pile of cushions on the couch, then the other. Both of them are sitting on their haunches and ''staring'' intently at Tian-shin. "{Okay, they're adorable but kind of creepy. You'll get a picture but I have to deal with this now.}" She hangs up and snaps a series of pictures, then looks past her phone at the trespassers. Her brows furrow slowly, then suddenly clear. "Nope," she mutters.<br />
<br />
<blockquote><br />
*(Tian-shin --> X-Men, Scott-Free): [attached photo of two meerkats sitting upright, staring balefully into the camera; Scott is in the background, on the other side of the couch]<br />
*(Tian-shin --> X-Men, Scott-Free): I think we should just get Joshua, you know he has this muted<br />
</blockquote><br />
<br />
---<br />
<br />
There is a flurry of texts one drive-to-Westchester amount of time later:<br />
<br />
<blockquote><br />
*(Kitty --> X-Men, Scott-Free): 😍😍!!<br />
*(Kitty --> X-Men, Scott-Free): Oh we don't need to bug him, it's Shabbat!<br />
*(Kitty --> X-Men, Scott-Free): I think Scott just does not have enough hakuna matata in his heart for this task<br />
</blockquote><br />
<br />
Kitty is definitely not dressed in her Shabbos best when she walks through the closed lounge door, cozy in a NASA hoodie and soft black pants. "You're not a teacher," she tuts softly at the first spotted meerkat, who is perched on top of the glossy bar. "And I'm pretty sure you can't drink." With that she drops into a crouch, crawls ''into'' the bar, and then pops up through the glossy surface, neatly cupping her hands around the little mammal before it can see her coming. Kitty beams at her victory, holding out the meerkat towards the duo on the couch (hopefully at least Tian-shin will snap a picture) with a broad smile on her face. Kitty is halfway across the room, walking toward the second meerkat currently darting across the bookshelves, when something occurs to her: "...So like. Where do they, uh, go?" <br />
<br />
In her brief moment of confusion, Meerkat One manages to wiggle out of Kitty's grip and scamper, once again, into the couch cushions.<br />
<br />
---<br />
<br />
The little blue shark sauntering into the lounge now certainly wasn't ''scheduled'' for any kind of training tonight, but sometimes, <s>the promise of adorable meerkats</s> duty calls even on the weekend. Shane's eyes have gone even wider, ''delighted'' and huge when he walks in and spies one of the meerkats where it has been, evidently, ''attempting'' to dig its way under an armchair. Probably Charles can afford new floorboards. "We're absolutely ''sure'' these aren't a student?" He's asking this with a cheerful upward tilt of chin to the growing knot of spectators; it's hard to say how earnest this concern is. "How hard can it ''be'' to catch a weasel?" And per''haps'' his confidence isn't misplaced, because he's hopping lightly over one of the displaced end tables and dropping down almost effortlessly to snag the small creature before it darts back beneath the chair. "-- see? Now -- ''ho''shit," his cheer is abruptly turning to a pained yelp as sharp teeth chomp down at his hand. He's dropping the meerkat harmlessly (to ''it'', anyway) onto the armchair cushion and retreating to the couch, sucking at the injured webbing of his hands. "Well damn get yourself home then."<br />
<br />
---<br />
<br />
Has Jax understood the assignment? At this point it is hard to say. Certainly the ''first'' faintly iridescent ramp that went up a while back ''was'' making a neat path to the door that, in another and more optimistic lifetime, might have been getting the meerkats home, and certainly he ''did'' breadcrumb it with small crumbs of boiled egg, and certainly one of the meerkats ventured promisingly far down the path before hopping off to abscond with its snack. That was some time and many treats ago, though, and now the glimmering pathways have proliferated. There's a veritable hamster maze of ramps and platforms and tunnels that have sprouted up along the walls and ceiling. One of the meerkats is clambering, clumsily, upward to get an even ''better'' vantage point for its lookout; another has disappeared into a tunnel to munch. Jax is leaning up against a shelf that -- well, it ''used'' to hold books, most of which are scattered on the floor now. "Well," he's offering brightly, "they ain't tearin' up the furniture no more."<br />
<br />
---<br />
<br />
There's a general serenity in here not much disturbed by the occasional notification on someone's phone, nor by the gathered onlookers whispering to and/or shushing each other. Charles has two fingers pressed to each temple, rubbing slow contemplative circles there while he gazes fixedly at the meerkats. The animals seem...calmer? That might have more to do with all the treats and exercise they got than any ''psionic'' intervention. They're resting in a pile of torn-up throw pillows under one one of the end tables at the moment. One of them suddenly pops up and stares back at Charles...then starts grooming itself.<br />
<br />
"Hm..." Charles lowers his hands only to steeple them thoughtfully, which lends additional gravitas when he declares, solemnly, "They are most assuredly ''not'' a student."<br />
<br />
---<br />
<br />
Did Joshua ''expect'' to find half his teammates crammed into one side of the mess that's been made of the Teacher's Lounge, at this late hour on a Saturday night? Given that he simply appears, in ready-for-bed-casual black and red plaid flannel pajama pants, OCCUPY LASSITER 2023 tee, fluffy socks, it's a fair bet he did ''not''. He takes in the others -- the wake-of-tornado state of the lounge -- the ''meerkat'' poking out of a hole tunneled in an armchair cushion and now chittering a warning to its companion (burrowed down beneath it) at the abrupt new arrival. None of this changes his expression much; he showed up looking vaguely mournful to be here and now he is looking still vaguely mournful about the fiasco he's teleported into. He's picking his way through the wreckage over towards the counter to look behind the bar, frown, look ''in'' the bar; finally (a little triumphant) he snags his phone from where it's been wedged behind the paper towel roll. (Can he blame the meerkats for this? Perhaps later he will try.) <br />
<br />
Only after this does he fish a flattened cardboard box out of the recycling bin. He's folding its flaps into each other; by the time he reappears next to the recliner it's got a proper box shape, again. He sets the box down on its side beside the recliner, nudging some of the stray mess of treats into it before carefully nudging the cushion off the seat. Tipping it over, prodding at its underside until the disgruntled meerkats within scurry out and into the box. He's glancing -- brief -- at his phone screen now, as he pushes the top flaps closed, giving a ''concerned'' frown to the several missed calls before looking back to his teammates. "-- shit, did you need me?"<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Meerkats_vs._X-Men&diff=25865Logs:Meerkats vs. X-Men2024-02-27T04:38:18Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Scott]], [[Cerebro]], [[Tian-shin]], [[Kitty]], [[Shane]], [[Jax]], [[Charles]], [[Joshua]]<br />
| summary = "On second thought, you two seem like reasonable fellows." (begins right after [[Logs:Meerkat Manor|meerkat summoning]].)<br />
| gamedate = 2024-02-24<br />
| gamedatename = <br />
| subtitle = <br />
| location = <XAV> [[Teachers' Lounge]] - Xs Basement<br />
| categories = Scott, Cerebro, Tian-shin, Kitty, Shane, Jax, Charles, Joshua, Mutants, X-Men, XAV Teachers' Lounge, 8<br />
| log = <br />
<br />
Running a school for mutant teenagers just taking control of their powers is not an easy job, and the teachers at Xavier's deserve a place to come and relax. This lounge is their place to come and de-stress, and it does not skimp for relaxation. The room is elegant and luxurious, plush couches making up the seating in the lounge and a glossy glassy bar wrapping around one wall, well-stocked with alcohol (and perpetually fresh-brewed coffee, for those so inclined.) A large-screen high-def television hangs on one wall, stocked with about as many movies and games as the childrens' rec room upstairs. High bookshelves hold a wealth of books. The fridge here is always well stocked, and the cook is always willing to make deliveries down to this level. Far in the back, a hot tub is submerged into the floor, for still more unwinding.<br />
<br />
More days than not, there's some variety of snacks to be found on perched on an end of the bar -- quite often in the form of fresh-baked desserts.<br />
<br />
''''NOTE: Students are not allowed in the Teachers' Lounge at ANY time.''''<br />
<br />
There is not actually a written rule that forbids ''meerkats'' in the Teachers' Lounge, which Scott is no doubt bitterly regretting as an obvious, lamentable oversight. He already looks a little harried, though no more than five minutes can have passed since he spotted the intruders -- in that time, he's rolled up the sleeves of his flannel, swapped his ruby-quartz glasses for his visor, and moved half of the furniture in the room out of place to apparently no effect; he is prowling in a great hurry around the room, aiming red laser-pointer dots around in an effort to corral the meerkats to -- probably ''anywhere'', so long as ''he's'' corralling them -- but the meerkats are keeping about three steps ahead of him, and he evidently thinks better of trying to move the heavy TV stand. He sighs, then, with the hand that isn't carefully focusing the dial at his left temple, he digs his phone out of his pocket and starts to dictate a text message out loud: "Hey Joshua, comma. There are two meerkats in the lounge, period. Could..."<br />
<br />
He trails off, then shakes his head, then stoops over, trying to find the meerkats under the entertainment center. Now presumably addressing them, in his most amiable and unthreatening tone, he says, "On second thought, you two seem like reasonable fellows, so how about we -- no, ''shit'', no!"<br />
<br />
---<br />
<br />
It's only after Scott has given up with the meerkats still at large that the Sysadmin uploads a video montage of his misadventures to the X-Men-minus-Scott group chat. Is the Sysadmin a member of said group? No. Is that stopping him? Also no. Perhaps he feels bad about it, though (he probably does not feel bad about it), because at about the same time, one of the ubiquitous pillbug-esque cleaning drones is deploying from its charging dock and rolling easily under the couch after the furry intruders.<br />
<br />
The meerkats flee at once, trailing loud chirps equally alarmed and offended. The drone emerges on the other side and rocks from back and forth, uncertain. Then it unrolls itself, segmented body rearing up to give its camera a wider view -- that's suddenly full of meerkat! One of the creatures has dashed out to flip the drone over, little mechanical legs kicking grotesquely in the air. It rolls itself back up in an attempt to grapple its assailant, but the meerkat twists its unreasonably agile little body in mid-air and scampers off, clicking in warlike fashion. The drone starts to roll after it, only to get pounced by the second meerkat lying in wait on the couch above. Where ''is'' that string of profanity coming from, anyway?<br />
<br />
---<br />
<br />
Tian-shin's lounge clothes, being a soft red tang suit, look like ass-kicking clothes, but she doesn't look very eager to kick any meerkat ass even if she probably could do so while talking (quietly!) (politely) to her brother on the phone. "{No, it's like a prairie dog, or a ''mongoose''--}" She's stalking carefully amongst the relocated furniture in a bid to get a clear view of her quarry without blocking the basketball game. "{--like, that gay couple that adopts Simba in the Lion King? Yeah, yeah, Timon is a meerkat. I ''think.''}" Suddenly one meerkat pops up from behind a pile of cushions on the couch, then the other. Both of them are sitting on their haunches and ''staring'' intently at Tian-shin. "{Okay, they're adorable but kind of creepy. You'll get a picture but I have to deal with this now.}" She hangs up and snaps a series of pictures, then looks past her phone at the trespassers. Her brows furrow slowly, then suddenly clear. "Nope," she mutters.<br />
<br />
<blockquote><br />
*(Tian-shin --> X-Men, Scott-Free): [attached photo of two meerkats sitting upright, staring balefully into the camera; Scott is in the background, on the other side of the couch]<br />
*(Tian-shin --> X-Men, Scott-Free): I think we should just get Joshua, you know he has this muted<br />
</blockquote><br />
<br />
---<br />
<br />
There is a flurry of texts one drive-to-Westchester amount of time later:<br />
<br />
<blockquote><br />
*(Kitty --> X-Men, Scott-Free): 😍😍!!<br />
*(Kitty --> X-Men, Scott-Free): Oh we don't need to bug him, it's Shabbat!<br />
*(Kitty --> X-Men, Scott-Free): I think Scott just does not have enough hakuna matata in his heart for this task<br />
</blockquote><br />
<br />
Kitty is definitely not dressed in her Shabbos best when she walks through the closed lounge door, cozy in a NASA hoodie and soft black pants. "You're not a teacher," she tuts softly at the first spotted meerkat, who is perched on top of the glossy bar. "And I'm pretty sure you can't drink." With that she drops into a crouch, crawls *into* the bar, and then pops up through the glossy surface, neatly cupping her hands around the little mammal before it can see her coming. Kitty beams at her victory, holding out the meerkat towards the duo on the couch (hopefully at least Tian-shin will snap a picture) with a broad smile on her face. Kitty is halfway across the room, walking toward the second meerkat currently darting across the bookshelves, when something occurs to her: "...So like. Where do they, uh, go?" <br />
<br />
In her brief moment of confusion, Meerkat One manages to wiggle out of Kitty's grip and scamper, once again, into the couch cushions.<br />
<br />
---<br />
<br />
The little blue shark sauntering into the lounge now certainly wasn't ''scheduled'' for any kind of training tonight, but sometimes, <s>the promise of adorable meerkats</s> duty calls even on the weekend. Shane's eyes have gone even wider, ''delighted'' and huge when he walks in and spies one of the meerkats where it has been, evidently, ''attempting'' to dig its way under an armchair. Probably Charles can afford new floorboards. "We're absolutely ''sure'' these aren't a student?" He's asking this with a cheerful upward tilt of chin to the growing knot of spectators; it's hard to say how earnest this concern is. "How hard can it ''be'' to catch a weasel?" And per''haps'' his confidence isn't misplaced, because he's hopping lightly over one of the displaced end tables and dropping down almost effortlessly to snag the small creature before it darts back beneath the chair. "-- see? Now -- ''ho''shit," his cheer is abruptly turning to a pained yelp as sharp teeth chomp down at his hand. He's dropping the meerkat harmlessly (to ''it'', anyway) onto the armchair cushion and retreating to the couch, sucking at the injured webbing of his hands. "Well damn get yourself home then."<br />
<br />
---<br />
<br />
Has Jax understood the assignment? At this point it is hard to say. Certainly the ''first'' faintly iridescent ramp that went up a while back ''was'' making a neat path to the door that, in another and more optimistic lifetime, might have been getting the meerkats home, and certainly he ''did'' breadcrumb it with small crumbs of boiled egg, and certainly one of the meerkats ventured promisingly far down the path before hopping off to abscond with its snack. That was some time and many treats ago, though, and now the glimmering pathways have proliferated. There's a veritable hamster maze of ramps and platforms and tunnels that have sprouted up along the walls and ceiling. One of the meerkats is clambering, clumsily, upward to get an even ''better'' vantage point for its lookout; another has disappeared into a tunnel to munch. Jax is leaning up against a shelf that -- well, it ''used'' to hold books, most of which are scattered on the floor now. "Well," he's offering brightly, "they ain't tearin' up the furniture no more."<br />
<br />
---<br />
<br />
There's a general serenity in here not much disturbed by the occasional notification on someone's phone, nor by the gathered onlookers whispering to and/or shushing each other. Charles has two fingers pressed to each temple, rubbing slow contemplative circles there while he gazes fixedly at the meerkats. The animals seem...calmer? That might have more to do with all the treats and exercise they got than any ''psionic'' intervention. They're resting in a pile of torn-up throw pillows under one one of the end tables at the moment. One of them suddenly pops up and stares back at Charles...then starts grooming itself.<br />
<br />
"Hm..." Charles lowers his hands only to steeple them thoughtfully, which lends additional gravitas when he declares, solemnly, "They are most assuredly ''not'' a student."<br />
<br />
---<br />
<br />
Did Joshua ''expect'' to find half his teammates crammed into one side of the mess that's been made of the Teacher's Lounge, at this late hour on a Saturday night? Given that he simply appears, in ready-for-bed-casual black and red plaid flannel pajama pants, OCCUPY LASSITER 2023 tee, fluffy socks, it's a fair bed he did ''not''. He takes in the others -- the wake-of-tornado state of the lounge -- the ''meerkat'' poking out of a hole tunneled in an armchair cushion and now chittering a warning to its companion (burrowed down beneath it) at the abrupt new arrival. None of this changes his expression much; he showed up looking vaguely mournful to be here and now he is looking still vaguely mournful about the fiasco he's teleported into. He's picking his way through the wreckage over towards the counter to look behind the bar, frown, look ''in'' the bar; finally (a little triumphant) he snags his phone from where it's been wedged behind the paper towel roll. (Can he blame the meerkats for this? Perhaps later he will try.) <br />
<br />
Only after this does he fish a flattened cardboard box out of the recycling bin. He's folding its flaps into each other; by the time he reappears next to the recliner it's got a proper box shape, again. He sets the box down on its side beside the recliner, nudging some of the stray mess of treats into it before carefully nudging the cushion off the seat. Tipping it over, prodding at its underside until the disgruntled meerkats within scurry out and into the box. He's glancing -- brief -- at his phone screen now, as he pushes the top flaps closed, giving a ''concerned'' frown to the several missed calls before looking back to his teammates. "-- shit, did you need me?"<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Meerkat_Manor&diff=25864Logs:Meerkat Manor2024-02-27T04:31:49Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Nevaeh]], [[Roscoe]], [[Sriyani]]<br />
| summary = *Roscoe --> Sriyani: why is there a desert in your closet? put it back, i'm watching tv (followed by [[Logs:Meerkats vs. X-Men|some hijinx ensuing.]])<br />
| gamedate = 2024-02-24<br />
| gamedatename = <br />
| subtitle = <br />
| location = <XAV> Echo and Sriyani's Dorm<br />
| categories = Nevaeh, Roscoe, Sriyani, Mutants, X-Kids, Xavier's, XAV Dorm<br />
| log = <br />
<br />
The furniture in here tonight has had a bit of a shuffle -- one of the desks and one of the dressers have been pulled nearby to the closet, forming a ''partial'' barricade around the closet door. Where the furniture ends a strange mix of Random Items (ranging from a few suitcases to some keyboards yoinked from the music room) are heaped to make up the rest of the makeshift barricade, a sort of semicircular enclosure cordoning off the closet door. ''Why'' is the closet door being cordoned off, well. At the moment Sriyani is crouched in front of it, frowning earnestly from their laptop screen -- there's a video paused of several meerkats nosing a treat ball around their sandy floor -- and then their closet door, hand tight on the doornknob. Or, the door that ''used'' to go to their closet; on the other side of it now there is decidedly -- something much larger, much ''wilder'', and much more filled with small mongeese. "Okay," they're saying, ''hushed'', to their companion, "just tell me when."<br />
<br />
Crouched beside Sriyani, dressed in a slightly too large hand-me-down red sweater and jeans, Nevaeh has her eyes closed. Or ''had'' them closed. She opens them when she hears the door open and emits a very quiet squeal of delight at what used to be and is no longer the inside of Sriyani's closet. "Not yet," she whispers, closing her eyes only to peek again. "They're ''so cute'', and they're really used to humans..." She trails off, eyes focusing somewhere ''past'' the Smithsonian National Zoo's Small Mammal House. At least the one in the ''present''. "Oh, oh, oh! Um, ''when!''"<br />
<br />
Chime? Ping? In the midst of this, Sriyani's phone is receiving a message. <br />
<br />
<blockquote><br />
*Roscoe --> Sriyani: why is there a desert in your closet? put it back, i'm watching tv<br />
</blockquote><br />
<br />
Sryiani's eyes light and they pull the door open on Nevaeh's cue. There is definitely no closet behind there; in the desert beyond two meerkats have just been playing with their puzzle ball, which rolls right through the door as it opens. The meerkats follow, knocking a pair of live mealworms out onto the dorm floor. Possibly this is ''not'' the greatest time for Sriyani to move to check their phone but its chime has them well trained, so as it buzzes they're abandoning the door to reply. A third meerkat has followed the mealworm path, but is scampering ''over'' the makeshift barricade as Sriyani lets their guard down.<br />
<br />
<blockquote><br />
*Sriyani --> Roscoe: What! There's a lot of things in my closet<br />
*Sriyani --> Roscoe: Put your eyes back you shouldn't be looking into my room anyway<br />
*Sriyani --> Roscoe: Aaa you distracted me now YOU gotta help put this back<br />
</blockquote><br />
<br />
Nevaeh's squeal is not so quiet this time, startled by the ''initiative'' shown by the apparently unforeseen third meerkat. She scrambles over the barricade. Or ''tries'' to. Her trailing foot unseats an apparently load-bearing tennis racket, and the already unstable structure collapses. It also trips her up, and sends her stumbling out in the middle of the room. The errant meerkat, meanwhile, has scurried up onto Echo's bed and assumed its iconic, watchfully upright pose.<br />
<br />
<blockquote><br />
*Roscoe --> Sriyani: i wasn't looking in your room!!!!!<br />
*Roscoe --> Sriyani: wait, put what back?<br />
*Roscoe --> Sriyani: 😱 omw<br />
</blockquote><br />
<br />
Sriyani's hand has clapped over their mouth, though their wide eyes are delighted rather than alarmed. They're stifling a laugh as the first of the meerkats escape, and nudge the treat ball just a little farther into the room, wriggly little ''bribes'' to keep the meerkats inside as they go to offer Nevaeh a hand up. "Oh my ''god'' he's doing the ''pose'' -- you're such a stereotype, look at your friends over here defying expectations." There is amusement in their voice as they ''chide'' the meerkat on Echo's bed. It's only now, as they regard the creature's new vantage point, that they're idly musing, "-- I really hope he follows the ball back ''through'' the door."<br />
<br />
Nevaeh hangs onto Sriyani's arm for a moment after she's righted, closing her eyes. "That third one messed me up. Now I have to find the ''new'' way to get them all in there without being noticed..." The annoyance of doing so doesn't stop her pulling out her phone to make a video of the meerkat standing sentry on the bed. She takes a very careful step forward and stoops to get a close-up. "We ''might'' need more mealworms..."<br />
<br />
A moment later the (bedroom, not closet) door opens abruptly and Roscoe comes barrelling inside, where he promptly collides with Nevaeh -- "Oof!" he says with alarm, grabbing a suitcase for balance and almost losing it again when the suitcase starts to roll. As soon as he is solidly on his feet again, though, he is distracted by the meerkats. No, not the meerkats -- "Ew, ''ew'', what's in the ball?" He says this with cheerful fascination.<br />
<br />
"Oh close the door!" Sriyani is unconcerned about Nevaeh and Roscoe's collision but ''is'' flapping a hand hastily towards the bedroom door. It serves as a reminder to them to hop over the tumbledown barricade and close the ''closet'' before the meerkats can escape back to their home. They crinkle their nose as they look down at a stray mealworm trying to escape becoming a snack by wriggling under their backpack. "''Worms''," they tell Roscoe with delight. "It's for the teacher's lounge, it's honestly ''ridiculous'' to have a ''curfew'' on a Saturday night so we have to entertain ourselves here."<br />
<br />
"The worms are for the meerkats," Nevaeh adds helpfully as she stumbles right back into sitting in one of the desk chairs. "But this is ''not'' the future I saw originally, so all bets are off." She sounds downright ''gleeful'' about this. "You ''have'' to help us herd them back through. I'll see if I can find the teacher's lounge and make sure there isn't anyone watching." Only now does she remember to stop the video that's been recording on her phone and closes her eyes again. "Okay okay there's no one there right ''now'' but we ''have'' to hurry someone is coming!"<br />
<br />
Roscoe rolls the suitcase back where it was ''super'' casually. "My bad," he says. "What was the future you saw originally? Was I in it?" He puts one hand on a keyboard in what would have been a very discordant chord if it were plugged in, and leans around Nevaeh to gawp with open-mouthed amazement at the meerkat on Echo's bed; as Nevaeh is looking at the teacher's lounge, Roscoe is holding up his phone to get a picture too. "Oh, yeah, nobody's there right now," he says. "Someone was watching the Knicks game earlier but they turned it off." If he could end a spoken sentence with :( he probably would have, but the mopey expression he pulls is almost good enough.<br />
<br />
"Do you want to know who's gonna win? You could go bet real quick." Sriyani's eyes are gleaming as they reach for the closet door again. It's become a closet once more as soon as it closed, but shortly after they take hold of the handle, the teacher's lounge is behind it instead. "Nevaeh's ''supposed'' to be practicing looking at ''good'' futures so this is basically like homework. -- okay c'mon meerkitties." They are reaching out with a toe to nudge the wormy puzzle ball back towards the door just as they open it, gently rolling the wormball into the lounge. ''One'' of the meerkats is eagerly following, at least.<br />
<br />
“No, but you are ''now''.” Nevaeh frowns, and a ghostly 3D image of the teacher's lounge fades into existence around them, showing Meerkat One is batting the treat ball around in the future. “I think it changes more unexpectedly the more things we do different from how we…originally got there?” In the vision, a second meerkat joins it through the open door that does not look out on the hallway but into another room, three blurry teenagers only hazily visible beyond. The sudden movement of the ghostly image startles the ''actual'' meerkats in the present, and the lookout emits a rapid chirping string of alarm barks that sends Meerkat Two through the closet door. It seems reluctant to flee, itself with Roscoe and Nevaeh between it and the exit. “I don't know how we get the third one in there.”<br />
<br />
"''Aw'', my bad," says Roscoe, his tone so blithely unapologetic that it borders on sarcastic. When the ghostly teacher's lounge materializes, his eyes widen -- "''Jeez'', this is trippy. How can you even tell what futures are..." he glances aside at Nevaeh and seems to decide this is not worth asking. Instead, he pokes the holographic future treat ball with the toe of his sneaker, which -- though his foot goes right ''into'' the toy a few times -- gives off the impression that Roscoe and holographic future Meerkat One are kicking the ball to each other. This, alas, does not seem to encourage Meerkat Three to stand down. Nor does gesturing toward the teachers' lounge and saying, "''Shoo!'' Go with your homies!" After a moment, Roscoe glances to the side, then hastily shuts the bedroom door loudly -- this time, "My bad" ''is'' apologetic. The sudden slam of the door does spur Meerkat Three off the bed; Roscoe makes a tiny, undignified "eep" sound and jumps out of the way.<br />
<br />
"Ack!" Sriyani reaches to swipe a towel from where it's hanging on the edge of ''their'' bed, trying to use it to shoo the meerkat towards the closet door. The animal does get shoo'd -- under Echo's bed. When Sriyani crouches down to nudge one lost mealworm nearer the edge of the bed they narrowly miss getting bitten, scurrying back with an ''offended'' look. "Hey I was trying to feed you ''that'' not ''me'' -- oh no how long do we have."<br />
<br />
“Oh no, Mister Summers is coming,” Nevaeh whispers urgently. “Maybe twenty seconds? Fifteen?!” She scampers onto Echo's bed and jumps up and down on it in a bid to encourage the meerkat out. “Roscoe go over there so it doesn't try to go under the ''Sriyani's'' bed.” She doesn't actually sound very confident about this. Possibly it's not actually a precognitive instruction this time, but at least she doesn't seem quite as frantic now. “Oh and Boston wins,” she adds casually, between bounces.<br />
<br />
"Oh, ''no'', it's Summers," Roscoe says, almost at the same time. He dutifully hightails it to stand on guard by Sriyani's bed, poised bracingly like a soccer goalie with his knees bent and his eyes carefully scanning under Echo's bed. "It's right there --" probably nobody else can tell where the meerkat is exactly, even when Roscoe points with one finger. He perks up a moment later -- "Yes! Take that, New York."<br />
<br />
"Oh ''no'' Mr. ''Summers''?" The meerkat is abruptly forgotten as Sriyani drops the towel and ''flings'' themself towards the closet door. It closes with a ''thud'', the other meerkats still happily enjoying their scattered mealworms on the floor of the teacher's lounge. Only ''then'' does the third meerkat venture back out, darting to snatch the bribe that is trying to wriggle back towards the relative safety of the Heap O' Towel nearby. "Oh we ''won''?" Should Sriyani be worrying about other things? They are instead just perking at this Excellent Sports News. "Next time, we should ''definitely'' place bets."<br />
<br />
---<br />
<br />
When the door opens to the teacher's lounge, the meerkats both scatter under the nearest plush sofa, leaving their haul of mealworms and the treat ball still rolling about the entrance of the room; all is quiet once more. Scott notices none of it -- he's humming tunelessly, with a binder-clipped bag of chips he's cradling like a baby and a bowl of dip in one hand; with his other hand he is checking his email. He puts his phone in his jean pocket and sits on the sofa, reaching for the remote, then pauses at an unfamiliar sound, his brow furrowing slightly. He bounces, once, on the sofa as though the springs might have been the cause, then sets his chips and dip aside (the dip teeters precariously where it sits on the cushion) and stands to investigate. First he stares bemusedly over the back of the sofa at the mealworms, then he crouches down to look underneath it. "What the --"<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Meerkats_vs._X-Men&diff=25863Logs:Meerkats vs. X-Men2024-02-27T04:31:08Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Scott]], [[Cerebro]], [[Tian-shin]], [[Kitty]], [[Shane]], [[Jax]], [[Charles]], [[Joshua]]<br />
| summary = "On second thought, you two seem like reasonable fellows." (begins right after [[Logs:Meerkat Manor|meerkat summoning]].)<br />
| gamedate = 2024-02-24<br />
| gamedatename = <br />
| subtitle = <br />
| location = <XAV> [[Teachers' Lounge]] - Xs Basement<br />
| categories = Scott, Cerebro, Tian-shin, Kitty, Shane, Jax, Charles, Joshua, Mutants, X-Men, XAV Teachers' Lounge, 8<br />
| log = <br />
<br />
Running a school for mutant teenagers just taking control of their powers is not an easy job, and the teachers at Xavier's deserve a place to come and relax. This lounge is their place to come and de-stress, and it does not skimp for relaxation. The room is elegant and luxurious, plush couches making up the seating in the lounge and a glossy glassy bar wrapping around one wall, well-stocked with alcohol (and perpetually fresh-brewed coffee, for those so inclined.) A large-screen high-def television hangs on one wall, stocked with about as many movies and games as the childrens' rec room upstairs. High bookshelves hold a wealth of books. The fridge here is always well stocked, and the cook is always willing to make deliveries down to this level. Far in the back, a hot tub is submerged into the floor, for still more unwinding.<br />
<br />
More days than not, there's some variety of snacks to be found on perched on an end of the bar -- quite often in the form of fresh-baked desserts.<br />
<br />
''''NOTE: Students are not allowed in the Teachers' Lounge at ANY time.''''<br />
<br />
There is not actually a written rule that forbids ''meerkats'' in the Teachers' Lounge, which Scott is no doubt bitterly regretting as an obvious, lamentable oversight. He already looks a little harried, though no more than five minutes can have passed since he spotted the intruders -- in that time, he's rolled up the sleeves of his flannel, swapped his ruby-quartz glasses for his visor, and moved half of the furniture in the room out of place to apparently no effect; he is prowling in a great hurry around the room, aiming red laser-pointer dots around in an effort to corral the meerkats to -- probably ''anywhere'', so long as ''he's'' corralling them -- but the meerkats are keeping about three steps ahead of him, and he evidently thinks better of trying to move the heavy TV stand. He sighs, then, with the hand that isn't carefully focusing the dial at his left temple, he digs his phone out of his pocket and starts to dictate a text message out loud: "Hey Joshua, comma. There are two meerkats in the lounge, period. Could..."<br />
<br />
He trails off, then shakes his head, then stoops over, trying to find the meerkats under the entertainment center. Now presumably addressing them, in his most amiable and unthreatening tone, he says, "On second thought, you two seem like reasonable fellows, so how about we -- no, ''shit'', no!"<br />
<br />
---<br />
<br />
It's only after Scott has given up with the meerkats still at large that the Sysadmin uploads a video montage of his misadventures to the X-Men-minus-Scott group chat. Is the Sysadmin a member of said group? No. Is that stopping him? Also no. Perhaps he feels bad about it, though (he probably does not feel bad about it), because at about the same time, one of the ubiquitous pillbug-esque cleaning drones is deploying from its charging dock and rolling easily under the couch after the furry intruders.<br />
<br />
The meerkats flee at once, trailing loud chirps equally alarmed and offended. The drone emerges on the other side and rocks from back and forth, uncertain. Then it unrolls itself, segmented body rearing up to give its camera a wider view -- that's suddenly full of meerkat! One of the creatures has dashed out to flip the drone over, little mechanical legs kicking grotesquely in the air. It rolls itself back up in an attempt to grapple its assailant, but the meerkat twists its unreasonably agile little body in mid-air and scampers off, clicking in warlike fashion. The drone starts to roll after it, only to get pounced by the second meerkat lying in wait on the couch above. Where ''is'' that string of profanity coming from, anyway?<br />
<br />
---<br />
<br />
Tian-shin's lounge clothes, being a soft red tang suit, look like ass-kicking clothes, but she doesn't look very eager to kick any meerkat ass even if she probably could do so while talking (quietly!) (politely) to her brother on the phone. "{No, it's like a prairie dog, or a ''mongoose''--}" She's stalking carefully amongst the relocated furniture in a bid to get a clear view of her quarry without blocking the basketball game. "{--like, that gay couple that adopts Simba in the Lion King? Yeah, yeah, Timon is a meerkat. I ''think.''}" Suddenly one meerkat pops up from behind a pile of cushions on the couch, then the other. Both of them are sitting on their haunches and ''staring'' intently at Tian-shin. "{Okay, they're adorable but kind of creepy. You'll get a picture but I have to deal with this now.}" She hangs up and snaps a series of pictures, then looks past her phone at the trespassers. Her brows furrow slowly, then suddenly clear. "Nope," she mutters.<br />
<br />
<blockquote><br />
*(Tian-shin --> X-Men, Scott-Free): [attached photo of two meerkats sitting upright, staring balefully into the camera; Scott is in the background, on the other side of the couch]<br />
*(Tian-shin --> X-Men, Scott-Free): I think we should just get Joshua, you know he has this muted<br />
</blockquote><br />
<br />
---<br />
<br />
There is a flurry of texts one drive-to-Westchester amount of time later:<br />
<br />
<blockquote><br />
*(Kitty --> X-Men, Scott-Free): 😍😍!!<br />
*(Kitty --> X-Men, Scott-Free): Oh we don't need to bug him, it's Shabbat!<br />
*(Kitty --> X-Men, Scott-Free): I think Scott just does not have enough hakuna matata in his heart for this task<br />
</blockquote><br />
<br />
Kitty is definitely not dressed in her Shabbos best when she walks through the closed lounge door, cozy in a NASA hoodie and soft black pants. "You're not a teacher," she tuts softly at the first spotted meerkat, who is perched on top of the glossy bar. "And I'm pretty sure you can't drink." With that she drops into a crouch, crawls *into* the bar, and then pops up through the glossy surface, neatly cupping her hands around the little mammal before it can see her coming. Kitty beams at her victory, holding out the meerkat towards the duo on the couch (hopefully at least Tian-shin will snap a picture) with a broad smile on her face. Kitty is halfway across the room, walking toward the second meerkat currently darting across the bookshelves, when something occurs to her: "...So like. Where do they, uh, go?" <br />
<br />
In her brief moment of confusion, Meerkat One manages to wiggle out of Kitty's grip and scamper, once again, into the couch cushions.<br />
<br />
---<br />
<br />
The little blue shark sauntering into the lounge now certainly wasn't ''scheduled'' for any kind of training tonight, but sometimes, ~~the promise of adorable meerkats~~ duty calls even on the weekend. Shane's eyes have gone even wider, ''delighted'' and huge when he walks in and spies one of the meerkats where it has been, evidently, ''attempting'' to dig its way under an armchair. Probably Charles can afford new floorboards. "We're absolutely ''sure'' these aren't a student?" He's asking this with a cheerful upward tilt of chin to the growing knot of spectators; it's hard to say how earnest this concern is. "How hard can it ''be'' to catch a weasel?" And per''haps'' his confidence isn't misplaced, because he's hopping lightly over one of the displaced end tables and dropping down almost effortlessly to snag the small creature before it darts back beneath the chair. "-- see? Now -- ''ho''shit," his cheer is abruptly turning to a pained yelp as sharp teeth chomp down at his hand. He's dropping the meerkat harmlessly (to ''it'', anyway) onto the armchair cushion and retreating to the couch, sucking at the injured webbing of his hands. "Well damn get yourself home then."<br />
<br />
---<br />
<br />
Has Jax understood the assignment? At this point it is hard to say. Certainly the ''first'' faintly iridescent ramp that went up a while back ''was'' making a neat path to the door that, in another and more optimistic lifetime, might have been getting the meerkats home, and certainly he ''did'' breadcrumb it with small crumbs of boiled egg, and certainly one of the meerkats ventured promisingly far down the path before hopping off to abscond with its snack. That was some time and many treats ago, though, and now the glimmering pathways have proliferated. There's a veritable hamster maze of ramps and platforms and tunnels that have sprouted up along the walls and ceiling. One of the meerkats is clambering, clumsily, upward to get an even ''better'' vantage point for its lookout; another has disappeared into a tunnel to munch. Jax is leaning up against a shelf that -- well, it ''used'' to hold books, most of which are scattered on the floor now. "Well," he's offering brightly, "they ain't tearin' up the furniture no more."<br />
<br />
---<br />
<br />
There's a general serenity in here not much disturbed by the occasional notification on someone's phone, nor by the gathered onlookers whispering to and/or shushing each other. Charles has two fingers pressed to each temple, rubbing slow contemplative circles there while he gazes fixedly at the meerkats. The animals seem...calmer? That might have more to do with all the treats and exercise they got than any ''psionic'' intervention. They're resting in a pile of torn-up throw pillows under one one of the end tables at the moment. One of them suddenly pops up and stares back at Charles...then starts grooming itself.<br />
<br />
"Hm..." Charles lowers his hands only to steeple them thoughtfully, which lends additional gravitas when he declares, solemnly, "They are most assuredly ''not'' a student."<br />
<br />
---<br />
<br />
Did Joshua ''expect'' to find half his teammates crammed into one side of the mess that's been made of the Teacher's Lounge, at this late hour on a Saturday night? Given that he simply appears, in ready-for-bed-casual black and red plaid flannel pajama pants, OCCUPY LASSITER 2023 tee, fluffy socks, it's a fair bed he did ''not''. He takes in the others -- the wake-of-tornado state of the lounge -- the ''meerkat'' poking out of a hole tunneled in an armchair cushion and now chittering a warning to its companion (burrowed down beneath it) at the abrupt new arrival. None of this changes his expression much; he showed up looking vaguely mournful to be here and now he is looking still vaguely mournful about the fiasco he's teleported into. He's picking his way through the wreckage over towards the counter to look behind the bar, frown, look ''in'' the bar; finally (a little triumphant) he snags his phone from where it's been wedged behind the paper towel roll. (Can he blame the meerkats for this? Perhaps later he will try.) <br />
<br />
Only after this does he fish a flattened cardboard box out of the recycling bin. He's folding its flaps into each other; by the time he reappears next to the recliner it's got a proper box shape, again. He sets the box down on its side beside the recliner, nudging some of the stray mess of treats into it before carefully nudging the cushion off the seat. Tipping it over, prodding at its underside until the disgruntled meerkats within scurry out and into the box. He's glancing -- brief -- at his phone screen now, as he pushes the top flaps closed, giving a ''concerned'' frown to the several missed calls before looking back to his teammates. "-- shit, did you need me?"<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Mutatis_Mutandis&diff=25861Logs:Mutatis Mutandis2024-02-26T04:54:22Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Charles]], [[Cerebro]]<br />
| summary = "I got bored." (Some hours after Charles began an [[Logs:Interfacing|unexpected partnership]])<br />
| gamedate = 2023-08-29<br />
| gamedatename = <br />
| subtitle = <br />
| location = <XS> Charles's Bedroom - Third Floor, <XS> Danger Room - XS Sub-Basement<br />
| categories = Cerebro, Charles, Mutants, XS Danger Room, XS Charles's Bedroom, Xavier's School<br />
| log = <XS> Charles's Bedroom - Third Floor<br />
<br />
Charles Xavier's apartment has remained more or less unchanged through the decades of renovation that transformed his family's huge ancestral manse into a school. It is modest by the standards of the wealthy, but then it had only been meant to house him in his youth. The receiving room just inside the door is sumptuous with old world aristocratic splendor from the intricate Persian rug underfoot and the furniture in purple and gold to the gold-framed paintings on the walls. Double doors in each of the walls lead to a large bedroom, a moderately sized dining room with its own kitchen and pantry, and a small study.<br />
<br />
Tall windows and skillful placement of its burnished antique furniture make this bright corner room look more capacious than it actually is. Granted, it is by no means ''small''. Much of the wall space is taken up by floor-to-ceiling mobile bookshelves, the rest cerulean blue with gold molding that frame a ceiling painted as a fanciful star map. The large canopy bed is hung with sapphire curtains to match the drapery on the windows. There's a cozy reading nook in one corner beside a bay window seat and on one of the interior walls are doors to the bathroom and a walk-in closet. Before the stone fireplace is an ornate chess set on a small table flanked with armchairs, and on the mantle above it beautiful blue and white Chinese vases bracket Antonio Canova's ''Psyche Revived by Cupid's Kiss''. Double glass doors open onto a balcony with a stunning view of the glittering lake nestled in the woods of the mansion's extensive grounds.<br />
<br />
By the time Charles gets back to the mansion, it's that awkward stretch between the witching hour and dawn, when usually even he's asleep. Perhaps that is why he does not wake his valet and instead makes his own laborious way through his ablutions. He's finally tucked himself in and switched off his bedside lamp when his phone gives a distinctive Star Trek comm badge chirp.<br />
<br />
He closes his eyes and takes a slow, even breath. When he opens them again he levels an expectant look at the phone. It just stares back at him from the charging dock, its circle-X lock screen betraying nothing. He sinks back against his luxurious pillows and closes his eyes again, but this time he opens his mind and reaches down, down towards the faint psionic shimmer that resides beneath the Danger Room --<br />
<br />
<< Fuck you, Charles. >> Cerebro's anger is sharp and familiar. << You may be a bloody dinosaur, but I know you can answer a goddamn text. That was the third one! >><br />
<br />
<< I was in the bathroom. >> Charles allows just a touch of his defensiveness to slip through. But he finally does lever himself onto his side and pick his phone back up to read the messages he'd received in the last 20 minutes.<br />
<br />
*(Cere --> Charles): You're tardy. See me in my office at once<br />
*(Cere --> Charles): And why the devil was your Do Not Disturb on? The book can't have been THAT engaging<br />
*(Cere --> Charles): Did something happen with Hive?<br />
*(Cere --> Charles): Answer me damn you, I know you're not asleep yet<br />
*(Cere --> Charles): Don't make me go up there<br />
*(Cere --> Charles): Or wake Ashok<br />
*(Cere --> Charles): Are you alright?<br />
<br />
<< I'm sorry, I hadn't meant to alarm you. >> His mental voice is gentler now as he feels out the edges of Cerebro's thoughts, radiating solicitous concern. << That was more than three messages, by my reckoning, but thank you for not coming up here. >><br />
<br />
*(Cere --> Charles): I don't want to talk to you like that right now<br />
<br />
At the psychic bristling that accompanies this message Charles pulls back, maintaining just enough contact so they ''could'' speak telepathically if Cere were to change his mind. He ''isn't'' too much a dinosaur to send a text, but this one he keeps composing and deleting.<br />
<br />
*(Charles --> Cere): <s>I'm really quite exhausted</s><br />
*(Charles --> Cere): <s>I'm a bit peaked</s><br />
*(Charles --> Cere): <s>I don't suppose you had rather carry on in text</s><br />
*(Charles --> Cere): <s>What's the matter</s><br />
<br />
Charles sighs, but scrupulously keeps it out of his mental link with Cerebro as he swipes out a message and hits send before he has a chance to regret the decision.<br />
<br />
*(Charles --> Cere): I'll be down shortly 😀<br />
<br />
---<br />
<br />
<XAV> Danger Room - XS Sub-Basement<br />
<br />
Charles thought it safe to assume Cerebro, being so familiar with his habits, knew what he meant by "shortly", or would at least make his displeasure known if he got impatient. By the time he's rolling through the doors of the Danger Room into a geometrically impossible programming utility simulation, he knew he'd miscalculated.<br />
<br />
Cere's avatar floats amidst a vast sensory representation of his own mind: a bewildering galaxy of interconnected 4D fractals, all constantly fluctuating in color and conformation, their soft synthetic voices joined in a susurrating million-part harmony. He's clothed in a black kurta and panche patterned in luminous green circuitry reminiscent of Tron's light suits. The unfathomably (to most brains) complex file system visualization shifts smoothly as he works, so that he only has to pivot in place, light touches and swipes and other nimble gestures exploding, examining, or editing the nuts and bolts of his existence. He is pointedly ignoring his tardy visitor.<br />
<br />
Amidst this futuristic phantasmagoria, his tardy visitor is feeling faintly absurd in one of his cushier -- and less stylish -- wheelchairs, his favorite and therefore slightly threadbare dressing gown, royal blue trimmed in gold satin, and, despite the season, warmly lined gray house shoes. "Cere," he says, his voice level in a way that indicates he's annoyed but trying to be reasonable, "if you've work that urgently needs doing, perhaps I can come back in the morning."<br />
<br />
Cerebro does not stop immediately. "You took too long. I got bored. Let me finish with this function." He's already done by the time the last word leaves his mouth. As he floats down to the floor he lifts the whole simulation up just above head height, though he remains in the center of the room, arms crossed, and waits for Charles to come to him.<br />
<br />
Charles obligingly goes to him, but does not apologize for taking too long. "What's the matter?" He appends his concern, then annotates it with, << That didn't look like routine maintenance. >> Anticipating a scoff, he clarifies, "I can't parse your visualizations, but there are rhythms to how you work with them."<br />
<br />
"Bollocks," Cere declares flatly. "But no, it's not routine. What the hell kept you out so late? And why did you lock me out of your phone? Did something happen with Hive?"<br />
<br />
Charles draws a deep breath, then lets it out. "Please turn off your ironic processing and contextualizing reflexes on the topic of Hive for the duration of this discussion."<br />
<br />
"Ah yes, let me just ''lobotomize'' myself real quick in case we really get into it over white bears." But the visualization above them is shifting all the same, delivering the relevant (massive) cluster of cognitive systems to Cere's hands. He explodes several functions and adjusts each minutely, listening to ensure they remain in harmony. "Hello, Cere! Fuck you very much and ''don't'' think about how your friend has been in a coma for over a month and might never wake up." He cups one hand to his ear and breaks into a huge smile. "By George, it worked! Now spill."<br />
<br />
Charles suppresses his sigh, but not quite well enough to keep it from Cere, here in the latter's domain. "I can't 'spill', and I need you to leave it alone." He holds up a hand against the objection Cere has already formed, his abstract request for patience somewhat more conciliatory than the gesture. "I may have found a way to help him. It's not enough to effect a recovery, but there's good chance it will improve his surgery outcomes. I know things have been hard, but I need you to trust me and not dig into this."<br />
<br />
"What in the ''blazes'' --" Cere's eyes narrow on him, incredulity warring with fury in their dark depths. "I've helped you mend him before! I understand that kind of consciousness far more intimately than you do. ''Why --''" He swallows, trembling with rage in a way that's far enough out of character to set off alarms in Charles's mind even if he ''couldn't'' see the ominous storm of processing above them. "I could find out for myself. I could ''make'' you tell me."<br />
<br />
Charles does not put up more shields, does not do anything at all to brace against Cere's threat. "You're better than that," he replies simply, no censure or reproach in or behind his words. The warmth of his psionic aura is expanding out to encompass the arcane machinery beneath their feet that houses Cerebro's consciousness. "Calm your mind. I would not keep this from you without good cause. You know what Hive means to me, and you know I will not harm him."<br />
<br />
"Fuck you, Charles." Cere looks away sharply. He's resisting the warmth and the calm it offers, but not resisting very ''hard''. "I know." This agreement comes easily, at least. "But ''you'' don't know what he is to ''me.''"<br />
<br />
Charles frowns, considering the avatar before him, but does not push his artificial solace any harder. "You haven't many friends, and you've almost lost him before --"<br />
<br />
"It's not that," Cere snaps, though he's finally letting Charles calm him, tension bleeding from his avatar's shoulders by way of indicating as much. "''Obviously'' I'm terrified of losing him. But also, being him << (them) ''(us)'' >> is the only time I feel ''real''. After all that time looking for the kids with them, it's..." His mouth twists aside. "Well. I didn't realize until Ryan -- ''why'' did you let me fuck him?"<br />
<br />
It takes Charles a moment to catch up with this rollercoaster of an explanation. "You ''are'' real, Cere. The...particulars may be debatable, or contingent on definitions, or what-have-you..." He puts on the faintest whiff of the aristocratic airs into which he was born but which never suited him. "But I've ''some'' passing familiarity with minds. Yours feels real to me in its own way..." He looks up at the beautiful representation of said mind slowly spiraling overhead and singing softly in his ear. "...and far more self-aware than most, which can be a curse as much as a blessing."<br />
<br />
His gaze returns to Cerebro's avatar, his brows slowly furrowing. "You're grown men and you both knew you were emotionally compromised. I had ''wanted'' to caution you..." << "...please be gentle with him," >> Charles did not say, in his memory of that night two weeks prior. Perhaps he's deliberately leaving out ''who'' he almost addressed those words to -- information he would normally include in such a communication. Perhaps he's just ''that'' tired. "But I thought that a touch condescending even by my standards. Would you have heeded me, if I had?"<br />
<br />
Cere's expression cycles rapidly through several iterations of anger, hurt, exasperation, and -- could that be ''fondness?'' The sensory interface of his mind roils and flashes and trills with the intensity of the processing, but his face at least finally settles on long-suffering annoyance. "No. And it would have been ''exceptionally'' condescending. Neither of us wanted ''gentle,'' in any event." Three clusters of slowly churning fractal rosettes descend from the galaxy-storm above, and singled out like this they sound faintly dissonant. He explodes each and unspools functions, editing them at dizzying speeds.<br />
<br />
"I've been tweaking my emotional processes, and before you get your knickers in a proper twist I'm ''aware'' that's dangerous." The avatar clenches his jaw tight and does not look at Charles. "I just wanted to feel something I didn't ''decide'' to feel. Which, as I ought to have recalled from my mortal days, feels bloody awful. It was set to revert in a few hours, but I'm undoing it now." He hits a large red "confirm" button, starting a countdown in minor electronic tones that flash warning through the whole simulation.<br />
<br />
Perhaps expecting the knickers-twisting to be taken as read, Charles just raises his eyebrows. "In fairness to your recollection, the experience of emotions is highly contextual -- even when it is bloody awful. I'm sorry it was not as fulfilling as you had hoped." His lips compress and his hands tighten minutely on his armrests. "I would have helped you, if I'd only known. I still can, when I am rested."<br />
<br />
The klaxons fade, the data storm settles, and Cere is left blinking as his eyes refocus on Charles. He recovers rapidly, as evidenced by his characteristic scoff. "Don't be daft. It's one thing if I fry my ''own'' brain, I wouldn't risk --" His dark eyes go very wide and the interface overhead starts thrashing again, more violent than before. "Oh ''shit!'' Why the everloving fuck did I call you down here while I was experimenting with my --" He starts pacing rapidly. "And why did you ''come?'' I could have hurt you!" He stops as abruptly as he started. A breath he doesn't need shivers from a body he doesn't have. "I could have ''killed'' you."<br />
<br />
It's Charles's turn to blink, his exhausted mind still slow to follow Cere's dizzying changes of mood. "It ''was'' ill-advised," he says at last. His tone is gentle, but he relaxes his shields enough to let the lingering echoes of his alarm bleed through. "I might not have come inside if you'd told me first, and I rather would have preferred that, but you -- were not in your right mind. I can't speak to your reasons, but I imagine you were lonely and anxious and unsettled by your ah...experimentation." He guides his chair over to the avatar. "You ''didn't'' hurt me, and I think you're aware I'm not so easy to kill. We can find safer ways to adjust your emotional processing. I could monitor from outside and give you feedback."<br />
<br />
Cere stares up blankly at the elegant chaos of his mind made manifest. "Or, you know, I could just stop thinking about it. Like you asked me to do for whatever you're getting up to with Hive. I can just turn that off. I'm not even a ''person'', for fuck's sake, I can turn ''any'' of this off." He looks back down at Charles but flings one hand at the visualization above them, which seems to flinch away from the gesture. "All ''this'' is just several billion processes telling themselves they're a person because an ''actual'' person programmed them to do that out of sheer bloody-mindedness. And he's been dead for decades!" He swallows, then swallows again, clenching his fists. "Real, virtual, simulated -- call it whatever you like. I'm only the wreckage of Siri Godfrey's failure to accept mortality."<br />
<br />
Charles reaches out and lays his hand on Cere's arm. "You didn't fail to accept mortality. You chose to ''defy'' it. I'm not as sure now about the meaning of 'person' as I once was, but there is a preponderance of evidence in how often you register as one to telepaths and empaths -- including ''Ryan'', who I gather found you real enough. Now, as always, only you can decide who you are and what parts of your code to implement, but I held you in my mind while your body was dying and I have known you all the years since." He lets his hand drop back into his lap. "For what it's worth, you are still ''my'' Cere, in all the ways that matter to me."<br />
<br />
"Sex toys are 'real', too, but I'm glad he had a good time." Cerebro reaches for Charles when his hand falls away, though not far enough to make contact. "Shite time to have an existential crisis," he grumbles, as if this were a minor irritation, like running out of sugar or realizing one's socks are mismatched. "Start of term, end of Prometheus, fucking -- ''Hive''." His voice doesn't break, but at a decent guess it might have, if he didn't have near-complete conscious control over his avatar. "You're exhausted, and you've got class in a few hours. You'll sleep better down here. I can keep you comfortable and block out the noise. Let me take care of you, for a change."<br />
<br />
Charles shakes his head, then lifts a hand to rub at his temple, at the ever-present headache he'd just aggravated with the movement. "There's no ''good'' time for an existential crisis, but we'll manage -- we always have." He clasps Cere's hand, this time, just when he'd aborted reaching for him. "I'll be fine." He sounds and feels very confident, without dismissing the weariness and heartbreak beneath that confidence. His hand squeezes gently. "I always am."<br />
<br />
Cere level a flat look at Charles, and there's a suggestion of protective vehemence when he pronounces his judgment: "Rubbish. Whoever or ''what''ever I am, I know ''your'' mind too well to buy that." His hand is slack in Charles's until it's not, his grip suddenly desperate. "Kindly stop being the goddamned Father of Mutantkind for one fucking night and ''let me help''."<br />
<br />
He doesn't say "please", but he doesn't need to and he knows it. The Danger Room is already rearranging itself into an opulent bedroom -- one Cere had occupied a few floors up, in the final days of his corporeal existence. It's since been converted to a computer lab, to his enduring amusement.<br />
<br />
Charles looks up, his face lined with worry. << (I'll stay) >> He doesn't say it in words, but he doesn't need to, either. His warmth speaks love and hurt and gratitude as he lets Cere lift him out of his chair and tuck him in. The bed is impossibly comfortable, illusory yet underpinned by Cere's formidable telekinesis, which he adjusts minutely to accommodate every twinge of overworked muscles and misfiring of abused nerves.<br />
<br />
Somewhere in the middle of this operation Cere's avatar has changed, though his pajamas are also vaguely Tron-esque in black and luminous green circuitry. "Don't grouse," he warns as he climbs in beside Charles. "You're sleeping ''inside'' me anyhow, you may as well get a cuddle in. You need this."<br />
<br />
"You make it sound so scandalous, but I suppose. So long as you don't get fresh with me." Charles's reply sounds prim, but there's nothing even remotely like "grousing" in his amusement and drowsiness and distant, ever-present longing. There's no reluctance, either, in the arm he curls around Cere's avatar or the warmth that settles into his mind.<br />
<br />
"Please. You're hot, but not ''quite'' hot enough to be worth the visions of your crazy ex I'd have to endure while you're ploughing me." Cere ''is'' grousing, but in a companionable sort of way. He tucks his head into the crook of Charles's neck. "Besides, you know I don't fuck white people."}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Character_Concepts&diff=25815Character Concepts2024-02-17T20:02:56Z<p>Borg: </p>
<hr />
<div>Check here if you're looking for ideas to get you started with creating a character. Our list of Restricted concept may change over time as our game demographics shift.<br />
<br />
<br />
'''On Mutations:'''<br />
<br />
rEvolution is a low- to moderately-powered game, based on the more real-world feel of the X-Men movies rather than the comicverse. We stress story and character development far more than superpowers and action sequences. As such, mutations on this game are not at the same power level as mutations in the comic books. Many comic-canon characters will have to be powered down from their comic counterparts to fit in our theme. Also remember that characters do not necessarily start out as powerful as they will eventually become: younger characters should have time to grow and develop in their abilities. Plan ahead. Create milestones for your character's mutation growth. Keep in mind that you will never reach full Phoenix strength as Jean Grey: that kind of world-destroying power will not be approved. Also remember, having a mutation comes with downsides as well. Write limitations and side effects into your character's abilities. Remember that using mutations is exertion just like any other, and takes fuel and energy to maintain. Remember to keep those drawbacks in mind in the course of roleplay!<br />
<br />
'''Common'''<br />
<br />
''These character types are not restricted or banned overall; we just have a good number of them on-grid already. New applications incorporating these ideas should consider whether or not to incorporate concepts that already exist in large number in the active population of PCs. We do not keep this list as a disincentive; consider that traits in common with other characters can be a character hook as well!''<br />
<br />
*Artists (Visual, i.e. painters, illustrators, etc.)<br />
*Violinists<br />
*Fencers<br />
*Psionic powers (powers that affect the mind -- e.g., telepathy/empathy. Other mental-derived powers sometimes included under psionic such as telekinesis do NOT count, for our purposes -- only powers that affect mental status.)<br />
*Teleportation<br />
*Electrokinetics<br />
*Technopaths<br />
*Characters missing their left eye<br />
*Survivors of government experimentation programs (see [[Prometheus]])<br />
*Doctors (both MDs and PhDs) <br />
<br />
<br />
'''Restricted'''<br />
<br />
''These character types are only allowed if they conform to the restrictions specified below.''<br />
<br />
*Mutations that manifest before puberty. The only allowable exemption for this will be overt physical mutations (purple skin, tail, etc.) that are present from birth.<br />
*Secret Government Labs in the US or Canada doing experimental research on mutants. Allowable exemptions to this will be Weapon X (Canada) and the [[Prometheus|Prometheus Project]] (USA)<br />
*Original Characters whose backstories are heavily dependent on Marvel canon Characters. (e.g. characters who are children, relatives, best friends, mentors/protégés, etc. of canon characters) The allowable exemptions are if the history is written with the permission of the ''current, active'' player of that canon character. If the canon character is not currently being played, this will not be allowed. <br />
<br />
<br />
'''Off-Limits For Applications'''<br />
<br />
''These are concepts that may pose difficulty to roleplay or alter our current world in drastic ways. We do not allow applications that include these concepts (whether as a PC's own ability or at any point in the backstory.) Approved players who wish to run plots that include these concepts may pitch the idea to the game.''<br />
<br />
*Time travel.<br />
*Reality manipulation.<br />
*Aliens.<br />
*Technology of any kind (including biological) that is significantly more advanced than what has been shown to exist in-universe already. (For a list of technological innovations that exist in-universe but not in our world, please check our [[FAQ#IC_Universe|FAQ]].)<br />
<br />
'''Banned'''<br />
<br />
''These are concepts that do not fit into our theme, and will not be allowed for use in roleplay at any point.''<br />
<br />
*Characters from non-Marvel canons.<br />
*Celebrities from the real world.<br />
*Magic users.<br />
<br />
'''Featured (Canon) Characters'''<br />
<br />
Our game values original characters as much as feature characters. In the IC world, characters are equally important, regardless of whether they are canon or original creations. Because Feature Characters are often in high demand among players, and because FCs can change hands over the course of their on-game history, the OOC policies regarding FCs are stricter than those regarding OCs. Often, these characters will need to be significantly powered down or revamped from their comics/MCU/XMCU/etc incarnations in order to fit our setting, but FC applications should still be recognizable to the game as a version of their canon counterpart. <br />
<br />
FC backstories may include (recognizably canonical) connections to unplayed Marvel characters. They may also include (recognizably canonical) connections to other active FCs -- but they cannot define how these FCs feel about them or how these connections have played out until they discuss it with the active FC's player. For instance, you can include a biological relationship or long-term acquaintanceship, but you may not describe how the characters feel about each other, the closeness of their relationship, or specific shared background events without consultation from the other player involved. If you are unsure whether your planned character will violate this guideline, feel free to ping us on help and we'll be happy to clarify. <br />
<br />
Marvel characters 'not' on this list or [[FCs]] are available for application and sandbox-rp. <br />
<br />
*[[Akihiro]] Hanayama (Daken)<br />
*[[Anole]] (Victor Borkowski)<br />
*[[Blink]] (Clarice Ferguson)<br />
*[[Bruce]] Banner/[[Hulk]]<br />
*[[Carnage]] (Cletus Kasady)<br />
*[[Charles]] Xavier (Professor X)<br />
*[[Clint]] Barton (Hawkeye)<br />
*[[Domino]] (Neema Thurman)<br />
*[[Emma]] Frost (The White Queen) <br />
*[[Erik]] Lehnsherr (Magneto)<br />
*Nick [[Fury]]<br />
*[[Kevin]] Sidney (Morph)<br />
*[[Kitty]] Pryde (Shadowcat/Captain Kate Pryde)<br />
*[[Kyinha]] (Roberto Da Costa/Sunspot)<br />
*[[Marrow]]<br />
*[[Mystique]]<br />
*[[Natasha]] Romanoff (Black Widow)<br />
*[[Nick]] Gleason (Wolfcub)<br />
*[[Peter]] Parker (Spider Man)<br />
*Lorna "[[Polaris]]" Dane<br />
*[[Regan]] Wyngarde (Lady Mastermind)<br />
*[[Robbie]] Reyes (Ghost Rider)<br />
*[[Sam]] Wilson (Falcon)<br />
*[[Scott]] Summers (Cyclops) <br />
*[[Skye]] (Quake/Daisy Johnson)<br />
*[[Steve]] Rogers (Captain America)<br />
*[[Tony]] Stark (Iron Man)<br />
<br />
<br />
[[Category:Information]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Brotherhood_of_Mutants&diff=25814Brotherhood of Mutants2024-02-17T19:59:33Z<p>Borg: /* Roster */</p>
<hr />
<div>{| width="100%"<br />
| colspan="2" |<br />
|-<br />
| width="100%" |<br />
{| width="100%"<br />
|<br />
== Introduction ==<br />
<br />
The Brotherhood of Mutants is a team of mutants dedicated to the cause of mutant superiority. They employ any means necessary to achieve their goals, including violent action against anti-mutant forces. The Brotherhood was founded originally by Magneto, but was thought to have dissolved following his arrest and imprisonment in the wake of the Liberty Island incident that earned them a spot on the FBI's terrorism watch list. In actuality, under the guidance of Regan Wyngarde and then Mystique, they were growing their numbers, and in recent years have been responsible for a string of high profile terrorist incidents and assassinations. <br />
<br />
== Reputation ==<br />
{{Tab}}What (if anything) might others have heard about this organization? It is okay if this is 'nothing'; it is also good to specify if they have a reputation but only within a niche field -- for example, maybe it's very likely mutants know about them but they are relatively unknown to humans, or only known among a certain profession or social class, etc. It's possible that different groups know entirely different things about them, and if so, name that as well!<br />
<br />
== Structure ==<br />
<br />
The Brotherhood operated under [[Erik|Magneto]]'s leadership from its founding until 2015; under the leadership of [[Regan|Regan Wyngarde]] until the coronavirus epidemic, and has been under Mystique's leadership from spring 2020 to spring 2022. Magneto resumed leadership of the brotherhood after his [[Logs:Minions|jailbreak]] in April 2022. It is a hierarchical organization -- though their recent leadership often listens and takes members' opinions into account, ultimate decision-making power rests at the top.<br />
<br />
Daily life in the Brotherhood is not heavily structured. Leadership is not going to be dictating to anyone what their day consists of or how to spend their time. There are some base expectations, though, of all Brotherhood members: that they treat their brethren with respect, that they take Very Seriously the safety and security of the group (including never sharing information about group plans or membership without explicit permission), that they work towards developing their own skills in ways that will be an asset to the group.<br />
<br />
Though there are many ways to support the group's goals and it is not required that any individual Brother take on roles in violence/combat that they are not ready for, all Brothers are expected to be able to take care of themselves even if they don't expect to be on the front lines of missions. To this end there are regular training sessions offered on the island by various members of the group -- organized teaching and casual sparring practice offered in some form daily, as well as instruction in basic survival knowledge and more specialized skills offered KIND OF more patchwork as someone with the necessary skillset feels moved to do so.<br />
<br />
== Spaces ==<br />
<br />
The main base of the Brotherhood currently is an island located in the Lower New York Bay, a couple miles out from Brooklyn. Though there are plenty of mutants capable of flying/teleporting/etc, for those who travel by conventional means the only way to access the Ascension Island base is via boat; the trip back to the city will average between 45m-1.5h, depending on what type of boat they choose and general sailing conditions. The island's dock maintains a number of vessels for common use.<br />
<br />
Living on the island is not required for people in the Brotherhood, but anyone who has joined is welcome to obtain a residence on the island if they wish! While there's no ''rent'', here, there is an expectation that anyone living on the island will help out with the chores/maintenance of their shared living space in whatever way they are capable -- there are plenty of options, ranging from gardening to cooking to helping shuttle people to the mainland to tech support to helping with physical security -- it's essentially a tiny town and requires all the appropriate maintenance.<br />
<br />
The number of people living on the island at any given time fluctuates, but generally sits somewhere between 75-100 people. Given the level of security they maintain about trespassers, it is a complete impossibility that your character is not familiar with every other person who is allowed on the island within the first couple weeks of residency there: anything else would be considered a pretty severe security risk. (No outsiders are ever allowed on the island for any reason whatsoever without clearing it with leadership first: that is an impossible rule to enforce if nobody knows who ''is'' allowed.)<br />
<br />
== Recruitment ==<br />
<br />
OOC Note: The Brotherhood, as their name suggests, tends to consider themselves more of a family than simply an organization -- though given that they're a group of murderous terrorists, they're the kind of family that won't hesitate to kill you if you betray them. Joining the Brotherhood ICly is a serious commitment, not a day job. While there is room in the faction for a lot of different levels of OOC involvement and no OOC requirement to have any particular level of commitment to scenes and plots, ICly there is no ''easy'' way to leave the group once you have joined -- once you know who all these wanted terrorists are, their homes and their secrets, just quitting is not a simple road.<br />
<br />
Please take this under serious advisement before joining the faction, as IC desertion or betrayal will very likely be met with severe IC repercussions.<br />
<br />
As a terrorist organization, members are ICly vetted before recruitment. The most common way that people join the Brotherhood is to get to know existing BoM members enough to earn their trust and show that they'd be a good fit in terms of both ideology and dependability, and then members can recommend them to leadership for recruitment. '''Members should not recruit without clearing it ICly with leadership first''', as ICly the wrong recruit can be an enormous danger to the entire faction by way of law enforcement and/or death.<br />
<br />
The second, '''much less common''' way to get recruited is to do something notable to come to the Brotherhood's attention. Please note, ''before'' going off and bombing anything, that this requires several components: a) the incident needs to be ICly significantly newsworthy (don't forget to actually make the relevant newsposts!); b) it needs to be '''very explicitly and conscientiously done to make a statement in defense of mutants/mutant rights''', not just A Random Crime; and c) people already in the Brotherhood need to know, OOCly, that your intention is to have your character recruited, '''and agree that your plan makes sense'''.<br />
<br />
'''No matter what path you are taking to Brotherhood recruitment, it is important to let Brotherhood members know OOCly once you start down that path so that they can help make the process smoother and help with your faction change!'''<br />
<br />
== Roster ==<br />
*Current Members<br />
**[[Erik]] Lehnsherr (Magneto) - Founder, current leader. <br />
**[[Akihiro]] Victor Howlett <br />
**[[Anette]] Eccleston<br />
**[[Ash]]leigh Ricardo Raj Campbell<br />
**[[Carnage]] (Cletus Kasady)<br />
**Ryan Holloway ([[Dusk]])<br />
**[[Eric]] Sutton<br />
**[[Heather]] Brown<br />
**Marion "[[Ion]]" Espino<br />
**[[Isra]] al-Jazari<br />
**[[Leo]] Valentino Aquilo Concepcion<br />
**[[Mystique]] - Leader from 2020-2022. <br />
**[[Regan]] Wyngarde - Leader from 2015-2020.<br />
**Nia "[[Scramble]]" Washington<br />
<br />
*Former Members:<br />
**[[B]] Holland, 2016-2023 (deserted)<br />
**[[Natasha|"Natalie"]] Farrell, 2017-2020 (spy/traitor)<br />
<br />
The Brotherhood is not a large organization. While there are a number of friendly/sympathetic associates scattered around New York and the world who BoM leadership can call on for assistance in a pinch (safehouses, resources, etc.), the ''actual'' membership of the group numbers below two hundred mutants worldwide, all of which were hand-picked by one of their leaders and the vast majority of which still today reside in and around New York. Somewhere around half of these live on the island; most of the rest live in and around New York City.<br />
<br />
== Important Events ==<br />
<br />
Terrorisms:<br />
*10 April 2023 - Starting just before midnight on Easter Sunday, a series of simultaneous explosions at the private residences of HAMMER officials killed multiple high-ranking officers of the DHS organization and injured Captain [[Malthus]] Rogers. The Brotherhood of Mutants has claimed credit for this attack. In a pre-recorded statement sent to law enforcement, Erik Lensherr, who escaped from HAMMER custody last year, advised HAMMER to give up the search for him: "If you want to be free of Magneto, you have the tools to do so -- when mutants everywhere are free, the Brotherhood will no longer be necessary." Law enforcement traced the origin of the video to an deserted military compound in Broken Arrow, Oklahoma, that locals maintain has been abandoned since the late 70s. <br />
*09 April 2022 - The BoM [[Logs:Poindexters|attack]] and [[Logs:Minions|free]] [[Erik|Magneto]], along with a number of other prisoners, from HAMMER custody. <br />
*14 February 2022 - The BoM attack multiple Mutant Affairs Division [[Registration|Registry]] offices using OsCorp Guardians to [[Logs:Cash_%26_Carry|detonate and destroy]] the facilities. No human casualties in these attacks, though a number of human staff are injured. The first director of the Mutant Affairs Division, Lance Fagan, is [[Logs:Vote of No Confidence|assassinated]] the same night.<br />
*24 August 2020 - The BoM attack the Republican National Convention in Charlotte, North Carolina, using Sentinels to assassinate House Representative Steve Scalise (R-La.), Representative Jim Jordon (R-Oh.), Charlie Kirk, founder of Turning Point USA, and Mark and Patricia McCloskey of St. Louis. Sentinels are recalled in the aftermath, replaced by OsCorp Guardian robots in most jurisdictions until 2022. <br />
*January 2015 - Liberty Island. The Brotherhood of Mutants attack a gathering of diplomats in New York City. The resulting furor kicks anti-mutant sentiment to a record high, right in the middle of election season. Magneto is arrested. SHIELD forms in response to this mutant terrorism. Senator R. Kelly is quietly replaced by Mystique. <br />
<br />
<br />
[[Category:Factions]] [[Category:Brotherhood of Mutants]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Brotherhood_of_Mutants&diff=25813Brotherhood of Mutants2024-02-17T19:59:24Z<p>Borg: </p>
<hr />
<div>{| width="100%"<br />
| colspan="2" |<br />
|-<br />
| width="100%" |<br />
{| width="100%"<br />
|<br />
== Introduction ==<br />
<br />
The Brotherhood of Mutants is a team of mutants dedicated to the cause of mutant superiority. They employ any means necessary to achieve their goals, including violent action against anti-mutant forces. The Brotherhood was founded originally by Magneto, but was thought to have dissolved following his arrest and imprisonment in the wake of the Liberty Island incident that earned them a spot on the FBI's terrorism watch list. In actuality, under the guidance of Regan Wyngarde and then Mystique, they were growing their numbers, and in recent years have been responsible for a string of high profile terrorist incidents and assassinations. <br />
<br />
== Reputation ==<br />
{{Tab}}What (if anything) might others have heard about this organization? It is okay if this is 'nothing'; it is also good to specify if they have a reputation but only within a niche field -- for example, maybe it's very likely mutants know about them but they are relatively unknown to humans, or only known among a certain profession or social class, etc. It's possible that different groups know entirely different things about them, and if so, name that as well!<br />
<br />
== Structure ==<br />
<br />
The Brotherhood operated under [[Erik|Magneto]]'s leadership from its founding until 2015; under the leadership of [[Regan|Regan Wyngarde]] until the coronavirus epidemic, and has been under Mystique's leadership from spring 2020 to spring 2022. Magneto resumed leadership of the brotherhood after his [[Logs:Minions|jailbreak]] in April 2022. It is a hierarchical organization -- though their recent leadership often listens and takes members' opinions into account, ultimate decision-making power rests at the top.<br />
<br />
Daily life in the Brotherhood is not heavily structured. Leadership is not going to be dictating to anyone what their day consists of or how to spend their time. There are some base expectations, though, of all Brotherhood members: that they treat their brethren with respect, that they take Very Seriously the safety and security of the group (including never sharing information about group plans or membership without explicit permission), that they work towards developing their own skills in ways that will be an asset to the group.<br />
<br />
Though there are many ways to support the group's goals and it is not required that any individual Brother take on roles in violence/combat that they are not ready for, all Brothers are expected to be able to take care of themselves even if they don't expect to be on the front lines of missions. To this end there are regular training sessions offered on the island by various members of the group -- organized teaching and casual sparring practice offered in some form daily, as well as instruction in basic survival knowledge and more specialized skills offered KIND OF more patchwork as someone with the necessary skillset feels moved to do so.<br />
<br />
== Spaces ==<br />
<br />
The main base of the Brotherhood currently is an island located in the Lower New York Bay, a couple miles out from Brooklyn. Though there are plenty of mutants capable of flying/teleporting/etc, for those who travel by conventional means the only way to access the Ascension Island base is via boat; the trip back to the city will average between 45m-1.5h, depending on what type of boat they choose and general sailing conditions. The island's dock maintains a number of vessels for common use.<br />
<br />
Living on the island is not required for people in the Brotherhood, but anyone who has joined is welcome to obtain a residence on the island if they wish! While there's no ''rent'', here, there is an expectation that anyone living on the island will help out with the chores/maintenance of their shared living space in whatever way they are capable -- there are plenty of options, ranging from gardening to cooking to helping shuttle people to the mainland to tech support to helping with physical security -- it's essentially a tiny town and requires all the appropriate maintenance.<br />
<br />
The number of people living on the island at any given time fluctuates, but generally sits somewhere between 75-100 people. Given the level of security they maintain about trespassers, it is a complete impossibility that your character is not familiar with every other person who is allowed on the island within the first couple weeks of residency there: anything else would be considered a pretty severe security risk. (No outsiders are ever allowed on the island for any reason whatsoever without clearing it with leadership first: that is an impossible rule to enforce if nobody knows who ''is'' allowed.)<br />
<br />
== Recruitment ==<br />
<br />
OOC Note: The Brotherhood, as their name suggests, tends to consider themselves more of a family than simply an organization -- though given that they're a group of murderous terrorists, they're the kind of family that won't hesitate to kill you if you betray them. Joining the Brotherhood ICly is a serious commitment, not a day job. While there is room in the faction for a lot of different levels of OOC involvement and no OOC requirement to have any particular level of commitment to scenes and plots, ICly there is no ''easy'' way to leave the group once you have joined -- once you know who all these wanted terrorists are, their homes and their secrets, just quitting is not a simple road.<br />
<br />
Please take this under serious advisement before joining the faction, as IC desertion or betrayal will very likely be met with severe IC repercussions.<br />
<br />
As a terrorist organization, members are ICly vetted before recruitment. The most common way that people join the Brotherhood is to get to know existing BoM members enough to earn their trust and show that they'd be a good fit in terms of both ideology and dependability, and then members can recommend them to leadership for recruitment. '''Members should not recruit without clearing it ICly with leadership first''', as ICly the wrong recruit can be an enormous danger to the entire faction by way of law enforcement and/or death.<br />
<br />
The second, '''much less common''' way to get recruited is to do something notable to come to the Brotherhood's attention. Please note, ''before'' going off and bombing anything, that this requires several components: a) the incident needs to be ICly significantly newsworthy (don't forget to actually make the relevant newsposts!); b) it needs to be '''very explicitly and conscientiously done to make a statement in defense of mutants/mutant rights''', not just A Random Crime; and c) people already in the Brotherhood need to know, OOCly, that your intention is to have your character recruited, '''and agree that your plan makes sense'''.<br />
<br />
'''No matter what path you are taking to Brotherhood recruitment, it is important to let Brotherhood members know OOCly once you start down that path so that they can help make the process smoother and help with your faction change!'''<br />
<br />
== Roster ==<br />
*Current Members<br />
**[[Erik]] Lehnsherr (Magneto) - Founder, current leader. <br />
**[[Akihiro]] Victor Howlett <br />
**[[Anette]] Eccleston<br />
**[[Ash]]leigh Ricardo Raj Campbell<br />
**[[Carnage]] (Cletus Kasady)<br />
**Ryan Holloway ([[Dusk]])<br />
**[[Eric]] Sutton<br />
**[[Heather]] Brown<br />
**Marion "[[Ion]]" Espino<br />
**[[Isra]] al-Jazari<br />
**[[Leo]] Valentino Aquilo Concepcion<br />
**[[Mystique]] - Leader from 2020-2022. <br />
**[[Regan]] Wyngarde - Leader from 2015-2020.<br />
**Nia "[[Scramble]]" Washington<br />
<br />
Former Members:<br />
**[[B]] Holland, 2016-2023 (deserted)<br />
**[[Natasha|"Natalie"]] Farrell, 2017-2020 (spy/traitor)<br />
<br />
The Brotherhood is not a large organization. While there are a number of friendly/sympathetic associates scattered around New York and the world who BoM leadership can call on for assistance in a pinch (safehouses, resources, etc.), the ''actual'' membership of the group numbers below two hundred mutants worldwide, all of which were hand-picked by one of their leaders and the vast majority of which still today reside in and around New York. Somewhere around half of these live on the island; most of the rest live in and around New York City.<br />
<br />
== Important Events ==<br />
<br />
Terrorisms:<br />
*10 April 2023 - Starting just before midnight on Easter Sunday, a series of simultaneous explosions at the private residences of HAMMER officials killed multiple high-ranking officers of the DHS organization and injured Captain [[Malthus]] Rogers. The Brotherhood of Mutants has claimed credit for this attack. In a pre-recorded statement sent to law enforcement, Erik Lensherr, who escaped from HAMMER custody last year, advised HAMMER to give up the search for him: "If you want to be free of Magneto, you have the tools to do so -- when mutants everywhere are free, the Brotherhood will no longer be necessary." Law enforcement traced the origin of the video to an deserted military compound in Broken Arrow, Oklahoma, that locals maintain has been abandoned since the late 70s. <br />
*09 April 2022 - The BoM [[Logs:Poindexters|attack]] and [[Logs:Minions|free]] [[Erik|Magneto]], along with a number of other prisoners, from HAMMER custody. <br />
*14 February 2022 - The BoM attack multiple Mutant Affairs Division [[Registration|Registry]] offices using OsCorp Guardians to [[Logs:Cash_%26_Carry|detonate and destroy]] the facilities. No human casualties in these attacks, though a number of human staff are injured. The first director of the Mutant Affairs Division, Lance Fagan, is [[Logs:Vote of No Confidence|assassinated]] the same night.<br />
*24 August 2020 - The BoM attack the Republican National Convention in Charlotte, North Carolina, using Sentinels to assassinate House Representative Steve Scalise (R-La.), Representative Jim Jordon (R-Oh.), Charlie Kirk, founder of Turning Point USA, and Mark and Patricia McCloskey of St. Louis. Sentinels are recalled in the aftermath, replaced by OsCorp Guardian robots in most jurisdictions until 2022. <br />
*January 2015 - Liberty Island. The Brotherhood of Mutants attack a gathering of diplomats in New York City. The resulting furor kicks anti-mutant sentiment to a record high, right in the middle of election season. Magneto is arrested. SHIELD forms in response to this mutant terrorism. Senator R. Kelly is quietly replaced by Mystique. <br />
<br />
<br />
[[Category:Factions]] [[Category:Brotherhood of Mutants]]</div>Borghttps://xmenrevolution.com/w/index.php?title=FCs&diff=25812FCs2024-02-17T19:56:19Z<p>Borg: </p>
<hr />
<div>These are the canon characters currently being played on game. If a character does not appear on this list, they are available to be apped -- keep in mind, however, that our game has a considerably lower level of power than the comics and many characters will need to be toned down from their comic counterparts in order to fit into our theme. Some characters may not fit into our theme at all, as there are some things (e.g. aliens, reality manipulation, magic users -- see [[Character Concepts]] for further details) that are not allowed to be played as characters on our game.<br />
<br />
Currently active canon characters are:<br />
<br />
<br />
*[[Akihiro]] Hanayama (Daken)<br />
*[[Anole]] (Victor Borkowski)<br />
*[[Blink]] (Clarice Ferguson)<br />
*[[Bruce]] Banner/[[Hulk]]<br />
*[[Carnage]] (Cletus Kasady)<br />
*[[Charles]] Xavier (Professor X)<br />
*[[Clint]] Barton (Hawkeye)<br />
*[[Domino]] (Neema Thurman)<br />
*[[Erik]] Lehnsherr (Magneto)<br />
*Nick [[Fury]]<br />
*[[Kitty]] Pryde (Shadowcat/Captain Kate Pryde)<br />
*[[Kyinha]] (Roberto Da Costa/Sunspot)<br />
*[[Marrow]]<br />
*[[Mystique]]<br />
*[[Natasha]] Romanoff (Black Widow)<br />
*[[Nick]] Gleason (Wolfcub)<br />
*[[Peter]] Parker (Spider Man)<br />
*Lorna "[[Polaris]]" Dane<br />
*[[Regan]] Wyngarde (Lady Mastermind)<br />
*[[Robbie]] Reyes (Ghost Rider)<br />
*[[Sam]] Wilson (Falcon)<br />
*[[Scott]] Summers (Cyclops)<br />
*[[Skye]] (Quake/Daisy Johnson)<br />
*[[Steve]] Rogers (Captain America)<br />
*[[Tony]] Stark (Iron Man)</div>Borghttps://xmenrevolution.com/w/index.php?title=Characters&diff=25811Characters2024-02-17T19:56:06Z<p>Borg: </p>
<hr />
<div>'''To create a page for your character, simply enter your character's name into the box below and hit submit. This will prefabricate a template for you to fill in or edit as you liked. Then, simply add the link to your character to the list below.'''<br />
<br />
<p style="font-size:28px">'''DO NOT use their full name when you are generating your character page -- use the most common name they go by in everyday life. Use the name they would use to introduce themselves if they are meeting a new person in most casual social situations.'''</p> <br />
<br />
{{#tag:inputbox |<br />
type=create<br />
preload=Template:Characters<br />
width=40<br />
placeholder=Your character's name<br />
buttonlabel=Create a character page<br />
align=left<br />
break=no<br />
}}<br />
<br />
'''Current active PCs''':<br />
<br />
*[[Akihiro]] Hanayama<br />
*[[Alastair]] Hobbs<br />
*[[Alex]] Carpenter<br />
*[[Alice]] Ferguson<br />
*[[Alma]] Harari<br />
*[[Anahita]] Lien Baran<br />
*[[Anette]] Eccleston<br />
*Victor '[[Anole]]' Borkowski<br />
*[[Ash]]leigh Ricardo Raj Campbell<br />
*[[Ashlinn]] Karibeanas<br />
*[[Asva]] Runí Tøro<br />
*[[Avery]] Caroline Borowski<br />
*[[Avi]] Micah Williams<br />
*[[B]] Holland<br />
* Leonidas [[Beau]]regard Thigpen<br />
*Clarice "[[Blink]]" Ferguson<br />
*Robert [[Bruce]] Banner/[[Hulk]]<br />
*[[Bryce]] Layton Allred<br />
*Alejandro '[[Bug]]' Garcia Flores<br />
*[[Carnage]] (Cletus Kasady)<br />
*[[Cassy]] Villeneuve<br />
*[[Charles]] Xavier<br />
*[[Chloe]] Raquel Walker<br />
*[[Clint]] Francis Barton<br />
*[[Daiki]] Komatsu<br />
*[[Dallen]] Elijah Allred<br />
*[[Desi]] Tessier<br />
*[[DJ]] Allred<br />
*[[Domino]] (Neema Thurman)<br />
*Ryan "[[Dusk]]" Holloway<br />
*Ziyin "[[Echo]]" Lin<br />
*[[Elliott]] May Carruthers<br />
*[[Emilia]] Romanova<br />
*[[Eric]] Sutton<br />
*[[Erik]] Lehnsherr (Magneto)<br />
*Nick [[Fury]]<br />
*[[Gaétan]] Tessier<br />
*Dinah [[Grace]] Allred<br />
*[[Giselle]] Desrosiers<br />
*[[Halim]] Omari Tawadros<br />
*[[Harm]] Sun<br />
*[[Heather]] Brown<br />
*[[Hive]]<br />
*[[Iolaus]] Saavedro<br />
*Marion "[[Ion]]" Espino<br />
*[[Isra]] al-Jazari<br />
*[[Jamie]] Francisco Xavier<br />
*[[Jax]] Holland<br />
*[[Joshua]] Salinas<br />
*[[K.C.]] Love<br />
*[[Kavalam]] Ramakrishna Neelakantan<br />
*[[Kelawini]] Māhoe<br />
*Sumalee "[[Kieow]]" Suphamongkhon<br />
*[[Kisha]] Dorogoi<br />
*Katherine "[[Kitty]]" Pryde<br />
*Roberto "[[Kyinha]]" da Costa<br />
*[[Lael]] Isaiah Winters<br />
*[[Leo]] Valentino Aquilo Concepcion<br />
*[[Lily]] Catherine Allred<br />
*[[Lincoln]] Idaho<br />
*[[Lucien]] Tessier<br />
*[[Malthus]] Rogers<br />
*Taylor [[Marinov]]<br />
*[[Marrow]]<br />
*[[Matt]] Tessier<br />
*[[Max]] Powers<br />
*[[Maya]] Mukhopadhyay<br />
*[[Melinda]] Chylds<br />
*[[Mirror]]<br />
*[[Murphy]] Law<br />
*[[Mystique]]<br />
*[[Nahida]] Azmin<br />
*[[Nanami]] Māhoe<br />
*[[Nandini]] Mukhopadhyay<br />
*[[Naomi]] Winters<br />
*[[Natasha]] Romanoff<br />
*[[Nessie]] Grace Pelayo<br />
*[[Nevaeh]] Green<br />
*[[Nick]] Thanh Gleason<br />
*[[Paz]] Sepulveda<br />
*[[Peter]] Parker<br />
*Lorna "[[Polaris]]" Dane<br />
*[[Rasa]] Djalili<br />
*[[Rasheed]] Toure<br />
*[[Regan]] Wyngarde<br />
*[[Rhydian]] Lovkwood<br />
*[[Robbie]] Reyes<br />
*[[Roscoe]] Brendan Vo<br />
*Montgomery [[Ryan]] Black<br />
*[[Sam]] Wilson<br />
*Nia "[[Scramble]]" Washington<br />
*[[Scott]] Summers<br />
*[[Sera]] Tessier<br />
*[[Shane]] Holland<br />
*Daisy "[[Skye]]" Xinyun Johnson<br />
*[[Spencer]] Isaac Attali Holland<br />
*[[Sriyani]] Weddikkara<br />
*[[Steve]] Rogers<br />
*[[Tag]]<br />
*[[Taylor]] Allen<br />
*Hua [[Tian-shin]]<br />
*[[Toni]] Jefferson<br />
*[[Tony]] Stark<br />
*Ho [[Wendy]]<br />
*[[Winona]] White<br />
*[[Zeyta]] Roth-Mirza</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Queen%27s_Gambit&diff=25810Logs:Queen's Gambit2024-02-16T17:55:57Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Leonidas]], [[Nessie]], [[Roscoe]]<br />
| summary = My people need me.<br />
| gamedate = 2024-02-13<br />
| gamedatename = <br />
| subtitle = <br />
| location = <XAV> [[Back Patio]] - Xs Grounds<br />
| categories = Leonidas, Nessie, Roscoe, XAV Back Patio, Xavier's, Mutants<br />
| log = This patio is expertly laid out for relaxing singly or in groups. The section nearest the back door is a more or less conventional veranda, the mansion's eaves--supported by elegant white wooden columns joined with matching railings--extending out to shelter the long porch swings, rocking chairs, and a chess table from the elements. Down the stairs or the ramp from this is a fan-shaped expanse of slate flagstones populated by clusters of deck chairs and picnic tables, always changing in number and arrangement, and stone planter boxes bursting with seasonal flowers and ornamentals. The centerpiece is an elegant pavilion with a hot tub open for use year-round, even if the transition in and out may prove chilly in snowy weather.<br />
<br />
Though chess club is not currently in session, surely there are chess boards inside, out of the windy winter chill, that Roscoe could be using, but he is playing solo chess at this table instead. He has his hood up, a beanie pulled over his ears, Airpods; probably the stone chair was cold enough he could feel it through his clothes, for he's crouching in the chair rather than sitting properly, his feet flat on the seat. He's paying most of his attention to the game, which he is playing perpendicularly to himself, but at length it becomes clear why he's out here and not inside -- he extricates one hand, entirely hidden by his baggy bright-blue sleeve, from the huddled bundle of his stooped posture, covers his mouth, and then blows a puffy, banana-scented cloud out over the battlefield as he's thinking, before he slowly slides the black queen and checks himself.<br />
<br />
Leonidas is announced beforehand by the crunching of snow, which sounds more akin to a bear running faster than it has any right to. Eventually his massive frame comes into view and it’s obvious he’s managed to bulk back up some since their release, looking somewhat closer to his pre-capture physique. Instead of wearing sensible clothes for the weather he’s dressed in a pair of tiny blue pt short and a black tank top with steam escaping his exposed skin. Upon spotting Roscoe he throws up a hand and changes course to approach, quickly closing the distance and hopping up next to the teen. <br />
<br />
“So, are ya winning son?” he asks between slightly ragged breaths as he drops down onto his heels, left hand dipping into his pocket to produce a small yellow box with ‘Lost Mary, Banana Cake’ scrawled across the side and takes a deep draw, holding the vapor in.<br />
<br />
The door is opening to dispense footsteps of an entirely different sort, hard and clicky on the slate. Nessie has a tatty old canvas jacket on over a zipped-up Xavier's hoodie, hard-shelled head softened today by a bright red slouchy knit hat. Maybe she was heading somewhere else, but several of her eyes narrow when she spies Roscoe and it's his table she's skittering over to now. "Did you stop chess cl -- ohhhh," her huff when she notices the vape is mildly disappointed. "You didn't quit, then?" It's a ''little'' hopeful. Her nose scrunches up at Leonidas -- maybe it's the steam, maybe it's the Tiny Shorts, either way her mouth is pursing in a brief and offput moue and she is backing up a few steps.<br />
<br />
Roscoe doesn't look ''up'' at Leonidas, just lets out a half-laughing breath. "Right now I'm losing," he says, then, somewhat hypocritically, "Aren't you cold?" He ''does'' look up at the click-click footsteps approaching them, his eyes going wide under the brim of his beanie. "No, why do you -- I still -- I'm practicing." His tone is just baffled, at first, but by the end it is decidedly defensive; he is straightening his spine as best he can, like a cat pulling back to pounce.<br />
<br />
“Just catching my breath.” Leonidas slips the back inside of the tiny drawstring pocket and pulls it closed. “Was before I started running, now I’m actually kinda hot.” His head tilts back to look up at Nessie, “Speaking of, what’s up?” despite her annoyed expression he still shoots her an upside down smile.<br />
<br />
"I think if you're going to keep yo-yoing in size like crazy you might want to get like, a ''range'' of clothing sizes?" Nessie is suggesting this very earnestly to Leonidas. Her next scrunchy-face of disappointment is short lived, and she is just nodding, ''resigned'', at Roscoe's answer. Her lips purse and she asks, ''also'' hopefully: "Are you into math?" The scrutiny she is giving him suggests he ''looks'' unnervingly like The Kind Of Person who would be into math.<br />
<br />
"What?" Roscoe's movements, hitherto very slow and deliberate, stutter slightly with surprise, and he blinks at Nessie blankly. "That's ''racist''," he says, before grimacing and tilting his head doubtfully to one side, like he is suddenly doubting whether it was racist. "I like math. I'm not that good at it anymore. I ''used'' to be." His eyes dart sideways to his stalled chess game, then back to Nessie. "...why?"<br />
<br />
“The funny thing is that these fit. Military style or some shit.” Leonidas says with a shrug watching the conversation, eventually cutting in, “And to be fair, they were starving me. Takes a lot of energy to turn into a demigod.”<br />
<br />
"Huh? How is it ''racist'', are booty shorts important white boy culture?" Nessie is looking ''baffled'' at this accusation, and then, equally baffled, at Leonidas in demand of an answer. Her tail gives another small swish; her mouth twists to the side in consideration when Roscoe affirms he likes math. "What about cryptology? I need to find a club that's too dorky for the --" One of her lower arms flaps indicatively towards the chess board. "''Regular'' dorks."<br />
<br />
Roscoe flicks a glance down at Leonidas, his mouth pulling up with amusement. "Do they?" he says. When he lifts his chin back at Nessie it is with another bracing grimace -- he moves his hand back toward his face, but evidently thinks better of taking another pull of the vape up his sleeve. "I didn't know we ''had'' a cryptology club," he says -- now he's watching his tone, has ironed it into a polite, cautious mildness. "That's kinda math-y, too. ''Very'' dorky."<br />
<br />
“Have you seen any pictures from the seventies and eighties? White guys love little shorty shorts.” Leonidas drawls out, his accent probably heavier than needed. “I know you won’t, but y’all could come work out too. You never know when you’ll need to carry somebody away from a fight here.”<br />
<br />
"Yeah! It's like, way ''mathier'' math, right? That's the point, I need to find a new club and it has to be ''even'' less cool than chess club. I figured nobody would join chess club but," Nessie is waggling a pincer again in the direction of Roscoe's table, "you guys have been invading." She's going much tenser as Leonidas speaks, and this time the flick of her tail is sharper, looming higher over her head as her arms cross over her chest. "Thanks," sounds stiff and ''cold'' where she's been casual, previously, "but I already ''know'' I'm good at that."<br />
<br />
"Ohhh," says Roscoe with suddenly dawning comprehension; he nods very solemnly, his eyes widening as if in alarm, his voice pitching slightly with anxiety. "I'm really sorry, I didn't know, I just like chess, I used to play chess every day so I just --" he cuts himself off with a tight shrug, glancing back at his unfinished match. He's tensing up too, his mouth pulling to one side in half a frown. "I mean, ''I'' could have just walked," he says. "QB was right there and ''she'' --" his gaze darts at Nessie again, and he shuts up.<br />
<br />
Leonidas stands up, face turning red as he realizes his mistake. “I, erm, must go. My people need me.” Awkwardly he lifts up straight into the air at an angle, disappearing over the building.<br />
<br />
Nessie's head tilts, and she gives Roscoe a long and intent look through his apology before allowing, ''magnanimously'': "It's okay we're ceding chess club you you all but you can ''not'' start looking too hard at Math Club or we're going to have to take ''serious'' measures. We --" But ''what'' those Serious Measures might be is left to the imagination because she's backing up with a widening of eyes and a hand clapped to her mouth to stifle her sudden ''laugh'' when Leonidas takes off -- for the first time since he arrived steaming she's actually looking kind of impressed. "Okay sometimes his timing is great, seriously, not a funnier person around here to spontaneously develop rocket-powers. What's QB?"<br />
<br />
Roscoe shakes his head emphatically; he ''probably'' only wants to appear agreeable, but it comes off a little bit frantic. "I ''totally'' understand," he says. "That's -- hot ''damn''!" He scrambles back too, but as he's squatting in a chair this just knocks his feet out from under him. His voice rises still more in an affronted tone as he gapes after Leonidas -- "He can ''fly''? What the ''fuck'' was he doing in our ''broken''-ass cell." He pulls himself back into his crouch. "Queen Bee," he says. "I knew her at Lassiter, she was like the monster pack alpha. I mean, everyone called her Queen Bee."<br />
<br />
"He could ''not'' fly when we were in hell world," Nessie assures Roscoe, "I think it's new." She cocks her head curiously before her eyes widen in understanding: "''Ohhh'' you mean Auntie Gina? She is pretty cool." Nessie has brightened at the mention of Queen Bee, "she's been living with us and she's teaching me all ''kinds'' of things." She's vaguely squinting up at the sky in the direction Leonidas left, but then looks back to Roscoe with a quick smile. "Okay it is ''too'' cold out here I'm going --" But she only scurries a ''few'' steps away before turning to remind, ''sternly'': "I mean it about Math Club, okay?" And then, with a startling quickness, she's disappearing off towards the workshop.<br />
<br />
"Auntie --" Roscoe's eyes widen too, a little fearfully. "Uh-huh," he says, nodding rapidly. "''Super'' cool. Really great lady." Is he laying it on a little too thick? Fortunately Nessie is relieving him from this conversation; as she disappears -- maybe not from ''his'' view, he's still staring after her -- Roscoe slumps against the back of his chair.<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Characters&diff=25800Characters2024-02-14T21:00:42Z<p>Borg: </p>
<hr />
<div>'''To create a page for your character, simply enter your character's name into the box below and hit submit. This will prefabricate a template for you to fill in or edit as you liked. Then, simply add the link to your character to the list below.'''<br />
<br />
<p style="font-size:28px">'''DO NOT use their full name when you are generating your character page -- use the most common name they go by in everyday life. Use the name they would use to introduce themselves if they are meeting a new person in most casual social situations.'''</p> <br />
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{{#tag:inputbox |<br />
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width=40<br />
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buttonlabel=Create a character page<br />
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}}<br />
<br />
'''Current active PCs''':<br />
<br />
*[[Akihiro]] Hanayama<br />
*[[Alastair]] Hobbs<br />
*[[Alex]] Carpenter<br />
*[[Alice]] Ferguson<br />
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*[[Anahita]] Lien Baran<br />
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*[[Bryce]] Layton Allred<br />
*Alejandro '[[Bug]]' Garcia Flores<br />
*[[Carnage]] (Cletus Kasady)<br />
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*[[Charles]] Xavier<br />
*[[Chloe]] Raquel Walker<br />
*[[Clint]] Francis Barton<br />
*[[Daiki]] Komatsu<br />
*[[Dallen]] Elijah Allred<br />
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*[[Domino]] (Neema Thurman)<br />
*Ryan "[[Dusk]]" Holloway<br />
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*[[Elliott]] May Carruthers<br />
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*[[Erik]] Lehnsherr (Magneto)<br />
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*[[Gaétan]] Tessier<br />
*Dinah [[Grace]] Allred<br />
*[[Halim]] Omari Tawadros<br />
*[[Harm]] Sun<br />
*[[Heather]] Brown<br />
*[[Hive]]<br />
*[[Iolaus]] Saavedro<br />
*Marion "[[Ion]]" Espino<br />
*[[Isra]] al-Jazari<br />
*[[Jamie]] Francisco Xavier<br />
*[[Jax]] Holland<br />
*[[Joshua]] Salinas<br />
*[[K.C.]] Love<br />
*[[Kavalam]] Ramakrishna Neelakantan<br />
*[[Kelawini]] Māhoe<br />
*Sumalee "[[Kieow]]" Suphamongkhon<br />
*[[Kisha]] Dorogoi<br />
*Katherine "[[Kitty]]" Pryde<br />
*Roberto "[[Kyinha]]" da Costa<br />
*[[Lael]] Isaiah Winters<br />
*[[Leo]] Valentino Aquilo Concepcion<br />
*[[Lily]] Catherine Allred<br />
*[[Lincoln]] Idaho<br />
*[[Lucien]] Tessier<br />
*[[Malthus]] Rogers<br />
*Taylor [[Marinov]]<br />
*[[Marrow]]<br />
*[[Matt]] Tessier<br />
*[[Max]] Powers<br />
*[[Maya]] Mukhopadhyay<br />
*[[Melinda]] Chylds<br />
*[[Mirror]]<br />
*[[Murphy]] Law<br />
*[[Nahida]] Azmin<br />
*[[Nanami]] Māhoe<br />
*[[Nandini]] Mukhopadhyay<br />
*[[Naomi]] Winters<br />
*[[Natasha]] Romanoff<br />
*[[Nessie]] Grace Pelayo<br />
*[[Nevaeh]] Green<br />
*[[Nick]] Thanh Gleason<br />
*[[Paz]] Sepulveda<br />
*[[Peter]] Parker<br />
*Lorna "[[Polaris]]" Dane<br />
*[[Rasa]] Djalili<br />
*[[Rasheed]] Toure<br />
*[[Regan]] Wyngarde<br />
*[[Rhydian]] Lovkwood<br />
*[[Robbie]] Reyes<br />
*[[Roscoe]] Brendan Vo<br />
*Montgomery [[Ryan]] Black<br />
*[[Sam]] Wilson<br />
*Nia "[[Scramble]]" Washington<br />
*[[Scott]] Summers<br />
*[[Sera]] Tessier<br />
*[[Shane]] Holland<br />
*Daisy "[[Skye]]" Xinyun Johnson<br />
*[[Spencer]] Isaac Attali Holland<br />
*[[Sriyani]] Weddikkara<br />
*[[Steve]] Rogers<br />
*[[Tag]]<br />
*[[Taylor]] Allen<br />
*Hua [[Tian-shin]]<br />
*[[Toni]] Jefferson<br />
*[[Tony]] Stark<br />
*Ho [[Wendy]]<br />
*[[Winona]] White<br />
*[[Zeyta]] Roth-Mirza</div>Borghttps://xmenrevolution.com/w/index.php?title=Giselle_Desrosiers&diff=25799Giselle Desrosiers2024-02-14T20:28:02Z<p>Borg: Borg moved page Giselle Desrosiers to Giselle</p>
<hr />
<div>#REDIRECT [[Giselle]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Giselle&diff=25798Giselle2024-02-14T20:28:01Z<p>Borg: Borg moved page Giselle Desrosiers to Giselle</p>
<hr />
<div>{| width="100%"<br />
| colspan="2" | <center><br />
{|<br />
| style="text-align:center;" | '''''Page subtitle'''''<br /><br />
|}<br />
</center><br />
|-<br />
| width="100%" |<br />
{| width="100%"<br />
! Introduction <br />
|-<br />
|<br />
{{Tab}}Overview of your character goes here.<br />
|<br />
|-<br />
! Description<br />
|-<br />
|<br />
{{Tab}}Standing at 5'6, Giselle is pretty thin, not too far off from model standards, though perhaps she lacks the sharper facial structure for most magazines, having a round and soft face, with doe-like black eyes and somewhat wavy black hair. Her general appearance is where most people find her unique, as Giselle's aesthetic is full on goth, almost always full black with vaguely regal outfits, sometimes eccentric in styling, complete with painted nails, fake bags and a paler foundation from her white skin.<br />
|<br />
|-<br />
! Reputation<br />
|-<br />
|<br />
{{Tab}}What (if anything) might others have heard about your character? It's okay if this is 'nothing'. This can also be specific to their faction (maybe they're class clown at their school!) or specific to a niche field (maybe you'd have heard of them if you know a lot about particle physics or cross country skiing, but not otherwise!) <br />
|<br />
|-<br />
! History<br />
|-<br />
|<br />
{{Tab}}Her birth was a product of a years-long experiment, of a project doomed to fail as soon as it began the test runs, the scientists conspiring for the end results from the sponsors of their work... Said project was the rapidly deteriorating romance of a billionaire business legacy's latest heir and a cover girl of France's most chic fashion shows.<br />
<br />
The first test run was a neurotic entrepreneur, which to be fair, had satisfying results! But they could do better, she wanted a daughter after all!<br />
And then they had Narcissus in a race car, which took most of their energy and really showed the couple they just hated each other.<br />
But still, a daughter they wanted, and a daughter they had!... But, uh oh! Creepy! Who knew that Wednesday Addams would be their last straw?...<br />
<br />
Jokes (from her own words) aside, Giselle was born to an already failing marriage and barely present brothers, so she missed most of the nasty stuff, all she got was mommy and daddy having very loud private tmes and not really seeing them together, so she does say that she had a good childhood, after all, she had everything she could ever ask for and a huge mansion...<br />
<br />
In reality, though, Giselle was definitely neglected to compromise her parents' work-life and their own divorce, they tried their hardest to make up for it the only way they knew how, following their little 'test runs'. Her father used diligence and authority to raise Giselle while also properly awarding her feats, something he learned some time after their firstborn cut contact, as for her mother, she attempted to be a nurturing figure, but only giving advice, after their second born's entitlement made things complicated. They each had their own errors though, her father was still very much a control freak and her mother tended to be pretty condescending... but Giselle did, at the end, feel loved by them, and she only knew of a divorce due to a word slip at Christmas, so she does believe they were successful, even after the many nights they weren't there to hear her cries for help after a bad dream.<br />
<br />
But hey! Her school life was okay! Giselle was enrolled in a school for, to be bluntly said, rich people, so she would fit in more properly with her peers and she would get top-notch learning. Despite a telling social ineptitude, she was generally left alone as teasing usually flew right over her head... she was, however, still usually alone. As for Giselle's proficiency, she was usually average, though her father essentially forced her to always strive for more and to always take an opportunity, which led her to having a lot of extracurriculars... however, she was always exceptionally good at math and physics, so that was something she had!<br />
<br />
However, Giselle's life was about to change forever, as at age 7, left alone in her parents' mansion... she would find 'The Craft' from her mother's film collection, and she would swiftly find herself entranced in witches, then in horror movies, and eventually, entering her adolescence... Giselle would officially become a goth, much to her mother's worry for her daughter's future fashion choices. Which leads us to the second time Giselle's life would change forever in her 13's, as an attempt at the Bloody Mary urban legend would lead up to a clone of herself being taken out of the mirror, after a week or so, she'd introduce her new friend to her parents! It was a very horrifying night for her father.<br />
<br />
Things went a little quickly for Giselle, suddenly, their Christmas travels to France halted and her mother became less active in her life, being pressured by her family and her own work to cut connections with a soon to-be-registered mutant, a clear heartbreak from a mother stuck between two lives, as her father suddenly became far more of an active presence in her life, one final promise made by the divorced duo to help her through this new... occurrence. After a few years of research for him, and tentative tutoring about how Giselle couldn't just show up with a twin or use her clone to skip a test, a call was made and the rest is history, as her father quickly struck one more deal after his since finished stock holding days for his daughter's future, Giselle heads for what appears to be 'mutant school', excited for this newfound development... but anxious to finally be let go from her home for sixteen years, sheltered and spoiled.<br />
|<br />
|-<br />
! Powers<br />
|-<br />
|<br />
{{Tab}}Enhanced Perspective:<br />
Giselle has an acute enhancement to her perception of spaces and angles, for an example, she can give an above-average prediction of the trajectory of something she throws. She also has an awareness as to what her vision tells, for example, she may be able to explain how an optic illusion might work (actual optic illusion, not through mutated power) or be able to properly view things even if dizzy or drunk through an accurate estimation of images.<br />
<br />
Catoptric Replication:<br />
Giselle can create a clone of herself by pulling her own reflection out of any mirror or other reflective surfaces, as long as said clone can physically pass through the surface. By the moment she pulls that clone out, that reflection vanishes from the surface until it's return, and said clone does not have a reflection of their own. Giselle's clones are individual and only share her current state that she pulled them through with, the more the clones remain the more exhausted the clones get up, the more clones she makes the more she gets exhausted, being then unable to recover until the clones are dismissed. Said clones also have a limited time, vanishing into thin air once too exhausted if they don't return back to a reflective surface, not being able to extend their time through any means currently. Disturbing the reflective source dispels the clone, and lastly, the clearer the reflection is, the easier it is for Giselle to make the clone.<br />
<br />
The way Giselle's power actually works, unbeknowst to her, is an atomic configuration through photokinesis, she manipulates the emitted light from the material and slowly molds it into atomic matter as it's being reflected back from a specular mirror. And so it gives the illusion that the reflection is being pulled through the mirror, when in actuality, the replica is being created as light is reflected back to her. As for the why for many of the other details for the clones?... Well, that's what scientists are for, right? Hell, maybe mutants like her can answer these questions, since the clones are made from a sort of light rather than actual organic material, some powers may have a chance to give her an answer.<br />
|-<br />
! Skills<br />
|-<br />
|<br />
{{Tab}}Music: Aside from extensive piano lessons she had from a very young age, Giselle's current 'cool thing' she's trying to do is to make a band with her own clones, right now, it seems she has had some success in learning vocals, keyboard and drums... not so much the guitar nor bass, but she continues to try!<br />
<br />
Gymnast: Giselle has had gymnastics as one of her extracurriculars, annoyingly kept sharp due to her father's continuous insistence. Still, it does have some result nowadays, as Giselle appears to be pretty flexible and is capable of making some acrobatic moves.<br />
<br />
Mathematics: One of the few things that Giselle ever properly built up on her own, maybe it was part of her mutation, but she is actually pretty talented at math, scoring high amongst her peers and WAY higher with her own notes in other subjects.<br />
<br />
French: The most annoying thing she has ever had to learn, for once though, it wasn't her father! Giselle's mother essentially made her learn French, to a varying level of success! She can definitely understand it, though she hardly speak it.<br />
<br />
Tailoring: Part of a rare moment of a genuine connection between family, Giselle does know how to sew, and has been building it up ever since she took a more eccentric approach to her gothic aesthetic, often sewing her own clothes.<br />
|-<br />
! Connections<br />
|-<br />
| <br />
<br />
'''Friends'''<br />
* Coming soon.<br />
<br />
'''Foes'''<br />
* Coming soon.<br />
<br />
'''And everything in between'''<br />
* Coming soon.<br />
|<br />
|-<br />
! Trivia<br />
|-<br />
|<br />
*Random facts you think are worth knowing about your character.<br />
*And more random facts!<br />
*And more.<br />
|-<br />
! Gallery<br />
|-<br />
| style="text-align:center;" |<br />
[[Image:|x150px]]<br />
[[Image:|x150px]]<br />
[[Image:|x150px]]<br />
|}<br />
|<br />
{|<br />
! Full Name<br />
|-<br />
|<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000"<br />
| colspan="2" | [[Image:|center]]<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Codename'''<br />
| style="border-style: solid; border-width: 1px"| None<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Birthdate'''<br />
| style="border-style: solid; border-width: 1px"| February 1st, 2008<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Birthplace'''<br />
| style="border-style: solid; border-width: 1px"| Worley, Idaho, USA<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Species'''<br />
| style="border-style: solid; border-width: 1px"| Mutant<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Affiliation'''<br />
| style="border-style: solid; border-width: 1px"| X-Kids<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Alignment'''<br />
| style="border-style: solid; border-width: 1px"| Chaotic Good<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Powers'''<br />
| style="border-style: solid; border-width: 1px"| Enhanced Perspective, Catoptric Replication<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Occupation'''<br />
| style="border-style: solid; border-width: 1px"| None<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Registration Status'''<br />
| style="border-style: solid; border-width: 1px"| None<br />
|-<br />
| style="border-style: solid; border-width: 1px" class="left" | '''Faceclaim'''<br />
| style="border-style: solid; border-width: 1px"| None<br />
|}<br />
|-<br />
{| width="100%" class="infobox" style="border-collapse: collapse; border-width: 1px; border-style: solid; border-color: #000" <br />
! style="border-style: solid; border-width: 1px" | RP Hooks<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|-<br />
|style="border-style: solid; border-width: 1px"| '''RP Hook''' - ''Explanation.''<br />
|}<br />
|-<br />
! colspan="2" | Logs<br />
|-<br />
| colspan="2" | {{RP Logs | name = {{BASEPAGENAME}} | columns = 3 | ordermethod = gamedate }}<br />
|}<br />
<br />
[[Category:Active PCs]][[Category:]][[Category:]]</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:My_eyes_are_spent_with_weeping;_my_stomach_churns;_my_bile_is_poured_out_on_the_ground_because_of_the_destruction_of_my_people,&diff=25793Logs:My eyes are spent with weeping; my stomach churns; my bile is poured out on the ground because of the destruction of my people,2024-02-14T01:37:58Z<p>Borg: </p>
<hr />
<div>{{ Logs<br />
| cast = [[Ion]], [[Leo]], [[Regan]]<br />
| summary = "'''''What''''' you see this?"<br />
| gamedate = 2024-02-10<br />
| gamedatename = <br />
| subtitle = <br />
| location = <NOLA> Jazzland<br />
| categories = Ion, Leo, Regan, Mutants, Brotherhood of Mutants<br />
| log = <br />
<br />
The chipped and aging sign above the doorway just claims: GAMES, nothing further. There are still some wires here and there telling of the machines that must have been here at some point, but the space is now cavernous and mostly empty, walls coated with years of urban explorer graffiti and some incongruous detritus -- a broken-down unicorn with a pole stuck through it that tells of the carousel it ''should'' be on, a large plastic SpongeBob whose face has been scratched and painted over into an oddly sinister mask -- that have been hauled in here at some time or other by the curious strays who come through.<br />
<br />
Today it's busier than this park has been in some time, though the current visitors don't seem festive enough for amusement or curious enough for exploration. Quite a number of people are simply sleeping, exhausted; others talk in small huddled knots or stare blankly down into the food that has been rustled up for them. Regan is at the moment seated behind a sweep of counter, the empty shelves behind her bare of the prizes they once likely had -- but under the circumstances maybe the packed bags of first aid supplies and quickly portable food is prize enough. She's working her way steadily through -- well, it's probably ''not'' actually a rich and steaming bowl of curry chicken ramen just like the rest of the Brothers around the room have probably not obtained an eclectic mix of ''their'' preferred cravings tonight. But it certainly smells just like one, tastes just like one, and that counts for something. She's been making updates in a small notebook as she eats but sets that aside, now, eyes flicking out of the motley assembly as she continues on through her lunch.<br />
<br />
Ion has not been here, but now he is, shivering into unsteady existence from the frayed end of a nearby wire. He hops up onto the counter to sit, peering first down at Regan's fragrant ramen and then over at the nearest bag on the shelf still half-full of Campbell's cans. "Yo shit you glow me up one them? Sancocho maybe hit the spot now." He's swiping his hook sort of lazily soup-wards in hopeful indication.<br />
<br />
Regan glances up at Ion's abrupt appearance, and swivels around to snag a can. It was ''definitely'' a can of chunky Campbell's bean and ham when she plucked it and a plastic spoon from their stores but by the time she's turned back to deliver it's steaming, heavy with fresh vegetables and tender stewed beef, redolent with sofrito and spices in a sturdy stoneware bowl conjured up from the eclectic mishmash that lives -- lived -- in the common lodge kitchen. She settles back in front of her bowl -- for just a moment as she reaches to scratch absent and wincing at her shoulder, bandages hidden away under her blouse, her rich ramen shifts into its cold and bland chicken noodle. Just a moment, and then she's twirling noodles around her fork again. "Just how many haunted parks do you have tucked away? This many of us, we can only stay so long."<br />
<br />
"Got me plenty. World's big as hell and people leave all ''kind'' ghost town." Ion's haggard expression has lit up with a warmer delight at the simple comfort. He's starting to lift the bowl from the counter but then reconsidering, flopping belly-down along the countertop to start digging in instead. "{That ain't the problem}," comes with his mouth full, "{We keep jumping I'mm'a start leaving some people in the damn clouds. Too much more this, might be safer to take chances with the fucking spiders before I fritz someone into --}" He's waggling (heavily sparking) fingers indicatively.<br />
<br />
"Hnh." Regan is watching the sparks flutter off the end of Ion's hook. Her eyes have grown a little ''pinched'' as she looks him over again, the new scars, the new ''exhaustion'', but some of that melts back away at the more familiar warmth that has lit his expression. "In your wanderings you didn't happen to come across any nice deserted -- no, island ends in disaster. Mnh. Small and easily conquered nations? Habitable asteroids? Friendly pocket dimensions? We could use the win, here."<br />
<br />
"Shit, all we want to do is lick our damn wounds I know plenty places for ''that''." For all the extra scars, for all the uncertain ''fritzing'' and the Far Too Much Weight he's lost, Ion is clicking his tongue sharp and dismissive against his teeth at the thought of tucking tail. "That nazi-ass fuck slaughter half our damn family, {I know for damn sure ''you'' don't want no place to hide.} But a place we can grow from, a place we can ''fight'' from, that --" His head shakes. "{Fuck. We could really fucking use --}" He finishes this only with a quick-darted glance to Regan -- then to the rest of the Brothers -- before an unusually subdued bite of his soup. He's got a smile back when he looks up again, though, bright and crooked: "You really want a country, though, I been making a few friends."<br />
<br />
Regan's fingers tighten around her fork, relaxing only when Ion ''doesn't'' finish that sentence. "We need a new home," she finishes, ''very'' mildly. And, after an ''assessing'' sweep of gaze over the much-dwindled remnants of their group: "Some more heavy hitters would be nice. We'll need -- a much bigger hammer."<br />
<br />
Across from their defunct prize-collection counter, a rickety old storage closet door is opening. It's letting an odd drift of cold into the mild New Orleans afternoon, chill breeze cutting in a way that really makes no sense at all for the small enclosed space that ''should'' be behind it. Maybe the ill wind is omen, because the door is dispensing one -- really not all that terrifying apocalypse Horseman. Leo is looking much as ever -- neatly dressed, neatly groomed, wide-eyed and ''probably'' on the verge of an apology (for existing, of course; ''leaving'' was simply prudent.) But whatever he was going to say drains away when he sees Ion sitting there with Regan. He blinks -- blinks again -- then ultimately narrows his eyes suspiciously at Regan. He's shifting, uncomfortable, and now trying very hard ''not'' to look at Ion when he offers cautiously: "I had a thought -- you maybe. You might be need -- somewhere to go."<br />
<br />
"''''''What'''''' you see this?" Ion's eyes are lighting bright -- not just with excitement, the shivery skitter of sparks is crackling louder and ''sharper'' off him with Leo's arrivement. Heedless of his current condition he's ''leaping'' off the counter, bounding over to the door to sling a painfully jolty arm around the taller man and ''drag'' him down lower to ruffle his perfectly combed hair (thankfully with hand and not ''hook''). "{You ''see this''?}" Excited again like maybe Regan ''missed'' it the first time. "Put your eyes back your damn ''head'', boy, I'm here -- ''you'' here, shit, where the fuck -- ''how'' the fuck -- you put some ''mad'' fucking work in that boat of your, she can hold all us now." He's not waiting for invitation but, curious and baffled, peering through the door Leo has left open.<br />
<br />
As the door opens Regan is sitting up straighter -- the rest of the Brothers scattered throughout the room have vanished, for a moment, from Leo's view, and behind him there's an unnervingly close crackle of heat --<br />
<br />
-- that fades before the fire has properly reached him, her posture relaxing when she clocks ''who'' is coming through the door and the room snapping back to its messy crowd state.<br />
<br />
But -- only relaxing a little; she's frowning at him, then ''past'' him, then at him again. She's up in another moment, crossing to the doorway with an upward hitch of brow. "He'd have to be be time travelling to have ''sailed'' her here." But she's curious, too, arms crossing against the harsher chill as she moves to the door.<br />
<br />
"''Oh'' --" Leo's eyes go wide, and his breath hitches -- he submits to the ''ruffling'' without protest, forehead pressing hard against Ion's shoulder until he's released. He rubs quick and hard at his eyes, and he's ''still'' not looking at Ion, but now perhaps it is to keep his unshed tears from spilling, to keep ''focused'' on the problem at hand. "I did not sail." He's drifting with the others towards the door and ''he'' stops on the threshold, hands clasping tight in front of him.<br />
<br />
Unsurprisingly, there is no boat outside the door. Maybe somewhat surprisingly, what there ''is'' is an expanse of what might once have been a nicely manicured courtyard but is now heavily overgrown and wild. The building around has been posted heavily with signs, large and warning though their bright icons have been dulled with exposure: DANGER, KEEP OUT, QUARANTINE AREA. Across the courtyard the door ''in'' is ajar -- from beyond it something sounds decidedly like wailing, but perhaps that's just the wind, whipping cold and eerie through the gap. "It will take a lot of work. Cleaning. Things. But I think nobody will look here." Leo takes a breath before he steps forward, his hands unclasping with difficulty to turn up and out to the facility around them. "It has been -- many years since anyone lived in Jenner."<br />
}}</div>Borghttps://xmenrevolution.com/w/index.php?title=Logs:Hell_and_Back&diff=25790Logs:Hell and Back2024-02-12T22:49:18Z<p>Borg: Created page with "{{ Logs | cast = Heather, Ion, Scramble | summary = "Stomachs, we can do something for." (in the wake of Logs:Put no trust in a friend, have no confidence in a l..."</p>
<hr />
<div>{{ Logs<br />
| cast = [[Heather]], [[Ion]], [[Scramble]]<br />
| summary = "Stomachs, we can do something for." (in the wake of [[Logs:Put no trust in a friend, have no confidence in a loved one; guard the doors of your mouth from her who lies in your embrace;|the attack on Brotherhood Island]].)<br />
| gamedate = 2024-02-09<br />
| gamedatename = <br />
| subtitle = <br />
| location = Land of Oz, Beech Mountain, NC<br />
| categories = Heather, Ion, Scramble, Mutants, Brotherhood of Mutants<br />
| log = <br />
The sun is setting on a very unsettling Oz. It's not just the overgrowth that has been reclaiming the once-cheery buildings, it's not the rust on the rides or the ramshackle way some of the buildings have been edging towards collapse, it's not the half-chewed-away faces on the iconic characters. It's not ''not'' those things, to be sure, but the abrupt addition of so many battered mutants, the blood streaking the yellow bricks, the moans and cries of pain coming from Dorothy's abandoned farmhouse (currently turned makeshift infirmary) -- these things don't really ''help'' the eerie atmosphere.<br />
<br />
With some getting treated and some succumbing to their wounds, the cries are -- at least shifting in frequency, shifting in caliber; fewer tears of physical agony and more of mourning, but the evening is slowly growing ''quieter''. There's another flicker of blue-white light behind a window, another cache of supplies (not medical, this time, that's been covered enough, but blankets, now, and warmer clothing) dropped off, but then Ion is getting out of the ''way'' before he creates any more patients, slipping out of the front door onto the grey porch. There's still a sporadic sizzle of sparks skittering erratic over his skin, casting stuttering illumination on his scarred face, shaggy overgrown hair and the dark shadow of beard he's now sporting. Around him the air ''crackles'', staticky and hair-raising for anyone who ventures too close to where he's dropping heavily to sit in a corner of the porch, slumped back against the railing with his head dropping heavily down against a pillar.<br />
<br />
"I have told you before that is not funny Myst-" A click on a familiar tape recorder. After some of Heather's efforts on the island, she had finally collapsed from exhaustion (and some minor to medium blood loss from the scrapes and gouges that pepper her skin) upon having arrived at a safe place to do so. She bobs left and then bobs right as she observes Ion, her wild hair getting wilder through the effect of proximity. Her mouth opens as if she is either going to say or record something, but instead she jabs her finger at the electrokinetic's shoulder, her eyebrows furrowed in puzzlement at this enigma before her.<br />
<br />
Scramble has been making her rounds in the infirmary, but at length joins Ion and Heather out on the porch. "Nah, sis. He the real deal." She perches herself on the railing, slumped against one of the pillars. "That or we all dead and Mutant Hell is highly specific." Her eyes keep trying to settle on Ion and then skipping past him. "Where you been, dawg? Ridin' the lightning all the way from Lassiter to…" She looks around. "...wherever the fuck we ended up?" Then back at Ion, more closely. "Shit. No, you fizzled out somewhere, ain't you?" There's a sharp tug from Scramble's power and she scoots a little farther down the railing.<br />
<br />
The ''zap'' that accompanies Heather's poking is not particularly dangerous, but it is considerably more painful than the usual static discharge that comes with Ion's touch. Ion twitches, too, shoulder tensing reflexively in time with the electric kick. His head rolls back to look up at Heather, teeth baring for just a second in a quick flash of tired smile. "Shit, Mystique gone 'n level the fuck up if she --" The indicative waggle of his hook spills fresh sparks from its metal end. He slumps back against the rail once more, efforts to sit up properly when Scramble arrives ending only in a kind of exhausted rearranging of his posture. To Scramble's senses, Ion's mind is even more a chaos than his usual overcharged baseline, a jangle of frenetic activity and constant disruption. "Nah, sis, {I ''been'' to hell.} ''My'' hell, ain't none of you there."<br />
<br />
Heather hops back a touch and flaps her hand for a second after getting the shock. "It has been a blur. I assumed I was at least medium dead." She nods towards Scramble and gestures towards Ion. "Your expertise is appreciated. Thank you for confirming my sanity." Her hands rest on her hips after her voice starts playing, her countenance passing through a few different expressions. "I missed you. It is annoying that you died. I am happy you undied." There is the tension of a frown as she looks back over her shoulder back towards the farmhouse, "If others could spare me the mourning--" She clicks stop on the device at the point her voice starts to waver and then bows her head slightly.<br />
<br />
"Girl, you really gotta take any sanity check from me with a hunk of rock salt right about now." Scramble makes a sort of -- well, ''scrambling'' gesture at her right temple, which is maybe only incidentally ASL for 'crazy'. "Neither y'all ended up in that jail dimension we gone to at Lassiter, but I sure as fuck thought it was some kinda trippy-ass hell." Her flippant bluster bleeds away when her eyes settle back on Ion, then Heather. "Ionno if I can really say I wish we'd been there, but I hope you had ''someone'' looking after you." She swallows. Shakes her head. "Don't think we really knew how much you was looking after ''us'' til we lost you. Been steady goin' downhill since, though I'm probably gon be real happy you undied, too, once I figure out how to do emotions proper again."<br />
<br />
"{Shit,}" is all Ion says at first, to -- ''all'' of this; he's looking towards the farmhouse, too, as Heather's head bows. "I'on even know I found all the damn boats or not. Hope to fuck them robots didn't. {Maybe not even ''know'' a while yet, who the fuck we mourning.}" His hand is lifting, fingers gritty with dried blood that is probably not his, to rub knuckles hard against his eye. "How the fuck this shit even happen. "Gonna have to do a food run soon if we don't want to be mourning ''more'' 'em too. Figure where the fuck to go next, before --" His head shakes, and he's reaching to grip the railing like he means to pull himself up ''right now'' -- but doesn't, ultimately. The sparks flutter brighter around him and he doesn't move. "¿Qué carajo pasó? How them spiders get the jump on everyone?"<br />
<br />
"We had very little warning. Enough warning that we were not taken completely unaware. Not enough to prepare a defence." Heather squeaks out a sigh, sits down on the floor of the porch and crosses her legs even as Ion prepares to rise. Her head tilts towards Scramble as she elaborates on things going downhill. "B has been gone. Dusk has been dead. More dead than you, I think." She picks at the sole of her broken shoe while her voice plays. "Leo floated away on a boat. Magneto has gone off. Somewhere. Who knows. Security has not been to regular standard. And the spiders have exceeded their regular standard." A couple of beats pass, and she adds. "Stew would be good. I would help."<br />
<br />
Scramble digs her fingernails into the decaying wood of the railing, nodding vacantly as Heather speaks. "Dusk didn't make it out of Lassiter," she adds, her tone somewhat flat. "B's alive, but she deserted a while ago on account of Erik." She starts to pluck at her misshapen 'fro, sees the blood and grime and now splinters in her fingers, then slowly lowers her hand again. "Shit. It's a long story, but he ''full'' lost it when the Swords attacked Freaktown, and he hurt Jax pretty bad. Jax got better, Erik didn't. He pissed off at some point, but he'd already pissed ''B'' off, so…" Her shoulders don't shrug so much as unslump and slump again. "I'm guessing Leo realized it wasn't safe there no more, and he was right. Wish we'd realized it before it was too late. Hell, I'm surprised we got any warning at all. Maybe the first boats out got far enough they made it, but by the time I got down to the docks? I ain't seen a single one get out of sight. Not one."<br />
<br />
Ion's eyes snap up at ''Dusk has been dead''. The color is draining from his face, and for a brief instant ''he'' fizzles out of space, dissolving and reappearing just a hair to the side of where he'd been quick enough to look like some bizarre rendering effect. There's a low agonized keening in his throat that is interrupted by this hitch in corporeality, and it stops when he solidifies again. He ''is'' pulling himself to his feet now, unsteady though he seems, and the brighter gleam in his eyes might be tears or might be the effect of the increased crackle of sparks around him. "Stew. We start with the stew, yeah?"<br />
<br />
Heather holds out her hand as if to give Ion a comforting pat, but it just kind of hovers there as, between the feeling of her harsh touch and Ion's sparks, she evaluates that such a gesture might not be a good time for anyone involved. She glances back towards the farmhouse, a distance in her recorded voice. "Hearts will never be practical until they can be made unbreakable." And then when she looks back between Scramble and Ion, she pops back up to her feet and adds: "But stomachs, we can do something for."<br />
<br />
"Hearts ain't never gon be practical until we build a world that values hearts, broken or otherwise." Scramble slides off of her railing, draws a deep breath, and finally shuffles close enough to help pull Ion upright, heedless of the shock that comes with the touch. Her power finally sinks into him as it's been straining to the all this while, but what it does is surprisingly gentle and measured -- just smoothing over the worst of the uncontrollable disruptiveness, though the grief and pain and exhaustion remain. She holds him tight to his side, then reluctantly lets go. "Aight. Let's go feed our brothers."<br />
}}</div>Borg