Grotesque In The Carnival Classroom

This novel is a suitable text for a stage 4 class as it addresses a relevant and multicultural issue that students are able to relate to. It is an Australian novel that addresses two cross-curriculum priorities that are set out by the New South Wales Board of Studies (2012):

Kim Brooks, we know has been “teaching composition at state universities and liberal art colleges and community colleges as well,” (Brooks 2) however what makes her truly passionate about the situation is her love for literature since she was a teenager. “Like so many, depressive, creative, extremely lazy high-school students, I was saved by english class” (1). Brooks demonstrates through these quotes her credibility, not only because she’s a teacher but because she truly loves writing and believes others should receive the education which she was fortunate enough to get. She was not apart of any clubs or extracurriculars, she wasn’t interested in other academic classes, so she knows how beneficial having the skills to converse, to write and to properly articulate one's self are. Brooks shares this personal anecdote, otherwise known as pathos, to relate to those reading, most specifically high school students like she once was. While focusing this piece mainly on English it can also be associated with other classes in high school as well. She is trying to illustrate how one can use what is learned in high school in their life if given the proper tools and taught skills which can be applied

There has recently been a renewed interest and passion in the issue of censorship. In the realm of the censorship of books in schools alone, several hundred cases have surfaced each year for nearly the past decade. Controversies over which books to include in the high school English curriculum present a clash of values between teachers, school systems, and parents over what is appropriate for and meaningful to students. It is important to strike a balance between English that is meaningful to students by relating to their lives and representing diversity and satisfying worries about the appropriateness of what is read. This burden often falls on teachers. The purpose of this research paper is to discuss

In Francine Prose’ paper, “I know Why the Caged Bird Cannot Read”, Prose describes why many high school student dislike reading literature that the American education system has preached. The premise of her essay is that today’s high school English classes are largely flawed in both material and teaching method. Prose contends that these practices are damaging to the students’ understanding and appreciation of literature. She harshly critiques the quality of required reading in American high schools and suggests a reconsideration of the English curriculum. She challenges the audience to acknowledge the curriculum’s impact on high school students and urges the audience to consider how it may addressed. Prose crafts her argument by using an appeal to logos, asking rhetorical questions and employing negative connotation.

The inevitable had happened; I, as a small child, was demanded to read. A little antisocial human being launched into a world of, at first, difficult words and lengthy phrases. While words and literacy were forced into my mind, I had reluctantly begun the adventure to enjoy and accept the art of literature. Later however, my hopes and dreams were crushed to pieces by a gruesome teacher with an interesting form of a so called “grading policy.”

It can be quite a shock to confront the possibility that reading, writing, and talking exercise almost none of the powers we regularly attribute to them in our favorite stories. The dark night of the soul for literacy workers comes with the realization that training students to read, write, and talk in more critical and self- reflective ways cannot protect them from the violent changes our culture is undergoing.

To elaborate, both Collins’ and Rubin’s application of symbolism reflects how censorship can disintegrate into a broader societal naivety. For instance, though the history teacher believes he is protecting his students’ innocence by excluding violence from the lessons, the children never learn the reality of their world’s past. Walking home, the teacher passes “flower beds and white picket fences”, both of which are typically seen in an isolated, sheltered suburban area (18).

In literary education, from childhood to maturity, individuals are taught how to write not to improve themselves as critical thinkers, but to fulfill the requirements given to them in a prompt. Whether to analyze or argue, this form of writing has led to a cease of literary improvement in students today, making many question the effectiveness of writing classes. Mike Bunns, in his article “To Read like a Writer”, explores this topic and stresses the necessity for young readers to critically examine the author’s choices in order to improve their own pieces of work. Bunns effectively argues to his audience of college students that improved comprehension comes from focusing on the rhetorical choices authors decide to make in their compositions by tying personal narratives with repetitive questioning throughout his article.

Since The Adventures of Huckleberry Finn was first published in January 1885, it has always been in trouble. It is considered the one book from which all modern American literature came, but was condemned in Mark Twain's time as coarse and vulgar, so it was banned from the shelves. Still controversial today, many school districts across the country have banned it from their curriculum for being racist. Unsurprisingly, this is nearly always at the insistence of those who have never even read the book. It is also no surprise that so many students have read it just to see what those guardians of their morals have found so offensive (Edwards p.2).

Literary works are the foundation for education and are crucial for multiple reasons, some of which include that literature obtains a large variety of information that is at times not accessible to students by computers and teachers alone. Another advantage is adults and children alike improve their understanding and knowledge of certain topics whilst improving their intelligence of the language itself. Banning literary pieces of work is unjustifiable and proves to students that if something is not agreeable within a book, shielding its contents is the next honorary thing to do in order to prevent disruption. High schools should not ban books due to their excessive profanity, violence, sexual content and unagreeable topics because this restriction prevents young readers from developing a better understanding of the society they live in, and could counter act a new change and lessons to be learned.

In the article “I Know Why the Caged Bird Cannot Read,” the importance of literature is very stressed. During the article “I Know Why the Caged Bird Cannot Read,” the author, Francine Prose, a reporter, essayist, critic, and editor is concerned about literature in education. She discussed how the San Francisco Board of Education's requires that literature be taught in a way to reflect the diversity in society. The San Francisco Board of Education in March 1998 mandates that “works of literature really in class in grades nine to eleven by each high school student must include works by

Should fiction be in the curriculum? Taking fiction out of the curriculum can hurt students a lot. Fiction books teach about issues that are faced by people everyday. That most people probably don't see often. When others are faced with it daily. In this essay i will explain the problem presented in my book, gang violence. I will compare the story to everyday problems with gang violence. And explain why it is important to keep fiction books in the curriculum.

If there was any body of work we could have studied in American literature this year, I would choose “Bronx Masquerade” to be a part of the curriculum. The way that story not only is commensurate with the subject of the class, but the authenticity that it possesses can allow students to relate to many of the characters since there was such a diversity in backgrounds. Furthermore, the story can give teachers an idea on how to make a classroom feel like “one.” In the story, many of the characters felt like they were very different compared to their peers. As the story went on, the poetry sharing in the classroom proved that many of the students could relate to each other’s struggles and tribulations. In conclusion, they weren’t as different as they perceived to be.

As I read, “The Dark Night of the Soul” by Richard E. Miller, I found it to be an interesting read. He inquires, why we read, why we write and what might literate arts be said to be good for? In his essay he describes the school massacres that have occurred throughout the years. As he describes these events, he asks a deeper question, “What is the point of continuing to read, write and learn in the face of such underlying dangers. I think that with all that is happening, individuals/students should continue with education because reading, television, writing and communication makes a difference in the lives of individuals around the world. The bottom line is that literary art has a way of touching students unexpectedly one way or another and students should not just throw the art away because of society’s perception.

What is a grotesque character? In literature, a character or location that is irregular, extravagant or fantastic in form. When used as a device, the purpose is often in the style of expressionism, making the grotesque a parody of human qualities or a distorted reflection of a familiar place. In many ways grotesque characters have some kind of problem in society, and example would be a veteran who lost a limb in war and trying to fit back into society, or anything that we see as not normal in our society. Characters in this particular subject can be deformed, obsessed, or in our terms just not normal or right. Another definition of a grotesque