DOCSLIB.ORG

Sharon High School 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sharon High School 2018 Sharon High School Program of Studies 2018 - 2019 Course Catalog The course offerings in the 2018 - 2019 Program of Studies are subject to: • School Committee Approval • Budget Decisions • Student Enrollment • Teacher Availability TABLE OF CONTENTS VISION, MISSION, AND CORE VALUES................................................................................................................................................................................... 3 EXPECTATIONS FOR STUDENT PERFORMANCE .............................................................................................................................................................. 3 ACCREDITATION STATEMENT................................................................................................................................................................................................ 3 FOREWORD .................................................................................................................................................................................................................................... 4 ADMINISTRATION ....................................................................................................................................................................................................................... 4 School Counselors & Office Staff .............................................................................................................................................................................................................4 Student Counselor Assignments for 2018 – 2019 .........................................................................................................................................................................4 GRADE POINT AVERAGE (GPA) .............................................................................................................................................................................................. 5 NATIONAL COLLEGIATE ATHLETIC ASSOCIATION (NCAA) ........................................................................................................................................ 5 GRADUATION REQUIREMENTS .............................................................................................................................................................................................. 5 COURSE LEVELS ............................................................................................................................................................................................................................ 6 ADVANCED PLACEMENTⓇ COURSES ..................................................................................................................................................................................................6 HONORS COURSES ........................................................................................................................................................................................................................................6 STANDARD / ACCELERATED COURSES .............................................................................................................................................................................................6 MULTI-LEVELED COURSES .......................................................................................................................................................................................................................6 FOUNDATIONS COURSES ..........................................................................................................................................................................................................................6 UNLEVELED COURSES ................................................................................................................................................................................................................................6 THE SCHEDULING PROCESS ..................................................................................................................................................................................................... 7 COURSE CHANGE POLICY ..........................................................................................................................................................................................................................7 TIME MANAGEMENT WORKSHEET ....................................................................................................................................................................................... 8 EXTENDED LEARNING OPPORTUNITIES & INDEPENDENT STUDY .......................................................................................................................... 9 INTERNSHIPS.............................................................................................................................................................................................................................. 10 VIRTUAL HIGH SCHOOL.......................................................................................................................................................................................................... 10 ENGLISH LANGUAGE ARTS CURRICULUM ....................................................................................................................................................................... 12 COURSE DESCRIPTIONS .......................................................................................................................................................................................................................... 15 ENGLISH SEMESTER COURSES ............................................................................................................................................................................................................ 20 SOCIAL STUDIES CURRICULUM ........................................................................................................................................................................................... 22 COURSE DESCRIPTIONS .......................................................................................................................................................................................................................... 25 SOCIAL STUDIES SEMESTER COURSES ........................................................................................................................................................................................... 30 MATHEMATICS CURRICULUM .............................................................................................................................................................................................. 35 COURSE DESCRIPTIONS .......................................................................................................................................................................................................................... 38 COMPUTER SCIENCE CURRICULUM ................................................................................................................................................................................... 44 SCIENCE CURRICULUM ............................................................................................................................................................................................................ 46 COURSE DESCRIPTIONS .......................................................................................................................................................................................................................... 49 SCIENCE ELECTIVES ................................................................................................................................................................................................................................. 51 FOREIGN LANGUAGE CURRICULUM ................................................................................................................................................................................... 56 COURSE DESCRIPTIONS .......................................................................................................................................................................................................................... 59 FOREIGN LANGUAGE ELECTIVES....................................................................................................................................................................................................... 69 UNIFIED ARTS ............................................................................................................................................................................................................................ 70 THEATRE ARTS CURRICULUM ............................................................................................................................................................................................................ 70 VISUAL ARTS CURRICULUM.................................................................................................................................................................................................................. 73 MUSICAL ARTS CURRICULUM .............................................................................................................................................................................................................
Load more

Recommended publications
  • 2011-2012 (Pdf)
    Trinity College Bulletin Catalog Issue 2011-2012 August 16, 2011 Trinity College 300 Summit Street Hartford, Connecticut 06106-3100 (860)297-2000 www.trincoll.edu Trinity College is accredited by the New England Association of Schools and Colleges, Inc NOTICE: The reader should take notice that while every effort is made to ensure the accuracy of the information provided herein, Trinity College reserves the right to make changes at any time without prior notice. The College provides the information herein solely for the convenience of the reader and, to the extent permissible by law, expressly disclaims any liability that may otherwise be incurred. Trinity College does not discriminate on the basis of age, race, color, religion, gender, sexual orientation, handicap, or national or ethnic origin in the administration of its educational policies, admissions policies, scholarship and loan programs, and athletic and other College-administered pro- grams. Information on Trinity College graduation rates, disclosed in compliance with the Student Right- to-Know and Campus Security Act, Public Law 101-542, as amended, may be obtained by writing to the Office of the Registrar, Trinity College, 300 Summit Street, Hartford, CT 06106. In accordance with Connecticut Campus Safety Act 90-259, Trinity College maintains information concerning current security policies and procedures and other relevant statistics. Such information may be obtained from the director of campus safety at (860) 297-2222. Contents College Calendar 7 History of the College 10 The Mission of Trinity College 14 The Curriculum 15 The First-Year Program 16 Special Curricular Opportunities 17 The Individualized Degree Program 28 Graduate Studies 29 Advising 30 Requirements for the Bachelor's Degree 33 Admission to the College 43 College Expenses 49 Financial Aid 53 Key to Course Numbers and Credits 55 Distribution Requirement 57 Interdisciplinary Minors 58 African Studies...................................................
    [Show full text]
  • Photo Journalism, Film and Animation
    Syllabus – Photo Journalism, Films and Animation Photo Journalism: Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Need and importance, Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). subject of photo picture sources, Photojournalists are able to enjoy a working environment that gets them out from behind a desk and into the world.
    [Show full text]
  • CRB 2002 Report [Pdf]
    Motion Picture Production in California By Martha Jones, Ph.D. Requested by Assembly Member Dario Frommer, Chair of the Select Committee on the Future of California’s Film Industry MARCH 2002 CRB 02-001 Motion Picture Production in California By Martha Jones, Ph.D. ISBN 1-58703-148-5 Acknowledgements Many people provided assistance in preparing a paper such as this, but several deserve special mention. Trina Dangberg helped immensely in the production of this report. Judy Hust and Roz Dick provided excellent editing support. Library assistance from the Information Services Unit of the California Research Bureau is gratefully acknowledged, especially John Cornelison, Steven DeBry, and Daniel Mitchell. Note from the Author An earlier version of this document was first presented at a roundtable discussion, Film and Television Production: California’s Role in the 21st Century, held in Burbank, California on February 1, 2002, and hosted by Assembly Member Dario Frommer. Roundtable participants included the Entertainment Industry Development Corporation (EIDC), The Creative Coalition (TCC) and the Screen Actors Guild (SAG). Assembly Member Frommer is chair of the Select Committee on the Future of California’s Film Industry. This is a revised version of the report. Internet Access This paper is also available through the Internet at the California State Library’s home page (www.library.ca.gov) under CRB Reports. Contents EXECUTIVE SUMMARY .............................................................................................. 1 I. OVERVIEW OF THE CALIFORNIA MOTION PICTURE INDUSTRY............ 5 SIZE AND GROWTH OF THE CALIFORNIA MOTION PICTURE INDUSTRY ............................ 5 The Motion Picture Industry Measured by the Value of Output During the 1990s.... 5 The Motion Picture Industry Measured by Employment ...........................................
    [Show full text]
  • Media Arts Design 1
    Media Arts Design 1 • Storyboarding Certificate (https://catalog.nocccd.edu/cypress- MEDIA ARTS DESIGN college/degrees-certificates/media-arts-design/storyboarding- certificate/) Division: Fine Arts Courses Division Dean MAD 100 C Introduction to Media Arts Design 3 Units Dr. Katy Realista Term hours: 36 lecture and 72 laboratory. This course focuses on the use of digital design, video, animation and page layout programs. This course Faculty is designed for artists to design, create, manipulate and export graphic Katalin Angelov imagery including print, video and motion design elements. This course is Edward Giardina intended as a gateway into the varied offerings of the Media Arts Design program, where the student can pursue more in-depth study on the topic(s) Counselors that most attracted them during this introductory class. $20 materials fee payable at registration. (CSU, C-ID: ARTS 250) Renay Laguana-Ferinac MAD 102 C Introduction to WEB Design (formerly Introduction to WEB Renee Ssensalo Graphics-Mac) 3 Units Term hours: 36 lecture and 72 laboratory. This course is an overview of the Degrees and Certificates many uses of media arts design, with an emphasis on web publishing for • 2D Animation Certificate (https://catalog.nocccd.edu/cypress- the Internet. In the course of the semester, students create a personal web college/degrees-certificates/media-arts-design/associate-in-science- page enriched with such audiovisual elements as animation, sound, video in-film-television-and-electronic-media-for-transfer-degree/) and different types of still images. This course is intended as a gateway into • 3D Animation Certificate (https://catalog.nocccd.edu/cypress- the varied offerings of the Media Arts Design program, where the student college/degrees-certificates/media-arts-design/3d-animation- can pursue more in-depth study on the topics that most attracted them certificate/) during this introductory class.
    [Show full text]
  • Program and Course Guide 2016 | 2017 Red Deer College
    PROGRAM AND COURSE GUIDE 2016 | 2017 RED DEER COLLEGE program and course guide 2016 - 2017 learning philosophy Our commitment to learners and learning is at the heart of Red Deer College and this is reflected in our values of accountability, inclusiveness, exploration, excellence, integrity and community. We believe in fostering intellectually rigorous, professionally relevant, and dynamic learning environments of inquiry, exploration, application and creativity. We ensure accessibility to multiple pathways of formal and informal learning through active engagement, facilitated learning processes, and scholarly excellence. We value learning because it empowers our learners to be highly productive in the work force and within our communities. We honour the intrinsic value of learning in supporting self development, growth and fulfillment in the individual learner. We promote positive lifelong learning habits and attitudes that embrace local, national, and global experiences, issues and perspectives. www.rdc.ab.ca Contents Table of Contents . 2 B.Sc. in Agriculture . 58 Management Certificate . 102 President’s Message . 3 B.Sc. in Agriculture Mechanical Engineering Technology . 104 Academic Schedule 2016-2018 . 4 Food Business Management . 59 Medical Lab Assistant . 105 Admission . 8 B.Sc. in Atmospheric Sciences . 60 Motion Picture Arts . 106 Fees . 12 B.Sc. in Biochemistry . 60 Music . 107 Prior Learning Assessment . 13 B.Sc. in Biological Sciences . 61 Occupational Therapist & B.Sc. in Chemistry . 62 Physiotherapist Assistant . 111 Degree Completion Programs: B.Sc. in Engineering . 63 Open Studies . 112 B.Sc. in Environmental Pharmacy Technician . 113 Red Deer College Applied Degree in & Conservation Sciences . 65 Practical Nurse . 114 Motion Picture Arts . 16 B.Sc. Environmental Science or Social Work .
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • The Economics of Film
    1127 - 09/20 Doc Title The Economics of Film B - Front Page one line title ARTICLE The Economics of Film Changing dynamics and the COVID-19 world In March 2020, the COVID-19 pandemic disrupted the feature film industry at every level, bringing content production to a standstill and cancelling cinema premieres. Worldwide, cinemas were shuttered and in turn, film goers forced to stay at home, eyeing old and new televisual content to fill the entertainment void. In the intervening time, the major studios, led by (1) The Economics of Film Universal, began to explore ways of reaching their Traditional economics of film – flow of money audiences through direct and digital alternatives. Without out-of-home entertainment (except drive-in cinemas), Film studios are all too aware of how important theatrical the shuttered cinemas closed off a significant distribution cinema release is to generating income and contributing and income avenue for the studios. Moreover, the to the profitability of creating, producing, marketing and major studios with their newly created digital streaming distributing a film. platforms – Peacock, Disney+ and Warner’s HBO Max – Chart 1 (below) shows the costs and revenue associated were poised and equipped to offer an alternative. with a big budget film. Studios receive on average 40% – And, they did. 50% of the total film revenues from the theatrical cinema This article considers three critical areas for the film window, by a long chalk the largest and most significant industry: (1) the current economics of film production and contributor to income. The remaining percentages the significance of cinema theatre contribution within of income generated downstream are across several the film supply chain; (2) historical worldwide box office categories of revenues, including: (i) first and second returns generated through the cinema distribution window cycle TV, (ii) home video, (iii) merchandise, and (iv) and how that compares to the potential income from on demand, pay-per-view.
    [Show full text]
  • Feature Films: a Profile of Production
    Feature Films A Profile of Production PHOTO: Jaimie Trueblood © 2018 Paramount Pictures / Bumblebee 6255 W. Sunset Blvd. CREDITS: 12th Floor Contributors: Hollywood, CA 90028 Anne Wurts Philip Sokoloski Graphic Design: FilmLA.com Shane Hirschman @FilmLA Photography: FilmLA Shutterstock Paramount Pictures FilmLAinc Disney Cover Photo: A Star is Born / ©Warner Bros. TABLE OF CONTENTS INTRODUCTION 2 2018 FILMING LOCATION ESTIMATES 3 CHARACTERISTICS OF MAJOR FILMING CENTERS 9 CALIFORNIA 10 NEW YORK 13 THE U.K. 14 GEORGIA 15 CANADA 16 CONCLUSION 17 SOURCES 18 APPENDIX A: FILMS SHOT ENTIRELY IN CALIFORNIA 19 APPENDIX B: FILMS SHOT IN CALIFORNIA AND OTHER LOCATIONS 20 APPENDIX C: PRIMARY LOCATIONS FOR TOP-GROSSING FEATURES 21 APPENDIX D: VISUAL MAP OF TOP-GROSSING FILMS OF 2018 22 APPENDIX E: CALIFORNIA FILM & TV TAX CREDIT RECIPIENTS 23 1 INTRODUCTION Feature films are the first form of industrialized mass entertainment, dating back to the beginning of the last century. With an early lead in feature film production, California has historically been home to the greatest concentration of film industry talent in the U.S., as well as an extensive web of ancillary products, infrastructure and services. But these days, California has competition. Production centers across the globe offer U.S. production companies an enticing combination of film incentives, a skilled workforce and available infrastructure. As a result, U.S. feature films are made all over the world. Among the unique advantages that the film industry provides to local economies are: 1. It is a high-wage industry. A recent report commissioned by the County of Los Angeles revealed that the average wage in the Film and Digital Media Industry in Los Angeles County is $117,000, which is 95 percent higher compared to the county-wide average of $59,900.1 2.
    [Show full text]
  • LEGO® Shakespeare™ and the Question of Creativity Nathalie Vienne-Guerrin, Sarah Hatchuel
    ”To build or not to build” : LEGO® Shakespeare™ and the Question of Creativity Nathalie Vienne-Guerrin, Sarah Hatchuel To cite this version: Nathalie Vienne-Guerrin, Sarah Hatchuel. ”To build or not to build” : LEGO® Shakespeare™ and the Question of Creativity. The Journal of Shakespeare and Appropriation, Borrowers and Lenders, 2018, XI (2). halshs-01796908 HAL Id: halshs-01796908 https://halshs.archives-ouvertes.fr/halshs-01796908 Submitted on 21 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. "To build or not to build": LEGO® Shakespeare™ and the Question of Creativity Sarah Hatchuel, University of Le Havre Nathalie Vienne-Guerrin, University Paul-Valéry Montpellier 3 Abstract This essay aims to explore the cultural stakes underlying the fleeting and almost incongruous Shakespearean presence in The LEGO Movie (2014), analyze the meeting of "LEGO" and "Shakespeare" in the cinematic and digital worlds, and suggest that at the heart of the connection between Shakespeare and LEGO lies the question of originality and creativity. "LEGO Shakespeare" evinces interesting modes of articulation between art and industry, production and consumption, high- brow culture and low-brow culture and invites us to study how Shakespeare is digested into and interacts with multi-layered cultural artifacts.
    [Show full text]
  • PERIYAR UNIVERSITY (NAAC a GRADE – STATE UNIVERSITY – NIRF RANK 83 - ARIIA Rank 4)
    DEPARTMENT OF JOURNALISM AND MASS COMMUNICATION JOURNALISM AND MASS COMMUNICATION(ELECTRONIC MEDIA) [5 Year Integrated Course] Semester pattern Under CHOICE BASED CREDIT SYSTEM (CBCS) Outcome Based Education [OBE] REGULATIONS AND SYLLABUS Students admitted from the Academic Year 2018 – 2019 and thereafter PERIYAR UNIVERSITY (NAAC A GRADE – STATE UNIVERSITY – NIRF RANK 83 - ARIIA Rank 4) Periyar Palkalai Nagar SALEM – 636 011 Syllabus for M.A. JMC (Electronic Media) (5 year integrated course) with semester system under CBCS (Effective from the academic year 2018-2019 and thereafter) REGULATIONS AND SYLLABUS for the DEGREE OF MASTER OF ARTS inJOURNALISM AND MASS COMMUNICATION(ELECTRONIC MEDIA) [5 Year Integrated Course] Semester pattern under CHOICE BASED CREDIT SYSTEM (CBCS) (Effective from the Academic Year 2018 – 2019 and thereafter) REGULATIONS 1. Preamble The department of Journalism and Mass Communication is established in 2008, to fulfill the vision of Social Reformer, writer and journalist Periyar E. V. Ramaswamy by promoting equal opportunities to students across the country. The department carries vigor and vitality, providing students with excellent opportunities for personal growth and professional excellence. The program focuses to meet the challenges of journalistic profession in the areas of reporting, writing, editing in print, radio and TV; advertising, public relations, media laws and ethics and film studies. Students will become familiar with basic journalistic aspects and understand the various media and their characteristics to master their production and distribution for the development of society at large. The course would help the students to perform different roles, as writers both in print and broadcast media, media producers, media educators, media researchers, PR professionals, film industry professionals etc.
    [Show full text]
  • Ghosts, Spectres, Phantoms & the Places Where They Live
    Mobile Academy Warsaw 25th of August – 10th of September 2006 Ghosts, Spectres, Phantoms & The Places Where They Live Application Deadline 15th of June Mobile Academy Warsaw is a project by Hannah Hurtzig and Carolin Hochleichter in cooperation with TR Warszawa. The project takes place in the framework of Büro Kopernikus. German-Polish Cultural Projects, an initiative of the Kulturstiftung des Bundes (German Federal Cultural Foundation) www.mobileacademy-warsaw.com 3 Mobile Academy Warsaw: Ghosts, spectres, phantoms, and the places where they live The Mobile Academy has been on tour for seven years. It continually changes location, time, theme and form: a large-scale MA gathered 180 people together for 4 weeks for a temporally limited international imagined community (Bochum 1999/Berlin 2004), while the smallest version brought together two people – the artist and the client – for private lessons lasting one hour at public places in the city. For knowledge transfer, it can as- sume the character of a camp, an installation, a blind date or a marketplace. The courses at the Warsaw MA are attended by 100 participants and lecturers as well as a further 100 artists, theoreticians and experts for talks, excursions and private lessons. The slogan of the MA: "Constant intensity accompanied by growing doubt" indicates a wish for happy self-dissolving while simultaneously marking the learning strategy for participants: Overstrain and loss of orientation simultaneously accompanied by an in- creased ability to reflect. And to learn on the part of the lecturers: i.e. to find problems for existing solutions. The courses at the MA are structured as artistic projects, accom- panied by field research, debate, excursions and presentations.
    [Show full text]
  • The Curriculum
    Undergraduate Course Offerings 2019-2020 CALENDAR FALL 2019 Saturday, August 31 Opening Day New students arrive Monday, September 2 Returning students arrive Monday, October 21 and October Study Days Tuesday, October 22 Wednesday, November Thanksgiving break (begins after last academic 27–Sunday, December 1 appointment on Tuesday) Friday, December 20 Last day of classes Saturday, December 21 Residence halls close 10 a.m. SPRING 2020 Sunday, January 19 Students return Saturday, March 14–Sunday, Spring break March 22 Friday, May 8 Last day of classes Saturday, May 9 Residence halls close for first-years, sophomores, and juniors at 5 p.m. Friday, May 15 Commencement Residence halls close for seniors at 8 p.m. The Curriculum . 3 Latin . 85 Africana Studies . 3 Latin American and Latino/a Studies . 85 Anthropology . 4 Lesbian, Gay, Bisexual, and Transgender Architecture and Design Studies . 9 Studies . 86 Art History . 10 Literature . 89 Asian Studies . 14 Mathematics . 100 Biology . 18 Middle Eastern and Islamic Studies . 103 Chemistry . 22 Modern and Classical Languages and Chinese . 25 Literatures . 103 Classics . 26 Music . 104 Cognitive and Brain Science . 26 Philosophy . 116 Computer Science . 27 Physics . 120 Dance . 29 Political Economy . 122 Development Studies . 35 Politics . 123 Economics . 36 Practicum . 0 Environmental Studies . 39 Psychology . 128 Ethnic and Diasporic Studies . 41 Public Policy . 141 Film History . 42 Religion . 143 Filmmaking and Moving Image Arts . 46 Russian . 147 French . 57 Science and Mathematics . 148 Games, Interactive Art, and New Genres 59 Pre-Health Program Gender and Sexuality Studies . 60 Social Science . 149 Geography . 61 Sociology . 149 German . 64 Spanish . 154 Greek (Ancient) .
    [Show full text]