Whether you're on a training course or have already started teaching, this book will help launch your career and give you the confidence and expertise you need to be a brilliant teacher.Make an educated decision - decide between the various courses, qualifications and job locations available to youStart from scratch - plan well-structured lessons and develop successful and effective teaching techniquesFocus on skills - from reading and writing, to listening and speaking, get your students sounding and feeling fluentGet your head around grammar - teach students to put sentences together, recognise tenses and use adjectives and adverbsAll shapes and sizes - tailor your lessons to younger learners, one-to-ones, exam classes and Business English learners Open the book and find: TEFL, TESOL, EFL - what all the acronyms mean The best course books and materials to supplement your teaching Advice on running your class and handling difficulties Lesson plans that you can use in the classroom Activities and exercises to keep your students on their toes Constructive ways to correct and assess your students' performance Ways to inject some fun into your classes Insider information on the best jobs around the world 'An invaluable manual for anyone thinking of embarking on a TEFL journey. Michelle Maxom's step-by-step guide provides practical tips to get you started and offers key advice to help unleash the creative English language teacher within.' - Claire Woollam, Director of Studies & a Teacher Trainer at Language Link London

    Employing examples of world literature from ancient times to the present, he provides a conceptual framework for the examination of literature. In four brilliant essays on historical, ethical, archetypical, and rhetorical criticism, he applies "scientific" method in an effort to change the character of criticism from the casual to the causal, from the random and intuitive to the systematic.Harold Bloom contributes a fascinating and highly personal preface that examines Frye's mode of criticism and thought (as opposed to Frye's criticism itself) as being indispensable in the modern literary world.

    One man's funny war against loose talk!

    An indispensable store of information on the English language, written by some of the best-known grammarians in the world.

    The calculus is not a hard subject and I prove this through an easy to read and obvious approach spanning only 100 pages. I have written this book with the following type of student in mind; the non-traditional student returning to college after a long break, a notoriously weak student in math who just needs to get past calculus to obtain a degree, and the garage tinkerer who wishes to understand a little more about the technical subjects. This book is meant to address the many fundamental thought-blocks that keep the average 'mathaphobe' (or just an interested person who doesn't have the time to enroll in a course) from excelling in mathematics in a clear and concise manner. It is my sincerest hope that this book helps you with your needs.Show more Show less

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Incorporated in the textbook are useful illustrations and exceptional photographs of complex sailing concepts. There are also quizzes at the end of each chapter, and a glossary to help those new to sailing to navigate their way through the extensive nautical terminology.

    Rarely has a book so packed with accurate and well researched factual information been so widely read and popularly acclaimed. It has played a key role in the spread of general interest in language matters, generating further publications and broadcasting events for an avid audience. Its First Edition appeared in hardback in 1995 and a revised paperback in 1997. There have been numerous subsequent updated reprintings; but this Second Edition now presents an overhaul of the subject for a new generation of language-lovers and of teachers, students and professional English-users concerned with their own linguistic legacy.The book offers a unique experience of the English language, exploring its past, present and future. David Crystal systematically explains the history, structure, variety and range of uses of English worldwide, employing a rich apparatus of text, pictures, tables, maps and graphics.The length of the Second Edition has increased by 16 pages and there are 44 new illustrations, a new chapter, extensive new material on world English and Internet English, and a complete updating of statistics, further reading suggestions and other references throughout the book.

    It introduces preemptive opening bids, overcalls and takeout doubles.

    This book offers an accessible survey of key concepts such as social context and cultural authenticity, using insights from fields which include linguistics, sociology and anthropology.

    Some years before that, in 1977, Eco published a little book for his students, "How to Write a Thesis," in which he offered useful advice on all the steps involved in researching and writing a thesis -- from choosing a topic to organizing a work schedule to writing the final draft. Now in its twenty-third edition in Italy and translated into seventeen languages, "How to Write a Thesis "has become a classic. Remarkably, this is its first, long overdue publication in English.Eco's approach is anything but dry and academic. He not only offers practical advice but also considers larger questions about the value of the thesis-writing exercise. "How to Write a Thesis" is unlike any other writing manual. It reads like a novel. It is opinionated. It is frequently irreverent, sometimes polemical, and often hilarious. Eco advises students how to avoid "thesis neurosis" and he answers the important question "Must You Read Books?" He reminds students "You are not Proust" and "Write everything that comes into your head, but only in the first draft." Of course, there was no Internet in 1977, but Eco's index card research system offers important lessons about critical thinking and information curating for students of today who may be burdened by Big Data."How to Write a Thesis" belongs on the bookshelves of students, teachers, writers, and Eco fans everywhere. Already a classic, it would fit nicely between two other classics: "Strunk and White" and "The Name of the Rose."This MIT Press edition will be available in three different cover colors.ContentsThe Definition and Purpose of a ThesisChoosing the TopicConducting ResearchThe Work Plan and the Index CardsWriting the ThesisThe Final Draft

    Austin was one of the leading philosophers of the twentieth century. The William James Lectures presented Austin's conclusions in the field to which he directed his main efforts on a wide variety of philosophical problems. These talks became the classic How to Do Things with Words.For this second edition, the editors have returned to Austin's original lecture notes, amending the printed text where it seemed necessary. Students will find the new text clearer, and, at the same time, more faithful to the actual lectures. An appendix contains literal transcriptions of a number of marginal notes made by Austin but not included in the text. Comparison of the text with these annotations provides new dimensions to the study of Austin's work.

    It outlines a set of mindsets and habits you can use to help you identify the most impactful parts of your teaching, and put them centre stage.It's about doing less to achieve more.But it's also about being happier and more confident in the classroom. Building stronger routines around the essentials will give you more time and space to appreciate and think creatively about your work.POWER UP YOUR PLANNINGLean Lesson Planning draws on the latest evidence from educational research and cognitive science, to present a concise and coherent framework to help you improve learning experiences and outcomes for your students. It's the evidence-based teacher's guide to planning for learning, and sits alongside books such as Teach Like a Champion, Embedded Formative Assessment, and Visible Learning for Teachers.NOTE If you're looking for ways to short-cut the amount of time you spend planning lessons, then this book is not for you. The approach outlined in Lean Lesson Planning requires effort and practice, that given time, will lead to better teaching and higher quality learning for less input.---CONTENTSACT I Lean foundations1. Defining lean 2. Lean mindsets 3. Lean habits ACT II Habits for planning4. Backwards design 5. Knowing knowledge 6. Checking understanding 7. Efficient strategies 8. Lasting learning 9. Inter-lesson planning ACT III Habits for growing10. Building excellence 11. Growth teaching 12. Collective improvement Lean Lesson Planning is the first instalment in the High Impact Teaching series.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding. Essential, and still eye-opening, Orientalism remains one of the most important books written about our divided world.