Organized according to the elements of explicit instruction (what? why? when? and how?), the Sourcebook includes both research-informed knowledge base and practical sample lesson models. Like the first edition, the updated and revised second edition of the Teaching Reading Sourcebook combines the best features of an academic text and a practical hands-on teacher's guide. It is an indispensable resource for teaching reading and language arts to both beginning and older struggling readers.New to the Teaching Reading Sourcebook, 2nd Edition:All new sample lesson modelsMore reproducible activity mastersA whole new section on reading fluencyMore about letter knowledge and multisyllabic word readingMore about the comprehension strategies that good readers useUseful information about the Comprehensive Reading Model (Three-tier Model)Highly respected contributing authors who are experts in the field of reading

    In Preparing Instructional Objectives, you'll learn the characteristics of well-stated objectives, how to derive suitable objectives, and how to write objectives to match the instructional results you are seeking to achieve.

    He has sung "Happy Birthday" 657 times. A witness to the joys of discovery, Done inspires readers with the everyday adventures and milestones of his 32 third graders in this irresistible collection of bite-sized essays. From the nervous first day of school to the hectic Halloween parade to the disastrous spring musical, Done connects what happens in his classroom to the universal truths that touch us all. He reminds us of the delight of learning something for the first time and of the value of making a difference. 32 Third Graders and One Class Bunny is for anyone who has ever taught children -- or been to third grade. It is a testament to the kids who uplift us -- and the teachers we will never forget. With just the right mix of humor and wisdom, Done reveals the enduring promise of elementary school as a powerful antidote to the cynicism of our times.

    The authors use multiple sources, including biographies and dialogues, to increase student interest and involvement with the material, and encourage students to regard becoming a teacher a positive challenge.

    Jones describes how highly successful teachers produce orderly, productive classrooms without working themselves to death. This program is the whole package - discipline, instruction and motivation - described in the down-to-earth language of "how to" with plenty of examples for guidance. You will learn how to decrease classroom disruptions, backtalk, dawdling and helpless hand raising while increasing responsible behavior, motivation, independent learning and academic achievement.Like previous editions, the 3rd edition of Tools for Teaching: Discipline, Instruction, Motivation describes the specific skills of classroom management that increase learning while reducing teacher stress. Taken together, these skills provide the synergy required for both the primary prevention of discipline problems and a dramatic increase in teaching efficiency and time-on-task.WHAT'S NEW IN THE 3RD EDITION?The 3rd Edition includes the latest research on both successful teaching practices and the neuropsychology of skill building, as well as two completely new chapters.Chapter 8: Say, See, Do Teaching, reviews the ground-breaking work of John Hattie, Ph.D. Dr. Hattie places the extensive outcome research regarding different teaching methodologies onto a common scale so that their effectiveness can be directly compared. Many of the sacred cows of education do not fair so well, whereas variations of Say, See Do Teaching do extremely well.Chapter 20: Teaching Skills Efficiently, reviews the latest finds of neuropsychology concerning the amount of work needed to create mastery. Once again Say, See, Do Teaching leads the way. This new research provides critical information for teachers when making decisions about how to teach a given lesson.

    There is also a complete Language Information section, plus numerous color photographs illustrating life in the Roman world. The Course has now been fully revised and updated in the light of feedback from user schools, and includes the very best in new research. The Fourth Edition continues to offer teachers and students alike a stimulating, reading-based approach to the study of Latin.

    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

    Now with a built-in Resource Manual and Study Guide, Language, Culture, and Society is the teaching text for the linguistic anthropology course.

    Aimed to aid student writers through practical, logistical, and emotional stages of writing dissertations and theses, this book offers guidance to students through such important steps as defining topics, scheduling time to accommodate projects, and conducting, analyzing, writing, presenting, and publishing research.

    James Paul Gee begins his new book with 'I want to talk about vide games- yes, even violent video games - and say some positive things about them'. With this simple but explosive beginning, one of America's most well-respected professors of education looks seriously at the good that can come from playing video games. Gee is interested in the cognitive development that can occur when someone is trying to escape a maze, find a hidden treasure and, even, blasting away an enemy with a high-powered rifle. Talking about his own video-gaming experience learning and using games as diverse as Lara Croft and Arcanum, Gee looks at major specific cognitive activities: How individuals develop a sense of identity; How one grasps meaning; How one evaluates and follows a command; How one picks a role model; How one perceives the world.

    It offers readers who work through it one possible outline for a grammatical description, with many questions designed to help them address the key topics. Appendices offer guidance on text and elicited data, and on sample reference grammars that readers might wish to consult. This will be a valuable resource to anyone engaged in linguistic fieldwork.

    This new handbook is an indispensable and affordable tool for all students who write.

    Inundated with seemingly insurmountable piles of papers to read, respond to, and grade, many teachers often find themselves struggling to balance differentiated, individualized feedback with the one resource they are already overextended on--time.Flash Feedback seeks to alleviate these struggles by taking teachers to the next level of strategic feedback by sharing:How to craft effective, efficient, and more memorable feedback Strategies for scaffolding students through the meta-cognitive work necessary for real revision A plan for how to create a culture of feedback, including lessons for how to train students in meaningful peer response Downloadable online tools for teacher and student use

    But starting now, teachers have the opportunity to prepare for distance learning with purpose and intent--using what works best to accelerate students' learning all the while maintaining an indelible focus on equity.Harnessing the insights and experience of renowned educators Douglas Fisher, Nancy Frey, and John Hattie, The Distance Learning Playbook applies the wisdom and evidence of VISIBLE LEARNING(R) research to understand what works best with distance learning. Spanning topics from teacher-student relationships, teacher credibility and clarity, instructional design, assessments, and grading, this comprehensive playbook details the research- and evidence-based strategies teachers can mobilize to deliver high- impact learning in an online, virtual, and distributed environment.This powerful guide includes:- Learning Intentions and Success Criteria for each module to track your own learning and model evidence-based teacher practices for meaningful learning- A diversity of instructional approaches, including direct instruction, peer learning, and independent work that foster student self-regulation and move learning to deep and transfer levels- Discussion of equity challenges associated with distance learning, along with examples of how teachers can work to ensure that equity gains that have been realized are not lost.- Special guidance for teachers of young children who are learning from a distance- Videos of the authors and teachers discussing a wide variety of distance learning topics- Space to write and reflect on current practices and plan future instruction The Distance Learning Playbook is the essential hands-on guide to preparing and delivering distance learning experiences that are truly effective and impactful.

    This edition contains four new cultural collages which trace four topics, such as "The City", up to the present day. An accompanying audiotape for instructors is also available.