Each of the 100 sharply focused, historically and culturally diverse passages from world literature targets a specific component of voice, presenting the elements in short, manageable exercises that function well as class openers. Includes teacher notes and discussion suggestions.

    With its comprehensive, succinct, and applied coverage, the text has proven its ability to capture students' interest while introducing them to the issues, forces, and outcomes that make us who we are. Robert V. Kail's expertise in childhood and adolescence, combined with John C. Cavanaugh's extensive research in gerontology, result in a book with a rich description of all life-span stages and important topics. A modified chronological approach traces development in sequential order from conception through late life, while also dedicating several chapters to key topical issues. This organization also allows the book to be relatively briefer than other texts?a benefit given the enormous amount of information covered in the course. Benefits: NEW! Up-to-date findings and references introduce students to the perspectives of those who are currently shaping the field and those who pioneered it. New examples include a greater number of diversity examples to appeal to the broadest possible range of students: a diversity theme index is in the back of the book. Real People: Applying Human Development boxes illustrate how a development issue is manifested in the life of a real person. Examples include "Tell Me About a Girl That You Like A Lot and "Still Flying at 91." NEW! Read about the latest research insights?Current findings and references introduce you to the perspectives of those who are currently shaping the field and those who pioneered it. NEW! Study smarter?Learning Objectives (listed at the beginning of each major section and repeated as subheads throughout the section) help you study more efficiently by focusing your attention on important upcoming topics. NEW! Build critical thinking skills painlessly?Wikipedia, YouTube, Facebook, texting, and other current topics make the book's Think About It questio

    This text helps develop in readers the skills, knowledge and strategies needed to read and interpret research reports and to evaluate the quality of such reports.

    They convince us once again of what we may have forgotten: that we need to create schools that constantly demonstrate a belief in their students.

    Macy and director Gregory Mosher. It is written for any actor who has ever experienced the frustrations of acting classes that lacked clarity and objectivity, and that failed to provide a dependable set of tools. An actor's job, the authors state, is to "find a way to live truthfully under the imaginary circumstances of the play'.' The ways in which an actor can attain that truth form the substance of this eloquent book.

    Newman and Newman address physical, intellectual, social, and emotional growth in all life stages, focusing on the idea that development results from the interdependence of these areas at every stage, and placing special emphasis on optimal development through life. The text is noted for its clear organization, providing instructors and students with a coherent structure for tracing development over the life span. The text integrates theory and research with application, making the rich material of development useful for emerging professionals. Each life stage chapter ends with an applied topic that helps students connect the developmental themes of that stage with critical societal issues. The use of case material throughout offers a way to balance information about general patterns of development with information about individual differences and life stories. Human diversity is introduced in the very first chapter and is a continuing theme, reflected in research coverage, theoretical analysis, illustrations, and boxes. Through a variety of pedagogical strategies including the illustrations and captions, points for further reflection, and case analysis, the Newmans have created a text that encourages the reader to engage in ongoing integration and critical analysis.

    The author presents her groundbreaking research on adaptive and maladaptive cognitive-motivational patterns and shows: * How these patterns originate in people's self-theories* Their consequences for the person -- for achievement, social relationships, and emotional well-being* Their consequences for society, from issues of human potential to stereotyping and intergroup relations* The experiences that create themThis outstanding text is a must-read for researchers in social psychology, child development, and education, and is appropriate for both graduate and senior undergraduate students in these areas.

    The best-selling Mastering the World of Psychology speaks to students in a direct and accessible manner. The author's voice and writing style, combined with a strong pedagogical framework, support students of diverse backgrounds and educational needs. The book relates essential key concepts in a way that is meaningful to students' lives and careers. No introductory psychology textbook does more to help students get better grades than Mastering the World of Psychology.

      It details her historic journey to American Samoa, taken where she was just twenty-three, where she did her first fieldwork.  Here, for the first time, she presented to the public the idea that the individual experience of developmental stages could be shaped by cultural demands and expectations.  Adolescence, she wrote, might be more or less stormy, and sexual development more or less problematic in different cultures.  The "civilized" world, she taught us had much to learn from the "primitive."  Now this groundbreaking, beautifully written work as been reissued for the centennial of her birth, featuring introductions by Mary Pipher and by Mead's daughter, Mary Catherine Bateson.

    

    Its clear writing style, superior art program, and other learning aids appeal to students in many majors. This edition includes thoroughly updated content and introduces renowned illustrator Dennis Tasa--yet it maintains the proven approach first presented by respected authority Tom L. McKnight more than 20 years ago.

    Not what was fashionable, not what political and educational vested interests wanted to champion, but what actually produced the best results in terms of improving learning and educational outcomes. It became an instant bestseller and was described by the TES as revealing education's 'holy grail'.Now in this latest book, John Hattie has joined forces with cognitive psychologist Greg Yates to build on the original data and legacy of the Visible Learning project, showing how it's underlying ideas and the cutting edge of cognitive science can form a powerful and complimentary framework for shaping learning in the classroom and beyond.Visible Learning and the Science of How We Learn explains the major principles and strategies of learning, outlining why it can be so hard sometimes, and yet easy on other occasions. Aimed at teachers and students, it is written in an accessible and engaging style and can be read cover to cover, or used on a chapter-by-chapter basis for essay writing or staff development.The book is structured in three parts - 'learning within classrooms', 'learning foundations', which explains the cognitive building blocks of knowledge acquisition and 'know thyself' which explores, confidence and self-knowledge. It also features extensive interactive appendices containing study guide questions to encourage critical thinking, annotated bibliographic entries with recommendations for further reading, links to relevant websites and YouTube clips. Throughout, the authors draw upon the latest international research into how the learning process works and how to maximise impact on students, covering such topics as:teacher personality;expertise and teacher-student relationships;how knowledge is stored and the impact of cognitive load;thinking fast and thinking slow;the psychology of self-control;the role of conversation at school and at home;invisible gorillas and the IKEA effect;digital native theory;myths and fallacies about how people learn. This fascinating book is aimed at any student, teacher or parent requiring an up-to-date commentary on how research into human learning processes can inform our teaching and what goes on in our schools. It takes a broad sweep through findings stemming mainly from social and cognitive psychology and presents them in a useable format for students and teachers at all levels, from preschool to tertiary training institutes.

    The main objectives of this text are to inform students of learning theoretical principles, concepts, and research findings, especially as they relate to education, and to provide applications of principles and concepts in settings where teaching and learning occur.

    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

    A storehouse of practical writing tips, written in a lively, conversational style.