For over half a century, the MLA Handbook is the guide millions of writers have relied on.The seventh edition is a comprehensive, up-to-date guide to research and writing in the online environment. It provides an authoritative update of MLA documentation style for use in student writing, including simplified guidelines for citing works published on the Web and new recommendations for citing several kinds of works, such as digital files and graphic narratives.Every copy of the seventh edition of the MLA Handbook comes with a code for accessing the accompanying Web site. New to this edition, the Web site provides- the full text of the print volume of the MLA Handbook- over two hundred additional examples- several research-project narratives--stories, with sample papers, that illustrate the steps successful students take in researching and writing papers- searching of the entire site, including the full text of the MLA Handbook- continuous access throughout the life of the seventh edition of the MLA Handbook

    This collection contains stories by Ray Bradbury, Roald Dahl, Maeve Binchy, V.S. Naipaul, Somerset Maugham, Frederick Forsyth, Clare Boylan, Paul Theroux, Oscar Wilde, and Joanna Trollope.

     Example sentences and brief explanatory comments provide a rich context to bring the words to life, and quizzes are provided to encourage reuse and recall of words and to reinforce memory of them. All of these features combine to make this a valuable tool for students preparing for standardized tests or simply seeking to expand their English vocabulary.

    It is the standard work in the field. The text covers learning about children s literature, understanding children s responses to literature, the history of children s literature, beginning books, picture books and all of the genres (fantasy, poetry, realistic fiction, historical fiction, biography, and informational books), planning the literature program, and extending and evaluating children s understandings of literature."

    But what should the principal do in order to maximize student achievement? One of the best-known leadership authors in education, Fullan explains why the answer lies neither in micro-managing instruction nor in autonomous entrepreneurialism. He shows systematically how the principal's role should change, demonstrating how it can be done in short order, at scale.Reveals the three key roles that administrators must play in today's schools Explains how to choose the right versus wrong drivers of school success Filled with action items to help implement Fullan's program effectively Includes strategies that have been successfully field-tested in schools across the United States and Canada

    ELECTRONIC COMMERCE, EIGHTH EDITION covers emerging online technologies and trends and their influence on the electronic commerce marketplace.

    A story or narrative centered around a hero 2. Spectacular; impressive; memorable. If learning is not memorable, should it even be considered learning? For too long, traditional education has used outdated practices to deliver complex and well-intended content to students with very little hope of that subject matter being retained. It often looks like this: Lectures are given --->Students write the information down ---> Students take a test on that information ---> Information is discarded from the brain ---> Repeat. In the The Epic Classroom, Trevor Muir presents a project based learning method that uses the power of storytelling and brain science to give educators practical and proven practices to achieve real student engagement. In return, learning that is permanent and memorable. Any teacher, in any subject area, and in any grade level can use the story-centered project based learning framework of The Epic Classroom to transform their classrooms into settings where students are engaged, challenged, and transformed. In this book you will discover - How to increase student engagement - How to plan and execute effective high quality project based learning experiences- Specific strategies for leading engaged students - Outlines and tools to plan, manage, and assess projects - Methods to increase academic performance in students.

    All chapters in this best-seller have been substantially revised to reflect recent discoveries and new understanding of linguistics and languages.

    A Glossary of Literary Terms covers the terminology of literature - from literary history to theory to criticism - making it a valuable addition to any literary theory or literature course.

    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

    The Sixth Edition of Creating Literacy Instruction for All Students continues to be one of the most comprehensive, practical texts on the market, and includes a new focus on higher-level literacy practices. Written by distinguished author Tom Gunning, Creating Literacy Instruction for All Students provides readers with step-by-step guidance for teaching reading and writing, including sample lessons for virtually every major literacy skill/strategy. Reflecting the author's ongoing extensive hands-on work with schools coping with the demands of No Child Left Behind, the Sixth edition includes teaching tips and materials that are more practical, more realistic, more effective, and more extensive than ever. With its careful balance between the theory and the practice, the book always gives readers the theories behind the methods, encouraging them to choose, adapt, and construct their own approaches as they create a balanced program of literacy instruction. learners, struggling readers and writers, and special needs students, Creating Literacy for All Students, Sixth Edition, looks at developing higher-level literacy requirements for reading and writing, including those stemming from No Child Left Behind regulations and high-stakes tests. The new edition stresses effective steps for closing the gap between the reading, writing, discussion, and thinking skills as mandated by No Child Left Behind and Reading First

    Here is an easy-to-use rhyming source for writing poetry, rap, slogans, songs, greeting cards, and stories.

    This book draws on material Michael created for his renowned Object Mentor seminars, techniques Michael has used in mentoring to help hundreds of developers, technical managers, and testers bring their legacy systems under control. The topics covered include: Understanding the mechanics of software change, adding features, fixing bugs, improving design, optimizing performance Getting legacy code into a test harness Writing tests that protect you against introducing new problems Techniques that can be used with any language or platform, with examples in Java, C++, C, and C# Accurately identifying where code changes need to be made Coping with legacy systems that aren't object-oriented Handling applications that don't seem to have any structureThis book also includes a catalog of twenty-four dependency-breaking techniques that help you work with program elements in isolation and make safer changes.

    This modern section has been overhauled to reflect the diversity of American writing since 1945. A section on 19th-century women's writing is included.