Meticulously prepared, it is one of the most comprehensive, authoritative, up-to-date introductory resources on the market. The book’s extensive examples and exercises help students master the course material, and its lucid writing style makes complex concepts easy to understand.

    Little has changed, however, since then: over half of our children still read at a basic level and few become highly proficient. Many American children and adults are not functionally literate, with serious consequences. Poor readers are more likely to drop out of the educational system and as adults are unable to fully participate in the workforce, adequately manage their own health care, or advance their children's education. In Language at the Speed of Sight, internationally renowned cognitive scientist Mark Seidenberg reveals the underexplored science of reading, which spans cognitive science, neurobiology, and linguistics. As Seidenberg shows, the disconnect between science and education is a major factor in America's chronic underachievement. How we teach reading places many children at risk of failure, discriminates against poorer kids, and discourages even those who could have become more successful readers. Children aren't taught basic print skills because educators cling to the disproved theory that good readers guess the words in texts, a strategy that encourages skimming instead of close reading. Interventions for children with reading disabilities are delayed because parents are mistakenly told their kids will catch up if they work harder. Learning to read is more difficult for children who speak a minority dialect in the home, but that is not reflected in classroom practices. By building on science's insights, we can improve how our children read, and take real steps toward solving the inequality that illiteracy breeds. Both an expert look at our relationship with the written word and a rousing call to action, Language at the Speed of Sight is essential for parents, educators, policy makers, and all others who want to understand why so many fail to read, and how to change that.

    Integrated MLA 2003 update

    One man's funny war against loose talk!

    The authors approach each professional issue in counseling from both an ethical and a legal point of view, offering readers a complete, integrated exploration of all facets. Difficult issues are addressed in a straightforward manner, and practical, realistic advice is proffered through vignettes that showcase typical situations and dilemmas faced by practicing counselors.

    It examines the multi-faceted meanings and uses of language and emphasizes the ways that language encapsulates speakers' meanings and intentions.

    This updated edition has been fully revamped and reflects important changes that have occurred since the second edition's publication. A leader in the online field, this best- selling resource maintains its reader friendly tone and offers exceptional practical advice, new teaching examples, faculty interviews, and an updated resource section.New to this edition:new chapter on how faculty and instructional designers can work collaboratively expanded chapter on Open Educational Resources, copyright, and intellectual property more international relevance, with global examples and interviews with faculty in a wide variety of regions new interactive Companion Website that invites readers to post questions to the author, offers real-life case studies submitted by users, and includes an updated, online version of the resource section.Focusing on the "how" and "whys" of implementation rather than theory, this text is a must-have resource for anyone teaching online or for students enrolled in Distance Learning and Educational Technology Masters Programs.

    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

    As you complete the exercises in this book, you will learn how to tell if you’re using the right word as well as how to pronounce and spell it. You will also learn how to avoid illiterate expressions and how to speak grammatically, without making embarrassing mistakes.A complete handbook for building a superior vocabulary, Word Power Made Easy will teach you how to speak and write with confidence as well as how to read more effectively and efficiently. It will help you to learn more quickly, develop social contacts, and increase your earning power.Each chapter ends with review. Each section ends with a progressive check. Numerous tests will help you increase and retain the knowledge you acquired. Word Power Made Easy does more than just add words to your vocabulary; it teaches ideas and a method of broadening knowledge as an integral part of the vocabulary building process.

    All sides of production are clearly explained in jargon-free prose, and unfamiliar terms are highlighted and defined in an appended glossary. In addition to discussions on the more traditional elements of technical theater, this book gives equal weight to the new technologies that have become mainstream, including software (DMX, MIDI, and SMPTI) for show control systems, software to build audio cues, and PC-based audio play-back systems.Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

    It provides a comprehensive, accessible, and jargon-free guide to the forms and structures of Spanish as it is currently spoken and written in Spain and Latin America. Extensive examples are used to illustrate grammatical points, many from contemporary sources in both Spain and the Americas that highlight, where appropriate, differences in regional usage. Levels of usage (formal, colloquial, familiar, and popular) are specified, so that the importance of context in the use of language is recognized. This new edition has been updated throughout; it is the first grammar in English that incorporates the findings of the exhaustive new descriptive grammar of the Royal Spanish Academy (Gramatica descriptive de la lengua espanola, 5300pp). The 4th edition is also more accessible to students; complex explanations have been simplified and clarified, and a glossary of grammatical terms has been added to aid students.

    

    The spellbinding world of Hiromi Kawakami; the hair-raising horror of Otsuichi; the haunting, poignant prose of Banana Yoshimoto; even the poetic word-play of Yoko Tawada whatever a readers taste, he or she is sure to find something of interest and value in this book, suitable for students at the intermediate level and above. As in real Japanese novels, the text on each page runs from top to bottom and from right to left. Each double-page spread features translations of all the difficult passages. In the back of the book, moreover, is a built-in Japanese-English learners dictionary and a notes section covering issues of nuance, usage, grammar and culture that come up in each story. Best of all, the books comes with a free audio CD containing narrations of the stories, performed by a professional voice actress.

    This is a practical way to learn the aspects of language that you’ll actually need and use; from booking a hotel room to navigating a menu, Paul will effortlessly build your confidence and give you the tools to handle any holiday situation.His ‘word robbery’ will also help unlock the range of vocabulary you already know. By making a few simple tweaks, you’ll go from fantastic to fantastique.Ideal for first-time learners or people who struggled in school, this book will help you absorb information quickly and efficiently, just like you did learning English as a child. Forget the way you used to be taught; this course guarantees you minimum effort and maximum success without the need for complex grammar rules or jargon. With thousands of satisfied customers, there’s never been a better time to learn.“There is nothing so complicated in foreign languages that it cannot be made simple.” Paul NobleA quick, easy and fun way to unlock your basic language skills. Perfect for beginners, this book will give you all the information you need to build basic conversations and get by on your travels.

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