To meet it, you need a fully integrated text and supplements package that sets the stage for a perfectly choreographed learning experience.

    The old people of the village came stooping along the street. Children, with bright faces, tripped merrily beside their parents, or mimicked a graver gait, in the conscious dignity of their Sunday clothes. Spruce bachelors looked sidelong at the pretty maidens, and fancied that the Sabbath sunshine made them prettier than on week days. When the throng had mostly streamed into the porch, the sexton began to toll the bell, keeping his eye on the Reverend Mr. Hoopers door. The first glimpse of the clergymans figure was the signal for the bell to cease its summons.

    Martin7;s Guide has an unparalleled record of proven success. From the beginning, Axelrod and Cooper have taken the best of classic and contemporary theory, filtered it through their own and their colleagues7; classroom experience, and then blended the result into a flexible classroom tool. Their step-by-step guides to writing specific kinds of essays were a groundbreaking concept and changed the way writing is taught in American colleges. The course continues to change, and Axelrod and Cooper continue to innovate: source-based writing, analysis of argument, online teaching, and visual rhetoric are some of the focuses of this latest revision. By seamlessly incorporating practical, class-tested solutions to these new challenges, Axelrod and Cooper have once again provided the best foundation for college writing.

    This is a fresh interpretation of the ancient canons of composing: invention, arrangement, style, memory, and delivery. It shows that rhetoric, as it was practiced and taught by the ancients, was an intrinsic part of daily life and of communal discourse about current events. This book gives special emphasis to classic strategies of invention, devoting separate chapters to stasis theory, common and special topics, formal topics, ethos, pathos, extrinsic proofs, and Aristotelian means of reasoning. The authors' engaging discussion and their many contemporary examples of ancient rhetorical principles present rhetoric as a set of flexible, situational practices. This practical history draws the most relevant and useful concepts from ancient rhetorics and discusses, updates, and offers them for use in the contemporary composition classroom.

    It shows teachers how to create an environment in which technology can effectively enhance learning. It contains a technology integration framework that builds on research and the TIP model.

    Now more visual and even easier to use and understand, EasyWriter offers practical help with research and documentation and expanded coverage of academic writing for students in all disciplines.

    More than a mere set of guidelines, Thinking Like a Director details a technique that covers every facet of theatrical production, from first reading through final rehearsals. The key to directorial thinking, Bloom asserts, is a dual perspective--an ability to focus on both the internal lives of the play's characters and the external elements of the play's structure. In this illuminating, engaging, and accessible handbook, the art of dramatic interpretation and the craft of working with actors are integrated into a single, unified method.

    From Sherwood Anderson to Virginia Woolf, this anthology encompasses a rich global and historical mix of the very best works of short fiction and presents them in a way students will find accessible, engaging, and relevant. The book's unique integration of biographical and critical background gives students a more intimate understanding of the works and their authors.Contents:Part I. Introduction. The art of the short story.-- Part II. Stories [A-J]. Chinua Achebe: Dead men's path ; Author's perspective, Achebe: modern Africa as the crossroads of culture -- Sherwood Anderson: Hands ; Author's perspective, Anderson: Words not plot give form to a short story -- Margaret Atwood: Happy endings ; Author's perspective, Atwood: On the Canadian identity -- James Baldwin: Sonny's blues ; Author's perspective, Baldwin: Race and the African-American writer -- Jorge Luis Borges: The garden of forking paths ; Author's perspective, Borges: Literature as experience -- Albert Camus: The guest ; Author's perspective, Camus: Revolution and repression in Algeria -- Raymond Carver: Cathedral ; A small, good thing ; Author's perspective, Carver: Commonplace but precise language -- Willa Cather: Paul's case ; Author's perspective, Cather: Art as the process of simplification -- John Cheever: The swimmer ; Author's perspective, Cheever: Why I write short stories -- Anton Chekhov: The lady with the pet dog ; Misery ; Author's perspective, Chekhov: Natural description and "The center of gravity" -- Kate Chopin: The storm ; The story of an hour ; Author's perspective, Chopin: My writing method -- Sandra Cisneros: Barbie-Q ; Author's perspective, Cisneros: Bilingual style -- Joseph Conrad: The secret sharer ; Author's perspective, Conrad: The condition of art -- Stephen Crane: The open boat ; Author's perspective, Crane: The sinking of the Commodore -- Ralph Ellison: A party down at the square ; Author's perspective, Ellison: Race and fiction -- William Faulkner: Barn burning ; A rose for Emily ; Author's perspective, Faulkner: The human heart in conflict with itself -- F. Scott Fitzgerald: Babylon revisited ; Author's perspective, Fitzgerald: On his own literary aims -- Gustave Flaubert: A simple heart ; Author's perspective, Flaubert: The labor of style -- Gabriel García Marquez: A very old man with enormous wings ; Author's perspective, García Marquez: My beginnings as a writer -- Charlotte Perkins Gilman: The yellow wallpaper ; Author's perspective, Gilman: Why I wrote "The yellow wallpaper" -- Nikolai Gogol: The overcoat ; Author's perspective, Gogol: On realism -- Nadine Gordimer: A company of laughing faces ; Author's perspective, Gordimer: How the short story differs from the novel -- Nathaniel Hawthorne: Young Goodman Brown ; The birthmark ; Author's perspective, Hawthorne: On the public failure of his early stories -- Ernest Hemingway: A clean, well-lighted place ; Author's perspective, Hemingway: One true sentence -- Zora Neale Hurston: Sweat ; Author's perspective, Hurston: Eatonville when you look at it -- Shirley Jackson: The lottery ; Author's perspective, Jackson: The public reception of "The lottery" -- Henry James: The real thing ; Author's perspective, James: The mirror of a consciousness -- Ha Jin: Saboteur ; Author's perspective, Jin: Deciding to write in English -- James Joyce : Araby ; The dead ; Author's perspective, Joyce: Epiphanies. Contents: Part II[ Cont.]. Stories [K-W]. Franz Kafka: Before the law ; The metamorphosis ; Author's perspective, Kafka: Discussing The metamorphosis -- D.H. Lawrence: Odour of Chrysanthemums ; The rocking-horse winner ; Author's perspective, Lawrence: The novel is the bright book of life -- Ursula K. Le Guin: the ones who walk away from Omelas ; Author's perspective, Le Guin: On "The ones who walk away from Omelas" -- Doris Lessing: A woman on a roof ; Author's perspective, Lessing: My beginnings as a writer -- Jack London: To build a fire ; Author's perspective, London: Defending the factuality of "To build a fire" -- Katherine Mansfield: Miss Brill ; The garden-party ; Author's perspective, Mansfield: On "The garden-party" -- Bobbie Ann Mason: Shiloh ; Author's perspective, Mason: Minimalist fiction -- Guy de Maupassant: The necklace ; Author's perspective, Maupassant: The realist method -- Herman Melville: Bartleby, the scrivener : a story of Wall-Street ; Author's perspective, Melville: American literature -- Yukio Mishima: Patriotism ; Author's perspective, Mishima: Physical courage and death -- Alice Munro: How I met my husband ; Author's perspective, Munro: How I write short stories -- Joyce Carol Oates: where are you going, where have you been? ; Author's perspective, Oates: Productivity and the critics -- Flannery O'Connor: A good man is hard to find ; Revelation ; Author's perspective, O'Connor: The element of suspense in "A good man is hard to find" -- Edgar Allan Poe: The fall of the House of Usher ; The Tell-tale heart ; Author's perspective, Poe: The tale and its effect -- Katherine Anne Porter: Flowering Judas ; Author's perspective, Porter: Writing "Flowering Judas" -- Leslie Marmon Silko: The man to send rain clouds ; Author's perspective, Silko: the basis of "The man to send rain clouds" -- Isaac Bashevis singer: Gimpel the Fool ; Author's perspective, Singer: The character of Gimpel -- Leo Tolstoy: The death of Ivan Ilych ; Author's perspective, Tolstoy: The moral responsibility of art -- John Updike: Separating ; Author's perspective, Why write? -- Alice Walker: Everyday use ; Author's perspective, Walker: The Black woman writer in America -- Eudora Welty: Why I live at the P.O. ; Author's perspective, Welty: The plot of the short story -- Edith Wharton: Roman fever ; Author's perspective, Wharton: The subject of short stories -- Virginia Woolf: A haunted house ; Author's perspective, Woolf: Women and fiction. Contents: Part III. Writing. The elements of short fiction -- Writing about fiction -- Critical approaches to literature. Formalist criticism: Light and darkness in "Sonny's Blues" / Michael Clark -- Biographical criticism: Chekhov's attitude to romantic love / Virginia Llewellyn Smith -- Historical criticism: The Argentine context of Borges's fantastic fiction / John King -- Psychological criticism: The father-figure in "The tell-tale heart" / Daniel Hoffman -- Mythological criticism: Myth in Faulkner's "Barn Burning" / Edmond Volpe -- "Sociological criticism: Money and labor in "The rocking-horse winner" / Daniel P. Watkins -- Gender criticism: Gender and pathology in "The yellow wallpaper" / Juliann Fleenor -- Reader-response criticism: An Eskimo "A Rose for Emily" / Stanley Fish -- Deconstructionist criticism: The death of the author / Roland Barthes -- Cultural studies: What is cultural studies? / Makr Bauerlein. Part IV. Glossary of literary terms.

    The Theogony contains a systematic genealogy of the gods from the beginning of the world and an account of their violent struggles before the present order was established. The Works and Days, a compendium of moral and practical advice for a life of honest husbandry, throws a unique and fascinating light on archaic Greek society, ethics, and superstition. Hesiod's poetry is the oldest source for the myths of Prometheus, Pandora, and the Golden Age.Unlike Homer, Hesiod tells us about himself and his family (he lived in central Greece in the late eighth century BC). This new translation by a leading expert combines accuracy with readability.

    It's nothing to be afraid of. It isn't the exclusive preserve of politicians: it's everywhere, from your argument with the insurance company to your plea to the waitress for a table near the window. It convicts criminals (and then frees them on appeal). It causes governments to rise and fall, best men to be shunned by brides, and people to march with steady purpose towards machine guns.In this highly entertaining (and persuasive) book, Sam Leith examines how people have taught, practised and thought about rhetoric from its Attic origins to its twenty-first century apotheosis. Along the way, he tells the stories of its heroes and villains, from Cicero and Erasmus, to Hitler, Obama - and Gyles Brandreth.

    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.

    Taking examples from the plays of Aeschylus, Sophocles and Euripides, The Poetics introduces into literary criticism such central concepts as mimesis (‘imitation’), hamartia (‘error’), and katharsis (‘purification’). Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals, centring on characters of heroic stature, idealized yet true to life. One of the most powerful, perceptive and influential works of criticism in Western literary history, the Poetics has informed serious thinking about drama ever since.Malcolm Heath’s lucid English translation makes the Poetics fully accessible to the modern reader. It is accompanied by an extended introduction, which discusses the key concepts in detail and includes suggestions for further reading.

    Keeping themorganized can be a challenge, but an organized classroom is essential and allows students and the teacher to fully focus on learning by eliminating distractions. Organized Teacher, Happy Classroom provides practical, proven methods for maintaining an organized classroom throughout the entire school year.Inside you’ll find:• Strategies for managing students’ papers, curriculum material, and essential paperwork• Time management tips to maximize your instruction time and lesson planning• Organizing systems you can teach your students to improve self reliance andaccountability• Checklists for starting and ending the year well organized• Helpful forms and templates you can use in your classroom• Plans for arranging a classroom that promotes positive student participation• Support to simplify your classroom• Efficient storage solutions for all teacher and student materialsWhether you teach primary, intermediate, middle school or high school, this bookwill help you organize your time, paperwork, and classroom spaces.

    Joyce was also acclaimed for his poetry, journalism, and novels like A Portrait of the Artist as a Young Man.This edition of Joyce’s Araby includes a Table of Contents.

    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.