Unlike a novel, history book, or scientific publication, essays provide you with the versatility to express all the various facets that make you you. The concise and direct nature of an essay means that you may tap into your sense of wit, share your individual point of view, persuade others to your perspective, and record a part of your memories for future generations in as many distinct essay forms as you wish.Hide Full DescriptionDiscover the keys to unlocking your potential in essay writing with Becoming a Great Essayist. These 24 illuminating lectures explore numerous genres or types of essays, challenge you with stimulating writing prompts, and provide insights into how to get to know yourself like never before so that you may write honest, compelling, and GREAT essays. And because essays are so flexible in their style and function, the skills you build writing great essays may be applied to almost all other forms of writing.Dr. Jennifer Cognard-Black, Professor of English at St. Mary’s College of Maryland, is your expert guide. Professor Cognard-Black—who is an award-winning author, a 2012 Fulbright Scholar, and a former student of the renowned author Jane Smiley—has an intimate, honest, and direct approach. She teaches you that the versatility and expressiveness of the essay make it an ideal medium for crafting stories and drawing perspectives out of even the most reluctant writers. As Professor Cognard-Black notes, “The essay has no fixed parameters apart from including a first-person narrator who is intent on telling the truth. An essay’s form and style is entirely dependent upon your purpose—and your audience. You get to create a new form, and adopt a new style, with each essay that you write.… Essays explore. Essays imagine. Essays digress. Their structures don’t have to have fixed rules.” The goal of a great essay is to connect a personal experience, an idea, or a memory to the world outside of yourself—and the first step is to look deep within your memories, knowledge, and opinions to find that experience. When mastered, the ability to write a great essay provides a solid foundation that allows you to move into other forms of writing with both confidence and skill.The first step in your journey with Professor Cognard-Black is to redefine what the essay means. For many, the word “essay” brings flashbacks of the schoolroom. Whether you were the kind of student who couldn’t wait to get started or one who faced each writing assignment with a feeling of dread, this course will change how you think about and approach the essay. From the very first lecture, you’ll see how the five-paragraph essay you might remember is vastly different from the master-level essays you’ll review, analyze, and learn to create. You’ll get instrumental insight into what makes an essay great; learn how to work your own stories, perspectives, and memories into a compelling piece; and investigate what to do once you’ve crafted an essay that you want to share.Essay Types: From Personal to PublicSince the 16th century, essays have served as a means of connection: a way to persuade others to a certain perspective, a medium to tell a story, and a written record of individual and national histories. The word “essay” comes from the French essai, meaning an attempt or a trial, which speaks to the flexibility of the form in both delivery and outcomes. The essay itself is a thought experiment which can employ a variety of lengths, styles, and genres, including political, personal, humorous, and historical approaches. Further, a well-written essay may evoke an assortment of emotions or reactions. These works, often short yet profoundly poignant, have the power to make readers laugh, cry, think, or change their opinions or actions. Even the delivery platforms are versatile—essays are published in journals and newspapers, anthologies and collections, blogs and web pages, and more.When it comes to crafting a great piece of writing, Professor Cognard-Black begins with well-established principles derived from Aristotle, who believed that writers are most convincing when they create a strong ethos (or credibility), and then support this ethos with appeals to reason (logos) and emotion (pathos). Similar rhetorical strategies are still utilized today in creating compelling stories and arguments. Most importantly, essays use a convincing and honest first-person voice because the writer has a deep connection to the material that comes from living, witnessing, or caring profoundly about an experience. By merging what Aristotle calls the artistic proofs (the pathos of the essay, or the personal experience and thoughts, and the logos of the essay, or rationality) with the inartistic proofs (or research and data), your essay will come across as credible even to skeptical readers.Over these 24 enlightening lectures, you’ll delve into the various genres of the essay.Epistolary essays originated in the politics, philosophy, and theology of Greco-Roman rhetoricians. Letters or “epistles” are unlike any other means of communication, which is exactly what draws essay writers to them. Epistolary essays adopt elements that define the genre of the letter—its intimacy, immediacy, and materiality.Polemical essays are essays that strongly support one side of an argument.Historical essays draw from historical artifacts and scholars, as well as a writer’s ideas within her or his own historical moment.Humorous essays, more often than not, focus on a predicament or a situation where something goes wrong. As Aristotle noted, laughing at tragedy may be cathartic for the writer and the audience.Memoirs recall and meditate on the writer’s past, using that contemplation for self-reflection. A memoir essay must evolve from a writer’s intimate recollections of the past brought together with thoughtful reflections on those memories.And because understanding what makes a great essay requires that you read great essayists, this course also contains a treasure trove of selections from famous and lesser-known writers. You’ll be introduced to some of the greatest essayists of the ages who have pushed the limits of how essays are defined, including:Michel de Montaigne, whose 1580 collection Les Essais established the essay as a literary genreJoseph Addison and Sir Richard Steele, 18th-century British wits and protégées of Montaigne, who circulated their essays about manners and society in highly popular and somewhat scandalous periodicalsRalph Waldo Emerson, an American philosopher-poet, who wrote some of the first essays on nature and the environmentRainer Maria Rilke, an Austrian poet, who created intimate essays through personal letters, often on the topic of what it means to be an artistVirginia Woolf, an author who is widely considered one of the finest essayists of the 20th century, who wrote episodic pieces which have a dreamlike qualityMary McCarthy, an American author, critic, and political activist, who used essays to articulate sharply observant and often self-scrutinizing pointsYou’ll also sample contemporary essayists hailing from diverse backgrounds, such as Naomi Shihab Nye, Annie Dillard, Joan Didion, Barbara Kingsolver, David Sedaris, and Maya Angelou. In addition, you’ll have the unique opportunity to dig into the process of essay writing by looking at drafts of works in progress, including some from Professor Cognard-Black’s own students. Finally, each chapter will give you a chance to put into practice everything you’ve just learned.The Right and Wrong Ways to WriteAs you attempt to start writing your own essay, looking at a blank computer screen or piece of paper might be daunting. Professor Cognard-Black invites you to overcome this common stumbling block by considering that, unlike other forms of writing that are often strictly plotted or outlined, essays create their own forms as they go along. Aristotle called this process inventio or invention. This method means that you explore what the essay wants to say as you draft your piece. Rather than focusing on how precisely you want to form your thoughts into a specific structure on the page, you get to discover what happens as you get the raw material down—and this explosion of ideas and words becomes your first draft. As Professor Cognard-Black puts it, “The purpose of invention—of that first attempt to get your thoughts down on paper and give them a shape—is to explore and to discover what your essay wants to be about.”The process of invention is specific to each writer, and so with each essay, there’s a certain version of truth or memory that is created. But striving for the truth is essential. Sometimes that truth will reveal flaws in a precious idea or shine a light on the imperfect sides of humanity—people you know, people you care about, even members of your own family—but maintaining the intention of honesty will help you create and sustain a strong ethos or credibility. Keep in mind that your truth is only one version of events; each situation you write about contains many possible truths.Once the central purpose of each essay you write is clear, you then need a sense of direction as you revise. Opening sentences that preview the place, people, perspective, and purpose of your essays give your reader an invitation to join you on a journey into your chosen subject.While the essay is a very flexible form, there are mistakes that will weaken your writing, which Professor Cognard-Black explains in depth. Known to rhetorical theorists as logical fallacies, these potential pitfalls are easy to fall into and will ruin your essay’s credibility. They include:Faulty generalizations: when a writer makes a sweeping comment, reaches a decision based on too little evidence, or makes claims that are impossible to validateAd hominem arguments: its literal translation meaning “against the man,” this fallacy occurs when a writer attacks a person, rather than the idea under discussion, and occurs often in American popular culture and politicsAppeals to bandwagonism: when a writer attempts to win readers over to a specific opinion by claiming that it’s the most popular positionAnother factor to consider is the length of your essay. While essays don’t necessarily have length requirements, they do tend to cut to the chase. To keep your writing concise, clear, and to the point, Professor Cognard-Black recommends cutting everything you’ve written in half between the first and second draft. If your essay is 6,000 words, cut it to 3,000. Don’t discard the excess copy, but do revisit your edited version after a few days. You may be surprised at how often you don’t need that extra text.As you examine many types of essays, build a toolbox of abilities to help you polish and perfect your writing, and analyze samples of masterfully composed essays, you’ll find yourself exploring your own memories, opinions and stories in an entirely new way. The essay is, above all else, one of the most profoundly personal outlets for writing.While the goal of this course is to provide you with fundamental abilities that will improve your essays, the skills you will learn also provide a foundation to develop any writing project you undertake. Becoming a Great Essayist is an unrivalled opportunity to advance your critical and creative thinking skills, enhance your ability to master a strong and persuasive style, and most importantly, allow you to get to know your own inner voice.

    Scott Fitzgerald, was lured by the promise of Hollywood glamour to try his hand at screenwriting. He failed. His misadventure became a cautionary tale for aspiring screenwriters for decades. Meanwhile, Oscar-nominated scriptwriter John Milius, who penned the script for Apocalypse Now, once said that his job was “hackwork.” So which is it? Is writing for the screen a glamorous vocation or formulaic drudgery? Is it a difficult undertaking that can sink a great novelist at the height of his career, or simply another boring day job that requires minimal skill?

    Introduction 2. The Sources 3. Pre-Roman Italy and the Etruscans 4. The Foundation of Rome 5. The Kings of Rome 6. Regal Society 7. The Beginnings of the Republic 8. The Struggle of the Orders 9. Roman Expansion in Italy 10. The Roman Confederation in Italy 11. The International Scene on the Eve of Roman Expansion 12. Carthage and the First Punic War 13. The Second Punic (or Hannibalic) War 14. Rome in the Eastern Mediterranean 15. Explaining the Rise of the Roman Empire 16. "The Captured Conqueror"-Rome and Hellenism 17. Governing the Roman Republic, Part I-Senate and Magistrates 18. Governing the Roman Republic, Part II-Popular Assemblies and Provincial Administration 19. The Pressures of Empire 20. The Gracchi Brothers 21. Marius and Sulla 22. "The Royal Rule of Sulla" 23. Sulla's Reforms Undone 24. Pompey and Crassus 25. The First Triumvirate 26. Pompey and Caesar 27. "The Domination of Caesar" 28. Social and Cultural Life in the Late Republic 29. Antony and Octavian 30. The Second Triumvirate 31. Octavian Emerges Supreme 32. The New Order of Augustus 33. The Imperial Succession 34. The Julio-Claudian Dynasty 35. The Emperor in the Roman World 36. The Third-Century Crisis 37. The Shape of Roman Society 38. Roman Slavery 39. The Family 40. Women in Roman Society 41. An Empire of Cities 42. Public Entertainment, Part I-The Roman Baths and Chariot Racing 43. Public Entertainment, Part II-Gladiatorial Games 44. Roman Paganism 45. The Rise of Christianity 46. The Restoration of Order 47. Constantine and the Late Empire 48. Thoughts on the "Fall" of the Roman Empire

    Introducing Argumentation and Rhetoric History of Argumentation Studies Formal and Informal Argument The Emergence of Controversy Resolutions and Issues Stasis The Focal Point of Dispute Presumption and Burden of Proof Argument Analysis and Diagramming Claims and Evidence Reasoning from Parts to Whole Moving from Cause to Effect Establishing Correlations Analogy, Narrative, and Form What Makes a Sound Argument? Fallacies in Reasoning Validity and Fallacies Reconsidered Assembling a Case Attack and Defense I Attack and Defense II Language and Style in Argumentation Arguments between Friends Arguments among Experts Public Argument and Democratic Life The Ends of Argumentation

    Classic stories and poems of American literature are found in the pages of Franklin, Emerson, Thoreau, Hawthorne, Melville, Dickinson, Twain, Whitman, Faulkner, James, Eliot, Fitzgerald, Hemingway, Steinbeck, Morrison, and many others. As Professor Arnold Weinstein reminds us: "American classics are wonderfully rich fare. America is a mythic land, a place with a sense of its own destiny and promise, a place that has experienced bloody wars to achieve that destiny. The events of American history shine forth in our classics." When was the last time you read them? Possibly not as recently as you'd like. Why? Not because you wouldn't love it. But perhaps the demands of your daily life or some other reason have prevented this pleasure. Now, here is the opportunity to gain an extraordinary familiarity with each of these authors within a manageable amount of time, as well as review the great works you may already know. What Explains Greatness? These works are both American and classics. The course has been crafted to explain why some works become classics while others do not, why some "immortal" works fade from our attention completely, and even why some contemporary works now being ignored or snubbed by critics may be considered immortal one day. One memorable work at a time, you'll see how each of these masterpieces shares the uncompromising uniqueness that invariably marks the entire American literary canon. From Sleepy Hollow to The Great Gatsby, Professor Weinstein contends that the literary canon lives, grows, and changes. What links these writers to each other—and to us readers today—is the awareness that the past lives and changes as generations of writers and readers step forward to interpret it anew. The course was born from Professor Weinstein's conviction that American literature is our "great estate," and that claiming this rightful inheritance—the living past and the lessons we can take from it—should be nothing less than a unique and joyous learning experience. Experience Two Centuries of America's Greatest Works Professor Weinstein explains that America's classic works should be savored as part of our inner landscape: part of how we see both America and ourselves. He leads you through more than two centuries of the best writers America has yet produced, bringing out the beauty of their language, the excitement of their stories, and the value in what they say about life, power, love, adventure, and what it means, in every sense, to be American. Perhaps you recall: --Melville's prowling Ahab, on the search for Moby Dick, and the power of the "grand, ungodly, Godlike man" --The quiet diner in The Grapes of Wrath and the pain of one of John Steinbeck's "Okies" trying to purchase a dime's worth of bread. --The parlor in Long Day's Journey Into Night and the lifetime of tension in a simple request to a father that he turn on the lights. Rip Van Winkle falls asleep for 25 years for some mysterious reason—but what exactly was it? Why did Emerson believe in self-reliance, and why do we? Twain, our first media celebrity, tells stories that have an inkling of Peter Pan: Tom Sawyer never does grow up. But Huck Finn must grow up to face the racism of the South and get past his own polluted conscience—can he do it? James brings American innocents to Europe for them to inherit the world—but do they? Discover the Stories behind America's Immortal Writers Consider that: --Emily Dickinson was virtually unheard of in her own time. --William Faulkner's books were out of print until the mid-1940s. --F. Scott Fitzgerald died believing he had been forgotten. Readers of their times would be astounded if they knew the immortality these writers achieved, just as we are astounded that they once were overlooked. Most of us don't know that when Walt Whitman self-published Leaves of Grass—seemingly in answer to Ralph Waldo Emerson's memorable wish for the poet America deserved—he sent a copy to Emerson, America's most revered man of letters. When Emerson replied in extraordinarily flattering terms, Whitman published his letter, virtually forcing the new poet's acceptance by a literati that would might have preferred to flee from Whitman's startlingly new, often sexual, poetry. Perhaps you share the common picture of Emily Dickinson: a passive, gentle, reclusive spinster content in her father's Amherst, Massachusetts, home. If so, allow Professor Weinstein to introduce you to her friend, clergyman and author Thomas Wentworth Higginson, who said of "gentle" Emily: "I never was with anyone who drained my nerve power so much. Without touching her, she drew from me. I am glad not to live near her." Through this course, you will learn to: --Explain the roles of self-reliance and the "self-made man" in the evolution of American literature --Identify the tenets of American Romanticism --Describe the evolution of the American ghost story, from Poe and Hawthorne to James and Morrison --Outline the epic strain in American literature, from Melville and Whitman to Faulkner and Ellison --Explain the importance of slavery as a critical subject for Stowe, Twain, Faulkner, and Morrison --Summarize perspectives on nature revealed in poets Whitman, Dickinson, Frost, and Eliot --Identify the tenets of Modernism in the work of Eliot, Fitzgerald, Hemingway, and Faulkner --Identify the contributions of O'Neill, Miller, and Williams to American theater --Summarize the threads of the complex relationship between America's great writers and the past. Savor the Joy of Great ReadingDr. Weinstein is the Edna and Richard Salomon Distinguished Professor at Brown University, where he has been teaching literature to packed classrooms since 1968. Brown University student course evaluation summaries reported: "By far, students' greatest lament was that they only got to listen to Professor Weinstein once a week." One customer writes: "Professor Weinstein is inspiring. Not only am I enjoying these lectures, but I am also rereading these wonderful classics and having a wonderful time." The course will lead you to read or reread masterpieces that intrigue you most. And with the deeper understanding you gain from the lectures, you will likely experience such joy from great reading that you may wonder why you have spent so much time on contemporary books. The 84 carefully crafted lectures in this course, each 30 minutes long, are your royal road to recapturing the American experience—and our intellectual and cultural heritage. Just review the lecture titles. All of this can be yours, and the journey will be as rewarding as the arrival.

    A best-selling author himself, winner of the International Thriller Writers Award and the Christy Award for Suspense, plus the author of the number-one best seller for writers, Mr. Bell has been teaching the principles of best-selling fiction for over 20 years, principles that apply to any genre or style.In the 24 lectures of How to Write Best-Selling Fiction, Mr. Bell provides a comprehensive, eye-opening, and illuminating survey of the entire writing process, as well as a full breakdown of how dozens of best-selling authors have implemented these best practices in their own writing. Any aspiring author will gain a wealth of tools that that will not only improve their ability to write, but will also increase their enjoyment of the craft.Great ExpectationsDo you have a best seller in you? Mr. Bell believes you do. But tapping into your creativity isn’t always easy. When best-selling authors such as Stephen King, Michael Crichton, or Janet Evanovich deliver success after success, it can appear as if creating worlds where ghost-infested hotels drive people mad is something that some writers can just … do. We all have creativity in us, but sometimes we need help getting in touch with it. Mr. Bell gets you started by offering several fun, challenging, and mind-expanding exercises that help you flex and develop your creative muscle. Grab a pen and give these a try:What-If Moments: We all have crazy what-if thoughts that cross our minds from time to time. Likely, most of us simply just laugh them off. Try making the most of what-if moments. The next time you wonder, “What if this plant I’m looking at suddenly started talking to me?”—roll with it. What would it say? Would you talk back or run away? There is a story here. Weird Job Situations: Giving people insight into the daily life that only a few select people could provide can be a fascinating read. And putting your characters in jobs with tremendous tension helps keep your reader on edge. What does a day in the life of a bomb disposal technician look like? How does this person deal with facing death on a regular basis? Would she try to find love and start a family? There is a story here. Hear the Headlines: But don’t go much further than the headlines. Work with just a limited amount of information and use your imagination to fill in the details. “Scientists Discover New Fish That Walks on Land.” What would that look like? Do you go fishing or hunting? There is a story here. The First-Line Game. As Mr. Bell points out throughout the course, the first sentence of a novel is one of the most important. One good line can not only hook your reader into buying the book, it can hook you into a story you never imagined. Experiment with fun, funny, weird, cool, intriguing first lines and see where they take you. “Today I learned you should never travel to Jupiter without an extra pair of underpants.” Who is going to Jupiter? Why underpants? Wait, WHAT? There is a story here. Don’t get caught up in the realities of our world, the illogic of your ideas, or the fear that someone might laugh. Audiences are eager to suspend their disbelief for a world that captures their imagination. It’s just like Field of Dreams claimed: “If you build it, they will come.” Remember, at some point, Michael Crichton wondered, “What if a mosquito that was stuck in a rock resulted in an amusement park full of real-life dinosaurs? There is a story here…” LOCK and KeySo, now you’ve got an idea—or a couple dozen. What next?Mr. Bell demonstrates how famous writers such as Harper Lee, Michael Connelly, Jim Butcher, Margaret Mitchell, David Baldacci, John Grisham, Suzanne Collins, and dozens more apply time-tested best practices to their writing. But even more valuable, he reveals his own secrets and methods for developing page-turning books that readers can’t get enough of.His helpful LOCK system provides the structure you need to create an engaging story:L - Lead: Your protagonist can be:positive—the hero, someone who embodies moral codes of a community, someone who readers root for;negative—does not adhere to the moral code, we root for them to change or to get their just desserts; or ananti-hero—has own morals, usually dragged into a community kicking and screaming. You want to bond your reader to your lead by putting them in a terrible situation, a hardship, or inner conflict to evoke sympathy or empathy.O - Objective: Your lead has a mission: to get something or get away from something.C - Confrontation: Ramp up engagement by pitting opposition and/or outside forces against the lead accomplishing his or her objective.K - Knockout: Give your reader a satisfying conclusion that resonates. There are five fundamental endings to best sellers. You will probably recognize them from movies and television shows as well:Lead wins, gains objective;Lead loses, missing objective;Lead loses objective, gains something else of value;Lead wins objective, loses something of value; orOpen/ambiguous ending.Once you’ve locked in your LOCK, you have the start of a best seller. The Sense of an EndingHow to Write Best-Selling Fiction is jam-packed with techniques to help bring power to your plot, charisma to your characters, drama to your dialogue, and vitality to your voice. Even for the “pantster” writers—those who reject the planning and plotting approach to writing a book—this course is chock-full of tips for charts, exercises, shortcuts, diagrams, and grids that help you to organize your story, keep your characters unique, and ensure you meet all the fundamental points that a best-selling novel requires. You will walk away with a toolkit of methods to create stories that feel realistic and that resonate with your readers. And no matter what type of writer you are, these insights will take your writing to the next level, with concepts you may not have considered.For example: the last chapter. Many writers get to that pivotal point and just breathe a sigh of relief as they try to tie up all the loose ends. But as you round the corner of bringing all the pieces together in your ending chapter, Mr. Bell underlines the importance of not underestimating the ending, making sure you have the “Knockout” of the LOCK system. As Mickey Spillane noted, “The first chapter sells the book. The last chapter sells the next book.” Mr. Bell has already provided you with masterful means to get your reader hooked with the first chapter—and potentially the very first line! And now, he reveals five strategies that will help you finish your book in a way that gets your reader craving your next title.The CorrectionsAhhh, the revising and editing stage of your book. This process is where so many potential writers fall off the rails. Because there is no denying it: It’s hardto find fault in your baby. As Mr. Bell puts it, to be successful you must “write like you’re in love, edit like you’re in charge.”Revisions are extremely important and take a lot of discipline. Mr. Bell introduces you to the two most important rules of writing and then his own corollary to those rules. Looking at the practices of famous writers such as Robert Crais, Lawrence Block, Dean Koontz, Ridley Pearson, and more, Mr. Bell offers a treasure trove of insights for this important stage.He gives you suggestions for creating a revision schedule versus revising as you go, and tells you why it’s imperative that you take a cooling-off period before you take a first pass. Discover tricks for helping you to re-read your own work with fresh eyes. Learn shortcuts for marking places you need to come back to so you can read your book straight through. Mr. Bell provides you a valuable list of questions to ask yourself as you read, a list of reminders to check off as you read, and tricks to ensure you are not overusing words or terms. If you consider using outside readers, he also offers a list of questions and points that you can ask them to be aware of so you receive constructive feedback—because your mom will always love your book. He also gives you advice regarding the use of a professional editor. Finally, he offers a wealth of tips about polishing your second draft.EducatedOnce your book is done, Mr. Bell doesn’t just leave you on a cliffhanger. He gives you a final series of lectures that cover the pros and cons of using an agent; a breakdown of the query, synopsis, and sample chapter; the benefits and pitfalls of self-publishing; and more. After the 24 lectures of How to Write Best-Selling Fiction, you’ll feel empowered to take your finished novel in whichever direction you feel most comfortable with, whether it’s using an agent or self-publishing.The famous writer Somerset Maugham once said, “There are three rules for writing a novel. Unfortunately, no one knows what they are.” And maybe no one knows the “rules,” but there are writing techniques, practices, and fundamentals that writers have used for decades to become best-selling authors. And as Picasso proved, once you master those fundamentals, you can then create your own rules. With How to Write Best-Selling Fiction, you get an intimate introduction to the fundamentals of how to write your best seller, from a best-selling author who has mastered the secrets to success.Now get writing.

    Explore the mythologies of Europe, the Americas, Asia, Africa, and the Middle East. Learn what makes these stories so important, distinctive, and able to withstand the test of time. Discover how, despite geographical implausibilities, many myths from across the oceans share themes, morals, and archetypes.Listening Length: 31 hours and 35 minutes

    And it has an undeniable power to move us in ways that enrich our lives - provided it is understood.If you have ever longed to appreciate great concert music, to learn its glorious language and share in its sublime pleasures, the way is now open to you, through this series of 48 wonderful lectures designed to make music accessible to everyone who yearns to know it, regardless of prior training or knowledge. It's a lecture series that will enable you to first grasp music's forms, techniques, and terms - the grammatical elements that make you fluent in its language - and then use that newfound fluency to finally hear and understand what the greatest composers in history are actually saying to us.And as you learn the gifts given us by nearly every major composer, you'll come to know there is one we share with each of them - a common humanity that lets us finally understand that these were simply people speaking to us, sharing their passion and wanting desperately to be heard. Using digitally recorded musical passages to illustrate his points, Professor Greenberg will take you inside magnificent compositions by Bach, Handel, Haydn, Mozart, Beethoven, Chopin, Verdi, Wagner, Brahms, Tchaikovsky, Stravinsky, and more. Even if you have listened to many of these illustrative pieces throughout your life - as so many of us have - you will never hear them the same way again after experiencing these lectures.

    As the always clear and direct Stein explains here, This is not a book of theory. It is a book of usable solutions--how to fix writing that is flawed, how to improve writing that is good, how to create interesting writing in the first place. With examples from bestsellers as well as from students' drafts, Stein offers detailed sections on characterization, dialogue, pacing, flashbacks, trimming away flabby wording, the so-called triage method of revision, using the techniques of fiction to enliven nonfiction, and more.

    It is the best and most successful guide to reading comprehension for the general reader. And now it has been completely rewritten and updated. You are told about the various levels of reading and how to achieve them – from elementary reading, through systematic skimming and inspectional reading, to speed reading, you learn how to pigeonhole a book, X-ray it, extract the author's message, criticize. You are taught the different reading techniques for reading practical books, imaginative literature, plays, poetry, history, science and mathematics, philosophy and social science. Finally, the authors offer a recommended reading list and supply reading tests whereby you can measure your own progress in reading skills, comprehension and speed.This a previously-published edition of ISBN 9780671212094

    Who are we as a society? Who do we want to be? Who are we afraid we might become? When these questions are framed in the speculative versions of Heaven and Hell on earth, you won't find easy answers, but you will find tremendously insightful and often entertaining perspectives.Utopian and dystopian writing sits at the crossroads of literature and other important academic disciplines such as philosophy, history, psychology, politics, and sociology. It serves as a useful tool to discuss our present condition and future prospects - to imagine a better tomorrow and warn of dangerous possibilities. To examine the future of mankind through detailed and fascinating stories that highlight and exploit our anxieties in adventurous, thought-provoking, and engaging ways. From Thomas More's foundational text Utopia published in 1516 to the 21st-century phenomenon of The Hunger Games, dive into stories that seek to find the best - and the worst - in humanity, with the hope of better understanding ourselves and the world. Great Utopian and Dystopian Works of Literature delivers 24 illuminating lectures, led by Pamela Bedore, Associate Professor of English at the University of Connecticut, which plunge you into the history and development of utopian ideas and their dystopian counterparts. You'll encounter some of the most powerful and influential texts in this genre as you travel centuries into the past and thousands of years into the future, through worlds that are beautiful, laughable, terrifying, and always thought-provoking.

    These icons of science fiction are now in our daily news. Science fiction, once maligned as mere pulp, has motivated cutting-edge scientific research, inspired new technologies, and changed how we view everyday life - and its themes and questions permeate popular culture. Take an unparalleled look at the influence, history, and greatest works of science fiction with illuminating insights and fascinating facts about this wide-ranging genre. If you think science fiction doesn't have anything to do with you, this course deserves your attention. And if you love science fiction, you can't miss this opportunity to trace the arc of science fiction's evolution, understand the hallmarks of great science fiction, and delve deeply into classics while finding some new favorites.These 24 captivating lectures reveal the qualities that make science fiction an enduring phenomenon that has been steadily gaining popularity. You'll grasp the context and achievements of authors like Arthur C. Clarke, H.G. Wells, Isaac Asimov, Ursula K. LeGuin, and many more. You'll experience the wonder, horror, and incredible imagination of works like Frankenstein, the Foundation series, Stranger in a Strange Land, and dozens of more recent stories as well. You'll also see this genre's influence in movies like Star Wars and TV shows like The Twilight Zone.Science fiction can take us places in time and space where no other form of fiction can - outer space, the far future, alternate universes, unfathomable civilizations. The best science fiction expands our imaginations and makes its mark on our reality. And while few writers would ever claim to predict the future, sometimes authors get it almost eerily right: Gernsback describing radar in 1911, Bradbury describing giant flatscreen TVs in 1951, Gibson inventing "cyberspace" in 1984, and so on.

    The heart of this accessible series is a thorough examination of decision making at three key levels. First, you'll look at decisions made at the individual level, where, among the many things you'll learn is that intuition is more than just a gut instinct and, in fact, represents a powerful pattern recognition capability. Then, you'll explore decisions made at the group level, where you'll try to answer the question of whether groups are "smarter" and more capable of making critical decisions than individuals. And finally, you'll pull back to analyze organizational decision making, in which Professor Roberto demonstrates how some organizations have encouraged and reliably performed vigilant decision making in the face of risky scenarios. Whether you're the head of a Fortune 500 company, a government agency, or an everyday household, you constantly make decisions important to you and those immediately around you. These lectures offer you a toolbox of practical knowledge and skills that you can apply to various decisions - whether large or small - in your everyday life and work. Professor Roberto's lively lectures are packed with useful anecdotes, tools, and advice designed to improve your own ability to make informed decisions. As you explore the intriguing process of making a good decision, you'll strengthen your grip on individual theories of decision making and the situations that illustrate them. Disclaimer: Please note that this recording may include references to supplemental texts or print references that are not essential to the program and not supplied with your purchase.©2009 The Teaching Company, LLC (P)2009 The Great Courses

    Robinson Crusoe. Harry Potter. What do these memorable characters have in common? Why do we turn to certain stories again and again? And what impact have they made on world history? These 24 eye-opening lectures give fresh insight into some of the greatest heroes in world literature, from warriors such as Beowulf and Odysseus to unexpected heroes such as Uncle Tom and Sancho Panza.Professor Shippey gives you an inside glimpse into the writer's process. Learn how authors "write into the gap" to flesh out-or, in some cases, reimagine altogether-old stories, making them new for new readerships with different values. By examining what makes these heroes such compelling characters, you'll see how they provide a window to better understand ourselves.From the beginnings of world literature through today's bestsellers, look at what makes characters successful-and how they reflect our changing cultural mores. For instance, after the horrors of global war in the 20th century, the world was waiting for a hero like Frodo Baggins, J.R.R. Tolkien's meek hobbit hero, someone called to duty rather than born strong and fearless.You'll also examine ways that great heroes have changed the course of history, defining nations and redefining our sense of self and our relationships. From the mythical journey of Aeneas to Jane Austen's country dances, you'll survey a wealth of memorable stories and consider why such heroes were necessary-and how they continue to influence our lives today.

    Bad arguments, fallacious reasoning, misleading language, and built-in cognitive biases are all traps that keep us from rational decision making-to say nothing of advertisers and politicians who want to convince us with half-truths and empty rhetoric. The Philosopher's Toolkit: How to Be the Most Rational Person in Any Room offers the skills to do just that. Taught by award-winning Professor Patrick Grim of the State University of New York at Stony Brook, this applied philosophy course arms you against the perils of bad thinking and supplies you with an arsenal of strategies to help you be more creative, logical, inventive, realistic, and rational in all aspects of your daily life, from the office to the voting booth.