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Middle school students work together through 61 Cooperative Learning Activities to complete creative assignments in small or large groups. These fun activities stimulate critical thinking and writing skills. Perfect for small or large groups 61 activities in 5 units: All About You, All About School, All About the Past and Present, All About the Mass Media, and All About This, All About That Support material includes detailed lesson plans, student directions, and step-by-step guidance See other Cooperative Learning Activities titles
This fiction-editing guide shows authors and editors how to recognize shown and told prose, and avoid unnecessary exposition. Louise Harnby, a fiction editor, writer and course developer, teaches you how to identify stylistic problems and craft solutions that weave showing and telling together, and understand why there's no place for 'don't tell' in strong writing. Topics include: Shown and told prose in different scenarios; the relevance of viewpoint; when exposition serves story and deepens character; and tools that help writers add texture.
Co-authored by a novelist and a scholar, Speaking of Writing follows four college students from diverse backgrounds as they face the challenges of reading, writing, and critical thinking in first-year composition classes and across the disciplines. Each chapter engages students in relatable, often humorous scenarios that focus on key challenges. Through its story-based approach, this brief rhetoric enacts process-based pedagogy, showing student writers grappling with fundamental questions: How can I apply my own strategies for success to new assignments? How can I maintain my own voice when asked to compose in an academic style? What do college professors mean by a thesis? Why is my argument weak, and how can I make it stronger? The book vividly dramatizes a draft-and-revision process that includes instructor feedback, peer review, and careful research.
THE RHETORICAL ACT: THINKING, SPEAKING AND WRITING CRITICALLY, Fourth Edition, teaches liberal arts students how to craft and critique rhetorical messages that influence, inviting and enabling them to become articulate rhetors and critics of their symbolic universe. The new edition maintains a traditional humanistic approach to rhetoric, while extending the scope and relevance of the text. THE RHETORICAL ACT reaffirms the ancient Aristotelian and Ciceronian relationships between art and practice -- one cannot master rhetorical skills without an understanding of the theory on which such skills are based. The text combines thorough coverage of rhetorical criticism, media literacy, and strategic public speaking, providing a solid grounding in essential concepts while helping students hone their skills in each area. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
Until recently, the history of debates about language and thought has been a history of thinking of language in the singular. The purpose of this volume is to reverse this trend and to begin unlocking the mysteries surrounding thinking and speaking in bi- and multilingual speakers. If languages influence the way we think, what happens to those who speak more than one language? And if they do not, how can we explain the difficulties second language learners experience in mapping new words and structures onto real-world referents? The contributors to this volume put forth a novel approach to second language learning, presenting it as a process that involves conceptual development and restructuring, and not simply the mapping of new forms onto pre-existing meanings.
Why you need a writing revolution in your classroom and how to lead it The Writing Revolution (TWR) provides a clear method of instruction that you can use no matter what subject or grade level you teach. The model, also known as The Hochman Method, has demonstrated, over and over, that it can turn weak writers into strong communicators by focusing on specific techniques that match their needs and by providing them with targeted feedback. Insurmountable as the challenges faced by many students may seem, The Writing Revolution can make a dramatic difference. And the method does more than improve writing skills. It also helps: Boost reading comprehension Improve organizational and study skills Enhance speaking abilities Develop analytical capabilities The Writing Revolution is as much a method of teaching content as it is a method of teaching writing. There's no separate writing block and no separate writing curriculum. Instead, teachers of all subjects adapt the TWR strategies and activities to their current curriculum and weave them into their content instruction. But perhaps what's most revolutionary about the TWR method is that it takes the mystery out of learning to write well. It breaks the writing process down into manageable chunks and then has students practice the chunks they need, repeatedly, while also learning content.
"A vigorous case for the virtues of old-fashioned literary criticism."--New York Times Book Review In his first book, Agitations: Essays on Life and Literature, which was heralded by such diverse critics as Jacques Barzun and Morris Dickstein, Arthur Krystal demonstrated that the literary essay is alive and well. Conversational in tone, but capable of addressing the political and semiotic methods adopted by the academy, Krystal's clear and allusive style constituted a reprimand to the fashionable idea that literature is the theorists' domain. His new book, The Half-Life of an American Essayist, continues to demonstrate that the literary essay in the right hands can itself be a subset of literature. Whether he's examining the evolution of the typewriter, the nature of sin, the cultural implications of physiognomy, the works of Paul Valery and Raymond Chandler, or his own ineffable laziness, Krystal's buoyant prose always speaks to the common reader. The twelve essays in Half-Life--the title is from Goethe's "Experience is only half of experience"--go deeper than the standard book piece; they hew to the line first drawn by Montaigne and later extended by Dr. Johnson, Hazlitt, Woolf, and Orwell. Although there may be no preordained way of writing about literature, Krystal takes his cue from Edwin Denby, who maintained that the first duty of the critic is to be "interesting." No matter how large the subject--whether it is the history of boxing or the growth of the Holocaust industry, Krystal paints broad subjects with precise brushstrokes. Erudite, lettristic, and informative, his essays are still accessible to the general reader. The reason is simple: as Dr. Johnson noted, "What is written without effort is in general read without pleasure." To this one might add that there is satisfaction to be had in the effort itself. How else could one write as committedly and entertainingly about Paul Valery's Cahiers as about Joe Louis's left jab?