...Count: 914 “Introduction to Poetry” Analysis “Introduction to Poetry” by Billy Collins is a poem which uses an ample amount of imagery, words with connotations, and personification. Born in 1941, Billy Collins has since his time, been personified as the poet of poets, and has placed himself in the higher realm of fine poetry (“Billy Collins”). Collins’ poetry reaches beyond the common knowledge of poetry by stretching the general meanings of the English language and by forcing the mind to delve deeper to discover the true meanings of his works. Billy Collins undoubtedly withstands the title of a true poet. Above all, possibly being one of Collins’ most puzzling works of poetry to interpret is his “Introduction to Poetry”. Being one of his most recognized works, his poem is a perfect example of how he skillfully imbeds his feelings and meaning into his poems by painting numerable pictures and inserting small metaphors in which carry an unbearable amount of meaning. Upon initial reading, the meaning of this poem is unexplainable. What does Collins mean by his poem? Is it a teacher addressing his students on how to analyze a poem? By incorporating his use of imagery and other techniques, Collins guides the reader through the interpretation of his poem. There are many small messages in the poem, many of which Collins tells the reader what the poem means to the mind. In others he tells the reader how to treat the poem and how to find its message...
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...Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching...
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...Е. Є. Мінцис О. В. Карбашевська Ю. Б. Мінцис A COMMONSENSE GUIDE TO ANALYTICAL READING AND TEXT INTERPRETATION МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ ПРИКАРПАТСЬКИЙ НАЦІОНАЛЬНИЙ УНІВЕРСИТЕТ ІМЕНІ ВАСИЛЯ СТЕФАНИКА Е. Є. Мінцис О. В. Карбашевська Ю. Б. Мінцис A COMMONSENSE GUIDE TO ANALYTICAL READING AND TEXT INTERPRETATION Навчально-методичний посібник із аналітичного читання та інтерпретації тексту для студентів третього курсу англійського відділення стаціонарної та заочної форми навчання Івано-Франківськ 2009 УДК ББК 81.2 Англ.- М- 62 К- 21 Мінцис Е. Є., Карбашевська О. В., Мінцис Ю. Б. A Commonsense Guide to Analytical Reading and Text Interpretation. Навчально-методичний посібник із аналітичного читання та інтерпретації тексту. – Івано-Франківськ, 2009. – с. Друкується за ухвалою Вченої ради факультету іноземних мов Прикарпатського національного університету Імені Василя Стефаника (протокол № 9 від 26 червня 2008 року) Укладачі: Мінцис Е. Є., старший викладач кафедри англійської філології факультету іноземних мов Прикарпатського національного університету імені Василя Стефаника Карбашевська О.В., аспірант кафедри світової літератури Прикарпатського національного університету імені Василя Стефаника Мінцис Ю. Б., аспірант кафедри англійської філології факультету іноземних мов Прикарпатського національного університету...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own opinions as well as to your reader, your prose will be lifeless and boring. If you don’t care about your subject, you can’t very well expect anyone else to. Have confidence that your ideas are worthwhile and that your reader genuinely...
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...Fourth Edition Reframing Organizations Artistry, Choice, and Leadership LEE G. BOLMAN TERRENCE E. DEAL B est- se l l i n g a u t h o rs of LEADING WITH SOUL FOURTH EDITION Reframing Organizations Artistry, Choice, and Leadership Lee G. Bolman • Terrence E. Deal Copyright © 2008 by John Wiley & Sons, Inc. All rights reserved. Published by Jossey-Bass A Wiley Imprint 989 Market Street, San Francisco, CA 94103-1741—www.josseybass.com No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-6468600, or on the Web at www.copyright.com. Requests to the publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-7486011, fax 201-748-6008, or online at www.wiley.com/go/permissions. Credits are on page 528. Readers should be aware that Internet Web sites offered as citations and/or sources for further information may have changed or disappeared between the time this was written and when it is read. Limit of Liability/Disclaimer...
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...Copyediting & Proofreading FOR DUMmIES by Suzanne Gilad ‰ Copyediting & Proofreading For Dummies® Published by Wiley Publishing, Inc. 111 River St. Hoboken, NJ 07030-5774 www.wiley.com Copyright © 2007 by Wiley Publishing, Inc., Indianapolis, Indiana Published by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317-572-3447, fax 317-572-4355, or online at http://www.wiley.com/go/permissions. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com, and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc., and/or its affiliates in the United States and other countries, and may not be used without written permission. All...
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...immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you do know some SAT-type words, but also it may well help you on the actual day of the test. These words have turned up on recent tests; some of them may well turn up on the test you take. The more you study actual SAT critical reading questions, the more you realize one thing: the key to doing well on the critical reading portions of SAT is a strong working vocabulary of college-level words....
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...1 CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI Chapter XVIII CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX CHAPTER XXXI The Art of Public Speaking BY 2 The Art of Public Speaking BY J. BERG ESENWEIN AUTHOR OF "HOW TO ATTRACT AND HOLD AN AUDIENCE," "WRITING THE SHORT-STORY," "WRITING THE PHOTOPLAY," ETC., ETC., AND DALE CARNAGEY PROFESSOR OF PUBLIC SPEAKING, BALTIMORE SCHOOL OF COMMERCE AND FINANCE; INSTRUCTOR IN PUBLIC SPEAKING, Y.M.C.A. SCHOOLS, NEW YORK, BROOKLYN, BALTIMORE, AND PHILADELPHIA, AND THE NEW YORK CITY CHAPTER, AMERICAN INSTITUTE OF BANKING THE WRITER'S LIBRARY EDITED BY J. BERG ESENWEIN THE HOME CORRESPONDENCE SCHOOL SPRINGFIELD, MASS. PUBLISHERS Copyright 1915 THE HOME CORRESPONDENCE SCHOOL ALL RIGHTS RESERVED TO F. ARTHUR METCALF FELLOW-WORKER AND FRIEND Table of Contents THINGS TO THINK OF FIRST--A FOREWORD * CHAPTER I--ACQUIRING CONFIDENCE BEFORE AN AUDIENCE * CHAPTER II--THE SIN OF MONOTONY DALE CARNAGEY * CHAPTER III--EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION * CHAPTER IV--EFFICIENCY THROUGH CHANGE OF PITCH * CHAPTER V--EFFICIENCY THROUGH CHANGE OF PACE * CHAPTER VI--PAUSE AND POWER * CHAPTER VII--EFFICIENCY THROUGH INFLECTION * CHAPTER VIII--CONCENTRATION IN DELIVERY...
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...Page Maryam Abdu Investigating Capital Structure Decisions and Its Effect on the Nigerian Capital Market 1 Norsuhaily Abu Bakar Rahimah Embong Ibrahim Mamat Ruzilawati Abu Bakar Idris Abd. Hamid Holistically Integraded Curriculum: Implications for Personality Development 16 Sandra Ajaps Geography Education in the Google age: A Case Study of Nsukka Local Government Area of Nigeria 30 Helen Afang Andow Impact of Banking Reforms on Service Delivery in the Nigerian Banking Sector 45 Billy Batlegang Green IT Curriculum: A Mechanism For Sustainable Development 59 Rozeta Biçaku-Çekrezi Student Perception of Classroom Management and Productive Techniques in Teaching 74 Thomas J.P.Brady Developing Digital Literacy in Teachers and Students 91 Lorenzo Cherubini Ontario (Canada) Education Provincial Policy: Aboriginal Student Learning 101 Jennifer Dahmen Natascha Compes Just Google It?! But at What Price? Teaching Pro-Environmental Behaviour for Smart and Energy-Efficient Use of Information and Communication Technologies 119 Marion Engin Senem Donanci Using iPads in a dialogic classroom: Mutually exclusive or naturally compatible? 132 Nahed Ghazzoul Teaching and Learning in the Age of 'Just Google it' 149 Saba A. Gheni Falah H. Hussein Teaching Against Culture of Terrorism in the Middle East 162 Jessica Gordon Bonnie Boaz Integrating Digital Media into Multimodal Compositions: Five Trends in the Transfer of Rhetorical Skills 173 Jeehee Han Public Opinion...
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...In memory of Amos Tversky Contents Introduction Part I. Two Systems 1. The Characters of the Story 2. Attention and Effort 3. The Lazy Controller 4. The Associative Machine 5. Cognitive Ease 6. Norms, Surprises, and Causes 7. A Machine for Jumping to Conclusions 8. How Judgments Happen 9. Answering an Easier Question Part II. Heuristics and Biases 10. The Law of Small Numbers 11. Anchors 12. The Science of Availability 13. Availability, Emotion, and Risk 14. Tom W’s Specialty 15. Linda: Less is More 16. Causes Trump Statistics 17. Regression to the Mean 18. Taming Intuitive Predictions Part III. Overconfidence 19. The Illusion of Understanding 20. The Illusion of Validity 21. Intuitions Vs. Formulas 22. Expert Intuition: When Can We Trust It? 23. The Outside View 24. The Engine of Capitalism Part IV. Choices 25. Bernoulli’s Errors 26. Prospect Theory 27. The Endowment Effect 28. Bad Events 29. The Fourfold Pattern 30. Rare Events 31. Risk Policies 32. Keeping Score 33. Reversals 34. Frames and Reality Part V. Two Selves 35. Two Selves 36. Life as a Story 37. Experienced Well-Being 38. Thinking About Life Conclusions Appendix Uncertainty A: Judgment Under Appendix B: Choices, Values, and Frames Acknowledgments Notes Index Introduction Every author, I suppose, has in mind a setting in which readers of his or her work could benefit from having read it. Mine is the proverbial office watercooler, where opinions are shared and gossip is exchanged. I...
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...MOTLEY CRUE How to Make Love Like a Porn Star WITH JENNA JAMESON Don't Try This at Home WITH DAVE NAVARRO THE GAME PENETRATING THE SECRET SOCIETY OF PICKUP ARTISTS Neil Strauss Regan Books An Imprint of Harper Collins Publishers Cover silhouettes are from the following fonts :Darrian's Sexy Silhouettes by © Darrian (http://westwood.fortunecity.com/cerruti/445/), Subeve by © Sub Communications (http://www.subtitude.com),NorpIcons 1 and Norp Icons 2 by © DJ Monkeyboy (http://www.djmonkeyboy.com). "The Randall Knife": Words and Music by Guy Clark © 1983 EMI APRIL MUSIC INC. and GSC MUSIC. All Rights Controlled and Administered by EMI APRIL MUSIC INC. All Rights Reserved. International Copyright Secured. Used by Permission. In order to protect the identity of some women and members of the community, the names and identifying characteristics of a small number of incidental characters in this book have been changed, and three minor characters are composites. THE GAME COPYRIGHT © 200 5 BY N E I L STRAUSS. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information, address HarperCollins Publishers Inc., 10 East 53rd Street, New York, NY 10022. HarperCollins books may be purchased for educational, business, or sales promotional use. For information...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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