The Language Of Composition
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|Author||: Renee H. Shea,Lawrence Scanlon,Megan Harowitz Pankiewicz,Robin Dissin Aufses|
For over a decade, The Language of Composition has been the most successful textbook written for the AP(R) English Language and Composition Course. Now, its esteemed author team is back, giving practical instruction geared toward training students to read and write at the college level. The textbook is organized in two parts: opening chapters that develop key rhetoric, argument, and synthesis skills; followed by thematic chapters comprised of the finest classic and contemporary nonfiction and visual texts. With engaging readings and reliable instruction, The Language of Composition gives every students the opportunity for success in AP(R) English Language. AP(R) is a trademark registered and/or owned by the College Board, which was not involved in the production of, and does not endorse, this product.
|Author||: Renee H. Shea,Lawrence Scanlon,Robin Dissin Aufses|
|Editor||: Bedford/St. Martin's|
The ideal book for the AP* English Language course. The Language of Composition is the first textbook built from the ground up to help students succeed in the new AP English Language course. Written by a team of experts with experience in both high school and college, this text focuses on teaching students the skills they need to read, write, and think at the college level. With practical advice on reading and writing and an extensive selection of readings — including essays, poetry, fiction, and visual texts that are both interesting and appropriate for a high school audience — The Language of Composition helps students develop the key skills they must master to pass the course, to succeed on the AP Exam, and to prepare for a successful college career. Need help with the audit? Click here to download an AP correlation.
|Author||: Bruce Horner,Min-Zhan Lu,Paul Kei Matsuda|
|Editor||: SIU Press|
Cross-Language Relations in Composition brings together the foremost scholars in the fields of composition, second language writing, education, and literacy studies to address the limitations of the tacit English-only policy prevalent in composition pedagogy and research and to suggest changes for the benefit of writing students and instructors throughout the United States. Recognizing the growing linguistic diversity of students and faculty, the ongoing changes in the English language as a result of globalization, and the increasingly blurred categories of native, foreign, and second language English speakers, editors Bruce Horner, Min-Zhan Lu, and Paul Kei Matsuda have compiled a groundbreaking anthology of essays that contest the dominance of English monolingualism in the study and teaching of composition and encourage the pursuit of approaches that embrace multilingualism and cross-language writing as the norm for teaching and research. The nine chapters comprising part 1 of the collection focus on the origins of the “English only” bias dominating U.S. composition classes and present alternative methods of teaching and research that challenge this monolingualism. In part 2, nine composition teachers and scholars representing a variety of theoretical, institutional, and professional perspectives propose new, compelling, and concrete ways to understand and teach composition to students of a “global,” plural English, a language evolving in a multilingual world. Drawing on recent theoretical work on genre, complexity, performance and identity, as well as postcolonialism, Cross-Language Relations in Composition offers a radically new approach to composition teaching and research, one that will prove invaluable to all who teach writing in today’s multilingual college classroom.
|Author||: Carol Jago,Renee H. Shea,Lawrence Scanlon,Robin Dissin Aufses|
|Editor||: Bedford/St. Martin's|
From Carol Jago and the authors of The Language of Composition comes the first textbook designed specifically for the AP* Literature and Composition course. Arranged thematically to foster critical thinking, Literature & Composition: Reading • Writing • Thinking offers a wide variety of classic and contemporary literature, plus all of the support students need to analyze it carefully and thoughtfully. The book is divided into two parts: the first part of the text teaches students the skills they need for success in an AP Literature course, and the second part is a collection of thematic chapters of literature with extensive apparatus and special features to help students read, analyze, and respond to literature at the college level. Only Literature & Composition has been built from the ground up to give AP students and teachers the materials and support they need to enjoy a successful and challenging AP Literature course. Use the navigation menu on the left to learn more about the selections and features in Literature & Composition: Reading • Writing • Thinking. *AP and Advanced Placement Program are registered trademarks of the College Entrance Examination Board, which was not involved in the publication of and does not endorse this product.
|Author||: Nancy Bou Ayash|
|Editor||: University Press of Colorado|
Toward Translingual Realities in Composition is a multiyear critical ethnographic study of first-year writing programs in Lebanon and Washington State—a country where English is not the sole language of instruction and a state in which English is entirely dominant—to examine the multiple and often contradictory natures, forces, and manifestations of language ideologies. The book is a practical, useful way of seriously engaging with alternative ways of thinking, doing, and learning academic English literacies. Translingualism work has concentrated on critiquing monolingual and multilingual notions of language, but it is only beginning to examine translingual enactments in writing programs and classrooms. Focusing on language representations and practices at both the macro and micro levels, author Nancy Bou Ayash places the study and teaching of university-level writing in the context of the globalization and pluralization of English(es) and other languages. Individual chapters feature various studies that Bou Ayash brings together to address how students act as agents in marshaling their language practices and resources and shows a deliberate translingual intervention that complicates and enriches students’ assumptions about language and writing. Her findings about writing programs, instructors, and students are detailed, multidimensional, and complex. A substantial contribution to growing translingual scholarship in the field of composition studies, Toward Translingual Realities in Composition offers insights into how writing teacher-scholars and writing program administrators can more productively intervene in local postmonolingual tensions and contradictions at the level of language representations and practices through actively and persistently reworking the design and enactment of their curricula, pedagogies, assessments, teacher training programs, and campus-wide partnerships.
|Author||: Gwen Gorzelsky|
|Editor||: University of Pittsburgh Pre|
Relying on Gestalt theory, this work describes the relationship between literacy and change in both personal and social situations. It presents historical and contemporary case studies, emphasizing the ways language interacts with perception.
|Author||: Aaron Hornkohl|
In Ancient Hebrew Periodization and the Language of the Book of Jeremiah, Aaron Hornkohl attempts to date this biblical work, both as a whole and according to the constituent layers of which it is apparently composed, on the basis of diachronic linguistic typology.
|Author||: Renee H. Shea,Lawrence Scanlon,Robin Dissin Aufses|
|Editor||: Bedford/st Martins|
|Author||: Dawn Hogue|
|Editor||: Research & Education Assoc.|
REA's AP English Language and Composition Crash Course is designed for the last-minute studier or any student who wants a quick refresher on the AP course. The Crash Course is based on the latest changes to the AP English Language and Composition course and exam and focuses only on the topics tested, so you can make the most of your study time.
|Author||: Professor Donald A McQuade|
A new revised and expanded version of the book that became an “underground classic” in the world of composition. The contributors report on significant research and theory in composition as well as methods of effectively teaching writing to the current generation of composition students. Included are essays by David Bartholomae, Ann Berthoff, Patricia Bizzell and Bruce Herzberg, Kenneth Bruffee, John Clifford, Robert Connors, Edward P. J. Corbett, Donald Daiker, Andrew Kerek and Max Morenberg, Frank D’Angelo, Robert Di Yanni, Lester Faigley, Donald Freeman, D. G. Kehl, James Kinneavy, Richard Larson, Elaine Maimon, Louis Milic, Ellen Nold, Sondra Perl and Arthur Egendorf, Sandra Schor, Judith Fishman Summerfield and Geoffrey Summerfield, Joseph Williams, Ross Winterowd, and Richard Young.
|Author||: Robert Connors|
|Editor||: University of Pittsburgh Pre|
Connors provides a history of composition and its pedagogical approaches to form, genre, and correctness. He shows where many of the today’s practices and assumptions about writing come from, and he translates what our techniques and theories of teaching have said over time about our attitudes toward students, language and life. Connors locates the beginning of a new rhetorical tradition in the mid-nineteenth century, and from there, he discusses the theoretical and pedagogical innovations of the last two centuries as the result of historical forces, social needs, and cultural shifts. This important book proves that American composition-rhetoric is a genuine, rhetorical tradition with its own evolving theria and praxis. As such it is an essential reference for all teachers of English and students of American education.
|Author||: Irene L. Clark|
Concepts in Composition: Theory and Practice in the Teaching of Writing is designed to foster reflection on how theory impacts practice, enabling prospective teachers to develop their own comprehensive and coherent conception of what writing is or should be and to consider how people learn to write. This approach allows readers to assume the dual role of both teacher and student as they enter the conversation of the discipline and become familiar with some of the critical issues. New to this second edition are: up-to-date primary source readings; a focus on collaborative writing practices and collaborative learning; additional assignments and classroom activities an emphasis on new media and information literacy and their impact on the teaching of writing These new directions will inform the content of this revision, reflecting significant advancements in the field. Each chapter addresses a particular theoretical concept relevant to classroom teaching and includes activities to help readers establish the connection between theoretical concepts and classroom lessons. Online resources include overviews, classroom handouts, exercises, a sample syllabus, and PowerPoint presentations. Bringing together scholars with expertise in particular areas of composition, this text will serve as an effective primer for students and eductors in the field of composition theory.
|Author||: Anne Wysocki|
|Editor||: University Press of Colorado|
As new media mature, the changes they bring to writing in college are many and suggest implications not only for the tools of writing, but also for the contexts, personae, and conventions of writing. An especially visible change has been the increase of visual elements-from typographic flexibility to the easy use and manipulation of color and images. Another would be in the scenes of writing-web sites, presentation "slides," email, online conferencing and coursework, even help files, all reflect non-traditional venues that new media have brought to writing. By one logic, we must reconsider traditional views even of what counts as writing; a database, for example, could be a new form of written work. The authors of Writing New Media bring these ideas and the changes they imply for writing instruction to the audience of rhetoric/composition scholars. Their aim is to expand the college writing teacher's understanding of new media and to help teachers prepare students to write effectively with new media beyond the classroom. Each chapter in the volume includes a lengthy discussion of rhetorical and technological background, and then follows with classroom-tested assignments from the authors' own teaching.
|Author||: Robin Dissin Aufses,Renee H. Shea,Lawrence Scanlon|
|Editor||: Macmillan Higher Education|
Teachers have struggled for years to balance the competing demands of American Literature and AP English Language. Now, the team that brought you the bestselling Language of Composition is here to help. Conversations in American Literature: Language ∙ Rhetoric ∙ Culture is a new kind of American Literature anthology—putting nonfiction on equal footing with the traditional fiction and poetry, and emphasizing the skills of rhetoric, close reading, argument, and synthesis. To spark critical thinking, the book includes TalkBack pairings and synthesis Conversations that let students explore how issues and texts from the past continue to impact the present. Whether you’re teaching AP English Language, or gearing up for Common Core, Conversations in American Literature will help you revolutionize the way American literature is taught.
|Author||: James D. Williams|
The LEA Guide to Composition is firmly based on research into how people learn to write and draws on the most significant strategies and techniques in composition studies. But this text is not just about the act of writing. It is about using writing as a vehicle for learning--about the world, about the academy, about oneself. The focus is on writing as a means of interpretation. The emphasis throughout is on encouraging reflection and developing critical thinking skills. Although the text suggests ways of teaching that reflect knowledge about how people most easily learn to become competent writers, it is specifically designed to allow for numerous approaches to teaching composition. Instructors will value this flexibility. This text is finely tuned to the needs and interests of today's composition students and teachers. Classroom tested at various universities over a four-year period to refine and improve its effectiveness, the Guide is distinguished by a range of carefully crafted instructional features: *Reading-Writing Connection. An extensive selection of fresh, thought-provoking, professional work allows students to internalize models and acquire appropriate genre familiarity. Student papers are included to illustrate how others have responded to real writing tasks similar to those the readers of this book will face. *Critical Reading and Thinking. Numerous reading selections are thoroughly analyzed to provide models of close, critical reading. Critical Reading Guides, provided for some selections, draw students in by asking rhetorical questions that develop critical thinking skills and better understanding of how the authors produced key effects. *Diverse Voices. Specially designed writing activities encourage students who are non-native speakers of English, or who come from non-mainstream cultural backgrounds, to share their perspectives with the entire class. *Writing Activities. More than 60 writing activities of various types are included, suitable for students with a range of writing experience. Many of these are short assignments that are linked to longer ones, which allows students to build their skills sequentially, adding new skills as old ones are practiced and mastered. *Writing Guides. Based on years of teaching experience, these guides provide detailed information and concrete, practical advice about how to succeed on selected assignments in each chapter. *Group Activities. Selected writing assignments include collaborative workshop activities that prompt students to engage in a variety of group efforts that enhance the writing process. As a result, group work progresses with a clear purpose and well-defined goals, leading to more student involvement and, ultimately, better writing. *Application of Key Ideas. Writing Assignments, Writing Guides, and Critical Reading Guides are complemented by activities that allow students to practice using important concepts discussed in the text that progress with a clear purpose and well-defined before they begin an actual assignment. *Journal Entries. Prompts throughout the text are included to increase the amount of writing students do, to enhance reflection and critical thinking, and to engage students in reflecting on and making connections between college and their lives outside of class. *Handbook. The handbook provides basic information about the form and function of language. It focuses on the usage conventions that are a crucial part of academic writing. In addition, it covers differences and similarities in the specific conventions that govern writing in the humanities, social sciences, and science. The documentation formats for these three major divisions of the undergraduate curriculum are described in detail, with full-length student papers to illustrate the formats in context. An Instructor's Manual is available with this text, upon adoption.
Japanese Composition Notebook for Language Study With Genkouyoushi Paper for Notetaking Writing Practice of Kana Kanji Characters
|Author||: Composition Notebookers|
|Editor||: Createspace Independent Publishing Platform|
Take notes of your Japanese lectures while practice REAL top-to-bottom writing of Japanese alphabets at every page turn! Japanese practice makes perfect! And, this very book, "Japanese Composition Notebook for Language Study with Genkouyoushi Paper for Notetaking & Writing Practice of Kana & Kanji Characters: Memo Book with Lines & Square Grids, Beginner & Intermediate", is giving you its cool features more than any common notebooks could give: Inspiring design: With the cover of the Japanese renowned artist''s, Hokusai''s (1760-1849), painting called "Tokaido Shinagawa Goten''yama no Fuji" and the design theme of composition notebook, this book is sure to inspire Japanese language learners to write what they learnt about the language, to journal their Japanese learning, or to even compose their own stories, in Japanese! Learners'' companion: Lined pages allow you to journal or take notes in English or in any of your native languages, while the square grids on the page next to it allows you to really practice writing them during learning. Moreover, the book provides stroke order charts of hiragana & katakana characters on its final page, so the book consists of characters that you''ve learnt & will learn, with the practicing milestones of yourself learning and writing them! Do as Japanese do: Genkouyoushi in this book are in proper size & format. The same as they are used in Japan. You can also use this book either from left to right or from right to left. The back cover was designed with a blank subject box so that you can use the book either way. Plus, you can practically write letters both in the traditional top-to-bottom way (on the square grid pages), and in the modern left-to-right way (on the ruled pages), in this one same book! Easier writing & reading: Each genko yoshi page contains 9 columns of 1/2inch-wide squares, with the space nearer to the spine left blank, to avoid unstable strokes. Each ruled page is wide ruled, which have 11/32 in (8.7 mm) spacing between lines, spaces are therefore big enough for writers of any skill levels & of any ages. Also, all lines are in dark grey, instead of pure black, so the lines are less distracting while writing & reading. Moreover, they have ample space on top & bottom of page to make sure letters won''t be too cluttered to read. The space can also wisely accommodate foot notes for your study, if need be! Functional size: Dimension 8.5"x11" (21.6x28cm) is just about the size of an A4 paper so it can accommodate well any inserts you may have temporarily. Containing 110 pages to write on, the book provides enough space for comprehensive or sequential notes, while it is light enough to be carried along comfortably by anyone, making it so great for classroom studies, as well as quick reviews while travelling! Reliable standards: Book industry perfect binding (the same standard binding as the books in your local library). Tough matte paperback. Crisp white paper. This book is great for either pencils or pens (however, extra blank sheets would be needed for brush pens). It makes your taking notes easier & keeps your valuable works with you longer! Stay organized: The 1st page has been reserved for your optional Table of Contents, so that you can browse your book contents easily, and possibly plan writings or lectures in chapters. Plus, there are 2 places (one at the box on the cover, and the other at the spine) that you can write your personal book volume numbers, so multiple books can be stored & looked up easily on shelf, developing the collection of what you learnt over the years! "Japanese Composition Notebook" is a great tool that would help jumpstart your Japanese learning! It would make a perfect gift for yourself, your friends, school or college classmates, students or teachers, with whom you share meaningful Japanese learning journeys!
|Author||: Steph Ceraso|
|Editor||: University of Pittsburgh Press|
In Sounding Composition Steph Ceraso reimagines listening education to account for twenty-first-century sonic practices and experiences. Sonic technologies such as audio editing platforms and music software allow students to control sound in ways that were not always possible for the average listener. While digital technologies have presented new opportunities for teaching listening in relation to composing, they also have resulted in a limited understanding of how sound works in the world at large. Ceraso offers an expansive approach to sonic pedagogy through the concept of multimodal listening—a practice that involves developing an awareness of how sound shapes and is shaped by different contexts, material objects, and bodily, multisensory experiences. Through a mix of case studies and pedagogical materials, she demonstrates how multimodal listening enables students to become more savvy consumers and producers of sound in relation to composing digital media, and in their everyday lives.
|Author||: James W. Ney|
|Editor||: Walter de Gruyter GmbH & Co KG|