In this unit students will become more knowledgeable about historical events as well as infer/identify elements of a fable narration. Within the text, they will take three reading check quizzes via Google Forms. Students will partake in an Escape Room for a final assessment of the book. At the end of this unit, after reading the book, students will create their own ideal society.

This is a remix from Dr. Jennifer Burns -- Dynamics of Interpersonal Relations I, is an exploration of the small-group process through participation, interpretation and study. Major focus is on the class itself as an interacting group providing for personal, interpersonal, and intellectual challenge.The modules are designed for undergraduate students to become familiar with group dynamics. This resource has a syllabus, OpenStax text chapters, TedTalks and group activities. 

Effective differentiation begins with purposeful assessment. In this strategy guide, you’ll learn how to construct an authentic performance-based reading assessment that will give you access to students’ thinking before, during, and after reading.

Students will observe how artists used continuous and sequential narratives in three different works of art. They will focus on color, and then choose whether they want to illustrate one main character in a continuous narrative in a landscape setting or an architectural setting, or in a sequential narrative (similar to a comic strip). Students will then illustrate their narrative story and later write the story.

This workbook is designed to give students in communication sciences and disorders foundational knowledge in Phonetics. Students will learn to listen and transcribe the speech of typically developing speakers of Standard American English in the International Phonetic Alphabet (IPA). Students will also learn how to listen and transcribe the speech of individuals with common speech sound disorders (i.e., residual articulation disorders and phonological disorders). Students will also be introduced to the fundamentals of speech science and spectrograms as they pertain to speech sound production. Written by April M. Yorke, PhD, CCC-SLP with her students Alyssa Mahler, Carley Shermak, and Emily Sternad.

In this unit students will become more knowledgeable about historical events as well as infer/identify elements of a fable narration. Within the text, they will take three reading check quizzes via Google Forms. Students will partake in an Escape Room for a final assessment of the book. At the end of this unit, after reading the book, students will create their own ideal society.

Dynamics of Interpersonal Relations I, is an exploration of the small-group process through participation, interpretation and study. Major focus is on the class itself as an interacting group providing for personal, interpersonal, and intellectual challenge. The modules are designed for undergraduate students to become familiar with group dynamics. This resource has OpenStax text chapters, TedTalks and group activities. Thank you to Jennifer Burns for sharing this resource.

Dynamics of Interpersonal Relations I, is an exploration of the small-group process through participation, interpretation, and study. A major focus is on the class itself as an interacting group providing for personal, interpersonal, and intellectual challenges. The modules are designed for undergraduate students to become familiar with group dynamics. This resource has a syllabus, OpenStax text chapters, TedTalks, and group activities. Thank you to Jennifer Burns for sharing this resource.

Learn about the sounds of the night. Mary and Mike stay up late to explore the magic and music of nighttime. We sing songs about the beauty of the night and a young pianist plays Clair de Lune under the light of the moon. Our friend, Dr. Lerdau, teaches us about nighttime creatures who are making music of their own: owls, crickets, and even plants! Enjoy a lovely evening with us as we discover the simple beauty of our surroundings.

More About This Resource
Presented by VPM.

Songs and Stories with Mary and Mike uses music and story as the joyful pathway to learning for young children while integrating and modeling the state's new EC learning standards for literacy, math, and social-emotional learning as well as the National Standards for Music Education. The show forges connections across the greater community by featuring guest teachers, artists, musicians, authors, and community members. With every music selection, book selection, and guest spotlight, Mary and Mike strive for a rich, diverse, beautiful representation of all people and cultures. The message to beautiful learners is clear: they are loved, they are valued, and they can do amazing things.

William Shakespeare didn't go to college. If he time-traveled like Dr. Who, he would be stunned to find his words on a university syllabus. However, he would not be surprised at the way we will be using those words in this class, because the study of rhetoric was essential to all education in his day. At Oxford, William Gager argued that drama allowed undergraduates "to try their voices and confirm their memories, and to frame their speech and conform it to convenient action": in other words, drama was useful. Shakespeare's fellow playwright Thomas Heywood similarly recalled:
In the time of my residence in Cambridge, I have seen Tragedies, Comedies, Histories, Pastorals and Shows, publicly acted…: this is held necessary for the emboldening of their Junior scholars, to arm them with audacity, against they come to be employed in any public exercise, as in the reading of Dialectic, Rhetoric, Ethic, Mathematic, the Physic, or Metaphysic Lectures.
Such practice made a student able to "frame a sufficient argument to prove his questions, or defend any axioma, to distinguish of any Dilemma and be able to moderate in any Argumentation whatsoever" (Apology for Actors, 1612). In this class, we will use Shakespeare's own words to arm you "with audacity" and a similar ability to make logical, compelling arguments, in speech and in writing.
Shakespeare used his ears and eyes to learn the craft of telling stories to the public in the popular form of theater. He also published two long narrative poems, which he dedicated to an aristocrat, and wrote sonnets to share "among his private friends" (so wrote Francis Meres in his Palladis Tamia, 1598). Varying his style to suit different audiences and occasions, and borrowing copiously from what he read, Shakespeare nevertheless found a voice all his own–so much so that his words are now, as his fellow playwright Ben Jonson foretold, "not of an age, but for all time." Reading, listening, analyzing, appreciating, criticizing, remembering: we will engage with these words in many ways, and will see how words can become ideas, habits of thought, indicators of emotion, and a means to transform the world.

Do you ever get bored when reading? Mary Ellen does! Grampa knows just what she needs, a trip to the bee tree. With half the town following the chase, Mary Ellen and Grampa go off on an adventurethat leads Mary Ellen to make a sweet discovery of her own.Lexile Level: AD680LGuided Reading Level: MGenre: Fiction

This project focuses on Air Pollution due to unplanned urban development in Dhaka City, Bangladesh, and how to reduce it

This lesson from the Holocaust Center for Humanity provides an opportunity to define and recognize hatred in all of its forms and how hate and prejudice can escalate when no one speaks up or takes action. The resource incorporates the Pyramid of Hate, created by the Anti-Defamation League (ADL), Echoes and Reflections, and further adapted by the Holocaust Center for Humanity.

The content included in the Holocaust Center for Humanity website is intended for educational purposes only and is free for viewing online.

Concept Note for the 2023 Ambassadors Fund for Cultural Preservation

Short Description:
In the Middle Belt of Nigeria, three major language families converge in a region with cultural diversity rivaling the Amazon Basin. According to Ethnologue, there are 340 distinct languages. Each is accompanied by Intangible Cultural Heritage (ICH), including music and dance, poetry and puppetry, handicrafts, and healing practices. The region has received comparatively little attention from scholars. Countless traditions remain unknown and undocumented. Only the Tiv’s Kwagh-Hir theatrical tradition has been inscribed by UNESCO, leaving an urgent need for expanded cultural heritage preservation efforts. This is a project proposal for cultural preservation in the central region of Nigeria.

Long Description:
In the Middle Belt of Nigeria, three major language families converge in a region with cultural diversity rivaling the Amazon Basin. According to Ethnologue, there are 340 distinct languages. Each is accompanied by Intangible Cultural Heritage (ICH), including music and dance, poetry and puppetry, handicrafts, and healing practices. The region has received comparatively little attention from scholars. Countless traditions remain unknown and undocumented. Only the Tiv’s Kwagh-Hir theatrical tradition has been inscribed by UNESCO, leaving tremendous potential for new inscriptions.

ICH is one of Nigeria’s great treasures, yet artifacts and archeological sites dominate discussions of preservation while vulnerable traditions languish, often disappearing without a trace. Many Middle Belt communities are eager to share their traditions but do not have resources to do so. In contrast, Yorùbá is among the most widely studied indigenous and diasporic cultures. Ethnic minorities have been marginalized for centuries by slave raiding, land encroachment, and economic exclusion. Surviving communities deserve the benefits of cultural preservation and should be celebrated for their distinct and resilient cultures at home and in diaspora. In 2021, our team recorded musical practices that strongly resemble American genres like Delta Blues and Funk.

We will utilize American expertise to build capacity among Nigerian field researchers reflecting the Fulbright-Hays Act as a basis for the Ambassadors Fund for Cultural Preservation. The project will bring HBCU faculty and students into the orbit of ICH stakeholders. HBCUs have a long-standing history and vested interest in welcoming African-born faculty and students and appreciating the cultural diversity they bring to diaspora communities. Engaging HBCU students in cultural heritage preservation will be a focus of the project, leveraging American technical skills with Nigerian cultural competencies to support US Mission Goals.

Our documentation drive will produce thousands of audiovisual primary sources with the potential to fuel knowledge- and creativity-based economic growth. We will collaborate with participating communities on a three-phase ethnographic process: (1) Inventory, (2) Documentation, and (3) Preventive Conservation. Grant products will be disseminated widely, benefitting the communities, the American and Nigerian public, and scholars in a variety of fields. The Middle Belt faces an array of challenges, including climate change, substance abuse, pastoralist conflict, and religious fundamentalism. The US Mission’s objective of promoting peaceful dialogue will be lived through partnership with CONAECDA, a coalition of community development associations formed in recognition of the UN’s Declaration on the Rights of Indigenous Peoples. Cultural preservation will promote stability through inclusive education, interethnic and intergenerational conviviality, and constructive identity formation among young people.

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This course examines major social and political trends, events, debates and personalities which help place aspects of contemporary French culture in their historical perspective through fiction, films, essays, newspaper articles, and television. Topics include the heritage of the French Revolution, the growth and consequences of colonialism, the role of intellectuals in public debates, the impact of the Occupation, the modernization of the economy and of social structures. The sources and meanings of national symbols, monuments, myths and manifestoes are also studied. Recommended for students planning to study abroad. Taught in French.

This online textbook provides a generalized understanding of composition and to serve as a supplementary aid to high school English teachers.

This course presents the fundamentals of object-oriented software design and development, computational methods and sensing for engineering, and scientific and managerial applications. It cover topics, including design of classes, inheritance, graphical user interfaces, numerical methods, streams, threads, sensors, and data structures. Students use Java programming language to complete weekly software assignments.
How is 1.00 different from other intro programming courses offered at MIT?
1.00 is a first course in programming. It assumes no prior experience, and it focuses on the use of computation to solve problems in engineering, science and management. The audience for 1.00 is non-computer science majors. 1.00 does not focus on writing compilers or parsers or computing tools where the computer is the system; it focuses on engineering problems where the computer is part of the system, or is used to model a physical or logical system.
1.00 teaches the Java programming language, and it focuses on the design and development of object-oriented software for technical problems. 1.00 is taught in an active learning style. Lecture segments alternating with laboratory exercises are used in every class to allow students to put concepts into practice immediately; this teaching style generates questions and feedback, and allows the teaching staff and students to interact when concepts are first introduced to ensure that core ideas are understood. Like many MIT classes, 1.00 has weekly assignments, which are programs based on actual engineering, science or management applications. The weekly assignments build on the class material from the previous week, and require students to put the concepts taught in the small in-class labs into a larger program that uses multiple elements of Java together.

Lesson OverviewStudents represent real-world situations using inequality statements that include a variable.Key ConceptsInequality statements tell you whether values in a situation are greater than or less than a given number and also tell you whether values in the situation can be equal to that number or not.The symbols < and > tell you that the unknown value(s) in a situation cannot be equal to a given number: the unknown value(s) are strictly greater than or less than the number. The inequality x < y means x must be less than y. The inequality x > y means x must be greater than y.The symbols ≤  and ≥ tell you that the unknown value(s) in a situation can also be equal to a given number: the unknown value(s) are less than or equal to, or greater than or equal to, the number. The inequality x ≤ y means x is less than or equal to y. The inequality x ≥ y means x is greater than or equal to y.Goals and Learning ObjectivesUnderstand the inequality symbols <, >, ≤, and ≥.Write inequality statements for real-world situations.ELL: When writing the summary, provide ELLs access to a dictionary and give them time to discuss their summary with a partner before writing, to help them organize their thoughts. Allow ELLs who share the same primary language to discuss in their native language if they wish.

This course considers reggae, or Jamaican popular music more generally—in its various forms (ska, rocksteady, roots, dancehall)—as constituted by international movements and exchanges and as a product that circulates globally in complex ways. By reading across the reggae literature, as well as considering reggae texts themselves (songs, films, videos, and images), students will scrutinize the different interpretations of reggae's significance and the implications of different interpretations of the story of Jamaica and its music. Beginning with a consideration of how Jamaica's popular music industry emerged out of transnational exchanges, the course will proceed to focus on reggae's circulation outside of Jamaica via diasporic networks and commercial mediascapes. Among other sites, we will consider reggae's resonance and impact elsewhere in the Anglo Caribbean (e.g., Trinidad, Barbados), the United Kingdom (including British reggae styles but also such progeny as jungle, grime, and dubstep), the United States (both as reggae per se and in hip-hop), Panama and Puerto Rico and other Latin American locales (e.g., Brazil), Japan and Australia, as well as West, South, and East Africa (Côte d'Ivoire, Tanzania, Uganda).

The Paleolithic and Neolithic eras of the Stone Age. Created by Sal Khan.