This open access textbook is intended to guide best practices in the journey of scholarly writing in the context of the nursing profession. This resource is designed for students in undergraduate nursing programs and may also be useful for students in other health-related post-secondary programs, graduate students, and healthcare providers.

This class develops the abilities of students to communicate science effectively in a variety of real-world contexts. It covers strategies for dealing with complex areas like theoretical physics, genomics and neuroscience, and addresses challenges in communicating about topics such as climate change and evolution. Projects focus on speaking and writing, being an expert witness, preparing briefings for policy-makers, writing blogs, and giving live interviews for broadcast, as well as the creation of an interactive exhibit for display in the MIT Museum.

The science essay uses science to think about the human condition; it uses humanistic thinking to reflect on the possibilities and limits of science and technology. In this class we read and practice writing science essays of varied lengths and purposes. We will read a wide variety of science essays, ranging across disciplines, both to learn more about this genre and to inspire your own writing. This semester's reading centers on "The Dark Side," with essays ranging from Alan Lightman's "Prisoner of the Wired World" through Robin Marantz Henig's cautionary account of nano-technology ("Our Silver-Coated Future") to David Quammen's investigation of diseases that jump from animals to humans ("Deadly Contact").

This course provides an introduction to writing about science (including medicine, technology, and engineering) for general readers. With a strong emphasis in background research, this course will help students build a foundation for strong science writing. Students will read works by accomplished science writers. Each assignment will focus on a different popular form, such as news articles, interviews, essays, and short features.

Proficiency in communicating about science and technology comes from both knowledge and practice, and this course emphasizes both. Through a variety of reading and writing assignments, we will examine general principles of good writing, as well as principles associated specifically with scientific and technical writing. We will also explore the effects of new media as avenues for communicating about science.

This class is an introduction to writing about science—including nature, medicine and technology—for general readers. In our reading and writing we explore the craft of making scientific concepts, and the work of scientists, accessible to the public through articles and essays.

This class addresses the craft of writing about science in and for contemporary society, both its pleasures and its challenges. We will read essays, reportage, op-eds, and web-based articles on a variety of topics concerning science, technology, medicine and nature. Readings by contemporary writers such as Elizabeth Kolbert, Atul Gawande, and Michael Pollan will serve as examples of the craft and sources of ideas for our own writing.

A transdisciplinary approach

Short Description:
This book presents a genre-based approach emphasizing strategies that derive from a field of research focusing on strengthening the language skills of multilingual English speakers.

Word Count: 30964

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This class focuses on reading a script theatrically with a view to mounting a coherent production. Through careful, intensive reading of a variety of plays from different periods and different aesthetics, a pattern emerges for discerning what options exist for interpretating a script. Students discuss the consequences of those options for production.

This course focuses on reading a script theatrically with a view to mounting a coherent production. Through careful, intensive reading of a variety of plays from different periods and different aesthetics, a pattern emerges for discerning what options exist for interpretating a script.
The Fall 2005 version of this course contains alternate readings and assignments sections.

This course explores the city through writing—listening to the voices of poets, short story writers, novelists, journalists, critics, historians, ethnographers, urbanists, musicians, filmmakers, and visual artists. Through extensive reading that informs their work on a longform story, students will join the chorus of storytellers to richly represent the variegated city. Our focus is on three nonfiction forms—essay, memoir, literary narrative—with special emphasis on the writer-editor relationship and on revision as a heuristic to better thinking.

A reference for writing and self-publishing an open textbook

Short Description:
The BCcampus Open Education Self-Publishing Guide is a reference for individuals or groups wanting to write and self-publish an open textbook. This guide provides details on the preparation, planning, writing, publication, and maintenance of an open textbook.

Long Description:
The BCcampus Open Education Self-Publishing Guide is a reference for individuals or groups wanting to write and self-publish an open textbook.This guide provides details on the preparation, planning, writing, publication, and maintenance of an open textbook. Copyright, open-copyright licences, and the differences between citation and attribution are discussed as well as the importance of copy editing and proofreading. Checklists and templates are also provided. This guide replaces the BCcampus Open Education Authoring Guide.

Word Count: 36635

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

A reference for writing and self-publishing an open textbook

Short Description:
The BCcampus Open Education Self-Publishing Guide is a reference for individuals or groups wanting to write and self-publish an open textbook. This guide provides details on the preparation, planning, writing, publication, and maintenance of an open textbook.

Long Description:
The BCcampus Open Education Self-Publishing Guide is a reference for individuals or groups wanting to write and self-publish an open textbook.This guide provides details on the preparation, planning, writing, publication, and maintenance of an open textbook. Copyright, open-copyright licences, and the differences between citation and attribution are discussed as well as the importance of copy editing and proofreading. Checklists and templates are also provided. This guide replaces the BCcampus Open Education Authoring Guide.

Word Count: 37265

ISBN: 978-1-998755-99-8

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
Semillas: Elementary Spanish I is a comprehensive introductory Spanish open-access textbook with reading, listening, speaking, and writing practice. To ensure that our textbook is diverse and inclusive we have built a team of writers who cross gender, age, and nationality. We have consulted with people whose voices represent diverse demographic segments of the Spanish-speaking world to include a plurality of pronunciations and appearances. This textbook underwent a rigorous review process that included professionals from more than ten higher education organizations in the United States.

Long Description:
Semillas: Elementary Spanish I is a comprehensive introductory Spanish open-access textbook with reading, listening, speaking, and writing practice. This Open Educational Resource (OER) aims to help students begin learning Spanish in a comprehensive manner. This textbook was created in Pressbooks, a versatile platform that allows us to integrate interactive activities (h5p) and present authentic material such as video interviews with Spanish speakers and other resources. Grammar is not presented just as a standalone topic, but rather is seamlessly integrated into all parts of this book.

To ensure that our textbook is diverse and inclusive we have built a team of writers who cross gender, age, and nationality. We have consulted with people whose voices represent diverse demographic segments of the Spanish-speaking world to include a plurality of pronunciations and appearances. We have elected to use the feminine as the base form in our vocabulary lists and have introduced students to non-binary endings. This textbook underwent a rigorous review process that included professionals from more than ten higher education organizations in the United States.

Word Count: 20914

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

A Travel Book for High-Beginner/Low-Intermediate ESOL Students

Short Description:
This book contains short stories about natural wonders of Oregon. Order a print copy: http://www.lulu.com/content/paperback-book/seven-wonders-of-oregon-a-travel-book-for-high-beginnerlow-intermediate-esol-students/24427370

Long Description:
This book contains nine short stories about natural wonders of Oregon written for high-beginner/low-intermediate students of English (lexile range of 500-600). Each story is approximately 225-250 words long and features a picture, a set of self-correcting comprehension questions, a writing prompt, and full citations of sources with links.

Order a print copy: http://www.lulu.com/content/paperback-book/seven-wonders-of-oregon-a-travel-book-for-high-beginnerlow-intermediate-esol-students/24427370

Word Count: 3631

ISBN: 978-1-63635-018-9

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Three hundred and eighty years after his death, William Shakespeare remains the central author of the English-speaking world; he is the most quoted poet and the most regularly produced playwright — and now among the most popular screenwriters as well. Why is that, and who "is" he? Why do so many people think his writing is so great? What meanings did his plays have in his own time, and how do we read, speak, or listen to his words now? What should we watch for when viewing his plays in performance? Whose plays are we watching, anyway? We'll consider these questions as we carefully examine a sampling of Shakespeare's plays from a variety of critical perspectives.

Filmed Shakespeare began in 1899, with Sir Herbert Beerbohm Tree performing the death scene from King John for the camera. Sarah Bernhardt, who had played Hamlet a number of times in her long career, filmed the duel scene for the Paris Exposition of 1900. In the era of silent film (1895-1929) several hundred Shakespeare films were made in England, France Germany and the United States, Even without the spoken word, Shakespeare was popular in the new medium. The first half-century of sound included many of the most highly regarded Shakespeare films, among them -- Laurence Olivier's Hamlet and Henry V, Orson Welles' Othello and Chimes at Midnight, Kurosawa's Throne of Blood, Polanski's Macbeth and Zeffirelli's Romeo and Juliet. We are now in the midst of an extremely rich and varied period for Shakespeare on film which began with the release of Kenneth Branagh's Henry V in 1989 and includes such films as Richard Loncraine's Richard III, Julie Taymor's Titus, Zeffirelli and Almereyda's Hamlet films, Baz Luhrmann's William Shakespeare's Romeo + Juliet, and Shakespeare in Love. The phenomenon of filmed Shakespeare raises many questions for literary and media studies about adaptation, authorship, the status of "classic" texts and their variant forms, the role of Shakespeare in youth and popular culture, and the transition from manuscript, book and stage to the modern medium of film and its recent digitally inflected forms.
Most of our work will involve individual and group analysis of the "film text" -- that is, of specific sequences in the films, aided by videotape, DVD, the Shakespeare Electronic Archive, and some of the software tools for video annoatation developed by the MIT Shakespeare Project under the MIT-Microsoft iCampus Initiative.
We will study the films as works of art in their own right, and try to understand the means -- literary, dramatic, performative, cinematic -- by which they engage audiences and create meaning. With Shakespeare film as example, we will discuss how stories cross time, culture and media, and reflect on the benefits as well as the limitations of such migration.
The class will be conducted as a structured discussion, punctuated by student presentations and "mini-lectures" by the instructor. Students will introduce discussions, prepare clips and examples, and the major "written" work will take the form of presentations to the class and multimedia annotations as well as conventional short essays.
The methodological bias of the class is close "reading" of both text and film. This is a class in which your insights will form a major part of the work and will be the basis of a large fraction of class discussion. You will need to read carefully, to watch and listen to the films carefully, and develop effective ways of conveying your ideas to the class.

Models to Inspire and Embolden Students’ Creative and Critical Engagement

Word Count: 18204

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A guide to reading and writing in Composition II

Word Count: 326913

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Cost, Accessibility, and Creative Commons Licensing

Short Description:
This book offers authors new perspectives on how to move forward with their work, including how they can make it easily accessible and affordable for their students.

Long Description:
This book offers authors new perspectives on how to move forward with their work, including how they can make it easily accessible and affordable for their students. Written by two librarians, this title provides information on the various file formats for publishing, as well as copyright information.

Word Count: 1504

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