Short Description:
This was a collaborative project of stories written by English language learners which were interpreted and illustrated by art students in drawing classes.

Word Count: 12599

(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:
This was a collaborative project of stories written by English language learners which were interpreted and illustrated by art students in drawing and painting classes.

Word Count: 7599

(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:
This was a collaborative project of stories written by English language learners which were interpreted and illustrated by art students in drawing and painting classes.

Word Count: 7443

(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.)

Word Count: 12791

Included H5P activities: 5

(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.)

Humanity's Greatest Invention

Word Count: 243335

(Note: This resource's metadata has been created automatically as part of a bulk import process by reformatting and/or combining the information that the author initially provided. As a result, there may be errors in formatting.)

Short Description:
This webcourse walks students through the process of conducting literary research while helping to refine their library skills.

Long Description:
This book, built in PressBooks with financial support from the UCF Digital Learning Course Redesign Initiative, contains 14 chapters, each of which contains two to six pages about the process of literary research. Pages contain learning objectives, infographics, videos, examples, key takeaways, and exercises. The course contains numerous discussion areas and quizzes. It also contains a “foundational materials” assignment that provides a platform for student success with whatever research project their instructor assigns. The book is highly flexible and instructors may use all or any part of the book within their own webcourse.

Word Count: 75027

(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:
Student Engagement Activities for Business Communications is a compilation resource for instructors of workplace writing and oral presentations. The activities in this book can add value and energy to the classroom by engaging students in activities that support their learning. Handouts, links, activity variations, and debrief questions are included.

Long Description:
Student Engagement Activities for Business Communications is a compilation resource for instructors of workplace writing and oral presentations. The activities in this book can add value and energy to the classroom by engaging students in activities that support their learning. Handouts, links, activity variations, and debrief questions are included.

Word Count: 16639

ISBN: 978-1-9991981-3-8

(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.)

Taking as its starting point the works of one of Britain's most respected, prolific—and funny—living dramatists, this seminar will explore a wide range of knowledge in fields such as math, philosophy, politics, history and art. The careful reading and discussion of plays by (Sir) Tom Stoppard and some of his most compelling contemporaries (including Caryl Churchill, Anna Deveare Smith and Howard Barker) will allow us to time-travel and explore other cultures, and to think about the medium of drama as well as one writer's work in depth. Some seminar participants will report on earlier plays that influenced these writers, others will research everything from Lord Byron's poetry to the bridges of Konigsberg, from Dadaism to Charter 77. Employing a variety of critical approaches (both theoretical and theatrical), we will consider what postmodernity means, as applied to these plays. In the process, we will analyze how drama connects with both the culture it represents and that which it addresses in performance. We will also explore the wit and verbal energy of these contemporary dramatists…not to mention, how Fermat's theorem, classical translation, and chaos theory become the stuff of stage comedy.

This course explores the creation (and creativity) of the modern scientific and cultural world through study of western Europe in the 17th century, the age of Descartes and Newton, Shakespeare, Rembrandt and Molière. The class compares period thinking to present-day debates about the scientific method, art, religion, and society. This team-taught, interdisciplinary subject draws on a wide range of literary, dramatic, historical, and scientific texts and images, and involves theatrical experimentation as well as reading, writing, researching and conversing.

Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course we will study the offending texts, themselves, to find what is really dangerous about them, for ourselves.

What has been said of Moby-Dick—that it's the greatest novel no one ever reads—could just as well be said of any number of American "classics" like The Scarlet Letter, Uncle Tom's Cabin, or The Adventures of Huckleberry Finn. This course reconsiders a small number of nineteenth-century American novels by presenting each in a surprising context.

This seminar looks at two bestselling nineteenth-century American authors whose works made the subject of slavery popular among mainstream readers. Uncle Tom's Cabin by Harriet Beecher Stowe and The Adventures of Huckleberry Finn by Mark Twain have subsequently become canonized and reviled, embraced and banned by individuals and groups at both ends of the political and cultural spectrum and everywhere in between.

This course investigates relationships between two media, film and literature, studying works linked across the two media by genre, topic, and style. It aims to sharpen appreciation of major works of cinema and of literary narrative. The course explores how artworks challenge and cross cultural, political and aesthetic boundaries. It includes some attention to theory of narrative. Films to be studied include works by Akira Kurosawa, John Ford, Francis Ford Coppolla, Clint Eastwood, Orson Welles, Billy Wilder, and Federico Fellini, among others. Literary works include texts by Aeschylus, Sophocles, Shakespeare, Cervantes, Honoré de Balzac, Henry James and F. Scott Fitzgerald.

How do literature, philosophy, film and other arts respond to the profound changes in world view and lifestyle that mark the twentieth century? This course considers a broad range of works from different countries, different media, and different genres, in exploring the transition to a decentered "Einsteinian" universe.

William Butler Yeats occupies a dominant position in the lives and work of the Irish poets who followed him. We will explore some of that poetry, and consider how later poets, especially female poets, tried to come to grips with, or escape from, that dominance. As a seminar, the subject will place special emphasis on student involvement and control. I will ask you to submit one ten-twelve page essay, two shorter (five page) essays, and to accept the role of "leadoff person," perhaps more than once, That role will demand that you choose from among the assigned readings for that session the poem we should focus upon, and to offer either a provocative articulation of what the poem is about, or a provocative question which the poem confronts, and which we should grapple with, as well.

Do poems think? Recurrent images of the poet as an inspired lunatic, and of poetry as a fundamentally irrational art, have often fostered an understanding of poets and their work as generally extraneous to the work of the sciences. Yet poets have long reflected upon and have sought to embody in their work the most elementary processes of mind, and have frequently drawn for these representations on the very sciences to which they are thought to stand - and sometimes do genuinely stand - in opposition. Far from representing a mere departure from reason, then, the poem offers an image of the mind at work, an account of how minds work, a tool for eliciting thought in the reader or auditor. Bringing together readings in British poetry of the eighteenth and nineteenth centuries with writings from the emergent sciences of psychology and the physiology of the brain, this interdisciplinary course will explore the ways in which British poets, in years that witnessed the crucial development of these sciences, sought to capture an image of the mind at work. The primary aim of the course is to examine how several prominent genres of British poetry - the lyric, for instance, and the didactic poem - draw from and engage in this period with accounts of cognition within the sciences of psychology, physiology, and medicine. More broadly, the course aims to give undergraduates with some prior experience in the methods and topics of literary study an introduction to interdisciplinary humanistic research.

The landscape we will explore is the troublesome one of the relevance, impact, and importance of poetry in a troubled modern world. We will read both poetry and prose by several substantial modern writers, each of whom confronted the question that is the subject's title.

This course introduces students to some of the most important practitioners of poetry in sixteenth- and seventeenth-century England, locating them in their historical and social contexts. We will be emphasizing love poetry or amatory verse, by combining close reading of selected poems with an investigation of the contexts of English verse.

The core of this seminar will be the great sequences of English love sonnets written by William Shakespeare, Philip Sidney, Edmund Spenser, and Mary Wroth. These poems cover an enormous amount of aesthetic and psychological ground: ranging from the utterly subjective to the entirely public or conventional, from licit to forbidden desires, they might also serve as a manual of experimentation with the resources of sound, rhythm, and figuration in poetry. Around these sequences, we will develop several other contexts, using both Renaissance texts and modern accounts: the Petrarchan literary tradition (poems by Francis Petrarch and Sir Thomas Wyatt); the social, political, and ethical uses of love poetry (seduction, getting famous, influencing policy, elevating morals, compensating for failure); other accounts of ideal masculinity and femininity (conduct manuals, theories of gender and anatomy); and the other limits of the late sixteenth century vogue for love poetry: narrative poems, pornographic poems, poems that don't work.

This course explores variations on the proposition that an adequate recognition of beauty could, however indirectly, make you a more humane person. Readings extend widely across literary and non-literary genres, including lyric poetry and the novel, philosophical prose and essays.