This book continues the Written Standard Chinese series. It resumes from the end of Book Three and is designed to build vocabulary and bring the student past the 1000 character recognition level. Its content focuses on Chinese history and culture, as well as certain aspects of Sino-Western cultural interaction. It uses both traditional and simplified forms, and pinyin romanization.

"Sound text. Helpful for our students as they engage in the composing of individual biographies."--David J. Bradshaw, Warren Wilson College

This book begins the Written Standard Chinese series. It introduces 300 basic characters, using pinyin romanization and both traditional and simplified forms.

This book continues the Written Standard Chinese series. It resumes from the end of Book One and is designed to build vocabulary and bring the student to the 600 character recognition level. It uses both traditional and simplified forms, and pinyin romanization.

The STANDARD CHINESE series of elementary and intermediate Chinese language texts, developed at Yale and used at Yale as well as other places for many years, includes a group of texts for spoken Chinses, a separate series for reading and writing, and in addition, a companion series of workbooks. The entire series is supported by audio tape programs available separately. Please write the publisher for a free catalog. The series utilizes Hanyu Pinyin transcription system and includes practice materials in both forms of the Chinese character ('traditional' and simplified).

Now that you have begun to master spoken Japanese with the two volumes of 'Japanese with Ease', and you want to learn how to write this fascinating language, 'Writing Japanese with Ease' is the book for you! You will learn the fundamentals of writing the characters of traditional Japan, borrowed from Chinese (Kanji). The book follows the 99 lessons of 'Japanese with Ease', presenting the characters in order of appearance throughout the two volumes. The book lists each Kanji with its radical, its number of strokes, the different pronunciations of the character, and -- of course -- its meaning. For development of your writing skills, the stroke-by-stroke character lay-out will be very useful, teaching you the rules of writing Kanji. Dont miss the useful appendices such as the Table of Radicals, the Index listing Kanji by number of strokes, as well as the dialogue texts of Japanese with Ease, given in standard written Japanese.

This Character Writing Workbook, which accompanies Student Book 1 of the Encounters program, is designed to help students learn the Chinese characters found in each unit of the Student Book. The Character Writing Workbook not only provides opportunities for writing practice but also supplies considerable information about each character, such as correct stroke order, pronunciation and tone, and related words, phrases, and sentences. Also included are the radical (or "meaning key"), phonetic clues, and the evolution of the character from its ancient form, all of which provide valuable memory aids. Where applicable, both traditional and simplified forms of the character are presented so that students may choose to learn one or the other, or both, depending on their preference. THE ENCOUNTERS PROGRAM INCLUDES: * Full-color Student Books for introductory Chinese study * Annotated Instructor's Editions with answer keys and suggested class activities * Character Writing Workbooks linked directly to the Student Books * Ten hours of video materials, comprising dramatic episodes, cultural segments, and animations, all integrated with the Student Books * A total of 200 minutes of audio material, linked to the Student Books, for listening and speaking practice * A website, www.EncountersChinese.com, providing a year's free access to all audiovisual material of the program upon adoption

Critics shudder at mixed metaphors like 'that wet blanket is a loose cannon', but admire 'Life's but a walking shadow, a poor player', and all the metaphors packed into Macbeth's 'Tomorrow, and tomorrow, and tomorrow' speech. How is it that metaphors are sometimes mixed so badly and other times put together so well? In Mixed Metaphors: Their Use and Abuse, Karen Sullivan employs findings from linguistics and cognitive science to explore how metaphors are combined and why they sometimes mix. Once we understand the ways that metaphoric ideas are put together, we can appreciate why metaphor combinations have such a wide range of effects. Mixed Metaphors: Their Use and Abuse includes analyses of over a hundred metaphors from politicians, sportspeople, writers and other public figures, and identifies the characteristics that make these metaphors annoying, amusing or astounding.

Speak Cantonese, Book One, is tone of a series of books that teaches the modern spoken language of Cantonese, one of the major "dialects" of Chinese. As appropriate for a test of its kind, it is entirely in romanization. In response to many requests for a character version of the romanized text, the present volume has been printed. It is a word by word, faithful transcription of the entire content of the "parent" volume in traditional characters. No romanization is used in this text.

Good spelling is fundamental to making the right impression with any type of writing; reports, homework, CVs, and letters all require correct spelling in order to get the message across in clear and straightforward English. Adaptable or adaptible? Definite or definate? Delirious or delireous? What is the difference between assent and ascent, dual and duel, or forbear and forebear? How do you make the plural of halo? Is it halos or haloes? Actually it's both, but not so for potato, the plural of which is potatoes. Knowing the difference between easily confusable words, making plurals, and adding endings are just some of the aspects of spelling that confront us with endless pitfalls. This easy-to-use A-Z guide does what no spellchecker can do: it gives immediate access not only to individual word spellings but also to general rules that will help you develop good spelling. The book covers the topics in simple and helpful terms and also offers advice on how to use apostrophes and hyphens, and the differences between British and American spelling. The core of the book is a list of over 2,000 words laid out for quick and easy reference. Based on evidence of misspelling gathered from real situations, this guide is the most useful and comprehensive help on spelling available. This edition makes the benefits of the material explicit to the general reader: clear organization of the supplementary features, simple and transparent design, and clearly written rules. One of a mini-series of titles on spelling, grammar and punctuation, and usage.

Beginner-level students wishing to read Japanese need to learn hiragana, the most basic of three Japanese scripts, used for writing words of native origin. Kodansha's Hiragana Workbook is an all-new, streamlined workbook designed precisely for such students. It introduces all aspects of the script-reading, writing, and pronunciation--in a fun, accessible format, packed with illustrations and exercises.
One page each is devoted to the 46 basic characters. These include instructions for character formation and space to practice writing, as well as a selection of vocabulary for further reading and writing. The vocabulary are all commonly used words that students can put to immediate use in conversation; and their readings--pronounced by a professional voice actor--are available as free downloads from the Net. Frequent review pages allow students to test their understanding of the hiragana at various stages.
The appendixes offer additional practice exercises, as well as grids for playing hiragana Battleship and Bingo. There are also 120 pull-out flashcards for playing Memory, Scrabble, and other games.

This companion volume teaches the basics of katakana, the script for writing loanwords borrowed from English and other languages. The book introduces the characters not in the traditional a-i-u-e-o order, but in a radical new one that allows students to sound out words from the very first page.
As in the Hiragana Workbook, one page each is devoted to the 46 basic characters, which are then used to form actual, everyday words, enabling the student to build his or her vocabulary from the very beginning. The Katakana Workbook also features exercises, flashcards, games and free audio downloads.

Strong characters - characters we love and hate, those we despair for at their low moments and egg on to their triumphs - are the foundation of any successful script. Written by award-winning writer Rib Davis and now fully updated for its second edition, Creating Compelling Characters for Film, TV, Theatre and Radio is an authoritative practical guide to developing characters for professional and aspiring writers alike. As well as exploring character motivation, the interplay between character and plot, comic characters, heroes and villains, the new edition also includes a more in-depth look at character psychology, writing ensemble and multi-narrative dramas and the balance between character development and character revelation. The book also includes a wide range of contemporary examples from scripts ranging from films such as The Wolf of Wall Street and The Grand Budapest Hotel, award-winning plays such as Jerusalem and acclaimed TV shows such as Game of Thrones and True Detective.

Writers write--but what do they do for money?
In a widely read essay entitled "MFA vs NYC," bestselling novelist Chad Harbach ("The Art of Fielding") argued that the American literary scene has split into two cultures: New York publishing versus university MFA programs. This book brings together established writers, MFA professors and students, and New York editors, publicists, and agents to talk about these overlapping worlds, and the ways writers make (or fail to make) a living within them. Should you seek an advanced degree, or will workshops smother your style? Do you need to move to New York, or will the high cost of living undo you? What's worse--having a day job or not having health insurance? How do agents decide what to represent? Will Big Publishing survive? How has the rise of MFA programs affected American fiction? The expert contributors, including George Saunders, Elif Batuman, and Fredric Jameson, consider all these questions and more, with humor and rigor. "MFA vs NYC "is a must-read for aspiring writers, and for anyone interested in the present and future of American letters.

The best-selling guide to writing about art Sylvan Barnet's A Short Guide to Writing About Art guides students through every aspect of writing about art. Students are shown how to analyze pictures (drawings, paintings, photographs), sculptures and architecture, and are prepared with the tools they need to present their ideas through effective writing. Coverage of essential writing assignments includes formal analysis, comparison, research paper, review of an exhibition, and essay examination. New to the 11th edition is a chapter on "Virtual Exhibitions: Writing Text Panels and Other Materials." MySearchLab is a part of the Barnet program. Research and writing tools, including access to academic journals, helps students master basic writing skills. To provide students with flexibility, students can download the eText to a tablet using the free Pearson eText app. NOTE:MySearchLab does not come automatically packaged with this text. To purchase the text with MySearchLab, order the package ISBN: 0205949525/ 9780205949526 Short Guide to Writing About Art Plus MySearchLab with eText -- Access Card Package Package consists of: 0205239927 / 9780205239924 MySearchLab with Pearson eText -- Valuepack Access Card 020588699X / 9780205886999 A Short Guide to Writing About Art

Accessible and engaging, this unique text offers concrete, practice strategies for critical and creative thinking and includes many opportunities for practicing these fundamental skills. "The Art of Thinking "introduces students to the principles and techniques of critical thinking, taking them step-by-step through the problem-solving process. Emphasizing creative and active thought processes, the author asserts that good thinking and problem-solving is based on learnable strategies. The book's four parts, "Be Aware," "Be Creative," "Be Critical," and "Communicate Your Ideas," present students with a process for solving problems and resolving controversial issues. Discussions of how to evaluate ideas and how to question long-held assumptions or biases help students look at concepts critically. This text can be used in freshman experience courses, freshman composition courses, and a wide array of other courses where instructors want to enhance students' critical thinking skills.

'Written in an authoritative and accessible style, this is a must-read for anyone planning, researching and writing a doctoral thesis or dissertation. I will certainly be recommending this book to my research students.' - Professor Goeffrey Elliott, University of Worcester 'Paul's book was a lifeline during my doctorate: it is now the first book that I recommend for my research students! His book is easily accessible, full of practical advice, and provides useful study strategies to carefully guide you - this third edition is a valuable asset wherever you are on your doctoral journey.' - Dr Scott Buckler, University of Worcester Based on his extensive experience as a successful thesis supervisor, Paul Oliver shows you how to turn your notes and data into a finished Masters or PhD thesis or dissertation. Fully up-to-date with current HEFCE/other EU requirements, the book sets out a template for you to follow, including planning and preparation, theoretical perspectives, publishing preliminary findings, and preparing for the viva. This edition contains: Examples of common mistakes and how you can avoid them Discussions of artefacts such as creative work Research-focused content A section on the relationship with your supervisor Information on online and digital work, so you are up to date with the latest developments in thesis writing. The Student Success series are essential guides for students of all levels. From how to think critically and write great essays to planning your dream career, the Student Success series helps you study smarter and get the best from your time at university.

Using a process-writing approach, this third-year composition text will help students master their writing skills in order to become confident authors, who have found their voice in written French. The text is set up in a workbook format and is written entirely in French, except for the first chapter. Each chapter begins and ends with a creative writing exercise. In between these "book-ends", students will broaden their repertoire of related speech acts, vocabulary, grammatical structures and stylistic elements as illustrated by their usage a literary piece, journalistic selection, or informal writing, drawn from the rich repertoire of Francophone (written) production (expression).

Effective grant proposals are not so much written as they are extensively researched, developed, and positioned. The actual writing, obviously an essential component, is nevertheless only the tip of the iceberg. Grant seekers must possess the necessary skills to correctly identify potential funders, craft a proposal that meets a specific funder’s needs, and follow that funder’s directions to the letter. Cheryl New and James Quick take grant seekers step-by-step through the entire development and drafting process in How to Write a Grant Proposal.

The authors concentrate on all the behind-the-scenes, pre-writing work that makes the difference between successful grant proposals and those that potential funders discard as "nonresponsive." New and Quick concentrate on crafting specific proposals that prove a perfect match between a funder and a solicitor’s needs. Funders and the nonprofit organizations they support are both in the business of solving problems; the key is creating a project that addresses a problem that both parties are interested in solving. How to Write a Grant Proposal provides targeted guidance for a variety of kinds of organizations, including:

K—12 private and public educational organizations

Government agencies

For-profit businesses

Health care organizations

Traditional nonprofits

Higher education universities and centers

A companion CD-ROM contains guidesheets and templates that can be easily downloaded, customized, and printed. The authors provide examples of completed proposals and numerous case studies to demonstrate how the grant-seeking process typically works.

How to Write a Grant Proposal proves a one-stop resource on how to interpret a funder’s guidelines to create a successful grant proposal.

"Composition in the University" examines the required introductory course in composition within American colleges and universities. Crowley argues that due to its association with literary studies in English departments, composition instruction has been inappropriately influenced by humanist pedagogy and that modern humanism is not a satisfactory rationale for the study of writing. Crowley envisions possible nonhumanist rationales that could be developed for vertical curricula in writing instruction, were the universal requirement not in place.

"Composition in the University" examines the required introductory course in composition within American colleges and universities. According to Sharon Crowley, the required composition course has never been conceived in the way that other introductory courses have been--as an introduction to the principles and practices of a field of study. Rather it has been constructed throughout much of its history as a site from which larger educational and ideological agendas could be advanced, and such agendas have not always served the interests of students or teachers, even though they are usually touted as programs of study that students "need."
If there is a master narrative of the history of composition, it is told in the institutional attitude that has governed administration, design, and staffing of the course from its beginnings--the attitude that the universal requirement is in place in order to construct docile academic subjects.

Crowley argues that due to its association with literary studies in English departments, composition instruction has been inappropriately influenced by humanist pedagogy and that modern humanism is not a satisfactory rationale for the study of writing. She examines historical attempts to reconfigure the required course in nonhumanist terms, such as the advent of communications studies during the 1940s. Crowley devotes two essays to this phenomenon, concentrating on the furor caused by the adoption of a communications program at the University of Iowa.
"Composition in the University" concludes with a pair of essays that argue against maintenance of the universal requirement. In the last of these, Crowley envisions possible nonhumanist rationales that could be developed for vertical curricula in writing instruction, were the universal requirement not in place.
Crowley presents her findings in a series of essays because she feels the history of the required composition course cannot easily be understood as a coherent narrative since understandings of the purpose of the required course have altered rapidly from decade to decade, sometimes in shockingly sudden and erratic fashion.
The essays in this book are informed by Crowley's long career of teaching composition, administering a composition program, and training teachers of the required introductory course. The book also draw on experience she gained while working with committees formed by the Conference on College Composition and Communication toward implementation of the Wyoming Resolution, an attempt to better the working conditions of post-secondary teachers of writing.