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Thursday, March 29, 2012

Turnitin 30-Minute FREE Webcast: Why Students Plagiarize

30-Minute Webcast Series
Why Students Plagiarize

Why do students plagiarize? Exploring what students are thinking when they copy work belonging to others, this session will share insights gained from listening to students’ voices and delving into their behaviors and motivations.
Register for this webcast and join a lively discussion on:
  • what students say when asked about copying the work of others
  • unveiling plagiarism and the true motivations driving student behavior
Jason M. Stephens is an Associate Professor of Educational Psychology at the University of Connecticut, where his research focuses on the academic motivation and moral development during adolescence.  He is a co-author of two books on schooling and moral development (Educating Citizens and Creating a Culture of Academic Integrity) as well as numerous journal articles related to academic motivation, moral judgment, self-regulation, and cheating behavior among secondary and post-secondary students. 

Webcast Details
Date: Thursday, April 5, 2012

Time:  10am PT / 11am MT / 12pm CT / 1pm ET
Cost: Complimentary

Register Now

The 30-Minute Webcast Series sponsored by Turnitin is for busy educators who want to stay current with the latest trends and technologies related to preserving academic integrity, preventing plagiarism, and improving the quality of student written work.

View All 30-Minute Webcasts

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The Syllabus Enthusiast │Monthly eNews from the Syllabus Geeks

Syllabus Enthusiast

Find, Build, Share - Fork?


In a recent ProfHacker post by Brian Croxall of The Chronicle of Higher Education, the topic of “Forking Your Syllabus” lit up with over 40 comments from the higher ed community.

Much of the conversation revolved around the fine line between stealing, collaborating, and giving credit where credit is due. Two of the three thoughts are more subjective; the third is more academic in spirit and is further supported by our ability, thanks to technology, to “copy with conditions.”  

As for syllabi, Croxall and the many commenters thought beyond the Creative Commons model to talk about ClassConnect, a teaching documentation share-house, and the potential for course-forking with open source repository GitHub.

We might have been ahead of the curve as it relates to course sharing and collaboration, but it didn’t come easy. When we first built Concourse, we developed features from a student perspective, i.e., I want information, I want it now, and I want it easy. Now, we accommodate the need for immediate gratification and more.

Our online syllabus solution Concourse supports forking your syllabus and more importantly helps your academic community share syllabi in a way that works best for any school, department, and instructor. Full blog post.

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Syllabus of the Day

This month's course syllabus comes from the University of Cincinnati, Engineering Research Center.

Static & Basic Strength of Materials, AEEM 1001, is it a syllabus or course brochure? Either way it's pretty, informative, and available

Have a syllabus worth sharing? Send us the link and we'll feature it in our Twitter feed.
More Concourse for OHSU


Old fan of Concourse

The School of Dentistry at Oregon Health and Science University (OHSU) wanted to replace their outdated syllabus management system and implement a tool that was more capable and instructor-centric.  
They formed an assessment committee and compiled a list of features and functions that would make an ideal syllabus system, including:
Standardize syllabi
Advance reporting
Readily integrate
Accelerate accreditation
Improve accessibility
Fast forward...

We're proud to announce the School of Dentistry at OHSU...
Defeat Faculty Resistance

Campus Villain

Faculty Resistance 

Having featured syllabus copyright in this edition of The Syllabus Enthusiast, it seemed appropriate for us to bring up our most infamous campus villain, Faculty Resistance.

We’re not sure if it’s her devious gaze, mind control, or her disdain for new technology that make the academic community love to hate her.
No, no…everyone knows we love all faculty members. In fact, we’ve worked tirelessly at developing a tool that puts the over used term “user-friendly” to shame.
Here’s your security clearance for defeating faculty resistance and other evil campus villains. >>

Feature Facts

Veruca Salt Students

There are some students that make a habit of reaching for the lowest hanging fruit, but most students are savvy consumers of information.
Disruptive technology is becoming a way of life for students and schools are rapidly shifting to meet the demand of the, “I don’t care how, I want it now,” scholar.
Always one step ahead, the Syllabus Geeks have optimized Concourse for the small screen.
Mobile devices are personal and almost always within a users reach; a syllabus-on-the-go is a perfect solution for connecting the entire academic community to the class. More syllabus on-the-go. >>
Syllabus Geek vs. arch nemeses Faculty Resistance and Budget Constrictor. The Epic Tour
The Syllabus Enthusiast, a monthly publication, is brought to you by Intellidemia, the Syllabus Geeks. | 518.444.2060 | @syllabusgeeks
Intellidemia, Inc.


FridayLive! March 30 Social networking Part Two

30 Mar 2012 2:00 PM EDT

Part Two- Social Networking

March 30, 2011 at 2:00 pm ET - free to all.  

Leader: Steve Gilbert and volunteers TBD - could be you!

Last week's session was really good, fun, useful!  

Have a favorite app or idea you want to share?
Question/poll you want to ask?
Request for help with ....???

I'll be reviewing the transcript from last Friday to identify more specific things we should consider including tomorrow.

Thanks in advance on even shorter notice than last week!


PS:  This is a little like a "flash mob" invitation - yes?  Is that good or bad among our colleagues and friends?

NOTE:  Login instructions for the session will be sent in the Registration Confirmation Email. Please check your Junk folder as sometimes these emails get trapped there. We will also send an additional login reminder 24 hours prior to the start of the event.

More information and online registration:
FridayLive! March 30 Social networking Part Two

Hope you can join us!


The TLT Group, A Non-Profit Organization    301-270-8312


Dillard University to Honor Paul Flower and Dorothy Perrault as Champions of the American Dream, March 29

(New Orleans) The Dillard University College of Business will honor local entrepreneurs Paul Flower and Dorothy Perrault at the second annual Champions of the American Dream event on Thursday, March 29 at 5:30 p.m. in the Georges Auditorium of the Professional Schools and Sciences Building. Attendance is free and open to the public.

Flower is the president and C.E.O. of Woodward Design+Build, the New Orleans architecture firm that helped build Dillard's Professional Schools and Sciences Building. Perrault, a Dillard alumna from the class of 1960, was the first registered African-American nurse at Sara Mayo Hospital in New Orleans. Today she owns Perrault Kiddy Kollege, a pre-school program with locations in the Gentilly area. They were chosen for their success and persistence in business pursuits, their history of philanthropy, and their service as role models for the New Orleans community.

At the ceremony, both honorees will lecture on business entrepreneurship and participate in an audience Q&A session. A reception will follow in the atrium of the Professional Schools and Sciences Building.

Champions of the American Dream is an initiative of the Dillard University College of Business designed to recognize local business leaders. The event honors one Dillard alum and one non-alum annually. In 2011, Dillard recognized Beverly McKenna and Larry Lundy at its inaugural Champions ceremony.

Flower and Perrault were nominated by a committee consisting of Dr. Christian Fugar, dean of the College of Business; Dr. Walter Strong, executive vice president; Kemberly Washington, assistant dean for student programs in the College of Business; Ronald V. Burns Sr. of the board of trustees; Troy Baldwin, assistant vice president for development; and Travis Chase, senior officer for advancement services. Interim President James Lyons and the senior cabinet approved the nominations.


Register now for Summer Classes in College Teaching!


Want to improve your college teaching skills or your competitive edge in the academic job market?

Consider enrolling in one of our practical, theory-based graduate courses in pedagogy for higher education.

Preparation for the college classroom involves more than a solid base of knowledge in a discipline; it requires a systematic inquiry into the pedagogies and processes that facilitate learning. The Colleges of Worcester Consortium’s Certificate in College Teaching program is grounded in the latest educational research on best practices in college teaching, and is designed to enhance the teaching and learning experiences for faculty and students at our member institutions. The primary focus of the Certificate is to prepare graduate students, adjunct and full-time faculty who aspire to, or who are currently engaged in, a career in academia.  Courses carry Worcester State University graduate credit and may be taken individually or toward completion of the six-credit Certificate. A complete course schedule, full course descriptions, and sample syllabi are available on our website.


(All courses carry Worcester State University graduate credit.)

(ONLINE) 2 graduate credits; no prerequisites; May 23 – July 10

The Seminar in College Teaching, the first course in the Certificate sequence, is designed to acquaint participants with basic principles and theories of education and instructional practices associated with effective college teaching. These concepts apply across numerous disciplines as the emphasis is on pedagogy, not course content. Learn the basics of college teaching: designing and developing courses, choosing and using a variety of teaching methods, and assessing student work. The foundational course Seminar in College Teaching is a prerequisite for some Certificate courses. Read what Seminar participants have said about this course!

(ONLINE)  1 graduate credit; CT 901 helpful but not required; May 23 – July 11

 With a focus on the instructor as the primary user of technology in the classroom, this course offers participants an opportunity to deepen their thinking about effective teaching with technology and challenges them to make on-going improvements to their teaching practice. The course supports participants in creating an on-line portfolio featuring lessons or projects that exemplify effective instructor use of technology to promote student learning and demonstrated proficiencies. Teaching technologies include (but are not limited to) the following: Web pages, multimedia presentations, spreadsheet activities, desktop publishing, interactive quizzes, and learning management systems. The central focus of the course is for participants to understand a variety of roles that technology can play in supporting teaching and learning; be comfortable discussing various teaching technologies and how they apply to classroom teaching; share strategies and resources with other educators within their community of practice; and develop an on-line portfolio which demonstrates proficiency in selected teaching technologies. 

(ONLINE)  1 graduate credit; May 14 – June 22

As higher education continues to become increasingly diverse, faculty members will be faced with the challenge of preparing and delivering instruction to students with widely divergent cultural, economic, social, and linguistic backgrounds. In this course, we will look at theoretical and practical ways to prepare ourselves to teach (and learn from) students in ways that reflect culturally relevant pedagogy. Students in the class will analyze and discuss individual and social differences as they manifest themselves inside and outside the classroom, and will have opportunities to design practices that can be applied in their own teaching.

REGISTRATION: Application procedures are described on our website.  Follow the appropriate link under "Course Registration" or "Certificate Application Process."  When using the online pre-enrollment form (for beginning the registration process) you will have to pay by credit card.  Have your card in hand.

TUITION: Tuition for Certificate courses is $299/credit for participants from Colleges of Worcester Consortium member institutions and $479/credit for external participants.  In addition, there is a $75/semester pre-enrollment fee. (Because Worcester State University is the CCT program's credentialing host, WSU current students, faculty and staff pay $262/credit.) You must pay for courses at the time of registration, but you may qualify for tuition reimbursement. Consult with your adviser, faculty development center, or HR Department for details about applying for tuition reimbursement from your institution before you register for any courses.

Founded in 1968, the Colleges of Worcester Consortium, Inc. is an alliance of 12 public and private colleges in Central Massachusetts that works cooperatively both to further the missions of the member institutions individually and to advance higher education regionally.

For more information about the Certificate in College Teaching program, please visit our website or contact Susan Wyckoff to discuss how this program might meet your needs.

Vice President for Academic Affairs
Colleges of Worcester Consortium, Inc.
484 Main Street - Suite 500, Worcester MA 01608


Truman State University Press: Rhina Espaillat talks about T. S. Eliot and Reading featuring our own Dr. Mona Lisa Saloy!

Rhina Espaillat talks about T. S. Eliot and reading

Three T. S. Eliot Prize poets will visit Truman March 29 to promote poetry and highlight their prize-winning books published by Truman State University Press, now celebrating 25 years of publishing.
Rhina Espaillat, Mona Lisa Saloy and Dean Rader will be on the Truman campus as guest lecturers in several creative writing classes. They will all take part in a discussion panel at 1:30 p.m. in the Student Union Building Alumni Room to talk about the craft of poetry and getting started in publishing. The poets will read from their prize-winning books at 7 p.m. in the Student Union Building Down Under where books will be available to purchase. The public is welcome at these events.

The T. S. Eliot Prize, sponsored by the University Press, was first established in 1997 and receives national recognition for the quality of work published. Each year the Press receives about 500 manuscripts for the competition and a well-known poet selects a final winning manuscript. The author wins $2,000 and publication.

In preparation for the event, we invited each author to tell us about their interest and career in poetry.
Rhina Espaillat, author of the 1998 prize for Where Horizons Go, has published eight books of poetry and won numerous awards for her work. Originally from the Dominican Republic, she taught high school English in New York City and is a frequent reader and speaker at universities.

“Where Horizons Go, a beautiful, typo-free volume whose appearance alone, inside and out, recommends and honors the poems. It was my first large prize and therefore got me more publicity than I had ever had before. It attracted the attention of other poets I respect and admire, and helped to create a readership for future books. Most important, the book appeals to ordinary readers—the people we want to reach—and is being used in college courses, reaching young people with some interest in writing, who are my favorite readers. I like the poems of T. S. Eliot, read them early in my writing life, and learned a lot from them. I felt it would be a triumph to win a contest named after such a poet.” —Rhina Espaillat

How did you decide to start writing poetry?
I grew up hearing poetry in the home of my poet grandmother in the Dominican Republic, where I lived as a child, so that it was part of my life right from the beginning, long before I understood any of it except for the word music, which I loved. Making poems seemed a natural part of life—in Spanish first, of course—but later in English too.

When and how did you first get published?
An English teacher I had in high school, herself a poet, sent several of my poems to a national magazine without my knowledge, and they were accepted, much to my surprise. They were published during my junior year, and then I began to submit poems myself, and others were accepted by various magazines in the USA and in England.

Your book, Her Place in These Designs, is full of mostly form poetry, yet the form rarely reveals itself, since the lyricism and pacing of the lines blend together seamlessly. Do you often write using a form? Why do you choose to do so?
I read a great deal of poetry as a child, in both English and Spanish, and learned early to imitate the devices—meter, rhyme, figures of speech­—of poets whose work I admired. Form came easily to me because I found it in the work of others and responded to it with my body, as children respond naturally to music, dancing, chanting and every other form of sound play. As an adult writer, of course, I soon learned that all of those devices can be used to work with, or pull against, the intellectual or emotional content of what you’re writing. Meter isn’t an ornament, but a tool, both useful and fun to use. And yes, I do especially love the strict forms, such as the sonnet, villanelle, sestina, ballade and so forth.

How did this book differ from your T. S. Eliot book of poetry?
This most recent book, and the one before it, Playing at Stillness, were both published by TSUP, the same publisher that sponsors the T. S. Eliot Prize and awarded that prize to an earlier book of mine, Where Horizons Go, which TSUP also published. I suppose all of my eight full-length books and three chapbooks differ from each other, but they all do have certain themes in common, certain experiences and concerns that turn up in all of them. Her Place in These Designs, though, has a particularly strong focus on the life of the woman, examined through my own experience and that of women I’ve known and women from fiction and history.

Which poets or authors have influenced you? Why do you enjoy their work?
Too many poets to name, in both English and Spanish, but certainly the English metaphysical poets of the seventeenth century, Sor Juana Ines de la Cruz, St. John of the Cross, Federico Garcia Lorca, Robert Frost, Emily Dickinson, Stanley Kunitz, Richard Wilbur, the list goes on and on. The poets I tend to love are those whose work sings what it has to say, even if it’s not the kind of insight that calls for celebratory singing. I think of the poet as a kind of “Oven Bird,” the bird in Frost’s poem that asks itself “what to make of a diminished thing.” I also prefer poetry that is meant to be understood, designed to communicate rather than mystify. And of course their poetry is truthful, in that it can acknowledge the inconsistencies of real life, the opposites that manage to be true at the same time.
Can you talk a little about your involvement in the Powow River Poets?
The PRP is a marvelous monthly workshop that began as a small informal group and has now grown to some two dozen members, of whom about 18 are regulars. A great majority have published one or more books, several have won national and international awards, and all are rigorous and serious about improving their work and publishing and presenting readings in good venues. The group mentors a creative writing student group from the local high school, and also presents bi-monthly readings by guest poets and members at a local bookshop. Our real job, though, is helping each other grow, learning from one another, and supporting one another.

What advice would you have for students wishing to pursue writing as a career?
Read, read, read. Try everything. Be prepared to throw out almost everything you try: that’s how you learn. Do it for love, not for personal gain or prestige. Don’t be afraid of tackling formal structure, which is a challenge and a delight, like the arbitrary rules of any game worth playing: there would be no pleasure to any game if it didn’t entail the risk of losing, and if there were no obstacles to keep you from winning. It’s impossible to ”think outside the box” unless you first have a box to get outside of! The pleasure of poetry is that you first get to make the box (by learning how to build it, with language) and then willingly climb into it, then tempt the reader into it with you, and then manage to get out of it without destroying it, all while dancing. It’s one of the oldest arts, after all, and art is the only activity I know of that can take a profound sorrow and turn it into an artifact that inexplicably provides comfort without changing anything.