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Thursday, March 29, 2012
Turnitin 30-Minute FREE Webcast: Why Students Plagiarize
The Syllabus Enthusiast │Monthly eNews from the Syllabus Geeks
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FridayLive! March 30 Social networking Part Two
30 Mar 2012 2:00 PM EDT
FridayLive!
Part
Two- Social Networking
March 30, 2011 at 2:00 pm ET - free to all.
March 30, 2011 at 2:00 pm ET - free to all.
Leader: Steve Gilbert and volunteers TBD - could be you!
See transcript & archive http://tlt-swg.blogspot.com/2012/03/keeping-up-social-networking-and-higher.html
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!
Steve
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!
Sally
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
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.
SUMMER 2012 COURSE OFFERINGS:
(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!
CT 913 - Teaching with Technology
(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.
Susan
C. Wyckoff,
PhD
Vice President
for Academic AffairsColleges of Worcester Consortium, Inc.
484 Main Street - Suite 500, Worcester MA 01608
508.754.6829 www.cowc.org
Truman State University Press: Rhina Espaillat talks about T. S. Eliot and Reading featuring our own Dr. Mona Lisa Saloy!
http://blogs.truman.edu/tsup/2012/03/21/rhina-espaillat-talks-about-t-s-eliot-and-reading/
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.
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.
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