- ISBN13: 9780156028721
- Condition: New
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American Sign Language is a rich and complex language. Recently declared as an official language and recognized by 48 states as a foreign language, more and more high school teachers across the country are teaching American Sign Language as an elective.
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Learning American Sign Language: Levels I & II â€" Beginning &Intermediate is designed to prepare teachers to successfullyinteract with American Sign Language (ASL) users. Lessons are structured around language needed for common-life situations, and examples are presented in the form of dialogues coupled with grammar and vocabulary instruction. Information is also include! d about the culture of deaf people in the United States.
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Learners will discover that the book:
- Contains lessons designed around the conversational language needed for common life situations.
- Illustrates hundreds of sentences and vocabulary with over 2,000 high quality colorized drawings that aid in study and memory.
- Contains over 100 grammar and cultural notes, 72 exercises, and charts of the American Manual Alphabet (Finger spelling) and ASL number system.
- Teaches the rules of ASL in a natural order that is predictable and compatible with everyday language of native users of American Sign Language.
- Incorporates information about the cultural lives of Deaf people in the United States.
- Is supported by a video demonstrating all the conversations and important structures in the text.
Order the Video!
Vid! eo to Accompany American Sign Language, 2/e
Order No. 0! -205-275 54-0
American Sign Language students will find themselves captivated and entertained by this state-of-the-art Video that presents all 72 dialogues and each key structure from the text in a clear and natural way. Four internationally known Deaf actors animate the dialogues bringing life to the illustrations in the text allowing students to preview and review instructional materials at home to enhance their classroom learning.
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About the authors:
Tom Humphries is Associate Director of the Teacher Education Program and also teaches in the Department of Communication at the University of California, San Diego. He is currently coordinating a program to train teachers of deaf children using a bilingual approach. Prior to this he taught at Gallaudet University in the Department of English for several years and later served as an Associate Dean for the San Di! ego Community College District where he coordinated the development of an ASL program and an interpreter-training program. He holds a Ph.D. in Cross Cultural Communication and Language Learning. Dr. Humphries is co-author with Carol Padden of Deaf in America: Voices from a Culture and several other books and articles related to ASL and the culture of Deaf people.
Carol Padden is a Professor in the Department of Communication at the University of California, San Diego where she teachers courses on language, culture and media. She is a graduate of Georgetown University and received a Ph.D. in Linguistics from the University of California, San Diego. Her recent research includes studies of reading development in young deaf children and she has written extensively about the cultural lives of Deaf people in the United States. She received a John Simon Guggenheim Fellowship, in addition to numerous other awards and grants for her work! . In addition to the books she has co-authored with Tom Humphr! ies, she has published several other books and articles on American Sign Language structure. Humphries & Padden (Learning American Sign Language, 2e).
"How ironic," Joyce Carol Oates writes in her introduction to this marvelous collection, "that in our age of rapid mass-production and the easy proliferation of consumer products, the richness and diversity of the American literary imagination should be so misrepresented in most anthologies." Why, she asks, when writers such as Samuel Clemens, F. Scott Fitzgerald, Eudora Welty, Flannery O'Connor, Saul Bellow, and John Updike have among them written hundreds of short stories, do anthologists settle on the same two or three titles by each author again and again? "Isn't the implicit promise of an anthology that it will, or aspires to, present something different, unexpected?"
In
The Oxford Book of American Short Stories, Joyce Carol Oates offers a sweeping survey of American short fiction, in a collection of fifty-si! x tales that combines classic works with many "different, unexpected" gems, and that invites readers to explore a wealth of important pieces by women and minority writers. Some selections simply can't be improved on, Oates admits, and she happily includes such time-honored works as Irving's "Rip Van Winkle," Poe's "The Tell-Tale Heart," and Hemingway's "A Clean, Well-Lighted Place." But alongside these classics, Oates introduces such little-known stories as Mark Twain's "Cannibalism in the Cars," a story that reveals a darker side to his humor ("That morning we had Morgan of Alabama for breakfast. He was one of the finest men I ever sat down to...a perfect gentleman, and singularly juicy"). From Melville come the juxtaposed tales "The Paradise of Bachelors and the Tartarus of Maids," of which Oates says, "Only Melville could have fashioned out of 'real' events...such harrowing and dreamlike allegorical fiction." From Flannery O'Connor we find "A Late Encounter With the Enem! y," and from John Cheever, "The Death of Justina," one of Chee! ver's ow n favorites, though rarely anthologized. The reader will also delight in the range of authors found here, from Charles W. Chesnutt, Jean Toomer, and Sarah Orne Jewett, to William Carlos Williams, Kate Chopin, and Zora Neale Hurston. Contemporary artists abound, including Bharati Mukherjee and Amy Tan, Alice Adams and David Leavitt, Bobbie Ann Mason and Tim O'Brien, Louise Erdrich and John Edgar Wideman. Oates provides fascinating introductions to each writer, blending biographical information with her own trenchant observations about their work, plus a long introductory essay, in which she offers the fruit of years of reflection on a genre in which she herself is a master.
This then is a book of surprises, a fascinating portrait of American short fiction, as filtered through the sensibility of a major modern writer.
This singular collection is nothing less than a political, spiritual, and intensely personal record of America’s tumultuous modern age, as experience! d by our foremost critics, commentators, activists, and artists. Joyce Carol Oates has collected a group of works that are both intimate and important, essays that move from personal experience to larger significance without severing the connection between speaker and audience.
From Ernest Hemingway covering bullfights in Pamplona to Martin Luther King, Jr.’s Â"Letter from Birmingham Jail,†these essays fit, in the words of Joyce Carol Oates, Â"into a kind of mobile mosaic suggest[ing] where we’ve come from, and who we are, and where we are going.†Among those whose work is included are Mark Twain, John Muir, T. S. Eliot, Richard Wright, Vladimir Nabokov, James Baldwin, Tom Wolfe, Susan Sontag, Maya Angelou, Alice Walker, Joan Didion, Cynthia Ozick, Saul Bellow, Stephen Jay Gould, Edward Hoagland, and Annie Dillard.
The title
The Best American Essays of the Century seems transparent enough, but don't be deceived. What Joyce Carol Oates has as! sembled is not so much a diverse collection as a sonorous ma! rch thro ugh what keeps getting called the American century. Read this not as a collection to dip into but as a history--a history of race in America. Oates says it best herself in her introduction: "It can't be an accident that essays in this volume by men and women of ethnic minority backgrounds are outstanding; to paraphrase Melville, to write a 'mighty' work of prose you must have a 'mighty' theme." The mighty pens at work here belong to, among others, Zora Neale Hurston ("How It Feels to Be Colored Me"), Langston Hughes ("Bop"), and James Baldwin ("Notes of a Native Son"). Oates has opted not for the most unexpected but for the most important and stirring essays of our time.
Other chords sound repeatedly as well: the problem of our relationship with nature (Annie Dillard, John Muir, and Gretel Ehrlich); the difficulty of identity in disrupted times (F. Scott Fitzgerald, Joan Didion, and Michael Herr). In her essay "The White Album," Didion famously decl! ares: "We tell ourselves stories in order to live." The stories Oates has collected are not easy. Here is the hard-won truth, from writers unwilling to forgive even themselves. Even Martin Luther King Jr. doesn't let himself off the hook, as he writes in his "Letter from Birmingham Jail": "If I have said anything in this letter that is an overstatement of the truth and is indicative of an unreasonable impatience, I beg you to forgive me. If I have said anything in this letter that is an understatement of the truth and is indicative of my having a patience that makes me patient with anything less than brotherhood, I beg God to forgive me." --Claire Dederer
A rich narrative portrait of post-revolutionary America and the men who shaped its political future
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Though the American Revolution is widely recognized as our nation's founding story, the years immediately following the warâ€"when our government was a disaster and the cou! ntry was in a terrible crisisâ€"were in fact the most crucial ! in estab lishing the country's independence. The group of men who traveled to Philadelphia in the summer of 1787 had no idea what kind of history their meeting would make. But all their ideas, arguments, and compromisesâ€"from the creation of the Constitution itself, article by article, to the insistence that it remain a living, evolving documentâ€"laid the foundation for a government that has surpassed the founders' greatest hopes. Revisiting all the original historical documents of the period and drawing from her deep knowledge of eighteenth-century politics, Carol Berkin opens up the hearts and minds of America's founders, revealing the issues they faced, the times they lived in, and their humble expectations of success."The majority of historians seem to suggest that the founders knew just what to do--and did it, creating a government that would endure for centuries," writes CUNY historian Carol Berkin in the introduction to A Brilliant Solution. Sitting atop the pedestals! we've placed them on, these figures would be "amused" by such notions, she says, because in reality the Constitutional Convention was gripped by "a near-paranoid fear of conspiracies" and might easily have succumbed to "a collective anxiety" over its daunting task. The story of the birth of the U.S. Constitution has been told many times, perhaps best by Catherine Drinker Bowen in Miracle at Philadelphia. Berkin's rendition of these well-known events is clear and concise. It does a bit more telling than showing, but this seems to be in the service of brevity--the main text is only about 200 pages. (Another 100 pages of useful appendices follow, including the full texts of the Articles of Confederation and the Constitution, plus short biographies of all the convention delegates.) Berkin is an opinionated narrator, unafraid, for instance, to call Maryland's Luther Martin "determinedly uncouth." She also points out that American government has evolved in ways that would! make the founders cringe: they believed the presidency would ! be a cer emonial office (rather than the locus of the nation's political power) and that political parties were bad (when, in fact, they have served democracy well). Readers who want a sure-footed introduction to America's founding would do well to start here. --John J. Miller
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