The books in The Other Voice in Early Modern Europe series chronicle the heretofore neglected stories of women between 1400 and 1700 with the aim of reviving scholarly interest in their thought as expressed in a full range of genres: treatises, orations, and history; lyric, epic, and dramatic poetry; novels and novellas; letters, biography, and autobiography; philosophy and science. Teaching Other Voices: Women and Religion in Early Modern Europe complements these rich volumes by identifying themes useful in literature, history, religion, women's studies, and introductory humanities courses. The volume's introduction, essays, and suggested course materials are intended as guides for teachers--but will serve the needs of students and scholars as well.

The author describes this volume as a "textography" because it combines certain elements of both text analysis and ethnography. Through analysis of texts, textual forms, and systems of texts, it shows the lives, life commitments, and life projects of people deeply embedded in the literate culture of the university. The people examined work in a single building, but their textual lives are maintained in different times and spaces, measured by the dimensions of text production and text circulation in their fields of work. These domains of text time and space are to some degree differentiated by the three specialties that mark the three floors of a small building at a major research university--the ethnographic site of this journey into textual lives--computing, taxonomic botany, and English as a second language. This research site provides the opportunity to re-examine the concept of discourse community and to investigate the nature and origination of academic discourse from a new perspective. The author is a distinctive member of the applied linguistics and composition communities, an original stamped by the global village of language education in which he has lived his life, and revealed in his own autobiographical account embedded within this book. This book now reveals him as a person making text about how people are embedded in making their textual lives within the discursive landscapes their communities afford. In doing so, he shows not only his own love of language as a way of life, but also his appreciation of how all his subjects find their labors of love in the language they create. This book has been written to appeal to a general academic audience as well as to specialists in rhetoric, discourse analysis, and composition.

As parents and teachers know, yelling comes naturally to children. This friendly, encouraging book, geared to preschool and primary children, introduces and reinforces where and when to use an “indoor voice” or an “outdoor voice.” In classic Best Behavior style the author tells young readers, “Your voice is a powerful tool. How you use it is up to you.” Vivid illustrations show the times and places for an indoor voice, the ways people ask us to quiet our voices, and times when yelling might occur. “What happens if you’re mad or frustrated or really, really excited? Your voice gets louder and LOUDER.” But yelling hurts people’s ears and feelings. Children learn that they can quiet their voice and use their words to talk about a problem. “Think before you yell, and use your words well!” Includes a special section for parents and caregivers with activities and discussion starters. The Best Behavior series uses simple words and delightful full-color illustrations to guide children to choose peaceful, positive behaviors. Select titles are available in two versions: a durable board book for ages baby–preschool, and a longer, more in-depth paperback for ages 4–7. Kids, parents, and teachers love these award-winning books. All include helpful tips and ideas for parents and caregivers.

Since the publication of the first edition of A Spectrum of Voices there have been significant advances in voice studies. Prominent members of the new generation of voice teachers join their voices with now-canonized teachings. Asking questions about technology, pedagogy, and stylistic changes within the field, Elizabeth L. Blades brings the wisdom from the past and present to voice students at all levels. A Spectrum of Voices draws from the brilliance and combined experience of an elite group of exemplary voice teachers, presenting interviews from more than twenty-five notable teachers, six of them new to this second edition. Voice teachers offer valuable insight into their teaching philosophies, the types of auxiliary training they recommend to their students, and how they structure their lessons. This second edition also addresses significant technological advances of the past twenty years, especially the impact on vocal performance and pedagogy. A quick-and-handy reference for the studio teacher, this book also serves as a text for vocal pedagogy courses and as an essential supplement for physiology and vocal mechanics, teachers and students of singing, music educators, and musical theater performers.

On any given day, a visitor to Mary Shorey's classroom will find elementary students using a variety of learning tools, from books to wikis and blogs, to pose critical questions about the world and take action to make a difference in the lives of others. Whether sponsoring a book drive for victims of Hurricane Katrina, using a multimedia presentation to persuade the principal to adopt their recycling plan, or challenging a senior citizen's eviction, it's all in a day's work for Mary's students. Her young learners are becoming conscious consumers, creative thinkers, and effective communicators even while fulfilling the mandated curriculum and Common Core Standards. As Shorey and coauthor Penny Silvers write in Many Texts, Many Voices, "Critical literacy requires that the reader/consumer examine multiple perspectives and ask, 'Whose interests are being served?' and 'Whose voice is heard--or silenced?'...Rather than an addition to a lesson or curriculum, critical literacy is a way of thinking, communicating, analyzing, and living a literate life. Critical literacy also implies the possibility of taking some kind of social action in order to support a belief, make a difference, or simply help during a time of need." Always mindful of what is appropriate for young children, Shorey and Silvers continually search for opportunities to embed critical literacy and inquiry in the everyday lives of primary students. Through a rich array of rubrics, sample lessons, text sets, unit designs, and professional resources, Silvers and Shorey share their reflective practices so that all teachers can use print, visual, and digital tools to transform student learning.

Singing and Teaching Singing: A Holistic Approach to Classical Voice, Third Editioncontinues to be a beloved resource for singers and their teachers, speech-language pathologists, and laryngologists and an adopted text for instructors and students in voice, singing, and performing arts courses. Janice L. Chapman is able to draw on her experiences as a singer with some of the world's leading opera companies to present a teaching technique specifically focusing on voice in the areas of classical and opera singing. Interspersed with the concepts and components of Chapman's methods are vignettes from her life and career, animated by her conversational and vibrant style to guide (and entertain) the reader through the book in a step-by-step fashion. The philosophy of teaching presented combines three main facets: Holistic, Physiological, and Incremental. The Holistic segment emphasizes that the act of singing involves the whole person (i.e., body, mind, spirit, emotion, and voice); the Physiological segment stresses anatomy, muscular function, and effects of muscular interactions so that students and teachers alike can understand and visualize the functional workings of the torso, larynx, and the vocal tract and their impact on good singing practices; and the Incremental section shows that the act of singing can be broken down into manageable components that have a natural hierarchy that eventually interact and interlock. This teaching model provides a framework to master one element at a time, with the resulting effect of a complete and integrated mastery of technique. Chapman recommends this framework for rehabilitative work with the dysfunctional singer, for working with the developing singer, and for the ongoing development and maintenance of the technically able professional singer. Case studies, examples, exercises, and contributions from some of the world's best-known voice professionals further highlight the text. New to this edition: The addition of a completely new chapter: an interview with voice specialist osteopath Jacob Lieberman on the subject of manual therapy and voiceA rewriting of Marilyn McCarthy's chapters on teaching and learning in light of advances in the fields of neuroscience and educationUpdates to Pamela Davis's chapter on voice and the brain, as well as John Rubin's chapter on vocal and respiratory anatomy and physiologyClarifications by Ron Morris on the use of the accent method of breathing as a highly effective remedial and training techniqueRefinements to chapters on breathing and support, phonation, and resonance*Disclaimer: Please note that ancillary content (such as documents, audio, and video, etc.) may not be included as published in the original print version of this book.

Not everyone has had a straight and narrow path into academia. Many higher education teachers, in fact, were professionals before they became part of the university or college where they work; and many keep one foot in both worlds even while they teach. Especially in programs designed to support students in a field of practice (education, nursing, and others), teachers find that being an academic or a scholar is supplementary to being a professional. And yet the demands of scholarship remain a component of their academic work-research, publishing, and the rest.Inspired by scholarly narratives like those from Ruth Behar, bell hooks, Jonathan Kozol, and others, Voices of Practice inspects, interrupts, questions, and reconstructs what it means to be a scholar, using deeply personal reflections, poignant vignettes, and carefully examined timelines of intellectual and professional development. This volume features educators who may not at first call themselves "academics" and who have focused their careers on the practice rather than the publishing of scholarship.