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Non-fiction Composition: more books (100)

Volcanos: The Character of Their Phenomena, Their Share in the Structure and Composition of the Surface of the Globe, and Their Relation to Its Internal Forces by George Poulett Scrope, 2010-01-12
Rocks and Soils: Their Origin, Composition and Characteristics: Chemical, Geological and Agricultural by Horace Edward Stockbridge, 2010-01-11
Available Means: An Anthology of Women's Rhetoric(s) (Pittsburgh Series in Composition, Literacy, and Culture) by Joy Ritchie, 2001-07-12
Write & Publish Non-Fiction Books in Seven Days by Authors & Publishers Initiative, 2010-05-21
Writing Essentials for Pre-GED Student (Essentials for the Pre-GED Student) by Peterson's, 2003-10-19
Mastering Composition : Techniques and Principles to Dramatically Improve Your Painting with Ian Roberts (DVD video course) by Ian Roberts, 2004-11-01
The Technique of Fiction Writing by Robert Saunders Dowst, 2010-05-22
Practical Grammar and Composition - New Century Edition with DirectLink Technology by Thomas Wood, 2010-06-18
Watercolor: Planning & Painting by Alan Oliver, 1998-12-31
Writing and Reading English prose by Frederick and Kirk, Richard Kay and Marcoux, Harvey Lee Hard, 1942-01-01
The Myths of Israel: The Ancient Book of Genesis with Analysis and Explanation of Its Composition by Amos Kidder Fiske, 2010-01-11
An Essay On the Power and Harmony of Prosaic Numbers: Being a Sequel to One On the Power of Numbers and the Principles of Harmony in Poetic Compositions by John Mason, 2010-01-09
English Composition, Volume 2 by Stratton Duluth Brooks, 2010-02-16
Thesaurus of English Words and Phrases Classified and Arranged So As to Facilitate the Expression of Ideas and Assist in Literary Composition by Peter Mark Roget, 2010-02-04

lists with details

Doctoral Program In Composition Studies At UNH
What is the purpose of the Ph.D. Program in composition Studies? own abilityto write literary genres such as poetry, fiction, and literary nonfiction?
http://www.unh.edu/composition/faq.html

Extractions: Frequently Asked Questions What is the purpose of the Ph.D. Program in Composition Studies? Does UNH also offer an MA program in Composition Studies? Do I need a master's degree in Composition Studies to apply to the Ph.D. program in Composition Studies? Will the Ph.D. program in Composition Studies help me develop my own ability to write literary genres such as poetry, fiction, and literary nonfiction? ... How much work will it take to pursue a Ph.D. in Composition Studies? What is the purpose of the Ph.D. Program in Composition Studies? Our Ph.D. Program in Composition Studies is designed to prepare experts in composition theory, research and administration. Ph.D.s in Composition Studies usually seek tenure-track positions in higher education, where they will engage in research and scholarship on writing, administer composition programs, prepare composition teachers, and teach composition courses as well as graduate courses in composition history, theory, research and pedagogy. Does UNH also offer an MA program in Composition Studies?
Net.TUTOR: Finding Articles
An article is defined as a nonfiction composition that forms an independent partof a publication. There are many different kinds of articles.
http://gateway.lib.ohio-state.edu/tutor/articles/pg1.html

Extractions: net.TUTOR Home Tutorial Overview Glossary Links ... Help An article is defined as "a nonfiction composition that forms an independent part of a publication." There are many different kinds of articles. Some are published in reference sources, such as encyclopedias. In this tutorial, we consider articles published in periodicals regularly issued (or "serial") publications like magazines or journals . Newspaper articles are discussed in another tutorial, News Sources The chart below provides more information about different types of periodicals and the articles contained in them. Criteria Popular Magazine Trade or Professional Journal Scholarly Journal Examples: Click on the cover images to view sample issues. Who is the audience? General public, interested readers. Those with some background or knowledge in the field. Researchers and experts. What are some characteristics? Articles, often with catchy titles, written by staff writers. Glossy covers, color photographs and numerous advertisements.
K-4 Language Arts Curriculum
biographies, non fiction accounts, narrative, poetry. Literature, composition including fiction, expository, other nonfiction, poetry composition
http://www.marblehead.com/staff/mvoss/langartswebcurrick.4.html

Extractions: Grade/ Course: Kindergarten - Language Arts Course Description: Children explore literacy through play and through structured and informal activities in a print-rich environment. They participate in many high quality reading, writing, listening, and speaking experiences, appropriate to kindergarten. Major Areas of Study
English Department Course Offerings
18 weeks. 1/2 credit. Reading Literature for CollegeBound Students. 18 weeks.1/2 credit. Short Story, Nonfiction, and composition. 18 weeks. 1/2 credit
http://www.wooster.k12.oh.us/highschool/guidancedepartment/04-05regisinfo/englis

Extractions: English Department Return to Registration Information Page Return to WHS Guidance Page Return to Wooster High School Page The English Department has established an 18-week course program, with the exception of English 9, English 10, and Advanced Placement English. Four credits of English must be earned to meet graduation requirements. Additional courses may be taken. All W.H.S. literature courses will combine instruction in literature with substantial amounts of composition because reading, reasoning, responding, and writing are integral parts of the 'literate' tradition. Students who fail a required course shall repeat the course and must earn a passing grade for credit before taking the next required course. Students may also earn credit for a failed required course in summer school. However, no credit may be earned in summer school for any required English course unless the student has first failed that course in regular session. Summer school courses may not be taken in advance of nor in lieu of the regular, full-term course at Wooster High School. Freshman English 9 1 credit Sophomore English 10 or Advanced English 10 1 credit Junior Total: 1 credit Senior Two 18-week elective courses unless Advanced Placement English is chosen Total: 1 credit Required Courses Course Name Length of Course Credit Fee` English 9 36 weeks 1 credit English 10 36 weeks 1 credit Advanced English 10 36 weeks 1 credit American Literature and Composition 18 weeks 1/2 credit Advanced American Literature and Composition 18 weeks
Titles On JUVENILE NONFICTION / Language Arts / Composition
Titles on JUVENILE NONFICTION / Language Arts / composition Creative Writing.The Riverside Reader AP Version Reading and Writing from Literature AP
http://doi.contentdirections.com/mr/hmco_subject_titles.jsp/JNF029010
Titles On JUVENILE NONFICTION / Language Arts / Composition
Titles on JUVENILE NONFICTION / Language Arts / composition Creative Writing.On Writing for Children and Other People
http://doi.contentdirections.com/mr/penguin_bowker_subject_titles.jsp/JNF029010
Perfect Match Discover The Longman Composition Text That S Right
Here s Your Perfect Match! Root, The Fourth Genre Contemporary Writers of/onCreative Nonfiction, 3/e. © 2004 Perfect Match Website design by Riverside
http://www.ablongman.com/perfectmatch/comp/3I.html
English 890: Studies In Composition And Rhetoric
Suddenly Sexy Creative Nonfiction Rearends composition. College English65 (2003) 257-275. Fenza, DW Creative Writing and Its Discontents.
http://www.compositionstudies.tcu.edu/coursedesigns/online/31-2/dawes_friend.htm

Extractions: In the past few years, specialists in creative writing and composition have called for increased collaboration between the two fields. Recent theme issues of College English and CCC , at least one book (Bishop and Ostrom), and several articles in Keeping in mind the hierarchies, oppositions, and exclusions that Bishop and Malinowitz warn can derail conversations between creative writers and compositionists, we built into the course design several features that we hoped would maximize opportunities for constructive interdisciplinary exchanges: Team-teaching: Interdisciplinary reading: Varied Writing Assignments: We required that every student, regardless of his or her major, craft and submit both creative and scholarly projects: every student completed a small portfolio of poems, designed lesson plans, and researched and wrote an academic seminar paper. While this format created a relatively heavy workload, we felt it was vital for an interdisciplinary course to push students to work both within and outside of their comfort zones. We also wanted to ensure that the course would acknowledge a full range of genres and modes of inquiry.
English 890: Studies In Composition And Rhetoric
ÒSuddenly Sexy Creative Nonfiction Rearends composition.Ó College English65 (2003) 257-275. Fenza, DW ÒCreative Writing and Its Discontents.
http://www.compositionstudies.tcu.edu/coursedesigns/online/31-2/dawes_friend.htm

Extractions: Course Designs Designed by Kwame Dawes and Christy Friend at the University of South Carolina English 890: Studies in Composition and Rhetoric is a seminar designed for graduate students in English at the University of South Carolina, a public research university with a population of approximately 25,000 students, about 8,500 of whom are graduate students. The course counts as elective credit for MA and PhD students in English majoring in composition and rhetoric, American literature, or British literature; for MFA students majoring in creative writing; and for MAT and MT candidates in English Education. It is described in the course catalog as an intensive course on Òtopics selected by the instructor for specialized studyÓ that Òmay be repeated for credit as topics vary.Ó Institutional Context In addition to these broad pedagogical influences, TCR responded to several ongoing needs on our campus. The course provided professional development for several groups of students: Graduate Students in Composition and Rhetoric: MFA Creative Writing Students: English Education Students and Practicing K-12 Teachers: Since the Palmetto Achievement Challenge Test (the standardized achievement test required of all public-school students in South Carolina) added a writing component two years ago, English Education students and practicing K-12 teachers in our area have become quite interested in finding innovative ways to teach writing. Our universityÕs MAT and MT programs currently offer little coursework in this area: teachers in training must take 18 credit hours of graduate literature courses but no required graduate courses in composition and rhetoric. TCR was thus a useful elective for these students.
Microsoft SDB: Composition & Creative Writing > Nonfiction
Nonfiction businesses that offer composition Creative Writing related productsand services.
http://sbd.bcentral.com/11533.aspx
Warren Wilson College
The list of courses you see here are the College composition I (CCI) courses thatwill be offered Her own nonfiction writing is about women and freedom.
http://www.warren-wilson.edu/fye/composition.shtml

Extractions: Parent Handbook Dear Students: Please read this information carefully and follow directions. Completing this step in your fall registration in a thoughtful manner will help you complete a requirement in the Triad Education Program. The list of courses you see here are the College Composition I (CCI) courses that will be offered during the fall 2005 semester. Every student should select the three CCI courses he or she would most like to take. Please read through the entire list before making a choice. Pick courses that serve your interests and fit your schedule. Please recognize that, although the themes may differ, each course is designed to improve your writing skills. The umbrella description of all CCI courses follows. College Composition I : Students develop their thinking by writing expository prose. They work toward improved organization and clarity by writing multiple drafts of their assignments and participating in peer review sessions or workshops. Students practice locating, integrating, and citing primary or secondary source material into their writing, and they learn to edit their writing, checking for correct usage, mechanics, spelling and punctuation. Regular, punctual, and engaged attendance is a crucial component of this course. IMPORTANT: PLEASE RECORD YOUR THREE CHOICES ON THE ENCLOSED CARD, INDICATING THE COURSE NUMBER AND TITLE. For instance "WRI 120F04 Experimentation."
English Graduate Course Offerings
CRW, 6317, Nonfiction Writing, An exploration of the different types of nonfictionwriting, Gives practical guidance in preparing to teach composition.
http://www.cas.usf.edu/english/eng_grad_course_offerings.htm

Extractions: English Graduate Course Offerings AML Studies in American Literature to 1860 Selected focused studies in American literature before 1860: the Puritans, Franklin, Cooper, Irving, Poe, Emerson, Hawthorne, Melville, and others. AML Studies in American Literature 1860-1920 Selected focused studies in American literature: Dickinson, Whitman, Twain, Howells, James, Jewett, Chopin, Crane, Dreiser, and others. AML Studies in Modern American Literature Modern American drama, poetry, fiction, and literary criticism; authors include Faulkner, Hemingway, Fitzgerald, O'Neill, Miller, Anderson, Wolfe, Cummings, Frost, Pound, and Eliot. AML Studies in African American Literature Focuses on varied topics in African American literature such as African American Fiction and the Harlem Renaissance. Topics will supply greatly needed coverage of increasingly important areas of American and African American literature, history, and culture. CRW Fiction Writing A study of the process of fiction writing and the artistic demands associated with its forms, from microfiction to the novel.
English Lang & Lit - Faculty Biographies
Tija Spitsberg (MA NYU) teaches courses in dramatic literature, creative writing,creative nonfiction and composition and is the faculty advisor for LYCEUM,
http://casl.umd.umich.edu/humanities/englishbios.html

Extractions: Poonam Arora (Ph.D. SUNY Binghamton) is the Chair of the Humanities Department and specializes in film, gender studies, narrative theory and post colonial studies, joined the faculty in 1989. Her professional experience extends to writing on south Asian cinema (Bollywood), ethnographic film, women filmmakers and script writing. In addition to teaching courses in the Film Studies program, she teaches courses in Women's Studies, the Masters in Liberal Arts, and the African/African-American Studies programs. Erik Bond (Ph.D. NYU) is Assistant Professor of Restoration and 18th-century British Literature with special interests in urban theory, narratology, and the history of genre. His research centers upon the nature of eighteenth-century imagination and the literary critic's role in London. Professor Bond teaches courses that read Restoration drama, 18th-century satire, the 18th-century novel, poetry and prose written during the "Age of Johnson," and theories of 20th-century narrative. Thomas Cobb (Ph.D. Yale) has taught composition and literature courses at UM-D since 1978. His areas of specialization are Shakespeare and Renaissance literature. He has written on such writers as Robert Greene, Shakespeare and John Webster, and his interests include comparative studies of Early Modern genres. He teaches a 16th-century survey course, as well as courses in Shakespeare, Renaissance drama, and 17th-century poetry and prose. For the University's Honors Program he has co-taught a Humanities/History survey course and composition.
AP Central - English Language And Composition Course Perspective
The Courses Course Home Pages English Language and composition Course your students learning, this course should focus primarily on nonfiction.
http://apcentral.collegeboard.com/article/0,3045,151-165-0-4356,00.html

Extractions: What makes AP English Language and Composition different from other high school English courses is its focus on rhetoric. While promoting writing in many contexts for a variety of purposes, the English Language course is the place where nonfiction texts and contexts take center stage. Here students think deeply about language as a persuasive tool and about the dynamic relationship of writer, context, audience, and argument. To best serve your students' learning, this course should focus primarily on nonfiction. Those of us used to teaching literature need to adjust our perspective and revise our teaching techniques when we take on the AP English Language course. We need to refocus our materials from the imagined worlds of literature to the real world of nonfiction. When we talk about familiar techniques of diction, syntax, imagery, and tone, we need to help students see how persuasive writers marshal these devises to the service of argument. When we talk about audience, we need to get students thinking about particular audiences and specific contexts for writing, rather than presuming a general audience as we usually do for literature.
Nonfiction Writing Program News, The University Of Iowa Dept. Of English
Judy Copeland (MFA 2002) just landed a tenuretrack position teaching creativenonfiction and composition to undergraduates in the writing program at the
http://www.english.uiowa.edu/nonfiction/news.html

Extractions: About Undergraduate Graduate Faculty/Staff Specialties ... Links The NWP sent a large contingent to this year's AWP Conference in Vancouver, Canada, (March 31-April 2). Eula Biss read her essay "The Only Professional Player of the Toy Piano" at a reading celebrating the Bellingham Review. John Bresland organized the panel "The Video Essay: Writing With Images and Sound", described as follows: "Thanks to the freedom granted by digital cameras, the video essay is fast emerging as a new form of creative nonfiction. Agnes Varda, the poetic French filmmaker who coined the term'cinecriture' (film-writing), best described the promise of the video essay when noting that, for her, writing meant more than simply wording a script. Shooting, making cuts, designing sound - these too were part of that process. We'll show how sound and image alter the writer's relationship to language." John adds: "The panel was also my excuse to play Van Halen in front of 150 literary people, maximum volume, with textovers about how image and sound and text interact . . . and they liked it.
Writer's Encyclopedia--Letter E
A short, literary, nonfiction composition (usually prose) in which a writerdevelops a theme or expresses an idea. Coined in 1580 to describe the personal
http://www.writersmarket.com/encyc/e.asp

Extractions: Writer's Encyclopedia A B C D ... View A-Z List Easy Listening Formula (ELF) A gauge of listening comprehension, the ELF was developed by Dr. Irving Fang, an expert in determining the "learnability" levels of TV news reports. It is designed to make broadcasters and writers aware of the various degrees of language complexity in their presentations. The formula consists of counting each syllable above one, per word, in any one sentence. For example, Dr. Fang found that Walter Cronkite's scripts had an easy-listening score of less than twelve. That meant no sentence had more than twelve two-or-more-syllable words and was easily understood by the average listener. The most readable newspaper he tested, the Christian Science Monitor , also averaged less than twelve. Writers who are writing speeches and/or broadcast copy could use the Easy Listening Formula to keep their sentences from becoming too complex and difficult to listen to and understand. See Also: Top Edgar Awards This group of awards was established in 1945 by the Mystery Writers of America, Inc. to recognize outstanding contributions to various categories of mystery, crime and suspense writing. The Edgar Allan Poe Awards consist of ceramic statuettes of Poe, known as "Edgars." They are awarded annually for the best first mystery novel by an American and the best mystery novel published in America. Edgars are also awarded in categories such as best juvenile mystery novel, best mystery short story, and best mystery motion picture, among others. More information on the Edgar prizes is available from the Mystery Writers of America, Inc., 17 E. Forty-seventh St., Sixth Floor, New York, NY 10017.
CCCC Ethical Conduct Of Research Involving Human Participants: A Bibliography
This bibliography presents sources that composition researchers can use The Art of Creative Nonfiction Writing and Selling the Literature of Reality.
http://www.ncte.org/groups/cccc/positions/115585.htm

Extractions: A Bibliography This bibliography presents sources that composition researchers can use to supplement the CCCC Guidelines for the Ethical Conduct of Research in Composition Studies. The guidelines are available at http://www.ncte.org/groups/cccc/positions/115584.htm Associations Statements of Ethics American Anthropological Association. Code of Ethics of the American Anthropological Association. 1998. 15 Dec. 2002 . American Educational Research Association. Ethical Standards of the AERA. June 1992. 15 Dec. 2002 . American Psychological Association. Ethical Principles of Psychologists and Code of Conduct 2002. 15 Dec. 2002 . Society of Professional Journalists. Code of Ethics. 1996. 15 Dec. 2002 .
Advanced Composition
So, let s think of this course as Literary Nonfiction. What s the differenceyou ask? Advanced composition as it was taught over the past century was a
http://department.monm.edu/english/mew/advanced_composition.htm

Extractions: Open Office Information Calendar Elbow, Peter. Writing With Power . Oxford: Oxford UP, 1981. 2000. Iverson, Kristen. Shadow Boxing: Art and Craft in Creative Nonfiction . New Jersey: Pearson Prentice Hall, 2004. Welcome to Advanced Composition. Somehow, that name isn't quite right, though: it brings visions of longer Freshman Composition papers to mind, doesn't it? That's not what this class is about. So, let's think of this course as "Literary Nonfiction." What's the difference you ask? "Advanced Composition" as it was taught over the past century was a course where you would read "classic" writers and, basically, imitate their refined styles. If you were lucky you might find a style of your own along the way. Certainly, imitation has been a great tool for a lot of writers; Robert Louis Stevenson once said that he learned to write by being Sir Walter Scott for a week, Dickens for a week, etc. However, for most of us, this'd be a tedious process, at best. "Literary Nonfiction," however, is the most recent name for a very old tradition. Montaigne began it when he wrote his first "essais" the French word for "try" in the sixteenth century. His "tries" were pieces where he attempted, creatively and concertedly, to record his own thoughts and experiences, or the thoughts and experiences of others he found interesting. What has become "literary nonfiction" in the twentieth-century, then, isn't so different from its beginning in sixteenth-century France.
Reading List
Introduction Literary Nonfiction and composition. Literary Nonfiction Theory,Criticism, Pedagogy. Ed. Chris Anderson. Carbondale, IL SIU P,
http://www.louisville.edu/a-s/english/subcultures/ideas/buzzpounds/pounread.html

Extractions: Bryan, C. D. B. Friendly Fire . New York: Bantam, 1976. Capote, Truman. In Cold Blood . New York: Signet, 1965. Didion, Joan. Slouching Towards Bethlehem . New York: Farrar, Straus and Giroux, 1968. Dillard, Annie. Pilgrim at Tinker Creek . New York: Harpers Magazine P, 1974. Greene, Melissa Fay. Praying for Sheetrock. Reading, MA: Addison-Wesley, 1991. Herr, Michael. Dispatches . New York: Knopf, 1978. Least Heat-Moon, William. PrairyErth . Boston: Houghton-Mifflin, 1991. Mailer, Norman. Armies of the Night . New York: Signet, 1968. McPhee, John. Encounters with the Archdruid . New York: Farrar, Straus and Giroux, 1971. Southern, Terry. "Twirling at Ole Miss." The Literature of Reality. Gay Talese and Barbara Lounsberry, eds. New York: HaperCollins, 1996/1967 Spiegelman, Art. Maus: A Survivor's Tale. I: My Father Bleeds History; Maus: A Survivor's Tale. II: And Here My Troubles Began . New York: Pantheon, 1986 and 1991. Thomas, Lewis.
BHS LA Course 11 & 12
Nonfiction Literature, Speech composition Modern Voices return to topof page Nonfiction Literature composition Modern Voices
http://www.beavton.k12.or.us/beaverton/classes/la/courses11and12.html

Extractions: All students can benefit from the literature and composition skills taught in these courses. Each will offer students the opportunity to practice and refine their literature analysis and composition skills. Short stories, plays, poems, novels, or films will be studied as a means for students to better understand themselves and others and to expand their skills in discussion and analysis. Opportunities will be provided to meet or make up Oregon State CIM requirements in reading, writing, and speaking. These courses are open to juniors and seniors , except Journalism Survey. Due to the reading selections and writing expectations some courses are more challenging. Students will write in a variety of forms, including expository, narrative, persuasive, and analytical essays. Students will further develop skills in research, speech, and critical thinking.

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