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A Primer for Teaching Environmental History is a guide for college and high school teachers who are teaching environmental history for the first time, for experienced teachers who want to reinvigorate their courses, for those who are training future teachers to prepare their own syllabi, and for teachers who want to incorporate environmental history into their world history courses. Emily Wakild and Michelle K. Berry offer design principles for creating syllabi that will help students navigate a wide range of topics, from food, environmental justice, and natural resources to animal-human relations, senses of place, and climate change. In their discussions of learning objectives, assessment, project-based learning, using technology, and syllabus design, Wakild and Berry draw readers into the process of strategically designing courses on environmental history that will challenge students to think critically about one of the most urgent topics of study in the twenty-first century.

A Primer for Teaching Women, Gender, and Sexuality in World History is a guide for college and high school teachers who are teaching women, gender, and sexuality in history for the first time, for experienced teachers who want to reinvigorate their courses, for those who are training future teachers to prepare their own syllabi, and for teachers who want to incorporate these issues into their world history classes. Merry E. Wiesner-Hanks and Urmi Engineer Willoughby present possible course topics, themes, concepts, and approaches while offering practical advice on materials and strategies helpful for teaching courses from a global perspective in today's teaching environment for today's students. In their discussions of pedagogy, syllabus organization, fostering students' historical empathy, and connecting students with their community, Wiesner-Hanks and Willoughby draw readers into the process of strategically designing courses that will enable students to analyze gender and sexuality in history, whether their students are new to this process or hold powerful and personal commitments to the issues it raises.

A Primer for Teaching World History is a guide for college and high school teachers who are designing an introductory-level world history syllabus for the first time, for those who already teach world history and are seeking new ideas or approaches, and for those who train future teachers to prepare any history course with a global or transnational focus. Drawing on her own classroom practices, as well as her career as a historian, Antoinette Burton offers a set of principles to help instructors think about how to design their courses with specific goals in mind, whatever those may be. She encourages teachers to envision the world history syllabus as having an architecture: a fundamental, underlying structure or interpretive focus that runs throughout the course, shaping students' experiences, offering pathways in and out of "the global," and reflecting the teacher's convictions about the world and the work of history.

“Staggeringly ambitious.”―New Internationalist

“One of the finest historians on the left.”—John Newsinger, author, The Blood Never Dried


Rejecting the top-down approach of conventional history, Neil Faulkner contends that it is the mass action of ordinary people that drives the transformative events of our many histories. This is a history of power, abuse, and greed, but also one of liberation, progress, and solidarity.            
 
From the hunter-gatherers two million years ago to the ancient empires of Persia and China, and from the Russian Revolution to modern imperialism, humans have always struggled to create a better society than what came before. All over the world at numerous points in the past, a different way of life has become an absolute necessity, over and over again. This is a history of the humans in these struggles—the hominid and the hunter, the emperor and the slave, the dictator and the revolutionary.
 
Reading against the grain of mainstream histories, Neil Faulkner reveals that what happened in the past has never been predetermined. From antiquity to feudalism, and from fascism to our precarious political present, choices have always been numerous and complex, and the possible outcomes have ranged broadly between liberation and barbarism. His chapters include:
 
*Hunters and Farmers
*The First Class Societies
*Ancient Empires
*The Medieval World
*European Feudalism
*The First Wave of Bourgeois Revolutions
*Absolutist Europe and Capitalist Globalization
*The Rise of Industrial Capitalism
*The Revolutionary Wave
*The Great Depression and the Rise of Fascism
*World War and Cold War
*The New World Disorder
*Capitalism’s Greatest Crisis? The Early Twenty-First Century
 
In our fraught political present—as we face the loss of civil liberties and environmental protections, the rise of ethnonationalism, and the looming threat of nuclear war—we need the perspective of these histories now more than ever. The lesson of A Radical History of the World is that, if we created our past, we can also create a better future.  

Eric Mantle presents the basics of classical theory in a clear and concise manner for all beginning drawing and painting students. His book features diagrams that illustrate every concept. Students will see the complexities of color theory and understand how to create the illusion of volume and depth on a 2-dimensional surface. “As an art student,” Professor Mantle recalls, “I was frequently frustrated by instructional books that gave lengthy verbal descriptions of visual concepts and then showed small and/or unclear diagrams of those concepts. As an art teacher, I found that my students would gain a clearer understanding of a visual concept if my verbal explanation was combined with a diagram of that concept.”

A Visual Guide to Classical Art Theory is great for both traditional and non-traditional media. Each page, theory and diagram represents a different tool for the artist to use. Through their use, the artist will find an infinite number of solutions. Artists also may use the book to create a trompe-l’oeil effect in graffiti art or the illusion of volume and depth on the computer. A Visual Guide to Art Theory is presented in a unique, non-verbal format that clearly illustrates the effect of perspective on color, light and shade.

What current theoretical frameworks inform academic and professional writing? What does research tell us about the effectiveness of academic and professional writing programs? What do we know about existing best practices? What are the current guidelines and procedures in evaluating a program’s effectiveness? What are the possibilities in regard to future research and changes to best practices in these programs in an age of accountability? Editors Shirley Wilson Logan and Wayne H. Slater bring together leading scholars in rhetoric and composition to consider the history, trends, and future of academic and professional writing in higher education through the lens of these five central questions.
 
The first two essays in the book provide a history of the academic and professional writing program at the University of Maryland. Subsequent essays explore successes and challenges in the establishment and development of writing programs at four other major institutions, identify the features of language that facilitate academic and professional communication, look at the ways digital practices in academic and professional writing have shaped how writers compose and respond to texts, and examine the role of assessment in curriculum and pedagogy. An afterword by distinguished rhetoric and composition scholars Jessica Enoch and Scott Wible offers perspectives on the future of academic and professional writing.
 
This collection takes stock of the historical, rhetorical, linguistic, digital, and evaluative aspects of the teaching of writing in higher education. Among the critical issues addressed are how university writing programs were first established and what early challenges they faced, where writing programs were housed and who administered them, how the language backgrounds of composition students inform the way writing is taught, the ways in which current writing technologies create new digital environments, and how student learning and programmatic outcomes should be assessed. 
 

This groundbreaking book explores why and how to encourage physical and sensory engagement with works of art.
 
An essential resource for museum professionals, teachers, and students, the award winning Teaching in the Art Museum (Getty Publications, 2011) set a new standard in the field of gallery education. This follow-up book blends theory and practice to help educators—from teachers and docents to curators and parents—create meaningful interpretive activities for children and adults.
 
Written by a team of veteran museum educators, Activity-Based Teaching in the Art Museum offers diverse perspectives on embodiment, emotions, empathy, and mindfulness to inspire imaginative, spontaneous interactions that are firmly grounded in history and theory. The authors begin by surveying the emergence of activity-based teaching in the 1960s and 1970s and move on to articulate a theory of play as the cornerstone of their innovative methodology. The volume is replete with sidebars describing activities facilitated with museum visitors of all ages.

Table of Contents
Introduction
 
Part I History
 
1 The Modern History of Presence and Meaning
A philosophical shift from a language-based understanding of the world to direct, physical interaction with it.
 
2 A New Age in Museum Education: The 1960s and 1970s
A brief history of some of the innovative museum education programs developed in the United States in the late 1960s and 1970s. The sudden and widespread adoption of nondiscursive gallery activities during this period, especially but not exclusively in programs designed for younger students and school groups, expressed the spirit of the times.
 
Part II Theory
 
3 Starts and Stops
Two attempts by American museum educators to articulate a theory for their new, nondiscursive programs: the first deriving from the early work of Project Zero, the Harvard Graduate School of Education program founded by the philosopher Nelson Goodman to study arts learning as a cognitive activity; the second stemming from the work of Viola Spolin, the acclaimed theater educator and coach whose teaching methods, embodied in a series of “theater games,” were detailed in her well-known book Improvisation for the Theater (1963).
 
4 A Theory of Play in the Museum
A theory of play that posits activities in the museum as forms of play that take place in spaces (or “playgrounds”) temporarily designated as such by educators and their adult visitors or students. Play is defined essentially as movement—both physical and imaginary (metaphorical)—toward and away from, around, and inside and outside the works of art that are foregrounded within those spaces. Gallery activities conceived in this way respond to the possibilities that the objects themselves offer for the visitor to explore and engage with them. The particular movements characterizing an activity are crucially conditioned by the object in question; they constitute a process of discovery and learning conceptually distinct from, but supportive of, traditional dialogue-based modes of museum education, which they supplement rather than supplant.
 
Part III Aspects of Play
 
5 Embodiment, Affordances
The idea of embodiment adopted here recognizes that both mind and body are joined in their interactions with things. Investigating works of art thus involves apprehending them physically as well as intellectually—in the sense of responding to the ways in which a particular work allows and even solicits the viewer’s physical grasp of it.
 
6 Skills
Ways in which objects present themselves to us, as viewers, and what we might do in response as they fit with the bodily skills we have developed over the course of our lives. Such skills might be as simple as getting dressed, washing, or eating; or as specialized as doing one’s hair, dancing, playing an instrument, or acting—all of which may allow us to “grasp” and even feel that we inhabit particular works of art.
 
7 Movement
Embodied looking is always looking from somewhere. We apprehend objects as we physically move around and in front of them; they reveal themselves differently as we approach them from different viewpoints. Viewers orient themselves spatially to both the surfaces of objects and to the things and spaces depicte4d in or suggested by representational works of art. Activity-based teaching gets visitors and students to move among the objects—away from them, close to them, and even into them.
 
8 The Senses
Both adult visitors and younger students come to the museum expecting to use their eyes, yet “visual” art appeals to several of the senses at once, though rarely to the same degree. Sculpture, for example, almost always appeals to touch (whether or not that is actually possible or allowed) as well as sight. A painting depicting a scene in which people appear to be talking may induce viewers to not only look but also “listen” to what the figures might be saying.
 
9 Drawing in the Museum
Looking at art with a pencil in hand amplifies viewers’ ability to imaginatively touch and feel their way across and around an artwork. Contour drawing by its nature requires participants to imagine that they are touching the contours of an object beneath the tips of their pencils. Other types of drawing allow viewers to feel their way around objects through observation and movement.
 
10 Emotion
Visitors’ emotional responses to art represent a complex process with many components, from physiological to cognitive, and a particular work of art may elicit a wide range of emotional reactions. This chapter describes specific ways in which museum educators can go well beyond merely asking visitors how a work of art makes them feel.
 
11 Empathy and Intersubjectivity
One aspect of viewers’ emotional responses to art that is often taken for granted, if not neglected altogether: the empathetic connections that human beings make to images of other people. This chapter advocates an approach that prompts viewers to physically engage with the representations of people they see.
 
12 Mindful Looking
Mindfulness involves awareness and attention, both as a conscious practice and as an attitude that gallery teachers can encourage in museum visitors. This is not solely a matter of cultivating the mind, however; it is also a matter of cultivating the body, since mindfulness is only possible when mind and body are in a state of harmonious, relaxed attentiveness. Mindfulness practice in the art museum actively directs the viewer’s focus on the object itself and insists on returning to it over and over; yet it also balances activity with conscious stillness.
 
Afterword
 
Acknowledgments
 
 
 

The question of how students transfer knowledge is an important one, as it addresses the larger issue of the educational experience. In Agents of Integration: Understanding Transfer as a Rhetorical Act, Rebecca S. Nowacek explores, through a series of case studies, the issue of transfer by asking what in an educational setting engages students to become “agents of integration”— individuals actively working to perceive, as well as to convey effectively to others, the connections they make. 

While many studies of transfer are longitudinal, with data collected over several years, Nowacek’s is synchronous, a rich cross-section of the writing and classroom discussions produced by a team-taught learning community—three professors and eighteen students enrolled in a one-semester general education interdisciplinary humanities seminar that consisted of three linked courses in history, literature, and religious studies. With extensive field notes, carefully selected student and teacher self-reports in the form of interviews and focus groups, and thorough examinations of recorded classroom discussions, student papers with professor comments, and student notebooks, Nowacek presents a nuanced and engaging analysis that outlines how transfer is not simply a cognitive act but a rhetorical one that involves both seeing connections and presenting them to the instructors who are institutionally positioned to recognize and value them. 

Considering the challenges facing instructors teaching for transfer and the transfer of writing-related knowledge, Nowacek develops and outlines a new theoretical framework and methodological model of transfer and illustrates the practical implications through case studies and other classroom examples. She proposes transfer is best understood as an act of recontextualization, and she builds on this premise throughout the book by drawing from previous work in cognitive psychology, activity theory, and rhetorical genre theory, as well as her own analyses of student work. 

This focused examination complements existing longitudinal studies and will help readers better understand not only the opportunities and challenges confronting students as they work to become agents of integration but also the challenges facing instructors as they seek to support that student work.

Recognizing the urgent need for students to understand the emergence of the United States' power and prestige in relation to world events, Gary W. Reichard and Ted Dickson reframe the teaching of American history in a global context. Each essay covers a specific chronological period and approaches fundamental topics and events in United States history from an international perspective, emphasizing how the development of the United States has always depended on its transactions with other nations for commodities, cultural values, and populations. For each historical period, the authors also provide practical guidance on bringing this international approach to the classroom, with suggested lesson plans and activities. Ranging from the colonial period to the civil rights era and everywhere in between, this collection will help prepare Americans for success in an era of global competition and collaboration.

Contributors are David Armitage, Stephen Aron, Edward L. Ayers, Thomas Bender, Stuart M. Blumin, J. D. Bowers, Orville Vernon Burton, Lawrence Charap, Jonathan Chu, Kathleen Dalton, Betty A. Dessants, Ted Dickson, Kevin Gaines, Fred Jordan, Melvyn P. Leffler, Louisa Bond Moffitt, Philip D. Morgan, Mark A. Noll, Gary W. Reichard, Daniel T. Rodgers, Leila J. Rupp, Brenda Santos, Gloria Sesso, Carole Shammas, Suzanne M. Sinke, Omar Valerio-Jimenez, Penny M. Von Eschen, Patrick Wolfe, and Pingchao Zhu.