This title is only available as a loose-leaf version with Pearson eText. Comprehensive, theoretically sound, and practical, Bridging English captures what students need to know in order to enter today’s secondary English classrooms with confidence, while engaging students with purposeful, dynamic lessons. Appreciated as more than a general introduction to English education, this is a textbook that students take from their college coursework into their own classrooms as the anchor reference source in their professional libraries. While clarifying and expanding on the information in the previous editions, this new edition addresses new developments in the field of English education, of education generally, and of the culture, particularly issues relating to today’s diverse students, mounting pressures of accountability, and the use of technology in teaching and learning. Each chapter presents conceptual frameworks, a multitude of tested teaching activities, and invitations to reflect on both. Included are chapter organizers, numerous boxed figures, tables, teaching activities, invitations to reflect, and an exhaustive index. The result is a book that is easily accessible for the new teacher just building an instructional foundation, and for the established teacher searching for new ways to enliven the classroom. 0134197968 / 9780134197968 Bridging English, Pearson eText with Loose-Leaf Version -- Access Card Package 6/e Package consists of: 0134198166 / 9780134198163 Bridging English, Pearson eText -- Access Card 0134204034 / 9780134204031 Bridging English, Loose-Leaf Version

Bridging English, Pearson eText with Loose-Leaf Version -- Access Card Package

Reference

Milner, Joseph

Milner, Lucy

Mitchell, Joan

Words, Language & Grammar

Pearson

In time and eye;: Poetry

Saint John's University Press

The Gospel of Mark ends in a curious way. Three women disciples go to the tomb and find it empty, save for a young man in a white robe who tells them that Jesus has been raised and they should "tell his disciples and Peter, 'He is going before you to Galilee; there you will see him, as he told you.'" The gospel concludes with the statement: "Then they went out and fled from the tomb, seized with trembling and bewilderment. They said nothing to anyone, for they were afraid." This downbeat ending was so unsatisfying to some early gospel editors that they added two other conclusions, the longer one drawn from Matthew and Luke, including post-resurrection appearances, the commissioning of the eleven apostles, and the ascension of Jesus. Focusing on the fear and silence of the women in the last verse, Joan Mitchell offers a brilliant interpretation and a powerful encouragement to Christian women. She uses the feminist hermeneutic developed by Elisabeth Schssler Fiorenza to deal with the absence or presence of women in the text, but she also employs literary methods to provide a convincing and aesthetically satisfying interpretation of the gospel as a whole. Although the women in Mark may be few and mostly nameless, they play a powerful role in the narrative, as indeed they are called upon to do in every generation of the preaching of the gospel.

Beyond Fear and Silence: A Feminist-Literary Approach to the Gospel of Mark

Religion & Spirituality

Christian Books & Bibles

Continuum

Dewey Decimal Classification & Relative Index: Introduction and Tables

OCLC

Joan Mitchell (1926-1992) was one of the most distinguished artists to be associated with the Abstract Expressionist movement. Winning a place for herself in the heavily male-dominated New York art world of the 1950s, she soon achieved recognition as a leading exponent of the gestural style. Yet her work is not as widely appreciated in the United States as it deserves to be, in part because she chose to live in France during the later decades of her life.

Joan Mitchell 1992

Arts & Photography

Cheim, John

Ashbery, John.

History & Criticism

Robert Miller Gallery

I carry my landscapes around with me focuses on American abstract artist Joan Mitchell’s large-scale multipanel works from the 1960s through the 1990s. Mitchell’s exploration of the possibilities afforded by combining two to five large canvases allowed her to simultaneously create continuity and rupture, while opening up a panoramic expanse referencing landscapes or the memory of landscapes. Mitchell established a singular approach to abstraction over the course of her career. Her inventive reinterpretation of the traditional figure-ground relationship and synesthetic use of color set her apart from her peers, resulting in intuitively constructed and emotionally charged compositions that alternately evoke individuals, observations, places, and points in time. Art critic John Yau lauded her paintings as “one of the towering achievements of the postwar period.” Published on the occasion of the eponymous exhibition at David Zwirner New York in 2019, this book offers a unique opportunity to explore the range of scale and formal experimentation of this innovative area of Mitchell’s extensive body of work. It not only features reproductions of each painting in this selection as a whole, but also numerous details that allow an intimate understanding of the surface texture and brushwork. In the complementing essays, Suzanne Hudson examines boundaries, borders, and edges in Mitchell’s multipanel paintings, beginning with her first work of this kind, The Bridge (1956), considering them as both physical and conceptual objects; Robert Slifkin discusses the dynamics of repetition and energy in the artist’s paintings, in relation to works by Monet and Willem de Kooning, among others.

Joan Mitchell: I carry my landscapes around with me

David Zwirner Books

Joan Mitchell: Paintings: 1979–1985

Otsuka, Julie

MICHAUD, YVES

Smith, Shinique

Stockman, Lily

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