Yes, I Can Read! was written for fourth graders through adults who are nonreaders, beginning readers, or struggling readers, those who speak English as well as ESL learners. The workbook was designed for learners who may be working with minimal assistance in a one-on-one, small group, or classroom setting, and its reading levels range from 0 to 5.9. What you will find in Yes, I Can Read! - Flexibility: Can be used as a decoding program or as a supplement to strengthen particular skills. - Explicit, sequential phonics and the multi-sensory approach: Research-based, proven methods facilitate learning, inspiring confidence in students. - Easy to use: Designed for student success and mastery, its predictable page format with completed examples, illustrations, phonetic pronunciations, and symbols serve as cues for students. Matching, tracing, word search and fill-in-the-blank exercises reinforce learning. - Extensive reading, vocabulary, spelling, tracing, and handwriting practiced - 2,000-plus words - Age-appropriate format Combination teacher's manual and student workbook "This book is an abundant resource of phonetic exercises. These exercises gave my student confidence and a momentum to move smoothly along in her reading efforts because once she finished the lessons and exercises, she remembered how to spell and read the words. This book is well organized and at your fingertips to use. I am so glad to have found this resource!" - Martha Wilson, Literacy Tutor "I wish I had this book when I was homeschooling my kids." - Susan Christensen
Yes, I Can Read! was written for fourth graders through adults who are nonreaders, beginning readers, or struggling readers, those who speak English as well as ESL learners. The workbook was designed for learners who may be working with minimal assistance in a one-on-one, small group, or classroom setting, and its reading levels range from 0 to 5.9. What you will find in Yes, I Can Read! - Flexibility: Can be used as a decoding program or as a supplement to strengthen particular skills. - Explicit, sequential phonics and the multi-sensory approach: Research-based, proven methods facilitate learning, inspiring confidence in students. - Easy to use: Designed for student success and mastery, its predictable page format with completed examples, illustrations, phonetic pronunciations, and symbols serve as cues for students. Matching, tracing, word search and fill-in-the-blank exercises reinforce learning. - Extensive reading, vocabulary, spelling, tracing, and handwriting practiced - 2,000-plus words - Age-appropriate format Combination teacher's manual and student workbook "This book is an abundant resource of phonetic exercises. These exercises gave my student confidence and a momentum to move smoothly along in her reading efforts because once she finished the lessons and exercises, she remembered how to spell and read the words. This book is well organized and at your fingertips to use. I am so glad to have found this resource!" - Martha Wilson, Literacy Tutor "I wish I had this book when I was homeschooling my kids." - Susan Christensen
Edited and written by true leaders in the field, Psychopathology provides comprehensive coverage of adult psychopathology, including an overview of the topic in the context of the DSM. Individual chapters cover the history, theory, and assessment of Axis I and Axis II adult disorders such as panic disorder, social anxiety, bipolar disorders, schizophrenia, and borderline personality disorder.
Our modern narratives of science and technology can only go so far in teaching us about the death that we must all finally face. Can an act of the imagination, in the form of opera, take us the rest of the way? Might opera, an art form steeped in death, teach us how to die, as this provocative work suggests? In "Opera: The Art of Dying" a physician and a literary theorist bring together scientific and humanistic perspectives on the lessons on living and dying that this extravagant and seemingly artificial art imparts. Contrasting the experience of mortality in opera to that in tragedy, the Hutcheons find a more apt analogy in the medieval custom of "contemplatio mortis"--a dramatized exercise in imagining one's own death that prepared one for the inevitable end and helped one enjoy the life that remained. From the perspective of a contemporary audience, they explore concepts of mortality embodied in both the common and the more obscure operatic repertoire: the terror of death (in Poulenc's "Dialogues of the Carmelites"); the longing for death (in Wagner's "Tristan and Isolde"); preparation for the good death (in Wagner's "Ring of the Nibelung"); and suicide (in Puccini's "Madama Butterfly"). In works by Janacek, Ullmann, Berg, and Britten, among others, the Hutcheons examine how death is made to feel logical and even right morally, psychologically, and artistically--how, in the art of opera, we rehearse death in order to give life meaning.
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