Spartan Daily, March 2, 1973

Volume 60, Issue 76https://scholarworks.sjsu.edu/spartandaily/5710/thumbnail.jp

English Composition 100: Best Practices for Online Instruction

The objective of this dissertation is to explore the process of teaching English Composition in the asynchronous online format and to make recommendations for the best possible approach for continued student success. The teaching of English Composition is a complex subject and no two teachers will have the same approach. This matter is further complicated when online instruction is explored. An instructor cannot transplant an in-class course into the online format and expect the same results. This dissertation explores the best possible approach to teaching English Composition in an online environment with the use of multimedia applications. This exploration will address current methods of teaching English Composition online, will evaluate what seems to work well, will explore the concerns highlighted by educators and practitioners involved with English Composition online, and will highlight additional recommended advancements, both in methods of approach and technological innovations, that can bring to light instructional practices for further evaluation. This study will lead to an understanding of what these new emerging technologies are and the specifics of their use by both instructors and students alike online, and it will identify best practices in teaching English Composition online for the immediate future

University of Windsor Faculty of Engineering Yearbook 1993-1994

https://scholar.uwindsor.ca/universitywindsorfacultyengineeringyearbooks/1011/thumbnail.jp

The Missouri Miner, February 14, 1958

https://scholarsmine.mst.edu/missouri_miner/2581/thumbnail.jp

Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms

In recent decades, studios that own film and television properties have developed business models that exploit the copyrights in those materials in every known market and in all currently conceivable forms of entertainment and merchandising. For the most part, uniform laws and parallel industry cultures permit smooth integration across formats. But theater is different. The work-made-for-hire provisions that allow corporations to function as the authors of the works they contract to create do not easily align with the culture and standard contract provisions of live theater. Conflicts arise when material that begins as a Hollywood property tries to make the transition to Broadway. This Article explores the origins of these conflicting norms and their ongoing relevance to a relatively new relationship between Hollywood and Broadway characterized by a flow of intellectual property from screen to stage. It acknowledges that while measured accommodations may be necessary to allow the corporate owners of films and television shows to reinvent their properties on Broadway, there is good reason to avoid a wholesale change to industry norms in order to preserve the collaborative creative culture of US theater