Monday, June 30, 2014

George Gissing's In the Year of Jubilee (1895): Mini-Lecture & Interactive Learning Object

Late Victorian writer George Gissing and his works are not well known, but they are emotionally gripping, psychologically realistic, and ultimately both destabilizing and reinforcing of how we come to understand the world around us vis-a-vis rapid cultural and technological change. To correct the fact that his works have slipped into invisibility, The Fringe Journal is launching a series of learning object mini-lectures. E-Learning Queen is providing a mirror site of these entries of The Fringe Journal. 

In the Year of Jubilee (1894) is the first in this series. You may click the link, or the graphic to access the interactive learning object. The full text transcript appears below. You may access the full text of the book at Project Gutenberg. There is an audio recording of In the Year of Jubilee at Librivox.org.

George Gissing: In the Year of Jubilee  (1894)


TEXT TRANSCRIPT:  In the Year of Jubilee (1894) by George Gissing
Mini-Lecture by Susan Smith Nash, Ph.D.

Introduction
In the Year of Jubilee (1895) is, as other novels by George Gissing, extremely sympathetic toward women. It takes place in the late Victorian world where there is more access and communication with far flung regions, and where the British Empire has enriched the nation.

However, Gissing's is also a complex word where one step outside the norms results in a loss of marriage prospects, a loss of inheritance, loss of social standing, and the potential for disease and literal starvation.
About "Jubilee"

Jubilee refers to the 50th anniversary of Queen Victoria’s reign, and also to the biblical concept of “Jubilee” a year in which property reverts to its proper owner.

Gissing’s novel starts with the Jubilee celebrations, which usher in disruptions.

The old order is turned upside down, and new enterprises are built upon false appearances, short cuts, and vanity.  They replace what came before.

Nancy Lord: Trapped in a Social Caste System and Gender
At the center of the narrative is Nancy Lord, the daughter of a successful piano dealer. She has been raised to a higher level than what might be expected, with the idea that education ushers in social mobility. Thus, she aims higher than previous generations may have dared to do, given that her father was in "trade," and not a gentleman (by Victorian standards).

Despite the fact that her father is in trade, Nancy's mother, who abandoned the family when Nancy was a toddler, was in fact, born of gentry. The mother, however, displays little innate nobility is a shallow woman who it seems will do anything to live in luxury.

Nancy’s mother rather hypocritically condemns the sisters, Fanny and Beatrice French, daughters of a wealthy builder, and their lives in a large home in a new suburb of London. 

Fraud and skill fakery are keys to success in this new world where mass production, advertising, distribution, and credit make it possible for women and men to achieve the appearance of the upward mobility as they do what they can to actually achieve higher places in society.

Jubilee: Restoration with Resignation

The restoration of money to rightful owners takes a long, convoluted path in the narrative of the novel, which includes attempts to hide Nancy’s marriage (and baby) in order to avoid losing her inheritance, and the ultimate unmasking of unsavory business practices on the part of spiteful, vindictive members of the sisters French.

At the same time, the energetic and entrepreneurial-spirited self-invented Luckworth Crewe, achieves wealth in the newly emerging business of advertising and public relations.

Apocalypse and the Jubilee

Jubilee is, at its heart, deeply apocalyptic, because it suggests a new order, or at least a return to natural distribution and order. Apocalypse is a theme that is a theme that occurs throughout Gissing’s work. Change refers the destruction of the old and a replacement of the new.

The purpose is to either rid oneself of old inequities or to create a vibrant world of technology (trains, telegraph, newspapers, gas lights).

At the same time, however, the world to be replaced already contains the consequences of change, including poisonous, lung-searing fog, dark, crowded urban landscapes, and hunger, both physical and psychological.

Women and Education: New Access, but to what end?

Gissing rails against the useless schooling that is bandied about as women’s “education” and the socially-encouraged destructive in-fighting, competition, dependence on others, enslavement in marriage, and lack of self-determination.

Gissing also suggests that when a friend of Nancy who works as a governess, Jessica suffers a nervous breakdown as she tried to pass an exam in order to matriculate at London University.

As Gissing depicts the situation, Jessica does not collapse because she is intellectually incapable, but because it is too difficult to work full-time as a governess and try to study all night (instead of eating and sleeping).

Further, Jessica must combat the ridicule and negativity of the men who scoff at her goals.

Summary

George Gissing’s late Victorian naturalistic novel, In the Year of Jubilee (1894) concerns itself with both people and property, and how both are both lost and gained in both material and metaphorical senses. 

Using people and property as a point of departure, the novel also addresses change in society: the changing roles of women, the impact of technological and commercial innovations, and about education’s form and impact in late Victorian times.


Thursday, June 12, 2014

Interview with Valerie Fox and Lynn Levin: Innovators in Education Series

Writing prompts are no longer static when they are placed into an environment of active collaboration, reading and responding via any number of mechanisms (mobile, elearning, face-to-face, and hybrid). The key is to develop prompts that work in all environments.  Welcome to an interview with Valerie Fox and Lynn Levin, whose book, Poems for the Writing: Prompts for Poets (Texture Press) was a finalist in the 2014 Next Generation Indie Book Awards.

1.  What is your name and your connection to creative writing / e-learning:

Valerie Fox: My name is Valerie Fox and I am primarily a poet. It's been my main genre my whole adult life. I'm interested in collaborative writing, also, and collaboration amongst those working in various disciplines and art forms.

As for e-learning, I have taught numerous online or blended classes (including first-year college writing and creative writing).

Lynn Levin: My name is Lynn Levin, and, like Valerie, I am mostly a poet. I also do literary translation and lately I’ve been writing fiction and creative non-fiction.

Online teaching platforms like Blackboard and Canvas gave me my first exposure to the benefits of e-learning, and I’ve taken a couple on MOOCs myself on Coursera.


2.  What makes PFTW unique?

Lynn Levin: First, I think we have to brag a little. The book was a finalist in education/academic books in the 2014 Next Generation Indie Book Awards. There are quite a few excellent prompt books out there, and we’re proud of ours! But back to the book: all the prompts in the book are classroom and workshop-tested. I think that is one of the most outstanding aspects of the book. We also include samples of the prompt poems, and the samples are contributed by a wide range of users, from undergraduates to very well known poets.

Valerie Fox: The book contains a variety of writing prompts--some simple and some complicated. We think this helps to make it applicable writers at any level. We think we are respectful of various styles without seeming to privilege or be a "booster" for any particular style. Oh, and the writers and students have remarked on Don Riggs's whimsical and apt drawings.


3.  What gave you the idea to do it, and how did you select prompts and examples?

Valerie Fox: We like working together and had noticed that our teaching methods were similar. We had already been sharing ideas. We thought, why not make a book that would be useful for ourselves and others teaching similar classes?

We selected prompts that had been successful. We tried to select some prompts that tended to be formal (or invite writers to think about or even invent their own form) and others that were based on "content" (for lack of a better word) or rhetorical strategy. As for the examples, we again aimed for variety. It was Lynn's insight to include examples written by our students. I do not think it is apparent, typically, to readers which poems were written by students and which ones were written by notable poets, actually.

Lynn Levin: I’d like to add that we chose some of the prompts because, as Valerie says, they were formal, for example, the cameo cinquain, the Fibonacci poem, and the rules poem. We chose others because they were intertextual, such as bibliomancy, fake translation, and swipe a line, find a title. I think the formal poems help writers put their thoughts in a pattern. The intertextual prompts help writers bring an element of strangeness into their poems by nudging writers away from their usual rhetoric. Valerie taught me prompts I’d never heard of before, especially that cool bibliomancy prompt.

4.  How do you use the text in conjunction with writing workshops? Online courses?  F2F courses?

Lynn Levin: I haven’t yet used PFTW in a fully online class. So far, I’ve used the text in F2F classes (but those F2F classes have online components) and workshops. The simpler formal prompts, such as the cameo cinquain and the Fibonacci, work amazingly well for in-class writing. I use the cameo cinquain as an ice-breaker the first day of class because it is short and sweet and fun to share. Same for the Fibonacci. The more involved prompts, for example, swipe a line, find a title and unanswerable letter make great homework assignments, and they require students to do additional deep reading. For example, I’ll assign a collection by a poet and then have the students swipe a line for a title. That

Valerie Fox: I've found the book to work well in online or part online classes as a resource for writing at home. Students discuss their reactions to the example poems in discussion threads in the course. For F2F, I assign a prompt and have students write the poem and bring to class. Also, I really like pulling it out to use as an example for something. If we are discussing how a student's poem could be improved by working with line breaks, we can look at various handy examples from PFTW.

5.  What kinds of results have you seen? 

Valerie Fox: The chapters (like "Fibonacci Poem" and "The Cameo Cinquain") that get students to think about syllables, line breaks, and meter are excellent in-class exercises. The students display a huge amount of creativity with these prompts. Lately I suggested the Cameo Cinquain prompt as a revision strategy. One student used it to edit a long poem (that was a kind of portrait) about a specific person/serious situation. She really succeeded with that poem.
Students who have a kind of dominant mode when forced to try the prompts sometimes discover a new strength, as relates to their writing and writing process. Seeing them discover that is a real kick.

Several individual writers (those writing not with a group or for a class) have told me that the book has been really useful to them. That's very gratifying, too, as it was our hope that this would be the case.

Lynn Levin: I like the way some of the prompts, such as the I-hate prompt, help writers loosen up and have fun with what bugs them. And the unanswerable letter prompt has given birth to a lot of very touching poems about pets and grandparents as well as vehement poems about departed kin. So I guess I find the emotional results very rewarding.

6.  What are your plans for the future?

Lynn Levin: We are always adding new elements to the prompts or coming up with new prompts. We also like to help other creative writing teachers use the text. In fact, I think that we may be focusing some of  our attention on workshops for teachers of creative writing.

Valerie Fox: We've had a wonderful time giving workshops. We have one slated for this July 2014 at Poets House in NY and we are so excited about that. We have ideas for some new prompts. We will post some or all on the blog we made to go with the book (www.poemsforthewriting.com). I know we will continue to collaborate in some ways (both writing or presenting). I am open to various possibilities.

*************************
Lynn Levin is a poet, writer, and translator. She is the author of four collections of poems, most recently Miss Plastique (Ragged Sky Press), a 2014 Next Generation Indie Book Awards finalist in poetry; and co-author, with Valerie Fox, of the craft-of-poetry textbook Poems for the Writing: Prompts for Poets (Texture Press), a 2014 Next Generation Indie Book Awards finalist in education/academic books. Lynn Levin is the translator, from the Spanish, of Birds on the Kiswar Tree (2Leaf Press, 2014), a collection of poems by the Peruvian Andean poet Odi Gonzales. Levin’s poems, essays. translations, and short stories have appeared in The Hopkins Review, Cleaver, Young Adult Review Network, Boulevard, Southwest Review, Ploughshares, Michigan Quarterly Review, and other places. She teaches at the University of Pennsylvania and Drexel University.

Valerie Fox has published numerous books of poetry, including The Glass Book (Texture Press) and The Rorschach Factory (Straw Gate Books). Her poems have appeared in Apiary, Hanging Loose, Ping Pong, Sentence, West Branch, Blip, Per Contra, Qarrtsiluni, Juked, and other journals. Much interested in collaboration, Fox has published many poems and stories co-written with Arlene Ang. Their compilation, Bundles of Letters Including A, V and Epsilon (Texture Press) came out in 2008. She co-wrote Poems for the Writing: Prompts for Poets (Texture Press), a 2014 Next Generation Indie Book Awards finalist in education/academic books. She was a founding co-editor of the magazines 6ix and Press. She teaches writing at Drexel University, in Philadelphia, Pennsylvania.

Sunday, June 08, 2014

Booth Tarkington's The Turmoil (1915): A Mini-Lecture

Booth Tarkington’s novel, The Turmoil (1915), negotiates the psychological minefield of rapid industrialization / technological shifts / structural social change due to new innovation and rapid growth. While it was written almost 100 years ago, the disruptive technologies and their impact on social structure and individual psychology hold true today. The Turmoil is first of the Growth Trilogy, which was launched by The Turmoil,  and then followed by widely-known (thanks to Orson Welles's film version) The Magnificent Ambersons and finally concluded with The Midlander. 

The Turmoil was published in 1915, and written before the Great War had broken out. There is not much concern in the Midwestern industrial town for the goings-on in Europe, and you do not feel the threat of anarchists or Bolshevik anti-aristocratic rage, except in the sense that fortunes of the past are ephemeral, and the families that considered themselves to be the local gentry, even aristocrats, traced their success back five decades or so, not five centuries. The Turmoil has a resolutely American feel, and it immediately connects to the American reader who would instantly recognize people and places in his or her own experience, and forces that have acted upon one’s own community, family, and sense of identity and/or self. 

Booth Tarkington's The Turmoil (1915)
It may first appear that The Turmoil is either a simple homage to pluck and American values of individualism, as the ultimate heroes are more free-thinkers than simple cult followers, or, a critique of nature-despoiling aspects industrialization. However, Turmoil is not so easily classified along such dualistic lines. Instead, The Turmoil explores the space between the two extremes. In fact, the novel never actually inhabits the space representing one extreme or the other, but in reality undermines its own potential as an epic encomium on of human ingenuity to result in growth, jobs, prosperity, or a cautionary parable that seeks to incite social reform.

In The Turmoil, “Bigness” is the new god, but what does “Bigness” do? It is an obvious driver of change, and consumer. It despoils, and yet “bigness” creates a structure. It is the framework of change and turmoil. Bigness forces a closer look, and an emphasis on subtle, small behaviors that flow together like streams into a river. “Bigness” could be viewed as pure thanatos drive.

It is worth mentioning that Tarkington, like many of the writers in the late 19th century and early 20th century, were quite taken with Schopenhauer. In fact, the entire existential tragedy that informs the world of The Turmoil reminds one of Schopenhauer in Essays on Pessimism and also Parerga and Paralipomena (Appendices and Omissions) (1851) the vanity of existence “in the interdependence and relativity of all things; in continual Becoming without ever Being” (Schopenhauer, paragraph 1).

Later, the turmoil that the characters in Tarkington’s novel experience also echoes Schopenhauer: “In a world where all is unstable, and nought can endure, but is swept onwards at once in the hurrying whirlpool of change” (Schopenhauer). Needless to say, Schopenhauer’s “whirlpool of change” is much like the “turmoil” described by Tarkington. 

Also “Bigness” is an illustration of precisely the desire for Being, but is in a nexus / netherworld where the “continual Becoming” never achieves Being or Beingness. It’s a bleak world: “happiness is inconceivable. How can it dwell there, as Plato says, continual Becoming and never Being is the sole form of existence?” (Schopenhauer, 1851).

The novel concerns itself with industrialization, and ultimately reveals a humanistic technocracy. The novel locates itself on edges and margins – the edge of the penitentiary (the Sheridans early in his career), the edge of hunger and degradation (the Vertrees family).

As a humanistic technocracy, machines are sometimes anthropomorphosed but always traversing the territory between humanizing and dehumanizing. Are cars or people  the master or mastered?

The Turmoil is in no way an apology for industrialization and economic growth; and yet, it stops short of advocating unions or social reform. It is, however a multi-faceted critique of

a) investment based on “me, too” greed without any real contributions

b) pollution as environmentally irresponsible growth and industrialization

c) nihilistic growth (a certain frisson upon embracing nihilism) eradicates the accomplishments of the past / cuts away scaffolding

d) unethical growth (stealing intellectual property, etc.)


Lessons learned? You can’t “opt out” without serious consequences. If you think you can, simply look at Young  Bibbs … 

Question: Is there room for art in the world of The Turmoil?

We can say that there is not – not at least for the kind that changes to old patrician notions … after all, the patricians get their “come-uppances” pretty resolutely … crushed / buried / appropriated – slapped onto the wall of a mansion or plaster caricature of a cast bronze or iron statue – what is this about, anyway?

But we can say “yes” – at least for the kind that turns the tables on values, and embraces “the art of noise” and harnesses / subjugates the classics into the service of a framework that is, at first confused with plebian, but turns out to be technocratic –

And it has, as its primum mobile, the need to reconstruct the Great Chain of Being, so that divine is not a noumenous spirit, but one that resembles a machine – in other words, a facsimile of human enterprise, but writ cryptic and (well) sad… this is what young Bibbs resisted …

And yet older Bibbs came to realize that love and heart could make a hybrid occur, and the hybrid was, perhaps, a dialectical resultant … and a synthesis of “old school” aristocracy and the hyper-new…

In other words, World War I was never necessary, if only love had blazed a way (love, meaning unity) …

This is what Booth Tarkington’s message is … and it’s ultimately tragic because the understanding of the waste to come (WWI) is foreshadowed – in 1915.

Wednesday, May 28, 2014

Interview with Emily Claude, Oklahoma Arts Institute: Innovative Programs in Education Series

With new capabilities for collaboration and posting performance, it is more important than ever to develop programs that inspire learners of all ages and from all background to develop their creativity and to share that journey. One great example is the Oklahoma Arts Institute at  Quartz Mountain, which offers two innovative programs for arts. Welcome to an interview with Emily Claude, Vice President & Director of Programs, Oklahoma Arts Institute. 



1.       What is your name and your relationship to education / programs?
My name is Emily Claudé, and I am the Vice President & Director of Programs for the Oklahoma Arts Institute.  I help make many of the artistic and programmatic decisions and am responsible, along with our Director of Program Operations, for the planning, organization, execution, and evaluation of our two programs. 
Emily Claudé, Oklahoma Arts Institute Quartz Mountain
2.       What is Quartz Mountain?
Quartz Mountain Arts & Conference Center is located in southwest Oklahoma, 17 miles north of Altus.  Although our administrative office is in Oklahoma City, our programs have taken place at Quartz Mountain since 1978, so we consider it our home-away-from-home.  Quartz Mountain is a beautiful resort utilized by people all over the state for conferences, family reunions, retreats, weddings, and weekend getaways year-round.  But, given its outdoor amphitheater, state-of-the-art darkroom, studio pavilions, and 700-seat Performing Arts Center, it’s the ideal location for the Oklahoma Arts Institute.  Quartz Mountain is a state-owned facility of the Oklahoma State Regents for Higher Education. 

3.       Please describe some of the projects / programs that occur during the summer.
We recruit nationally renowned artists to teach Oklahoma high school students during the Oklahoma Summer Arts Institute (OSAI), a two-week, intensive arts academy held in June.  Students are selected through a competitive statewide audition process.  Over 1,000 students auditioned this year for 270 spots in one of nine disciplines: acting, ballet, modern dance, choral music, orchestra, creative writing, drawing/painting, film/video, and photography.  

OSAI - Creative Writing
There are two things that set our program apart from any other program in the country.  First, we have nine disciplines all studying at the same place at the same time.  Although each student is dedicated to one specific discipline, they gain exposure to a wide variety of art forms through performances, elective classes, and interdisciplinary collaborations.  Second, we provide full scholarships worth over $2,500 to every student accepted to our program.  This ensures that we are reaching the most artistically talented students in the state, regardless of their financial situation.

OSAI - Drawing and Painting
4.       Please describe some of the fall / winter programs for adults.
Each year, educators, professional artists, and amateur artists gather for four-day weekend workshops in the arts.  The purpose of the Oklahoma Fall Arts Institute (OFAI) is to provide continuing education to adults, teachers, and community artists who seek new techniques and self-renewal.  Our program is unique in that all public school teachers attend on full scholarship.  Over 300 educators attend each year and go back to their classrooms across Oklahoma to teach over 50,000 students.

OFAI - Printmaking
5.       Are any of the performances made available via YouTube? Which ones?
Due to music copyright laws, many of our performances can’t be posted on the internet.  However, we have CDs and DVDs available of all of our performances.  If anyone is interested, they can contact me!  We do have many videos posted on YouTube, and these are a few of my favorites from last summer:

·         The OSAI 2013 “video yearbook:” http://www.youtube.com/watch?v=-5taNFl1zpA
·         Faculty presentation by OSAI 2013 Chorus Conductor, André Thomas: http://www.youtube.com/watch?v=kc2CMCNakcg
·         Ballroom dancing at OSAI 2013: http://www.youtube.com/watch?v=k03W1hTHYWo&index=3&list=PLZ9xI1T9h_0U63i5lhu5D_P1weEGHArLr
·         “Art is,” a film by OSAI 2013 Film & Video Students: http://www.youtube.com/watch?v=qEJ65YUauIo&index=24&list=PLZ9xI1T9h_0U63i5lhu5D_P1weEGHArLr

6.       How would you like to see the program grow?
Given the number of students applying for our program each year, I would love to have space to expand classroom and housing facilities at Quartz Mountain to be able to accommodate more students.  Also, since there are so many art forms we don’t have represented at our programs, it would be great to have more space so we can consider adding more disciplines. 

OFAI
7.       Please describe a few very innovative performances and also creative products that were a result of participation in Quartz Mountain.
·         Having nine diverse artistic disciplines at OSAI at the same time is one of the features of our program of which we are most proud.  So we encourage faculty to take advantage of that fact and collaborate with other disciplines in order to give students an opportunity to learn about other art forms.  This is a video documenting the modern dance & photography collaboration from OSAI 2013: http://www.youtube.com/watch?v=Sl9ISMRCbIM.


OSAI - Ballet
·         One of my favorite workshops at OFAI 2013 was Poetry & Performance.  We typically offer a poetry workshop every fall; however, this was quite different.  Taught by Anna West and Amanda Torres from “Louder Than a Bomb,” the nationally-acclaimed Chicago teen poetry slam festival, this workshop offered participants an opportunity to not only read and write poems, but to learn how to perform them.  


OFAI - Poetry and Performance
Participants were able to explore performance poetry in a creative and safe environment.  Additionally, educators in the class learned how to adapt these processes to their own school settings.  It was inspiring not only to the participants who had a chance to learn from Anna and Amanda, but those of us who got to hear their poems were inspired as well!  

Thursday, May 22, 2014

Finalist in Next Generation Indie Book Awards - Poems for the Writing: Prompts for Poets

Texture Press's Poems for the Writing: Prompts for Poets, by Valerie Fox and Lynn Levin with illustrations by Don Riggs, is a finalist in the Next Generation Indie Book Awards for 2014. The finalists will be officially announced in late May, but the editors and authors received notification in early May.

Poems for the Writing: Prompts for Poets
The Next Generation Indie Book Awards is the largest Not-for-Profit book awards program for indie authors and independent publishers. It's presented by the Independent Book Publishing Professionals Group in cooperation with Marilyn Allen of Allen O'Shea Literary Agency.

Poems for the Writing: Prompts for Poets offers fourteen classroom- and workshop-tested writing prompts that will appeal to both beginning and experienced poets. The book lends itself to academic courses as well as poetry workshops in less formal settings, such as adult-ed, community-based, and “coffee-shop” classes. Individuals will find the book to be a helpful companion to their independent practice of poetry. In addition to the prompts, scores of poems are included to demonstrate possible responses and interpretations of them.

The book may be purchased online, and discounts for workshops are available by contacting Texture Press.

Friday, May 16, 2014

Interview with Don Sevcik, MathCelebrity - Innovators in E-Learning Series

One of the biggest challenges in online math education is being able to show the students how to go through the process of working problems and equations. One solution has been developed by an automated math tutoring website, MathCelebrity. Welcome to an interview with Don Sevcik, president of MathCelebrity.


1.  What is your name and your relationship to elearning? 
My name is Don Sevcik and I am President of MathCelebrity.

2.   What is MathCelebrity?  How does it work?
MathCelebrity is a free automated online math tutoring website.  You enter a math problem or search term, press the button, and every single line of work appears in less than one second which shows you how to solve the problem.

Click image to enlarge.

3.  Who is the site targeted for? Age groups? Types of math?
We cover Kindergarten through College.  We have 27 subjects and over 430 calculators.  We have been around for 7 years so the website has a vast array of curriculum coverage.  We build more features each week.

Click image to enlarge. 


4.  What do you think is the best way to teach applied math that asks people to solve real-life problems?
I'm big on empirical evidence and heuristics.  Real life math problems need real life explanations as well as problems that have been solved in the past which utilize a similar solution.

Click image to enlarge. 



5.  How do you help people get over a fear of math? 
I try to lay out a detailed, easy to follow, step by step solution on the website.  With personal tutoring, I try to leverage real world examples that make sense.

Click image to enlarge. 


6.  What are your plans for the future?  How would you best take math games / tutoring into the "wild"? 
My future plans are to continue build more lessons, as well as expanding on science.  We also have a programming blog.  Many of our fans have expressed interest in programming, and I think STEM fields are a great thing to learn early.  That is what our fans respond to, so that is what I will continue to offer.

Click image to enlarge. 

Thursday, May 15, 2014

Moodle Course Design Best Practices (PacktPub) Now Available

Moodle Course Design Best Practices (PacktPub, 2014) is now available! Designed to be an easy-to-follow guide to help you create or update your Moodle course, this book will help people who use Moodle for training and education in colleges and universities, schools for ages 5-18, corporations, professional associations, and other organizations.


With all content rigorously reviewed by four independent Moodle experts, and written to reflect the latest version of Moodle (Moodle 2.6), Moodle Course Design Best Practices seeks to present a high-quality way to develop exemplary courses for many different users and needs. 

You may download sample chapters in PDF format and also order the book as a printed book or ebook. Please share your thoughts and feedback. 

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