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                           How are you doing?

Presently there is advancing in the education about the textbook as you may know below.

College Textbooks Moving from Print to Digital
​A growing movement towards digital textbooks

Cengage Unlimited lets students make use of all of the textbooks the company publishes but in digital form instead of physical copies. Cengage Unlimited offers this service to students for about $120 each study term or $180 a year.

The College Board is a non-profit organization that researches and supports American higher education. In 2018, it found that the average yearly cost of books and supplies for a student at a public, four-year college in his or her home state was $1,240.

How about the cost you would pay for? And can you transfer digital textbook to another person? Please find out the answers in the article.

 Many thanks to both Google Translate and G Grammary as well.

 

FRANCE 24 Live – International Breaking News & Top stories - 24/7 stream

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College Textbooks Moving from Print to Digital

3 hours ago

In this photo taken July 26, 2010, Brittany Wolfe, a University of California Los Angeles Applied Mathematics 2010 graduate, checks old text books at the UCLA Powell Library Building, in Los Angeles.
In this photo taken July 26, 2010, Brittany Wolfe, a University of California Los Angeles Applied Mathematics 2010 graduate, checks old text books at the UCLA Powell Library Building, in Los Angeles.
 
College Textbooks Moving from Print to Digital
 

The rising cost of attending a college or university in the United States has been an issue of much concern and debate in recent years.

But what often does not get discussed is the hidden costs related to higher education, says Michael Hansen. He is chief executive officer of Cengage Learning, a publisher of textbooks and developer of other learning materials.

Hansen notes that the hidden costs are not immediately included in the cost of a student’s tuition. Such costs include student housing and healthcare, and even textbooks, and he admits these costs are not small.

The College Board is a non-profit organization that researches and supports American higher education. In 2018, it found that the average yearly cost of books and supplies for a student at a public, four-year college in his or her home state was $1,240.

For years, higher education textbook publishers have tried to find ways of reducing their costs to students, says Hansen. Some have developed programs that permit students to temporarily own textbooks and then return them once they are no longer needed. And many schools buy textbooks back from students and offer them to other students at a reduced price.

Yet Hansen says such efforts do not do much to solve the problem of rising costs. That is why, he says, his company launched a new product, called Cengage Unlimited, a little over a year ago.

In this October 22, 2010 photo, student textbooks for rent sit on the shelves at the City College Bookstore in New York.
In this October 22, 2010 photo, student textbooks for rent sit on the shelves at the City College Bookstore in New York.

A growing movement towards digital textbooks

Cengage Unlimited lets students make use of all of the textbooks the company publishes, but in digital form instead of physical copies. Cengage Unlimited offers this service to students for about $120 each study term or $180 a year.

Hansen says that the service offers more than just textbooks. The digital products include videos and computer software programs that test students’ understanding of what they are reading.

In the past, publishing companies often would wait about three years before releasing popular textbooks with more up to date information, Hansen says. But with Cengage Unlimited, the books’ authors can make changes to the digital versions at any given time.

“If we have an election, they can instantaneously provide new examples,” Hansen told VOA. “If we have an economic interest rate change, they can provide very direct, real-time examples of what is going on, which makes the material much more … relevant for the student and faculty.”

Hansen says that within two months of Cengage Unlimited being offered last August, 500,000 students have signed up for the service.

In the United States, Cengage is not the only publisher to move in this direction. Studies have shown that, in large part because of cost, up to 64 percent of college students choose not to buy the required textbooks for their classes.

So in 2014, Pearson, another educational publisher, launched its Digital Direct Access model, which offers digital textbooks to students and teaching materials to professors. Macmillan Learning has a similar service, called LaunchPad.

Brian Murphy notes that publishing houses that offer such services are helping themselves just as much as they are helping students.

Murphy has worked in higher education textbook sales for over 30 years for companies including Pearson and his own Brian Murphy Group. He notes that publishers save a lot of money by not making physical copies of books. Also, with physical books, companies really only make money when a book is first sold. Since digital materials cannot be re-sold, every student who is using them has to pay the company.

In this October 22, 2010 photo, student rental textbooks are stocked at the City College Bookstore in New York.
In this October 22, 2010 photo, student rental textbooks are stocked at the City College Bookstore in New York.

Some barriers to the move

Yet Murphy warns that as more publishers move towards digital models, they must be mindful of how they do so. Some digital textbooks he has seen have simply been electronic versions of physical textbooks. Most students like carrying books they can take notes in, and simple digital materials do not offer anything extra to make them more desirable.

Murphy says that if publishers want their digital products to be successful, they must design the user experience to be as interactive as possible. He adds that another barrier to the success of digital textbook services is college faculty.

Since publishers digitally offer all of their publications at once, they want colleges and universities to make use of all of the materials they offer. Many companies are attempting to set up partnerships with schools, so that the cost for using their digital services would be included in the price of tuition.

Then schools could choose to replace all traditional textbooks they sell with these products. But this often means that school administrators are deciding what materials professors must use in their classes.

“The professor … has intellectual freedom to choose their own content for their courses,” said Murphy. “If they’ve been teaching accounting for 30 years with one book, and the school makes an agreement with another publisher with a different book, the professor’s not going to be happy with that.”

If professors are not satisfied with the quality of the digital content, they will likely ask students to buy other traditional textbooks, reducing the effect of cost saving efforts, he noted.

Textbook authors have their own concerns about the move to digital.

Michael Spinella is the head the Textbook and Academic Authors Association. He says that many publishers are asking authors to do more in addition to producing the content and know more about new teaching methods, all without increases in pay. It is still not clear how successful these new materials will be in replacing traditional ones, he says.

I’m Pete Musto.

And I’m Alice Bryant.

 

Pete Musto reported this story for VOA Learning English. George Grow was the editor.

How popular are digital course materials at colleges and universities in your country? We want to hear from you. Write to us in the Comments Section or on our Facebook page.

_____________________________________________________________

Quiz - College Textbooks Moving from Print to Digital

Quiz - College Textbooks Moving from Print to Digital

Start the Quiz to find out

_____________________________________________________________

Words in This Story

 

textbook(s) – n. a book about a particular subject that is used in the study of that subject especially in a school

tuition – n. money that is paid to a school for the right to study there

digital – adj. using or characterized by computer technology

author(s) – n. a person who has written something

relevant – adj. relating to a subject in the right way

faculty – n. the group of teachers in a school or college

interactive – adj. designed to respond to the actions and commands of a user

content – n. the ideas, facts, or images that are in a book, article, speech, or movie

course(s) – n. a series of classes about a particular subject in a school

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'Love Hurts', Other Love Expressions

3 hours ago

In this photo, actors Kelli Barrett and Tam Mutu play star-crossed lovers in the play
In this photo, actors Kelli Barrett and Tam Mutu play star-crossed lovers in the play "Doctor Zhivago," 2015 on stage in New York City. (Matthew Murphy via AP)
 

 

'Love Hurts', Other Love Expressions
 
 

Now, the VOA Learning English program Words and Their Stories.

February 14 is Valentine’s Day – a day to celebrate love, romance and relationships.

But today we will talk about some of the most overused romantic sayings in the English language. Throughout the years, people have used them WAY too much. So, they have come to mean almost nothing. They have become clichés.

We will start with one that breaks the laws of physics: 'Love makes the world go ‘round.'

Love makes the world go 'round...

Love, of course, does not make the Earth go around. Just ask a scientist. The expression ‘love makes the world go ‘round’ has nothing to do with the planet spinning. It means love is so important that without it, life would be sad and not worth living. Please, don’t get me wrong. It is a lovely thought but to be honest, very overused.

Love means never having to say you’re sorry.

Another cliché is the expression ‘love means never having to say you’re sorry.’ Of all the romantic sayings, this is probably the one that people make fun of the most.

How could you not? Apologizing to someone you love is important! As children, it is one of the first rules we learn: If I do something wrong or hurt someone else, I should say ‘I’m sorry.’”

This expression comes from the 1970 movie Love Story. A young man is rich, while his love interest is poor. The rich man’s father wants to keep the two apart. So, you know the story is not going to end well. To make matters worse, the young woman is dying, but they get married anyway. So, when he does something hurtful and apologizes, she says this now-famous and often parodied sentence.

 

Oliver: Jenny, I’m sorry.

Jenny: Don’t. Love means never having to say you’re sorry.

Writing on the website Psychology Today, psychologist Barbara Rose explains the expression and defends it. She writes that if you really love someone without conditions, or as we say unconditionally, you will forgive them of everything. So, there’s no need to apologize.

Well, that may sound good on paper. But I still want an apology if someone I love does something bad to me. A mother loves her child unconditionally. But she still deserves an apology if that child lies to her or says something mean.

Love hurts.

Anyone who has experienced unrequited, or unreturned, love knows that it can hurt like nothing else. To love someone who does not love you back can be difficult -- even painful.

Love hurts, Love scars

Love wounds and marks …

Saying “love hurts” to a friend in great pain from a broken heart does nothing. It is an empty statement that has been said a million times before. You would be better off not saying anything than saying this cliché.

And that’s our Valentine’s program on Words and Their Stories.

Until next time … I’m Anna Matteo.

 

To take a lot of pain, take a lot of pain

Love is like a cloud, it holds a lot of rain

Love hurts, Ooh love hurts

What is the most over-used love expression, or cliché in your language? Let us know in the Comments Section. We are really looking forward to hearing these!

 

Anna Matteo wrote this story for VOA Learning English. George Grow was the editor. The first song is this program is Deon Jackson singing “Love Makes the World Go ‘Round” and the last one is Nazareth singing “Love Hurts.”

________________________________________________________________

Words in This Story

 

romance – n. a love story : a love affair

metaphor – n. a word or phrase for one thing that is used to refer to another thing in order to show or suggest that they are similar

parody – n. a piece of writing, music, saying, etc., that imitates the style of someone or something else in an amusing way

unrequited – adj. not shared or returned by someone else

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ENGLISH CHANGE LANGUAGE

Unit 1: English In A Minute
Give us a minute and we'll give you English

 

Session 42

 

Welcome to English In A Minute. Give us a minute and we'll give you a hot tip about English. Grammar, vocabulary... there's so much to learn! And all taught by your favourite BBC Learning English staff!

 

Session 42 score

0 / 3

 

Activity 1

The + adjectives

 

Do you have a minute to spare to learn some English? Sam tells us how to turn adjectives into nouns for groups of people in general. Give us 60 seconds and we'll give you the English!

Watch the video and complete the activity

 
Show transcript


Did you like that? Why not try these?

EIAM Teaser 6minvocab_1_hyphenation.jpg TGG_Teaser_______________________________________________________________________

The + adjective = group noun

The + adjective
When we add the to an adjective, we create a group noun that means 'people who are X,' where X is the adjective. This is possible with lots of different adjectives, though most commonly with nationalities, or well-known groups of people: e.g. the French, the poor, the unemployed etc. 

These groups are plural nouns and so take a plural verb. However, we don't add 's' to them like many other plural forms of a noun.

  • The English talk about the weather a lot.
  • The rich have more than the poor.
  • After the accident, the injured were taken to the hospital.

____________________________________________________________________________________________

To do

Try our quiz to see how well you've learned today's language. 

 

English In A Minute Quiz

3 Questions

Test your understanding of this lesson with our quiz!

 

Downloads

You can download a PDF document for this episode here.

More

We hope you enjoyed English in a Minute. You can find more episodes here

 

 ......................................

 

 

 

People march to honour a worker crushed to death at a coal plant, in Seoul on February 9, 2019. - Some 2,500 South Koreans marched to honour Kim Yong-kyun, 24, who died last month after being sucked into a coal conveyor belt./AFP
People march to honour a worker crushed to death at a coal plant, in Seoul on February 9, 2019. - Some 2,500 South Koreans marched to honour Kim Yong-kyun, 24, who died last month after being sucked into a coal conveyor belt./AFP

Thousands of South Koreans mourn tragic death of coal worker

Breaking News February 10, 2019 01:00

By Agence France-Presse 
Seoul

Some 2,500 South Koreans marched through Seoul Saturday to honour a worker who was crushed to death at a coal plant fuelling an outcry which led to a landmark amendment of the nation's industrial safety laws.

Kim Yong-kyun, 24, died last month after being sucked into a coal conveyor belt. He was working as a contractor at a power plant 110 kilometres (70 miles) south of Seoul.

His death triggered uproar in South Korea where critics say work safety is compromised for temporary or contract workers -- despite being a wealthy, developed economy which is the fourth biggest in Asia.

Labour activists say if Kim had not been working unaccompanied, another person could have saved Kim's life by turning off the conveyor belt. Kim was the ninth subcontracted worker to have died from work-related injuries at the Chungnam plant in Taean since 2010.

Kim's mother, Kim Mi-sook, refused to hold a funeral until the government introduced protective measures for temporary workers, 60 percent of whom are deprived of employment benefits including health insurance.

The funeral ceremony finally took place on Saturday after the government offered to turn 2,200 temporary workers into full-time employees.

Street protests following Kim's death led to the amendment of the Industrial Safety Act, which bans companies from subcontracting high-risk tasks such as those requiring the use of mercury.

Young temporary workers attended the funeral wearing headbands that read "I am Kim Yong-Kyun". Kim's father, Kim Hae-gi, sobbed as he hugged the coffin.

"I hope you get to be born again," said Park Seok-woon, the chair Korea Alliance for Progressive Movement, a local NGO, at the ceremony.

"I hope you get to live in a world where life is valued more than anything else".

South Korea has one of the highest workplace fatality rates among developed countries.

According to labour ministry data, 1,957 South Koreans died of work-related injuries or diseases in 2017.

Of 20 employees who died after being injured while working for the nation's five major power plants from 2014 to last year, all were subcontracted workers, according to a report by lawmaker Lim Lee-ja's office.

In 2016, an unaccompanied, subcontracted worker was killed by a train while repairing platform screen doors at Seoul's Guui subway station, aged 19.

Kim, a college graduate, spent more than six months trying to find a full-time position before taking the temporary position at the power plant.

As of 2017, 51 percent of all Koreans aged 15-24 were working in part-time or contract positions, according to a study by Korea Labor Institute.

Kim's mother sobbed as she read out a letter to her son at the ceremony.

"I don't know how to live now that you are gone," she said. "I will always love you."

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  • Culture Ministry has a raft of Khon-related activities planned for Asean Cultural Year ahead.
  • Dancers of the Pichet Klunchun Company are seen offering a modernised hybrid of khon in “The Intangible is Emptiness” at the Artist Run Bangkok gallery in an exhibition continuing until February 14. Courtesy of Pichet Klunchun Company
  • Culture Ministry has a raft of Khon-related activities planned for Asean Cultural Year ahead.
 

 

In year of khon, shall we dance?

Art January 26, 2019 01:00

By Phatarawadee Phataranawik 
The Nation Weekend

24,016 Viewed

Now that Thailand has the rest of Southeast Asia’s attention, it’s preparing to show off

ThanksKhon will be taking centre-stage throughout the year as Thailand takes its turn chairing the 10-member Association of Southeast Asian Nations in what’s been designated Asean Cultural Year.

Steeped in tradition and mythology, mesmerising in its movements and dazzling in its costuming, the masked dance as presented onstage will be sharing the limelight with |animated film and scholarly seminars, Culture Minister Vira Rojpojchanarat has announced.

The ministry’s Department of Cultural Promotion is planning a yearlong calendar of activities based on khon, which in November was added to Unesco’s Representative List of the Intangible Cultural Heritage of Humanity. The programme opens next month with traditional khon performances of episodes from the Ramayana at the National Theatre in Bangkok, continuing through March, after which the troupe will tour upcountry.

A new animated feature commissioned by the ministry, “Rama Avatar”, will premiere in March before going into national release, capitalising on the success of last year’s “9 Satra”.

Bangkok will host a Khon Festival from April 4-6 that will include in-depth discussions about how the art form can best be preserved for future generations to enjoy. 

Public enthusiasm for khon has dwindled in recent decades. Originally performed in the royal court before becoming a staple of temple fairs, it has enjoyed a revival this century thanks in large part to the support of Her Majesty the Queen, in whose honour the Royal Khon Performances are presented annually in the capital.

The Khon Festival will also feature an exhibition of the elaborate costumes worn by the recurring cast of characters and demonstrations of how they and the masks and jewellery are created. The stage will be in continuous use as dancers – both rookies and masters –share and compare their talents.

An international symposium, “Khon: Intangible Cultural Heritage of Humanity”, will take place at Thammasat University at the end of April. Interest is likely to be especially keen in discussions with experts from Cambodia, which has a similar masked dance also recognised by Unesco, known as khol.

The UN agency specifically named Cambodian lakhon khol Wat Svay Andet – performed exclusively at that temple – as “Intangible Cultural Heritage in Need of Urgent Safeguarding”. The royal form called simply lakhon khol was listed in 2008.

Although masked dance performances can be seen through Asia, Thai khon has its own unique identity, incorporating different fields of the arts, literature, ritual and craft, scholars agree.

It has held audiences here spellbound since the Ayutthaya Period and continued to be a popular form of entertainment into the Rattanakosin Era.

The Queen’s great achievement, Minister Vira pointed out, was in bringing khon into the 21st century with vast and fantastical annual renderings of chapters from the Ramayana – the Ramakien, as it’s known in Thailand.

“She ordered a complete redesign of the costumes and ornamentation, the makeup, stage, format, lighting and sound, turning it into a royal khon performance,” he said.

Also deserving much credit for keeping the art form alive is the late MR Kukrit Pramoj, Thailand’s prime minister in the mid-1970s and himself a khon master. 

His Kukrit Foundation continues to train young performers and presents its own annual shows.

The year ahead will also have regular khon performances at Bangkok’s Sala Chalermkrung Royal Theatre, and meanwhile people of all ages can even learn the movements themselves.

Several educational institutions including secondary schools offer courses on the masked dance, and the Demonstration School at Srinakarin Wirot University’s Prasarnmitr campus in Bangkok has a khon troupe for children.

What still has to be worked out at the Culture Ministry is a long-term plan for the sustainable management of khon.

“After the boom in promotion this year, there’re no long-term plan for sustaining it as an art form,” acclaimed contemporary dancer-choreographer Pichet Klunchun pointed out in an interview with The Nation Weekend. “Khon might not survive as a profession, apart from performers employed by the ministry.”

Pichet is the Thai artist who’s done more than any other to introduce “modern khon” to the world, and for his effort has drawn complaints from some traditionalist masters of the form. Pichet in fact learned masked dance from National Artist Suwannee Chalanukrou, a khon master, and veteran performer Chiyos Khummanee. But he conceived a post-modern form by combining it with Western ballet and modern dance. He has been known to perform naked except for a mask. 

Pichet has collaborated with foreign artists in modernising khon, while his Pichet Klunchun Dance Company trains a new generation and the Chang Theatre in Bangkok he runs with his wife Sojirat Singholka stages eye-opening performances.

In the performance exhibition “The Intangible of Emptiness”, continuing at the Artist+Run Bangkok Gallery, he criticises the way khon is treated. 

“He believes the government should reassess khon and find ways to create viable careers in it.

“As long as we treat khon as a high art, it’s untouchable and cannot evolve into new forms. We believe it’s already perfect, so there’s no room for creativity. It’s being kept far from everyday life.

“The government should establish a national khon company like the dance companies they have in the West,” Pichet said. “The dancers would be full-time performers and could survive. The government support it financially, but allow a professional art-management team to |run it.”

Pichet, whose rock-star-style khon masks appear in several overseas museums and galleries, was reinventing traditional Thai art forms for years before the Culture Ministry honoured him with a Silpathorn Award in 2009.

 

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FINISHED 

February 10, 2019



แสดงความคิดเห็น


ถึง บล็อกเกอร์ ทุกท่าน โปรดอ่าน
   ด้วยทาง บริษัท จีเอ็มเอ็ม แกรมมี่ จำกัด (มหาชน) ได้ติดต่อขอความร่วมมือ มายังเว็บไซต์และเว็บบล็อกต่าง ๆ รวมไปถึงเว็บบล็อก OKnation ห้ามให้มีการเผยแพร่ผลงานอันมีลิขสิทธิ์ ของบริษัท จีเอ็มเอ็ม แกรมมี่ฯ บนเว็บ blog โดยกำหนดขอบเขตของสิ่งที่ห้ามทำ และสามารถทำได้ ดังนี้
ห้ามทำ
- การใส่ผลงานเพลงต้นฉบับให้ฟัง ทั้งแบบควบคุมเพลงได้ หรือซ่อนเป็นพื้นหลัง และทั้งที่อยู่ใน server ของคุณเอง หรือ copy code คนอื่นมาใช้
- การเผยแพร่ file ให้ download ทั้งที่อยู่ใน server ของคุณเอง หรือฝากไว้ server คนอื่น
สามารถทำได้
- เผยแพร่เนื้อเพลง ต้องระบุชื่อเพลงและชื่อผู้ร้องให้ชัดเจน
- การใส่เพลงที่ร้องไว้เอง ต้องระบุชื่อผู้ร้องต้นฉบับให้ชัดเจน
จึงเรียนมาเพื่อโปรดปฎิบัติตาม มิเช่นนั้นทางบริษัท จีเอ็มเอ็ม แกรมมี่ฯ จะให้ฝ่ายดูแลลิขสิทธิ์ ดำเนินการเอาผิดกับท่านตามกฎหมายละเมิดลิขสิทธิ์
OKNATION



กฎกติกาการเขียนเรื่องและแสดงความคิดเห็น
1 การเขียน หรือแสดงความคิดเห็นใด ๆ ต้องไม่หมิ่นเหม่ หรือกระทบต่อสถาบันชาติ ศาสนา และพระมหากษัตริย์ หรือกระทบต่อความมั่นคงของชาติ
2. ไม่ใช้ถ้อยคำหยาบคาย ดูหมิ่น ส่อเสียด ให้ร้ายผู้อื่นในทางเสียหาย หรือสร้างความแตกแยกในสังคม กับทั้งไม่มีภาพ วิดีโอคลิป หรือถ้อยคำลามก อนาจาร
3. ความขัดแย้งส่วนตัวที่เกิดจากการเขียนเรื่อง แสดงความคิดเห็น หรือในกล่องรับส่งข้อความ (หลังไมค์) ต้องไม่นำมาโพสหรือขยายความต่อในบล็อก และการโพสเรื่องส่วนตัว และการแสดงความคิดเห็น ต้องใช้ภาษาที่สุภาพเท่านั้น
4. พิจารณาเนื้อหาที่จะโพสก่อนเผยแพร่ให้รอบคอบ ว่าจะไม่เป็นการละเมิดกฎหมายใดใด และปิดคอมเมนต์หากจำเป็นโดยเฉพาะเรื่องที่มีเนื้อหาพาดพิงสถาบัน
5.การนำเรื่อง ภาพ หรือคลิปวิดีโอ ที่มิใช่ของตนเองมาลงในบล็อก ควรอ้างอิงแหล่งที่มา และ หลีกเลี่ยงการเผยแพร่สิ่งที่ละเมิดลิขสิทธิ์ ไม่ว่าจะเป็นรูปแบบหรือวิธีการใดก็ตาม 6. เนื้อหาและความคิดเห็นในบล็อก ไม่เกี่ยวข้องกับทีมงานผู้ดำเนินการจัดทำเว็บไซต์ โดยถือเป็นความรับผิดชอบทางกฎหมายเป็นการส่วนตัวของสมาชิก
คลิ้กอ่านเงื่อนไขทั้งหมดที่นี่"
OKnation ขอสงวนสิทธิ์ในการปิดบล็อก ลบเนื้อหาและความคิดเห็น ที่ขัดต่อความดังกล่าวข้างต้น โดยไม่ต้องชี้แจงเหตุผลใดๆ ต่อเจ้าของบล็อกและเจ้าของความคิดเห็นนั้นๆ
   

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