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General Education Assessment for Improvement of Student Academic Achievement
This monograph focuses on general education, the one common curricular component that most institutions of higher learning share at the undergraduate level. Also known as the "core curriculum," this uniquely American curricular form is among the common interests of regional accreditation associations throughout the United States. In publicly financed institutions, it is also the area most likely to be the subject of "assessment for accountability" efforts by the public and their representatives. The monograph is user-oriented like the others in the series. Specific examples of models of general education assessment activities (through use of results to improve student learning) are provided for a comprehensive community college, a major state university, and a private college. Users are encouraged to adjust and adapt the models described to best meet their institutional circumstances and culture.
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Higher Education in the United States [2 volumes]
Surveys the changing landscape of American higher education, from academic freedom to virtual universities, from campus crime to Pell Grants, from the Student Privacy Act to student diversity.
Mike Nichols and the Cinema of Transformation
Mike Nichols burst onto the American cultural scene in the late 1950s as one half of the comic cabaret team of Nichols and May. He became a Broadway directing sensation, then moved on to Hollywood, where his first two films--Who's Afraid of Virginia Woolf? (1966) and The Graduate (1967)--earned a total of 20 Academy Award nominations. Nichols won the 1968 Oscar for Best Director and later joined the rarefied EGOT (Emmy, Grammy, Oscar, Tony) club. He made many other American cinematic classics, including Catch-22 (1970), Carnal Knowledge (1971), Silkwood (1983), Working Girl (1988), Postcards from the Edge (1990), and his late masterpieces for HBO, Wit (2001) and Angels in America (2003). Filmmakers like Steven Spielberg and Steven Soderbergh regard him with reverence. This first full-career retrospective study of this protean force in the American arts begins with the roots of his filmmaking in satirical comedy and Broadway theatre and devotes separate chapters to each of his 20 feature films. Nichols' permanent achievements are his critique of the ways in which culture constructs conformity and his tempered optimism about individuals' liberation by transformative awakening.
