Online courses directory (10358)

How can scientists become better writers? Topics include principles of good writing, tricks for writing faster and with less anxiety, and issues in publication and peer review.

How can scientists become better writers? Topics include principles of good writing, tricks for writing faster and with less anxiety, and issues in publication and peer review.

Written and analytic exercises based on 18th- and 19th-century small forms and harmonic practice found in music such as the chorale preludes of Bach; minuets and trios of Haydn, Mozart, and Beethoven; and the songs and character pieces of Schubert and Schumann. Musicianship laboratory is required.

This course builds on the composition techniques practiced in 21M.303 Writing in Tonal Forms I. Students undertake further written and analytic exercises in tonal music, including a sonata-form movement for string quartet. Students will also have the opportunity to write short works that experiment with the expanded tonal techniques of the late 19th and early 20th centuries. Musicianship laboratory is required.

This course is an introduction to writing prose for a public audience—specifically, prose that is both critical and personal, that features your ideas, your perspective, and your voice to engage readers. The focus of our reading and your writing will be American popular culture, broadly defined. That is, you will write essays that critically engage elements and aspects of contemporary American popular culture and that do so via a vivid personal voice and presence. In the coming weeks we will read a number of pieces that address current issues in popular culture. These readings will address a great many subjects from the contemporary world to launch and elaborate an argument or position or refined observation. And you yourselves will write a great deal, attending always to the ways your purpose in writing and your intended audience shape what and how you write. The end result of our collaborative work will be a new edition, the seventh, of Culture Shock!, an online magazine of writings on American popular culture, which we will post on the Web for the worldwide reading public to enjoy.

"What people do with food is an act that reveals how they construe the world."
- Marcella Hazan, The Classic Italian Cookbook

If you are what you eat, what are you? Food is at once the stuff of life and a potent symbol; it binds us to the earth, to our families, and to our cultures. In this class, we explore many of the fascinating issues that surround food as both material fact and personal and cultural symbol. We read essays by Toni Morrison, Michael Pollan, Wendell Berry, and others on such topics as family meals, eating as an "agricultural act" (Berry), slow food, and food's ability to awaken us to "our own powers of enjoyment" (M. F. K. Fisher). We will also read Pollan's most recent book, In Defense of Food, and discuss the issues it raises as well as its rhetorical strategies. Assigned essays will grow out of memories and the texts we read, and may include personal narrative as well as essays that depend on research. Revision of essays and workshop review of writing in progress are an important part of the class. Each student will make one oral presentation in this class.

This course provides the opportunity for students-as readers, viewers, writers and speakers-to engage with social and ethical issues they care deeply about. Over the course of the semester, through discussing the writing of classic and contemporary authors, we will explore different perspectives on a range of social issues such as free speech, poverty and homelessness, mental illness, capital punishment and racial and gender inequality. In addition, we will analyze selected documentary and feature films and photographs that represent or dramatize social problems or issues. In assigned essays, students will have the opportunity to write about social and ethical issues of their own choice. This course aims to help students to grow significantly in their ability to understand and grapple with arguments, to integrate secondary print and visual sources and to craft well-reasoned and elegant essays. Students will also keep a reading journal and give oral presentations. In class we will discuss assigned texts, explore strategies for successful academic writing, freewrite and respond to one another's essays.

“Professional” sounds boring, right? Wrong! Join expert Andrew Byrne, who has more than 25 years of software development experience, and see how fun it can be to apply your coding skills to actual problems. Create an online portfolio of code on GitHub, and receive feedback from your peers through code reviews and discussions.

Being a professional developer is about managing change, evolving a codebase, maintaining quality, and keeping your users and your business safe.

As a new coder, step up your game as you learn and practice key skills that developers use every day. Work with a collection of code in a version control system like Git, use open source (OSS) libraries, make updates to existing code, improve its readability, and even take a look at security. Don’t miss this opportunity to be part of the team, and get practical experience with real code in a real coding environment.

In this course, you’ll learn what documentation is and why it’s an important part of the development process. You'll learn how to build a well-structured README that you’ll be able to incorporate into your projects moving forward. By the end of this course, you will have written your very own README file using Markdown.

This class will focus on the craft of writing genre science fiction. Students write and read science fiction and analyze and discuss stories written for the class. For the first eight weeks, readings in contemporary science fiction accompany lectures and formal writing assignments intended to illuminate various aspects of writing craft as well as the particular problems of writing science fiction. The rest of the term is given to roundtable workshops on student's stories.

William Shakespeare didn't go to college. If he time-traveled like Dr. Who, he would be stunned to find his words on a university syllabus. However, he would not be surprised at the way we will be using those words in this class, because the study of rhetoric was essential to all education in his day. At Oxford, William Gager argued that drama allowed undergraduates "to try their voices and confirm their memories, and to frame their speech and conform it to convenient action": in other words, drama was useful. Shakespeare's fellow playwright Thomas Heywood similarly recalled:

In the time of my residence in Cambridge, I have seen Tragedies, Comedies, Histories, Pastorals and Shows, publicly acted…: this is held necessary for the emboldening of their Junior scholars, to arm them with audacity, against they come to be employed in any public exercise, as in the reading of Dialectic, Rhetoric, Ethic, Mathematic, the Physic, or Metaphysic Lectures.

Such practice made a student able to "frame a sufficient argument to prove his questions, or defend any axioma, to distinguish of any Dilemma and be able to moderate in any Argumentation whatsoever" (Apology for Actors, 1612). In this class, we will use Shakespeare's own words to arm you "with audacity" and a similar ability to make logical, compelling arguments, in speech and in writing.

Shakespeare used his ears and eyes to learn the craft of telling stories to the public in the popular form of theater. He also published two long narrative poems, which he dedicated to an aristocrat, and wrote sonnets to share "among his private friends" (so wrote Francis Meres in his Palladis Tamia, 1598). Varying his style to suit different audiences and occasions, and borrowing copiously from what he read, Shakespeare nevertheless found a voice all his own–so much so that his words are now, as his fellow playwright Ben Jonson foretold, "not of an age, but for all time." Reading, listening, analyzing, appreciating, criticizing, remembering: we will engage with these words in many ways, and will see how words can become ideas, habits of thought, indicators of emotion, and a means to transform the world.

William Shakespeare didn't go to college. If he time-traveled like Dr. Who, he would be stunned to find his words on a university syllabus. However, he would not be surprised at the way we will be using those words in this class, because the study of rhetoric was essential to all education in his day. At Oxford, William Gager argued that drama allowed undergraduates "to try their voices and confirm their memories, and to frame their speech and conform it to convenient action": in other words, drama was useful. Shakespeare's fellow playwright Thomas Heywood similarly recalled:

In the time of my residence in Cambridge, I have seen Tragedies, Comedies, Histories, Pastorals and Shows, publicly acted…: this is held necessary for the emboldening of their Junior scholars, to arm them with audacity, against they come to be employed in any public exercise, as in the reading of Dialectic, Rhetoric, Ethic, Mathematic, the Physic, or Metaphysic Lectures.

Such practice made a student able to "frame a sufficient argument to prove his questions, or defend any axioma, to distinguish of any Dilemma and be able to moderate in any Argumentation whatsoever" (Apology for Actors, 1612). In this class, we will use Shakespeare's own words to arm you "with audacity" and a similar ability to make logical, compelling arguments, in speech and in writing.

Shakespeare used his ears and eyes to learn the craft of telling stories to the public in the popular form of theater. He also published two long narrative poems, which he dedicated to an aristocrat, and wrote sonnets to share "among his private friends" (so wrote Francis Meres in his Palladis Tamia, 1598). Varying his style to suit different audiences and occasions, and borrowing copiously from what he read, Shakespeare nevertheless found a voice all his own–so much so that his words are now, as his fellow playwright Ben Jonson foretold, "not of an age, but for all time." Reading, listening, analyzing, appreciating, criticizing, remembering: we will engage with these words in many ways, and will see how words can become ideas, habits of thought, indicators of emotion, and a means to transform the world.

MIT students are challenged daily to solve for x, to complete four problem sets, two papers, and prepare for an exam worth 30% of their grade... all in one night. When they do stop to breathe, it's for a shower or a meal. What does this have to do with creative writing? Everything. Creative writing and MIT go together better than you might imagine.

MIT students are challenged daily to solve for x, to complete four problem sets, two papers, and prepare for an exam worth 30% of their grade... all in one night. When they do stop to breathe, it's for a shower or a meal. What does this have to do with creative writing? Everything. Creative writing and MIT go together better than you might imagine.

MIT students are challenged daily to solve for x, to complete four problem sets, two papers, and prepare for an exam worth 30% of their grade... all in one night. When they do stop to breathe, it's for a shower or a meal. What does this have to do with creative writing? Everything. Creative writing and MIT go together better than you might imagine.

In this communications course, you will learn how to properly write a paper in English, cite references and give attributions. You will also learn how to choose research topics and write proposals for research funding.

It is increasingly important that new scholars and students become familiar with, and abide by the international standard when writing papers, submitting them for publication, dealing with editors, and applying for funding. Above all, knowing how to conduct a clear English presentation is an essential requirement for research papers being accepted.

In this course, along with learning best practices for writing a paper, you will also learn about “conventions and protocols” of international academia and the cultural differences between East and West.

发表高质量的学术论文和参与国际学术交流已经成为科学研究必不可少的环节及衡量学术成就的重要指标。清晰的英文表达是国际期刊和会议论文被录用的基本要求。论文投稿和修改，与编辑打交道，熟悉并遵守国际学术规则和惯例十分重要。

本课程旨在指导学生如何撰写国际期刊和会议论文，介绍国际学术界的惯例和规则，讨论相关的东西方文化差异，并指导如何正确引用参考文献，尊重他人研究成果，如何参加学术活动如参加学术会议、如何当评审人及如何担任国际期刊编委、国际会议程序委员会委员等学术工作。
本课程简短探讨如何选择研究课题和如何申请科研项目。    

How to Create Attractive And Simple Online Forms To Capture Valuable Information From Fans And Subscribers

In 2004, the Ansari X PRIZE for suborbital spaceflight captured the public's imagination and revolutionized an industry, leveraging a $10M prize purse into over $100M in innovation. Building from that success, the X PRIZE Foundation is now developing new prizes to focus innovation around "Grand Challenge" themes, including genomics, energy, healthcare, and education.

This course will examine the intersection of incentives and innovation, drawing on economic models, historic examples, and recent experience of the X PRIZE Foundation to help develop a future prize in Energy Storage Technologies.

In 2004, the Ansari X PRIZE for suborbital spaceflight captured the public's imagination and revolutionized an industry, leveraging a $10M prize purse into over $100M in innovation. Building from that success, the X PRIZE Foundation is now developing new prizes to focus innovation around "Grand Challenge" themes, including genomics, energy, healthcare, and education.

This course will examine the intersection of incentives and innovation, drawing on economic models, historic examples, and recent experience of the X PRIZE Foundation to help develop a future prize in Energy Storage Technologies.

Intended for English language teachers and students, world language teachers and students, and everyone else wishing to understand the structure of English, this course explains English holistically by describing the fixed order of the sentence and the interrelationship of its parts. This course is not a series of independent lessons, but a deeper, more focused, unified look into the structure of English. Participants quickly discover that all English sentences follow the same principles by identifying the places contained in every sentence and the types of relationships and phrases found in those places. From day one, participants describe English sentences in a simple, straightforward manner and are able to apply this information for editing purposes. These skills facilitate the teaching and learning of other languages as well. Course content is taken from linguistics and adapted to language teaching and learning. Course content is cumulative, applies directly to every sentence, and becomes the method for describing how words and phrases are combined into sentences to create meaning. X-words (traditionally called auxiliary verbs or helping verbs) are our keys for unlocking and revealing the hidden structure of every sentence. Class content is provided through the X-Word Grammar online video series available at the X-Word Grammar Store. Subscription cost is $15. The philosophy of X-Word Grammar: The simple sentence is a unique approach and quite different than any other grammar you have ever studied. It is logical, useful, and interesting! If you want to learn about the structure of the English sentence, this class is for you. Try it. You will like it!