Bad Ideas About Writing counters major myths about writing instruction. Inspired by the provocative science- and social-science-focused book This Idea Must Die and written for a general audience, the collection offers opinionated, research-based statements intended to spark debate and to offer a better way of teaching writing. Contributors, as scholars of rhetoric and composition, provide a snapshot of and antidotes to major myths in writing instruction. This collection is published in whole by the Digital Publishing Institute at WVU Libraries and in part by Inside Higher Ed.

This open access textbook was developed as an upper division undergraduate textbook for theories of personality. Its intended audience are students from Portland State University enrolled in Psychology 432 Personality course. The chapters are shorter than some personality textbooks and in this particular course Psy 432 the textbook is combined with other readings including scientific articles on personality. This open access textbook may be of interest to other courses interested in teaching about theory and research on personality.

Table of Contents
1 Personality Traits
2 Personality Stability
3 Personality Assessment
4 Sigmund Freud, Karen Horney, Nancy Chodorow: Viewpoints on Psychodynamic Theory
5 Carl Jung
6 Humanistic and Existential Theory: Frankl, Rogers, and Maslow
7 The Nature-Nurture Question
8 Self-Regulation and Conscientiousness
9 Personality Disorders
10 Happiness: The Science of Subjective Well-Being
11 Yoga, Buddhism, Personality and Non-Personality

This open access textbook was developed as an upper division undergraduate textbook for theories of personality. Its intended audience are students from Portland State University enrolled in Psychology 432 Personality course. The chapters are shorter than some personality textbooks and in this particular course Psy 432 the textbook is combined with other readings including scientific articles on personality.

This lesson explains leverage and insolvency and why it is good or bad. [Banking, Money, Finance playlist: Lesson 10 of 24]

This lesson tells how banks can give out loans without ever giving out gold. [Banking, Money, Finance playlist: Lesson 7 of 24]

This lesson talks about how money is created in a fractional reserve banking system. [Banking, Money, Finance playlist: Lesson 4 of 24]

This lesson talks about how money is created in a fractional reserve banking system. [Banking, Money, Finance playlist: Lesson 4 of 24]

This lesson explains reserve requirements and how they limit how much lending a bank can do. [Banking, Money, Finance playlist: Lesson 8 of 24]

This lesson introduces bank notes and how you are more familiar with them than you realize. [Banking, Money, Finance playlist: Lesson 5 of 24]

This lesson discusses government debt and treasuries. It explains what it means that Federal Reserve Notes are issued by the Reserve Bank but are not an obligation on the government. [Banking, Money, Finance playlist: Lesson 12 of 24]

This lesson introduces the ways that banks make money. [Banking, Money, Finance playlist: Lesson 1 of 24]

This lesson introduces the ways that banks make money. [Banking, Money, Finance playlist: Lesson 1 of 24]

This lesson is an introduction to the income statement of a bank, and to income statements, in general. [Banking, Money, Finance playlist: Lesson 2 of 24]

This lesson discusses the idea of a reserve bank. [Banking, Money, Finance playlist: Lesson 11 of 24]

Overview: This lesson talks about the pros and cons of various banking systems and talks more about using gold as a standard. [Banking, Money, Finance playlist: Lesson 18 of 24]

This lesson explains the weak points of fractional reserve banking. [Banking, Money, Finance playlist: Lesson 22 of 24]

This lesson continues the discussion of fractional reserve banking. It further discusses the FDIC, deposit insurance and its side effects. [Banking, Money, Finance playlist: Lesson 23 of 24]

This lesson is a summary of thoughts of why Fractional Reserve Banking is a subsidy to banks and allows them to arbitrage the yield curve. [Banking, Money, Finance playlist: Lesson 24 of 24]

This is the third edition of Bankruptcy Law and Practice, a Casebook Designed to Train Lawyers for the Practice of Bankruptcy Law. It is designed for a one-semester course in debtor/creditor law and bankruptcy. The book deals with both creditor remedies and debtor protections, starting with state law collection remedies, exemptions, and the important special protections for secured creditors under both Article 9 of the Uniform Commercial Code and state real property recording acts. After a thorough review of state law debt collection practice, the book covers the basics of straight bankruptcy law with a focus on Chapter 7 of the Bankruptcy Code, both for individuals and businesses. Although the book has a practice focus, it covers the major Supreme Court cases, and important appellate cases with an emphasis on areas of uncertainty. The book also emphasizes the Bankruptcy Code itself, using problem sets to get students to work through the language of the Bankruptcy Code.

At the end of the book are two abbreviated chapters on bankruptcy reorganizations for consumers under Chapter 13 and for businesses under Chapter 11. These chapters are intended to outline the reasons that debtors choose to file for reorganization rather than liquidation, and focuses on the rules for confirming a plan.

The primary goal of the book is to prepare students for the practice of bankruptcy law. Students who understand these materials should be well prepared to anticipate and address the kinds of issues that arise in real bankruptcy cases, whether in a small dollar consumer practice or a big dollar corporate reorganization. Students will learn the language of commercial law and bankruptcy, along with the skills to find their way around the Bankruptcy Code.

This is a true digital book, with links to both the cases and the statutes. The case links jump to the full text in the free Google Scholar website, while the statutory links jump to reprinted statutes in the appendixes of the book. No materials other than the book are needed.

This course will examine the history of Western art from approximately 1600 to approximately 1800 period that bridges the gap from the Renaissance to the earliest days of the Modern era. Beginning with the Baroque in Counter-Reformation Italy and concluding with Neoclassicism in the late 18th century, the student will trace the stylistic developments in Europe and America through a variety of religious, political, and philosophical movements. Upon completion of this course, students will be able to: Identify works of art from the Baroque, Rococo, Enlightenment, and Neoclassical periods and be able to distinguish between these different periods; Discuss and identify the oeuvre of the major artists working in Western Europe from 1600-1800; Explain and identify the regional and cultural differences between works of art produced in the same period (i.e., Baroque, Rococo, Enlightenment, or Neoclassical); Recognize important works of art from the Baroque through Neoclassical periods, recalling such information as date of creation, artist, patron (if known), medium, and period; Recognize the features (stylistic and iconographic) typical of each period studied; Explain and discuss the general arc of Western history from approximately 1600-1800, as seen through the lens of the arts; Explain the forces influencing the change in style and subject matter in Western art from 1600-1800; Discuss the sources of influence (from previous historical periods as well as from neighboring geographical regions) that affected art produced from the Baroque to Neoclassical periods; Compare and contrast works of art from the Baroque through Neoclassical periods to those of other periods and cultures; Describe the methods and materials used to create works of art from the Baroque to Neoclassical periods; Explain the ways in which Baroque, Rococo, Enlightenment, and Neoclassical art reveal the social, religious, and political mores of their respective times and places. (Art History 207)