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Counseling: A Comprehensive Profession
Samuel T. Gladding - 1988
The book is developmental in nature and leads the reader logically and smoothly from one important area to another.
Strategic Market Management
David A. Aaker - 2007
I found this book unique in its capacity to benefit executives, planning staff, and students of strategy alike." -- Robert L. Joss, Dean of the Graduate School of Business, Stanford University Create successful strategies for today's dynamic business environment It isn't your Dad's (or Mom's) marketplace any more. Business environments once seemed quite stable and simple. Today, every market can be described as dynamic, and you need to adapt your strategies in order to counter the threats and maximize your opportunities. The Eighth Edition of Strategic Market Management is designed to give you the strategic management tools you need to meet the challenges created by the dynamic nature of markets. Using a variety of concepts and methods such as strategic questions, portfolio models, and scenario analysis, the book outlines the five competencies that spark successful, ongoing strategizing: Strategic analysis--With an emphasis on external market analysis, this new edition illustrates a structured approach to understanding the customer, the competitor, and important trends that you can apply to your strategic decision making Stimulating and managing innovation--Understand different types of innovation and deal with the organizational challenges involved in bringing innovations to market Managing multiple businesses--Know how to allocate resources towards businesses of the future and away from businesses that lack growth potential Creating advantage--Take a long-term perspective to develop truly sustainable competitive advantages (SCAs) Developing growth strategies--Gain the skills to energize, leverage, globalize the business, or create new businesses Significantly revised, with a wealth of new and updated material, Strategic Market Management, 8th Edition remains the most authoritative guide to creating business strategies that will be relevant and compelling to customers, sustainable even in face of competitive attack, and maximize the assets and competencies of your organization.
Interpersonal Communication: Everyday Encounters
Julia T. Wood - 1995
This text shows how interpersonal communication theory and skills pertain to students' daily encounters with others.
Management
John R. Schermerhorn Jr. - 1995
In this new edition, Management, 9e has been extensively revised with a sincere commitment to help instructors teach and students learn in today's complex and globally competitive environment. The subject matter has been carefully chosen to meet AACSB accreditation guidelines while allowing extensive flexibility to fit various course designs and sizes. Along with updates of core material, Management, 9e offers a number of changes in the organization, content, and design that respond to current themes and developments in the theory and practice of management.
McKeachie's Teaching Tips: Strategies, Research, and Theory for College and University Teachers
Wilbert J. McKeachie - 1953
The suggested strategies are supported by research and are grounded in enough theory to enable teachers to adapt them to their own situations. The author does not suggest a "set of recipes" to be followed mechanically, but gives teachers the tools they need to deal with the ever changing dynamics of teaching and learning.
The Making of a Poem: A Norton Anthology of Poetic Forms
Mark Strand - 2000
But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this: 1) Each pantoum stanza must be four lines long. 2) The length is unspecified but the pantoum must begin and end with the same line. 3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains. 4) The rhyming of each quatrain is abab. 5) The final quatrain changes this pattern. 6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins: Rain, midnight rain, nothing but wild rain On this bleak hut, and solitude, and me Remembering again that I shall die And neither hear the rain nor give it thanks For washing me cleaner than I have been Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads: What lips my lips have kissed, and where, and why, I have forgotten, and what arms have lain Under my head till morning, but the rain Is full of ghosts tonight, that tap and sigh Upon the glass and listen for reply, And in my heart there stirs a quiet pain For unremembered lads that not again Will turn to me at midnight with a cry. Thus in the winter stands the lonely tree Nor knows what birds have vanquished one by one, Yet knows its boughs more silent than before: I cannot say what loves have come and gone, I only know that summer sang in me A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.Aviya Kushner
Social Work Macro Practice
F. Ellen Netting - 1993
'Social Work Macro Practice' focuses on work with organizations and communities, including planned change approaches and implementation.
Health Psychology
Shelley E. Taylor - 2008
It provides explanations of biological, psychological and social factors in health issues, reinforced with case studies.
Music: An Appreciation, Brief Edition [with 5 CDs]
Roger Kamien - 2003
"Music: An Appreciation" includes some of the greatest music ever created. Roger Kamien's excellence as an interpreter of that music has made his program number one in the market used by over half a million students since its conception. Now, CONNECT Kamien provides the world-class instrument that allows "Music: An Appreciation" to bring great music to his audience in an extraordinary new way. "Music: An Appreciation" is great music, a great interpreter, and a great instrument.
Euclid's Elements
Euclid
Heath's translation of the thirteen books of Euclid's Elements. In keeping with Green Lion's design commitment, diagrams have been placed on every spread for convenient reference while working through the proofs; running heads on every page indicate both Euclid's book number and proposition numbers for that page; and adequate space for notes is allowed between propositions and around diagrams. The all-new index has built into it a glossary of Euclid's Greek terms.Heath's translation has stood the test of time, and, as one done by a renowned scholar of ancient mathematics, it can be relied upon not to have inadvertantly introduced modern concepts or nomenclature. We have excised the voluminous historical and scholarly commentary that swells the Dover edition to three volumes and impedes classroom use of the original text. The single volume is not only more convenient, but less expensive as well.
Globalization: A Very Short Introduction
Manfred B. Steger - 2003
A growing number of scholars and political activists have invoked the term to describe a variety of changing economic, political, cultural, ideological, and environmental processes that are alleged to have accelerated in the last few decades. Rather than forcing such a complex social phenomenon into a single conceptual framework, Manfred Steger presents globalization in plain, readable English as a multifaceted process encompassing global, regional, and local aspects of social life. In addition to explaining the various dimensions of globalization, the author explores whether globalization should be considered a good or bad thing--a question that has been hotly debated in classrooms, boardrooms, and on the streets.
Capitalism, Socialism and Democracy
Joseph A. Schumpeter - 1942
When it first appeared the New English Weekly predicted that 'for the next five to ten years it will cetainly remain a work with which no one who professes any degree of information on sociology or economics can afford to be unacquainted.' Fifty years on, this prediction seems a little understated.Why has the work endured so well? Schumpeter's contention that the seeds of capitalism's decline were internal, and his equal and opposite hostility to centralist socialism have perplexed, engaged and infuriated readers since the book's publication. By refusing to become an advocate for either position Schumpeter was able both to make his own great and original contribution and to clear the way for a more balanced consideration of the most important social movements of his and our time.
Options, Futures and Other Derivatives
John C. Hull
Changes in the fifth edition include: A new chapter on credit derivatives (Chapter 21). New! Business Snapshots highlight real-world situations and relevant issues. The first six chapters have been -reorganized to better meet the needs of students and .instructors. A new release of the Excel-based software, DerivaGem, is included with each text. A useful Solutions Manual/Study Guide, which includes the worked-out answers to the "Questions and Problems" sections of each chapter, can be purchased separately (ISBN: 0-13-144570-7).
The Way to Wealth
Benjamin Franklin - 1757
It is a collection of adages and advice presented in Poor Richard's Almanac during its first 25 years of publication, organized into a speech given by "Father Abraham" to a group of people. Many of the phrases Father Abraham quotes continue to be familiar today. The essay's advice is based on the themes of work ethic and frugality. Some phrases from the almanac quoted in "The Way to Wealth" include: "There are no gains, without pains" "One today is worth two tomorrows" "A life of leisure and a life of laziness are two things" "Get what you can, and what you get hold" "Sloth, like rust, consumes faster than labor wears, while the used key is always bright" "Have you somewhat to do tomorrow, do it today" "The eye of a master will do more work than both his hands" "Early to bed, and early to rise, makes a man healthy, wealthy and wise" "For want of a nail..."