Offering time-tested problems, conceptual and visual pedagogy, and a state-of-the-art media package, this 11th edition looks to the future of university physics, in terms of both content and approach.

    Its Philosophy 101 for everyone who knows not to take all this heavy stuff too seriously. Some of the Big Ideas are Existentialism (what do Hegel and Bette Midler have in common?), Philosophy of Language (how to express what its like being stranded on a desert island with Halle Berry), Feminist Philosophy (why, in the end, a man is always a man), and much more. Finally it all makes sense!

    Written in a clear and accessible narrative, the 7th Edition focuses on fundamental principles and their applications to solving real circuit analysis problems, and devotes six chapters to examining electronic devices. With an eye-catching visual program and practical exercises, this book provides readers with the problem-solving experience they need in a style that makes complex material thoroughly understandable. For professionals with a career in electronics, engineering, technical sales, field service, industrial manufacturing, service shop repair, and/or technical writing.

    This best-selling text gives students a solid understanding of organic chemistry by stressing how fundamental reaction mechanisms function and reactions occur. With the addition of handwritten solutions, new cutting-edge molecular illustrations, updated spectroscopy coverage, seamless integration of molecular modeling exercises, and state-of-the-art multimedia tools, the 7th edition of Organic Chemistry clearly offers the most up-to-date approach to the study of organic chemistry.

    How to make sense of them? The answer lies in mathematical modeling, a science with applications in a host of biological systems. Soccermatics brings the two together in a fascinating, mind-bending synthesis.What's the similarity between an ant colony and Total Football, Dutch style? How is the Barcelona midfield linked geometrically? And how can we relate the mechanics of a Mexican Wave to the singing of cicadas in an Australian valley? Welcome to the world of mathematical modeling, expressed brilliantly by David Sumpter through the prism of soccer. Soccer is indeed more than a game and this book is packed with game theory. After reading it, you will forever watch the game with new eyes.

    KEY TOPICS: This classic book enables readers to make connections between classical and modern physics - an indispensable part of a physicist's education. In this new edition, Beams Medal winner Charles Poole and John Safko have updated the book to include the latest topics, applications, and notation, to reflect today's physics curriculum. They introduce readers to the increasingly important role that nonlinearities play in contemporary applications of classical mechanics. New numerical exercises help readers to develop skills in how to use computer techniques to solve problems in physics. Mathematical techniques are presented in detail so that the book remains fully accessible to readers who have not had an intermediate course in classical mechanics. MARKET: For college instructors and students.

    Addressed to copyeditors in book publishing and corporate communications, this thoughtful handbook explains what copyeditors do, what they look for when they edit a manuscript, and how they develop the editorial judgment needed to make sound decisions.This revised edition reflects the most recent editions of The Chicago Manual of Style (15th ed.), the Publication Manual of the American Psychological Association (5th ed.), and Merriam-Webster's Collegiate Dictionary (11th ed.).

    It is a bridge from the computational courses (such as calculus or differential equations) that students typically encounter in their first year of college to a more abstract outlook. It lays a foundation for more theoretical courses such as topology, analysis and abstract algebra. Although it may be more meaningful to the student who has had some calculus, there is really no prerequisite other than a measure of mathematical maturity. Topics include sets, logic, counting, methods of conditional and non-conditional proof, disproof, induction, relations, functions and infinite cardinality.

    The anthology offers more poetry by women (40 new poets), with special attention to early women poets. The book also includes a greater diversity of American poetry, with double the number of poems by African American, Hispanic, native American and Asian American poets. There are 26 new poets representing the Commonwealth literature tradition: now included are more than 37 poets from Australia, New Zealand, Ireland, Scotland, Wales, the Caribbean, South Africa and India.

    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

    Indeed, such equations are crucial to mathematical physics. Although simplifications can be made that reduce these equations to ordinary differential equations, nevertheless the complete description of physical systems resides in the general area of partial differential equations.This highly useful text shows the reader how to formulate a partial differential equation from the physical problem (constructing the mathematical model) and how to solve the equation (along with initial and boundary conditions). Written for advanced undergraduate and graduate students, as well as professionals working in the applied sciences, this clearly written book offers realistic, practical coverage of diffusion-type problems, hyperbolic-type problems, elliptic-type problems, and numerical and approximate methods. Each chapter contains a selection of relevant problems (answers are provided) and suggestions for further reading.

    From manhole covers to bubbles to subway maps, each page gives you a glimpse of the world through renowned mathematicians' eyes and reveals how their theorems and equations can be applied to nearly everything you encounter. Covering dozens of your favorite math topics, you'll find fascinating answers to questions like:How are the waiting times for buses determined?Why is Romanesco Broccoli so mesmerizing?How do you divide a cake evenly?Should you run or walk to avoid rain showers?Filled with compelling mathematical explanations, Math Geek sheds light on the incredible world of numbers hidden deep within your day-to-day life.

    The book is non-theoretical, explaining concepts intuitively and teaching problem solving through worked examples and step-by-step instructions. This edition places more emphasis on conceptual understanding and understanding results. This edition also features increased emphasis on Excel, MINITAB, and the TI-83 Plus and TI 84-Plus graphing calculators, computing technologies commonly used in such courses.

    Linear algebra is tightly integrated into the text.

    Readers are provided once again with an instructive mix of mathematics, physics, statistics, and information theory.All the essential topics in information theory are covered in detail, including entropy, data compression, channel capacity, rate distortion, network information theory, and hypothesis testing. The authors provide readers with a solid understanding of the underlying theory and applications. Problem sets and a telegraphic summary at the end of each chapter further assist readers. The historical notes that follow each chapter recap the main points.The Second Edition features: * Chapters reorganized to improve teaching * 200 new problems * New material on source coding, portfolio theory, and feedback capacity * Updated referencesNow current and enhanced, the Second Edition of Elements of Information Theory remains the ideal textbook for upper-level undergraduate and graduate courses in electrical engineering, statistics, and telecommunications.