The text hold students' interest by covering health topics of primary concern to them.

    It shows teachers how to create an environment in which technology can effectively enhance learning. It contains a technology integration framework that builds on research and the TIP model.

    Taking examples from the plays of Aeschylus, Sophocles and Euripides, The Poetics introduces into literary criticism such central concepts as mimesis (‘imitation’), hamartia (‘error’), and katharsis (‘purification’). Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals, centring on characters of heroic stature, idealized yet true to life. One of the most powerful, perceptive and influential works of criticism in Western literary history, the Poetics has informed serious thinking about drama ever since.Malcolm Heath’s lucid English translation makes the Poetics fully accessible to the modern reader. It is accompanied by an extended introduction, which discusses the key concepts in detail and includes suggestions for further reading.

    Since no single or monolithic theoretical perspective orients this book, instructors with a wide range of views and approaches can use it effectively. The combination of brevity and readability make "Mirror for Humanity" a perfect match for cultural anthropology courses that use readings or ethnographies along with a main text.

    This student textbook includes research on implicit memory, feature integration, neuropsychology and brain imaging.

    In Storytelling for Grantseekers, consultant and trainer Cheryl A. Clarke helps fundraisers overcome these hurdles by presenting an organic approach to proposal writing. Grantseekers who have used this unique process discover that telling the organization's story in narrative form (complete with settings, characters, antagonists, and resolutions), can help them connect with grantmakers and ultimately have greater success with funders. This fresh and creative guide contains the resources needed to help you craft a persuasive synopsis, package a compelling story, and create a short story approach to the inquiry and cover letters that support the larger proposal. Clarke walks grantseekers through all the phases of developing an effective proposal and highlights the creative elements that link components to each other and unify the entire proposal. Clarke also stresses the need to see proposal writing as part of a larger grantseeking effort, one that emphasizes preparation, working with the entire development staff, and maintaining good relations with funders. Using the suggestions outlined in Storytelling for Grantseekers, new and seasoned grantseekers will discover how to channel their passion to tell their organization's tale and create winning proposals.

    In 2007, Janet Belsky's "Experiencing the Lifespan" was published to widespread instructor and student acclaim, ultimately winning the 2008 Textbook Excellence Award from the Text and Academic Authors Association. Now that breakthrough text returns in a rigorously updated edition that explores the lifespan by combining the latest research with a practicing psychologist's understanding of people, and a teacher's understanding of students and classroom dynamics. And again, all of this in the right number of pages to fit comfortably in a single term course.

    

    Cover topics as terroism, racism, thnic conflict and sexuality. No CD ROM

    "Psychology Applied to Teaching "takes complex psychological theories demonstrates how they apply to the everyday experiences of in-service teachers. The Eleventh Edition combines fresh concepts and contemporary research with long standing theory and applications to create a textbook that speaks to today' s teachers and students."New! "Chapter 9: Social Cognitive Theory has been added in response to reviewer suggestions and the many recent developments in cognitive research. No other educational psychology book currently offers a separate chapter on this topic."New! ""Take a Stand!" features give the author an opportunity to spotlight issues such as inclusion, school violence, or high-stakes testing, and encourages debate on critical issues in education. Also accessible on the textbook web site with additional resources and pedagogy and in the Eduspace course with online chats."New! "Coverage of key national standards including PRAXIS and INTASC has been added and referenced throughout the text. A convenient correlation table highlighting text coverage is located on the inside covers for students and professors, with additional suggestions for instructor use in the IRM."Case in Print" exercises in every chapter use recent news articles to demonstrate how basic ideas or techniques are being applied by educators from the primary grades through high school. Each article is followed by several open-ended questions to encourage reflection. This feature can also be found on the textbook Web site."Suggestions for Teaching in YourClassroom" sections include detailed descriptions of how to apply the information and concepts discussed in the chapter to the classroom. These features are intended to be read while the book is used as a text and to serve as a reference for in-service teachers later on.Journal entries help students to prepare and use a Reflective Journal. Entries appear in the margins of the text and encourage readers to consider their own personality, style, and teaching situation in establishing personal guidelines for teaching. A guide for setting up a Reflective Journal is included in Chapter 16--students can use their journals as a reference before and during their teaching experience.Eduspace is a customizable, powerful Interactive platform that provides instructors with text-specific online courses and content in multiple disciplines. Eduspace gives an instructor the ability to create all or part of their course online using the widely recognized tools of Blackboard and quality text-specific content from HMCo. Instructors can quickly and easily assign homework exercises, quizzes, tests, tutorials and supplemental study materials and can modify that content or even add their own.

    

    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

    Marieb and Katja Hoehn have produced the most accessible, comprehensive, up-to-date, and visually stunning anatomy & physiology textbook on the market. Marieb draws on her career as an A&P professor and her experience as a part-time nursing student, while Hoehn relies on her medical education and classroom experience to explain concepts and processes in a meaningful and memorable way. The most significant revision to date, the Eighth Edition makes it easier for you to learn key concepts in A&P. The new edition features a whole new art program that is not only more visually dynamic and vibrant than in previous editions but is also much more pedagogically effective for today's students, including new Focus figures, which guide you through the toughest concepts in A&P. The text has been edited to make it easier than ever to study from and navigate, with integrated objectives, new concept check questions, and a new design program.

    The groups selected are peoples whose traditional cultures are uniquely their own. Each has distinctive patterns and practices; each has faced the challenge of an encroaching world, with differing results. Moreover, they often provide the prime illustrations of important concepts in introductory anthropology course including Azande witchcraft, Ju/'hoansi egalitarianism, Trobriand kula exchange, and Minangkabau matriliny. As such, this volume can stand alone as an introduction to central ethnographic concepts through these 15 societies, or serve as a valuable companion to anthropology texts. Many of the peoples presented are involved in the diaspora; some struggle to preserve old ways in new places. All sketches follow a logical, consistent organization that makes it easy for students to understand major themes such as history, subsistence, sociopolitical organization, belief systems, marriage, kinship, and contemporary issues.

    Eminently readable, chock-full of information, Donnelly's book is a must-read. (Human Rights Quarterly) In this new edition, Jack Donnelly updates his classic text on the rise of human rights issues since World War II to reflect the new challenges posed by globalization and the war on terrorism. The third edition includes two entirely new chapters on the Universality of Human Rights and Terrorism, and focuses on the recent emergence of nonstate actors such as the UN and NGO's.