But sometimes the solutions are not as interesting as the beautiful symmetric patterns that lead to them. Written in a friendly style for a general audience, Fearless Symmetry is the first popular math book to discuss these elegant and mysterious patterns and the ingenious techniques mathematicians use to uncover them.Hidden symmetries were first discovered nearly two hundred years ago by French mathematician �variste Galois. They have been used extensively in the oldest and largest branch of mathematics--number theory--for such diverse applications as acoustics, radar, and codes and ciphers. They have also been employed in the study of Fibonacci numbers and to attack well-known problems such as Fermat's Last Theorem, Pythagorean Triples, and the ever-elusive Riemann Hypothesis. Mathematicians are still devising techniques for teasing out these mysterious patterns, and their uses are limited only by the imagination.The first popular book to address representation theory and reciprocity laws, Fearless Symmetry focuses on how mathematicians solve equations and prove theorems. It discusses rules of math and why they are just as important as those in any games one might play. The book starts with basic properties of integers and permutations and reaches current research in number theory. Along the way, it takes delightful historical and philosophical digressions. Required reading for all math buffs, the book will appeal to anyone curious about popular mathematics and its myriad contributions to everyday life.

    Witty and accessible, Paul Lockhart’s controversial approach will provoke spirited debate among educators and parents alike and it will alter the way we think about math forever.Paul Lockhart, has taught mathematics at Brown University and UC Santa Cruz. Since 2000, he has dedicated himself to K-12 level students at St. Ann’s School in Brooklyn, New York.

    The lifetime work of Professor Alexander Schmidt of Königsberg, this book has long been the indispensable companion for every person seriously interested in Shakespeare, Renaissance poetry and prose of any sort, or English literature. It is really two important books in one.Schmidt’s set contains every single word that Shakespeare used, not simply words that have changed their meaning since the seventeenth century, but every word in all the accepted plays and the poems. Covering both quartos and folios, it carefully distinguishes between shades of meaning for each word and provides exact definitions, plus governing phrases and locations, down to the numbered line of the Cambridge edition of Shakespeare. There is no other word dictionary comparable to this work.Even more useful to the general reader, however, is the incredible wealth of exact quotations. Arranged under the words of the quotation itself (hence no need to consult confusing subject classifications) are more than 50,000 exact quotations. Each is precisely located, so that you can easily refer back to the plays or poems themselves, if you wish context.Other features helpful to the scholar are appendixes on basic grammatical observations, a glossary of provincialisms, a list of words and sentences taken from foreign languages, a list of words that form the latter part of word-combinations. This third edition features a supplement with new findings.

    Organized alphabetically, coverage extends from the arts to economics, history, linguistics, philosophy, psychology, sociology and on through the hard sciences. Ancient and modern, accepted and discredited, all theories which have relevance in today's world are included. The depth of the terms varies from undergraduate level to the more populist, with theories such as Parkinson's Law and the Peter Principle included.

    This easy-to-use pocket guide, compiled from the sixth edition of the Publication Manual of the American Psychological Association, provides complete guidance on the rules of style that are critical for clear communication.Readers will learn how to avoid the grammatical errors most commonly reported by journal editors; how to choose the appropriate format for statistics, figures, and tables; how to credit sources and avoid charges of plagiarism; and how to construct a reference list through a wide variety of examples and sources.In addition to guidance on grammar points that have challenged writers in the social sciences, Concise Rules provides suggestions for reducing bias in language; reviews the mechanics of style for punctuation, spelling, capitalization, abbreviation, italicization, headings, and quotations; examines the preferred use of numbers as well as standards for metrication and statistics; provides guidance on the construction and formatting of tables, figures, and appendixes; and offers clear examples and models for citing sources and constructing error-free reference lists.Available in a light-weight, spiral-bound format, Concise Rules will travel easily from home to school to office. It will be an invaluable reference tool for all social science scholars who are serious about communicating clearly and effectively.Key to this edition is an updated and expanded APA Style website, with many additional resources to help readers learn APA style, including free tutorials, on-line courses, frequently asked questions, sample papers, and the APA Style blog.The sixth edition of Concise Rules has been revised and updated to includesimplified APA heading style to make it more conducive to electronic publication;updated guidelines for reducing bias in language to reflect current practices and preferences, including a new section on presenting historical language that is inappropriate by present standards;new guidelines for reporting inferential statistics and a significantly revised table of statistical abbreviations;a new discussion on the use of online supplemental materials, including lengthy data sets and other media, to enrich the published article;significantly expanded content on the electronic presentation of data to help readers understand the purpose of each kind of display and choose the best match for communicating the results of the investigation, with new examples for a variety of data displays, including electrophysiological and biological data;an expanded discussion of electronic sources, emphasizing the role of the digital object identifier (DOI) as a reliable way to locate information; anda wealth of new reference examples, with a focus on new electronic formats.New and experienced readers alike will find the sixth edition a complete resource for writing with clarity and precision.

    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

    Goljan, MD, makes it easy for you to master all of the pathology material covered on the USMLE™ Step 1 Exam. It combines an outline-format review of key concepts with over 400 hundred USMLE-style practice questions - online - that give you all the practice you need to succeed! Book • Outline format: Concise, high-yield subject matter is presented in a study-friendly format.• High-yield margin notes: Key content that is most likely to appear on the exam is reinforced in the margin notes.• Visual elements: Full-color photographs are utilized to enhance your study and recognition of key pathology images. Abundant two-color schematics and summary tables enhance your study experience.• Two-color design: Colored text and headings make studying more efficient and pleasing.New! Online Study and Testing Tool• A minimum of 350 USMLE Step 1–type MCQs: Clinically oriented, multiple-choice questions that mimic the current USMLE format, including high-yield images and complete rationales for all answer options. • Online benefits: New review and testing tool delivered via the USMLE Consult platform, the most realistic USMLE review product on the market. Online feedback includes results analyzed to the subtopic level (discipline and organ system). • Test mode: Create a test from a random mix of questions or by subject or keyword using the timed test mode. USMLE Consult simulates the actual test-taking experience using NBME’s FRED interface, including style and level of difficulty of the questions and timing information. Detailed feedback and analysis shows your strengths and weaknesses and allows for more focused study. • Practice mode: Create a test from randomized question sets or by subject or keyword for a dynamic study session. The practice mode features unlimited attempts at each question, instant feedback, complete rationales for all answer options, and a detailed progress report. • Online access: Online access allows you to study from an internet-enabled computer wherever and whenever it is convenient. This access is activated through registration on www.studentconsult.com with the pin code printed inside the front cover.Student Consult• Full online access: You can access the complete text and illustrations of this book on www.studentconsult.com. • Save content to your PDA: Through our unique Pocket Consult platform, you can clip selected text and illustrations and save them to your PDA for study on the fly! • Free content: An interactive community center with a wealth of additional valuable resources is available.

    Clear explanations are detailed with many current examples.

    It is recommended that the student take this course during the same year that he or she is taking Algebra 1. Exploring Creation With Biology is a college-prep biology course that provides a detailed introduction to the methods and concepts of general biology. Heavily emphasizing the vocabulary of biology, it provides the student with a strong background in the scientific method, the five-kingdom classification scheme, microscopy, biochemistry, cellular biology, molecular and Mendelian genetics, evolution, dissection, and ecosystems. It also provides a complete survey of the five kingdoms in Creation. Please note that this course does not contain a discussion of human anatomy and physiology. Most college biology professors do not consider it to be a part of a solid, college-prep biology course. Human anatomy and physiology is such a detailed subject that it merits an entire high school course (Please see Human Body, Fearfully and Wonderfully Made). Students who take and understand this course will be very well-prepared for a tough university biology course. The student text contains all student material, on-your-own questions and solutions, laboratory exercises, and chapter study guides. Color illustrations and diagrams."

    Recently, tales of these "monsters" have been corroborated by an increase in sightings, and out of these legends a new science has been born: cryptozoology -- the study of hidden animals.Cryptozoology A to Z, the first encyclopedia of its kind, contains nearly two hundred entries, including cryptids (the name given to these unusual beasts), new animal finds, and the explorers and scientists who search for them. Loren Coleman, one of the world's leading cryptozoologists, teams up with Jerome Clark, editor and author of several encyclopedias, to provide these definitive descriptions and many never-before-published drawings and photographs from eyewitnesses' detailed accounts. Full of insights into the methods of these scientists, exciting tales of discovery, and the history and evolution of this field, Cryptozoology A to Z is the most complete reference ever of the newest zoological science.

    Sometimes it's made when a chauffeur takes a wrong turn, a scientist forgets to clean up his lab, or a drunken soldier gets a bit rowdy. That's the kind of history you'll find in The Greatest Stories Never Told.This is history candy -- the good stuff. Here are 100 tales to astonish, bewilder, and stupefy: more than two thousand years of history filled with courage, cowardice, hope, triumph, sex, intrigue, folly, humor, and ambition. It's a historical delight and a visual feast with hundreds of photographs, drawings, and maps that bring each story to life. A new discovery waits on every page: stories that changed the course of history and stories that affected what you had for breakfast this morning.Consider:The Pilgrims landed on Plymouth Rock because they ran out of beerSome Roman officials were so corrupt that they actually stole time itselfThree cigars changed the course of the Civil WarThe Scottish kilt was invented by an EnglishmanBased on the popular Timelab 2000® history minutes hosted by Sam Waterston on The History Channel®, this collection of fascinating historical tidbits will have you shaking your head in wonder and disbelief. But they're all true. And you'll soon find yourself telling them to your friends.

    instructional book for students or anyone who needs to learn business communications.

    It is democratic, everchanging and ingenious in its assimilation of other cultures. English runs through the heart of the world of finance, medicine and the Internet, and it is understood by around two thousand million people across the world. It seems set to go on. Yet it was nearly wiped out in its early years.Embracing elements of Latin, French, Spanish, Italian, Portuguese, Arabic, Hindi and Gullah, this 1500-year story covers a huge range of countries and people. The Adventure of English is not only an enthralling story of power, religion and trade, but also the story of people, and how their day-to-day lives shaped and continue to change the extraordinary language that is English.

    The approach of each title is an appeal to students who think that the subject is boring, or too difficult, or both. The authors, all experienced educators, take a light approach, showing kids what is most interesting about each subject, and how seemingly difficult problems can be transformed into fun quizzes, brain-ticklers, and challenging puzzles with rational solutions. Here is practical advice that transforms essay writing into a satisfying experience for middle school and senior high school students. The author offers tips on enlivening writing with vivid images, smoothing out sentences, silencing the dull passive voice, and adding rhythm to writing. He also shows how to create a template that students can use when writing research papers for all subjects. In addition, students will find web site reference s cited throughout the text, which they can access. Brain ticklers (short quizzes) appear throughout the book with an answer key at the back.

    He’s a sociopath. And your boss, teacher, and colleague? They may be sociopaths too.We are accustomed to think of sociopaths as violent criminals, but in The Sociopath Next Door, Harvard psychologist Martha Stout reveals that a shocking 4 percent of ordinary people—one in twenty-five—has an often undetected mental disorder, the chief symptom of which is that that person possesses no conscience. He or she has no ability whatsoever to feel shame, guilt, or remorse. One in twenty-five everyday Americans, therefore, is secretly a sociopath. They could be your colleague, your neighbor, even family. And they can do literally anything at all and feel absolutely no guilt. How do we recognize the remorseless? One of their chief characteristics is a kind of glow or charisma that makes sociopaths more charming or interesting than the other people around them. They’re more spontaneous, more intense, more complex, or even sexier than everyone else, making them tricky to identify and leaving us easily seduced. Fundamentally, sociopaths are different because they cannot love. Sociopaths learn early on to show sham emotion, but underneath they are indifferent to others’ suffering. They live to dominate and thrill to win. The fact is, we all almost certainly know at least one or more sociopaths already. Part of the urgency in reading The Sociopath Next Door is the moment when we suddenly recognize that someone we know—someone we worked for, or were involved with, or voted for—is a sociopath. But what do we do with that knowledge? To arm us against the sociopath, Dr. Stout teaches us to question authority, suspect flattery, and beware the pity play. Above all, she writes, when a sociopath is beckoning, do not join the game. It is the ruthless versus the rest of us, and The Sociopath Next Door will show you how to recognize and defeat the devil you know.