Tyrant shows that Shakespeare’s work remains vitally relevant today, not least in its probing of the unquenchable, narcissistic appetites of demagogues and the self-destructive willingness of collaborators who indulge their appetites.

    This fourth edition contains all the useful methodological advice of previous editions and more: additional material on text analysis, an expanded section on sampling in field settings, and dozens of new examples.

    With a clever mix of popular culture, everyday life, and extensive student activities, The Real World fully realizes sociology's unique ability to stimulate students intellectually as well as resonate with them personally.

    By encouraging students to question, and teaching students how to test their assumptions, Lilienfeld motivates students to use scientific thinking skills to better understand the complex world of psychology.

    To illustrate the various theories, and to reveal their implications, important current issues such as abortion, euthanasia, the treatment of nonhuman animals, racial discrimination, and nuclear weapons are discussed in depth.

    In a lively account filled with the stories and voices of people previously left out of the historical canon, Ronald Takaki offers a fresh perspective - a re-visioning - of our nation's past.

    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

    With this book Rachel Simmons elevated the nation's consciousness and has shown millions of girls, parents, counselors, and teachers how to deal with this devastating problem. Poised to reach a wider audience in paperback, including the teenagers who are its subject, Odd Girl Out puts the spotlight on this issue, using real-life examples from both the perspective of the victim and of the bully.

    Senator S. I. Hayakawa discusses the role of language in human life, the many functions of language, and how language—sometimes without our knowing—shapes our thinking in this engaging and highly respected book. Provocative and erudite, it examines the relationship between language and racial and religious prejudice; the nature and dangers of advertising from a linguistic point of view; and, in an additional chapter called “The Empty Eye,” the content, form, and hidden message of television, from situation comedies to news coverage to political advertising.

    . . [together] why media audiences have fled and why new technology and megacorporate ownership are putting good journalism at risk.” —Rasmi Simhan, Boston Globe“Kovach and Rosenstiel’s essays on each [element] are concise gems, filled with insights worthy of becoming axiomatic. . . . The book should become essential reading for journalism professionals and students and for the citizens they aim to serve.” —Carl Sessions Stepp, American Journalism Review“If you think journalists have no idea what you want . . . here is a book that agrees with you. Better—it has solutions. The Elements of Journalism is written for journalists, but any citizen who wonders why the news seems trivial or uninspiring should read it.” —Marta Salij, Detroit Free PressThe elements of journalism are:* Journalism’s first obligation is to the truth.* Its first loyalty is to citizens.* Its essence is a discipline of verification.* Its practitioners must maintain an independence from those they cover.* It must serve as an independent monitor of power.* It must provide a forum for public criticism and compromise.* It must strive to make the significant interesting and relevant.* It must keep the news comprehensive and proportional.* Its practitioners must be allowed to exercise their personal conscience.

    Wade have on violent crime? Freakonomics will literally redefine the way we view the modern world.These may not sound like typical questions for an economist to ask. But Steven D. Levitt is not a typical economist. He is a much heralded scholar who studies the stuff and riddles of everyday life -- from cheating and crime to sports and child rearing -- and whose conclusions regularly turn the conventional wisdom on its head. He usually begins with a mountain of data and a simple, unasked question. Some of these questions concern life-and-death issues; others have an admittedly freakish quality. Thus the new field of study contained in this book: freakonomics.Through forceful storytelling and wry insight, Levitt and co-author Stephen J. Dubner show that economics is, at root, the study of incentives -- how people get what they want, or need, especially when other people want or need the same thing. In Freakonomics, they set out to explore the hidden side of ... well, everything. The inner workings of a crack gang. The truth about real-estate agents. The myths of campaign finance. The telltale marks of a cheating schoolteacher. The secrets of the Ku Klux Klan.What unites all these stories is a belief that the modern world, despite a surfeit of obfuscation, complication, and downright deceit, is not impenetrable, is not unknowable, and -- if the right questions are asked -- is even more intriguing than we think. All it takes is a new way of looking. Steven Levitt, through devilishly clever and clear-eyed thinking, shows how to see through all the clutter.Freakonomics establishes this unconventional premise: If morality represents how we would like the world to work, then economics represents how it actually does work. It is true that readers of this book will be armed with enough riddles and stories to last a thousand cocktail parties. But Freakonomics can provide more than that. It will literally redefine the way we view the modern world.(front flap)

    This seemingly small phenomenon symbolizes a significant social change that Robert Putnam has identified in this brilliant volume, which The Economist hailed as "a prodigious achievement."Drawing on vast new data that reveal Americans' changing behavior, Putnam shows how we have become increasingly disconnected from one another and how social structures--whether they be PTA, church, or political parties--have disintegrated. Until the publication of this groundbreaking work, no one had so deftly diagnosed the harm that these broken bonds have wreaked on our physical and civic health, nor had anyone exalted their fundamental power in creating a society that is happy, healthy, and safe.Like defining works from the past, such as The Lonely Crowd and The Affluent Society, and like the works of C. Wright Mills and Betty Friedan, Putnam's Bowling Alone has identified a central crisis at the heart of our society and suggests what we can do.

    Written in an accessible, conversational style, Johnson links theory with engaging examples in ways that enable readers to see the underlying nature and consequences of privilege and their connection to it. This extraordinarily successful book has been used across the country, both inside and outside the classroom, to shed light on issues of power and privilege.Allan Johnson has worked on issues of social inequality since receiving his Ph.D. in sociology from the University of Michigan in 1972. He has more than thirty years of teaching experience and is a frequent speaker on college and university campuses. Johnson has earned a reputation for writing that is exceptionally clear and explanations of complex ideas that are accessible to a broad audience.Instructors and students can now access their course content through the Connect digital learning platform by purchasing either standalone Connect access or a bundle of print and Connect access. McGraw-Hill Connect(R) is a subscription-based learning service accessible online through your personal computer or tablet. Choose this option if your instructor will require Connect to be used in the course. Your subscription to Connect includes the following:- SmartBook(R) - an adaptive digital version of the course textbook that personalizes your reading experience based on how well you are learning the content.- Access to your instructor's homework assignments, quizzes, syllabus, notes, reminders, and other important files for the course.- Progress dashboards that quickly show how you are performing on your assignments and tips for improvement.- The option to purchase (for a small fee) a print version of the book. This binder-ready, loose-leaf version includes free shipping.Complete system requirements to use Connect can be found here: http: //www.mheducation.com/highered/platform...

    It is also the only up-to-date survey of literary theory that devotes extensive treatment to Queer Theory and Postcolonial and Race Studies. How to Interpret Literature, Second Edition, is ideal as either a stand-alone text or in conjunction with an anthology of primary readings such as Robert Dale Parker's Critical Theory: A Reader for Literary and Cultural Studies.DISTINCTIVE FEATURES* Uses a conversational and engaging tone that speaks directly to today's students* Covers a variety of theoretical schools--including New Criticism, Structuralism, Deconstruction, Psychoanalysis, Feminism, and Marxism--weaving connections among chapters to show how these different movements respond to and build on each other* Offers a rich assortment of pedagogical features (charts, text boxes that address frequently asked questions, photos, and a bibliography)

    It is possible to develop significant skills in order to make the writing process much easier than you think. In "Research Strategies," author William Badke offers a clear, simple, and often humorous roadmap for conducting research and navigating the vast new world of information and technology. In this, the fourth edition, Badke details the entire research paper process from start to finish. "Research Strategies" provides a plethora of insightful and helpful information, including:Finding and narrowing a topic Creating an outline Searching databases Understanding metadata Using library catalogs and journal databases Conducting Internet research Organizing research notes Writing the actual paper"Research Strategies" explains the skills and strategies you need to efficiently and effectively complete a research project from topic to finished product. With the information provided here, research doesn't have to be frustrating or boring. Badke's strategies present a sure path through the amazing and complex new world of information.