It covers such areas as biotechnology and biomedical engineering.

    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

    It explores the critical concepts while also examining why they are relevant. The core content is presented within the framework of predicting products, proposing mechanisms, and solving synthesis problems. Readers will fine-tune the key skills involved in solving those types of problems with the help of interactive, step-by-step instructions and problems.

    The book covers habituation, classical conditioning, instrumental conditioning, stimulus control, aversive control, and their applications to the study of cognition and to the alleviation of behavior problems. Biological constraints on learning are integrated throughout the text, as are applications boxes that relate animal research to human learning and behavior. The book closely reflects the field of research it represents in terms of topics covered, theories discussed, and experimental paradigms described.

    This third edition has been fully revised and uses a story-telling approach to illustrate how research is done and the results of such research. Each chapter begins with a real-life vignette that epitomizes the social psychological concepts that follow, and experiences and historical events are used to illustrate theories within social psychology.

    The author successfully introduces Maxwell's equations, wave propagation, network analysis, and design principles as applied to modern microwave engineering. A considerable amount of material in this book is related to the design of specific microwave circuits and components, for both practical and motivational value. It also presents the analysis and logic behind these designs so that the reader can see and understand the process of applying the fundamental concepts to arrive at useful results. The derivations are well laid out and the majority of each chapter's formulas are displayed in a nice tabular format every few pages. This Third Edition offers greatly expanded coverage with new material on: Noise; Nonlinear effects; RF MEMs; transistor power amplifiers; FET mixers; oscillator phase noise; transistor oscillators and frequency multiplier.

    Organized according to body systems, each of the 170 plates featured in this book includes an ingenious color-key system where anatomical terminology is linked to detailed illustrations of the structures of the body. Often imitated, never duplicated. New! Lay-flat binding makes coloring easier. New! 8 plates have been added: Accessory Structures of the Skin, Temporomandibular Joint, Upper Limb: Shoulder (Glenohumeral) Joint, Upper Limb: Elbow Joints, Lower Limb: Male and female Pelves, Lower Limb: Sacroiliac and Hip Joints, Lower Limb: Knee Joints, Somatic Visceral Receptors. New! 7 additional sections: Skeletal and Articular Systems, Skeletal Muscular System, Central Nervous System, Central Nervous System: Cavities and Coverings, Peripheral Nervous System, Autonomic Nervous System, Human Development.

    All chapters in this best-seller have been substantially revised to reflect recent discoveries and new understanding of linguistics and languages.

    While the mathematics is there, the effort is not all concentrated on proofs. Strang's emphasis is on understanding. He explains concepts, rather than deduces. This book is written in an informal and personal style and teaches real mathematics. The gears change in Chapter 2 as students reach the introduction of vector spaces. Throughout the book, the theory is motivated and reinforced by genuine applications, allowing pure mathematicians to teach applied mathematics.

    Dan Harris's Quantitative Chemical Analysis continues to be the most widely used  textbook for analytical chemistry.  It offers consistently modern portrait of the tools and techniques of chemical analysis, incorporating real data, spreadsheets, and a wealth of applications, all presented in a witty, personable style that engages students without compromising the  principles and depth necessary for a thorough and practical understanding.

    Explaining how, why, and when the techniques can be expected to work, the Seventh Edition places an even greater emphasis on building readers' intuition to help them understand why the techniques presented work in general, and why, in some situations, they fail. Applied problems from diverse areas, such as engineering and physical, computer, and biological sciences, are provided so readers can understand how numerical methods are used in real-life situations. The Seventh Edition has been updated and now addresses the evolving use of technology, incorporating it whenever appropriate.

    A Glossary of Literary Terms covers the terminology of literature - from literary history to theory to criticism - making it a valuable addition to any literary theory or literature course.

    Field methods and scientific techniques have been updated throughout, and new emphasis is placed on climate change and its impact on human affairs. The latest information on topics as varied as the Iceman, Pleistocene extinctions, and Ilama domestication is included, along with the most up-to-date material on GIS and surveying technology. New topics will be introduced to emphasize the ever-changing face of modern archaeology, and additional special box features will be included, as well as discussion of the archaeological techniques needed to study the material culture of the twentieth and twenty-first centuries. A key component of the new edition will be the introduction of a dedicated Web site and study guide to accompany the textbook itself.

    Major retailers are predicting everything from when their customers are pregnant to when they want a new pair of Chuck Taylors. It's a brave new world where seemingly meaningless data can be transformed into valuable insight to drive smart business decisions.But how does one exactly do data science? Do you have to hire one of these priests of the dark arts, the "data scientist," to extract this gold from your data? Nope.Data science is little more than using straight-forward steps to process raw data into actionable insight. And in Data Smart, author and data scientist John Foreman will show you how that's done within the familiar environment of a spreadsheet. Why a spreadsheet? It's comfortable! You get to look at the data every step of the way, building confidence as you learn the tricks of the trade. Plus, spreadsheets are a vendor-neutral place to learn data science without the hype. But don't let the Excel sheets fool you. This is a book for those serious about learning the analytic techniques, the math and the magic, behind big data.Each chapter will cover a different technique in a spreadsheet so you can follow along: - Mathematical optimization, including non-linear programming and genetic algorithms- Clustering via k-means, spherical k-means, and graph modularity- Data mining in graphs, such as outlier detection- Supervised AI through logistic regression, ensemble models, and bag-of-words models- Forecasting, seasonal adjustments, and prediction intervals through monte carlo simulation- Moving from spreadsheets into the R programming languageYou get your hands dirty as you work alongside John through each technique. But never fear, the topics are readily applicable and the author laces humor throughout. You'll even learn what a dead squirrel has to do with optimization modeling, which you no doubt are dying to know.

    Psychology of Learning for Instruction, Third Edition, focuses on the applications and implications of the learning theories. Using excellent examples ranging from primary school instruction to corporate training, this text combines the latest thinking and research to give readers the opportunity to explore the individual theories as viewed by the experts. Readers are encouraged to apply "reflective practice," which is designed to foster a critical and reflective mode of thinking when considering any particular approach to learning and instruction. Provides readers with the practical knowledge needed to apply learning theories to instruction. KEY TOPICS: This text addresses learning as it relates to behavior, cognition, development, biology, motivation and instruction. MARKET: Pre-service and in-service teachers, and educational psychologists.