Clandinin and Connelly have created a major tour de force. This book is lucid, fluid, beautifully argued, and rich in examples. Students will find a wealth of arguments to support their research, and teaching faculty will find everything they need to teach narrative inquiry theory and methods.--Yvonna S. Lincoln, professor, Department of Educational Administration, Texas A&M University Understanding experience as lived and told stories--also known as narrative inquiry--has gained popularity and credence in qualitative research. Unlike more traditional methods, narrative inquiry successfully captures personal and human dimensions that cannot be quantified into dry facts and numerical data. In this definitive guide, Jean Clandinin and Michael Connelly draw from more than twenty years of field experience to show how narrative inquiry can be used in educational and social science research. Tracing the origins of narrative inquiry in the social sciences, they offer new and practical ideas for conducting fieldwork, composing field notes, and conveying research results. Throughout the book, stories and examples reveal a wide range of narrative methods. Engaging and easy to read, Narrative Inquiry is a practical resource from experts who have long pioneered the use of narrative in qualitative research.

    Blending theory with practice, the book helps pre-service and in-service teachers develop the knowledge, skills, attitudes, and beliefs they'll need to construct learning environments that make it possible for all students to reach their potential.

    The book focuses correctly on the strategic management perspective necessary for an understanding of this area. It will be of enormous help to practitioners and academics in their quest to understand what may well be the most important functional area for most corporations in the coming years′ - Paul A Argenti, Professor of Management and Corporate Communication, The Tuck School of Business at Dartmouth, USA `This is the text that practitioners, academics, and students in corporate communications have been waiting for. The book is accessible, comprehensive and is well balanced in discussing both theoretical and practical perspectives upon corporate communications. It is simply a must-read for those who want to be at the cutting edge of corporate communications′ - Phil Harris, Professor of Marketing, University of Otago and International Director of the European Centre for Public Affairs in Brussels

    This contemporary and student-relevant text gives you all the key material you need for your introductory course, plus it will show you that anthropology is for you! With real world applications of the principles and practices of anthropology, this book will help you learn to appreciate other cultures as well as your own. Apply what you learn in this course to those situations that you are likely to encounter in your personal and professional life. What can you do with anthropology today? Check out the real-life examples of cross-cultural misunderstandings and issues (in our popular "Cross-Cultural Miscues" features) to view 'culture at work.' Also, the book takes a look at specialized vocabularies as illustrated by "chickspeak" (the language of single, urban, upwardly mobile women), the war in Iraq, environmental degradation, and other contemporary topics.

    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

    Expert text includes coverage of various areas, from acid rain and atomic energy, to waste disposal and wetlands. Touches upon the many statutory and common-law regulations shaping the world in which we live.

    It's a step by step training book with no extraneous material. It covers everything from the day you get your puppy to the finished dog.The first book written about the retriever with new commands and using the Dummy-Launch, a new training device co-developed by the author, making training easier for you and your dog.The first book to show the complete training procedures step by step in picture sequence. It covers every facet of the training. It will show you not only what to expect of your dog but what your dog can expect of you. You will be able tosee how to do it. It's written with humor - fun for you and your dog.WATER DOG is A REVOLUTIONARY RAPID TRAINING METHOD.

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

    Tyrannical directors. Useless agents. Less job security than an England football manager. Who’d be an actor?Michael Simkins isn’t sure, even though he’s been one himself for over thirty years. Join him backstage as he examines that business called showbusiness, from am dram to Hollywood, and from Shakespeare to ads for flatulence pills.In a career that started as a plump teenager in ballet tights at RADA, Michael has appeared in countless West End plays and musicals, presented safety training workshops for sewage workers, and when resting, worked as a crate smasher at a car factory. He’s done movies, soaps, ads, and voice-overs, and worked with everyone from Meryl Streep to Kelly Osbourne. As the ultimate jobbing actor he’s flirted with triumph and oblivion without ever quite managing either. InThe Rules of Acting he shares his hard-won wisdom. Covering everything from learning your lines to tilting for Oscar success in Hollywood, surviving a flop, to why it’s advisable to read the whole script if you wish to avoid improper relations with a pig, it’s the ultimate survival guide for anyone contemplating a life in showbiz.'Throw out An Actor Prepares! Michael Simkins' book tells actors all they need to know about the realities of the acting profession; the passion, the struggle, the noble idealism and the heartache.'HELEN MIRREN'It is thrilling that Micahel Simkins is having such success as a writer - anything to keep him off the stage'IAN MCKELLEN

    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.

    

    A large stone Venus. Nothing unusual about it_except that it was found on an island in the Pacific Northwest. Archaeologist Hannah Green and her shovelbum nephew find themselves in a tangled web of competing interests avaricious land owners, hungry media, and a cult of goddess worshippers while investigating one of the finds of the century. In untangling the mystery of the Washington Venus, Hannah and Sean have to confront questions of archaeological evidence, of ethics, of conflicting interpretation of data, and of the very nature of archaeological truths. Helping them are a cadre of disdainful graduate students who propose various theories processualist, marxist, feminist, postmodernist to explain the bizarre events. Teach your students archaeological theory in a fashion they'll enjoy, while they solve the mystery in Adrian Praetzellis's delightful textbook-as-novel.

    The book includes built-in, perforated Practice Tests that students can use for self-study or hand in for a grade. Framing its content within a resonant politics matters theme and emphasizing public policy throughout, Government in America illustrates the impact that government has on the daily lives of each and every American, motivating students to become active participants in all aspects of our political system, and helping overcome the #1 challenge instructors face in this course -- student apathy toward American Government. The Brief Study Edition includes test questions for each chapter bound in at the end of the book.

    Theory/Theatre provides a unique and engaging introduction to literary theory as it relates to theatre and performance. Fortier lucidly examines current theoretical approaches, from semiotics, poststructuralism, through cultural materialism, postcolonial studies and feminist theory. This new edition includes: * More detailed explanation of key ideas * New 'Putting it into practice' sections at the end of each chapter so you can approach performances from specific theoretical perspectives * Annotated further reading section and glossary. Theory/Theatre is still the only study of its kind and is invaluable reading for beginning students and scholars of performance studies.

    It is packed with sensible suggestions, self-check tables and illustrations, and is printed in blue ink to aid dyslexics.