Students will receive a grounding in areas that vary from treatment to organizational and community settings. This edition also includes of new case studies, practice examples and guiding principles.

    It could forever change how you experience and interact with your physical surroundings, open your eyes to the perversity of bad design and the desirability of good design, and raise your expectations about how things should be designed.B & W photographs and illustrations throughout.

    Drawing heavily on the author's own real-world experiences, the book stresses design and analysis. Coverage is divided into two parts, the first being a general guide to techniques for the design and analysis of computer algorithms. The second is a reference section, which includes a catalog of the 75 most important algorithmic problems. By browsing this catalog, readers can quickly identify what the problem they have encountered is called, what is known about it, and how they should proceed if they need to solve it. This book is ideal for the working professional who uses algorithms on a daily basis and has need for a handy reference. This work can also readily be used in an upper-division course or as a student reference guide. THE ALGORITHM DESIGN MANUAL comes with a CD-ROM that contains: * a complete hypertext version of the full printed book. * the source code and URLs for all cited implementations. * over 30 hours of audio lectures on the design and analysis of algorithms are provided, all keyed to on-line lecture notes.

    After introducing the reader to the region's history from the origins of Islam in the seventh century, Cleveland focuses on the past two centuries of profound and often dramatic change. While built around a framework of political history, the book also carefully integrates social, cultural, and economic developments into a single, carefully crafted account. The revised and updated third edition of this benchmark text places the developments of the 1990s in a new historical perspective and includes an examination of key events of the early twenty-first century. An epilogue offers a critical evaluation, from a historian's perspective, of the al-Qa'ida attacks of September 11th, 2001 and the early phases of the US occupation of Iraq.

    Full of insights, arguments and philosophical perspectives, the book covers an amazing array of topics. Beginning in antiquity with Democritus, it progresses through logic and set theory, computability and complexity theory, quantum computing, cryptography, the information content of quantum states and the interpretation of quantum mechanics. There are also extended discussions about time travel, Newcomb's Paradox, the anthropic principle and the views of Roger Penrose. Aaronson's informal style makes this fascinating book accessible to readers with scientific backgrounds, as well as students and researchers working in physics, computer science, mathematics and philosophy.

    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

    Incorporating OD ethics and values into each chapter, Donald L. Anderson provides discussion of the real-world application of these theoretical ideas. In-depth case studies that follow major content chapters allow students to immediately apply what they have learned. In today's challenging environment of increased globalization, rapidly changing technologies, economic pressures, and expectations in the contemporary workforce, this book is an essential tool.

    The principal enhancement in Java 8 was the addition of functional programming constructs to Java's object-oriented roots. Java 7, 8, and 9 also introduced language features, such as the try-with-resources statement, the diamond operator for generic types, default and static methods in interfaces, the @SafeVarargs annotation, and modules. New library features include pervasive use of functional interfaces and streams, the java.time package for manipulating dates and times, and numerous minor enhancements such as convenience factory methods for collections. In this new edition of Effective Java, Bloch updates the work to take advantage of these new language and library features, and provides specific best practices for their use. Java's increased support for multiple paradigms increases the need for best-practices advice, and this book delivers. As in previous editions, each chapter consists of several "items," each presented in the form of a short, standalone essay that provides specific advice, insight into Java platform subtleties, and updated code examples. The comprehensive descriptions and explanations for each item illuminate what to do, what not to do, and why. Coverage includes:Updated techniques and best practices on classic topics, including objects, classes, methods, libraries, and generics How to avoid the traps and pitfalls of commonly misunderstood subtleties of the platform Focus on the language and its most fundamental libraries, such as java.lang and java.util

    And through CODE, we see how this ingenuity and our very human compulsion to communicate have driven the technological innovations of the past two centuries. Using everyday objects and familiar language systems such as Braille and Morse code, author Charles Petzold weaves an illuminating narrative for anyone who’s ever wondered about the secret inner life of computers and other smart machines. It’s a cleverly illustrated and eminently comprehensible story—and along the way, you’ll discover you’ve gained a real context for understanding today’s world of PCs, digital media, and the Internet. No matter what your level of technical savvy, CODE will charm you—and perhaps even awaken the technophile within.

    Heath's translation of the thirteen books of Euclid's Elements. In keeping with Green Lion's design commitment, diagrams have been placed on every spread for convenient reference while working through the proofs; running heads on every page indicate both Euclid's book number and proposition numbers for that page; and adequate space for notes is allowed between propositions and around diagrams. The all-new index has built into it a glossary of Euclid's Greek terms.Heath's translation has stood the test of time, and, as one done by a renowned scholar of ancient mathematics, it can be relied upon not to have inadvertantly introduced modern concepts or nomenclature. We have excised the voluminous historical and scholarly commentary that swells the Dover edition to three volumes and impedes classroom use of the original text. The single volume is not only more convenient, but less expensive as well.

    

    In Patterns for College Writing, they provide students with exemplary rhetorical models and instructors with class-tested selections that balance classic and contemporary essays. Along with more examples of student writing than any other reader, Patterns has the most comprehensive coverage of active reading, research, and the writing process, with a five-chapter mini-rhetoric; the clearest explanations of the patterns of development; the most thorough apparatus of any rhetorical reader; and the most comprehensive coverage of argumentative writing—all reasons why Patterns for College Writing is the best-selling reader in the country. And the new edition includes exciting new readings, images, and debate and casebook topics. Patterns is now available as a Bedford e-Book to Go and in a variety of formats that can be downloaded to a computer, tablet, or e-reader. And now with the new edition, you can meet students where they are: online. Our newest set of online materials, LaunchPad Solo, provides all the key tools and course-specific content that you need to teach your class. Get all our great course-specific materials in one fully customizable space online; then assign and mix our resources with yours.  To package LaunchPad Solo free with Patterns for College Writing, use ISBN 978-1-319-01312-7.

    Annotations in this edition are keyed both to the reading text of the new critical edition of Ulysses published in 1984 and to the standard 1961 Random House edition and the current Modern Library and Vintage texts.Gifford has incorporated over 1,000 additions and corrections to the first edition. The introduction and headnotes to sections provide general geographical, biographical and historical background. The annotations gloss place names, define slang terms, give capsule histories of institutions and political and cultural movements and figures, supply bits of local and Irish legend and lore, explain religious nomenclature and practices, trace literary allusions and references to other cultures.The suggestive potential of minor details was enormously fascinating to Joyce, and the precision of his use of detail is a most important aspect of his literary method. The annotations in this volume illuminate details which are not in the public realm for most of us.

    The books also provides a companion web site that provides the toold and materials necessary to build the hardware and software.

    Thorough coverage of critical reading, effective writing, and working with sources guides students, now more than ever, through their own academic writing. And an exciting visual dimension shows that rhetorical methods apply to both images and text. The Bedford Reader is a favorite of students for the Kennedys’ clarity and wit, of instructors for the flexible and realistic view of the rhetorical methods, and of both for the superior selections and perceptive commentaries by writers worth reading.