S. Vygotsky has long been recognized as a pioneer in developmental psychology. But somewhat ironically, his theory of development has never been well understood in the West. Mind in Society should correct much of this misunderstanding. Carefully edited by a group of outstanding Vygotsky scholars, the book presents a unique selection of Vygotsky's important essays, most of which have previously been unavailable in English. The Vygotsky who emerges from these pages can no longer be glibly included among the neobehaviorists. In these essays he outlines a dialectical-materialist theory of cognitive development that anticipates much recent work in American social science. The mind, Vygotsky argues, cannot be understood in isolation from the surrounding society. Man is the only animal who uses tools to alter his own inner world as well as the world around him. From the handkerchief knotted as a simple mnemonic device to the complexities of symbolic language, society provides the individual with technology that can be used to shape the private processes of mind. In Mind in Society Vygotsky applies this theoretical framework to the development of perception, attention, memory, language, and play, and he examines its implications for education. The result is a remarkably interesting book that is bound to renew Vygotsky's relevance to modem psychological thought.

    Surprisingly, many of these ideas remain unknown to most of us.     In Mindware, the world-renowned psychologist Richard Nisbett presents these ideas in clear and accessible detail, offering a tool kit for better thinking and wiser decisions. He has made a distinguished career of studying and teaching such powerful problem-solving concepts as the law of large numbers, statistical regression, cost-benefit analysis, sunk costs and opportunity costs, and causation and correlation, probing how best to teach others to use them effectively in their daily lives.      In this groundbreaking book, he shows that a course in a given field--statistics or economics, for example--often doesn't work as well as a few minutes of more practical instruction in analyzing everyday situations. Mindware shows how to reframe common problems in such a way that these powerful scientific and statistical concepts can be applied to them. The result is an enlightening and practical guide to the most powerful tools of reasoning ever developed--tools that can easily be used to make better professional, business and personal decisions.

    Listen and speak more effectively, engage people through empathy (the most powerful word in the English language), avoid the most common conversational disasters, and use proven strategies that allow you to successfully communicate your point of view and take the upper hand in most disputes.

    The suggested strategies are supported by research and are grounded in enough theory to enable teachers to adapt them to their own situations. The author does not suggest a "set of recipes" to be followed mechanically, but gives teachers the tools they need to deal with the ever changing dynamics of teaching and learning.

    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

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

    If its purpose is to entertain or to provoke thought, it makes readers want to come back for more.Revised and updated, this guide covers four essential aspects of good writing:Individual words - spelling variations, hyphenation, frequently confused homonyms, frequently misused words and phrases, irregular plurals and negatives, and uses of capitalization and type style to add special meaningsPunctuation - the role of each mark in achieving clarity and affecting tone, and demonstration of how misuses can lead to ambiguitySyntax and structure - agreement of subject and verb, parallel construction, modifiers, tenses, pronouns, active versus passive voice, and moreStyle - advice on the less hard-and-fast areas of clarity and tone, including sentence length and order, conciseness, simplification, reading level, jargon and cliches, and subtletyFilled with self-test exercises and whimsical literary quotations, "Grammatically Correct" steers clear of academic stuffiness, focusing instead on practical strategies and intuitive explanations.Discussions are designed to get to the heart of a concept and provide a sufficient sense of when and how to use it, along with examples that show what ambiguities or misinterpretations might result if the rules are not followed. In cases where there is more than one acceptable way to do something, the approach is not to prescribe one over another but simply to describe the options.Readers of this book will never break the rules of language again - unintentionally."

    It offers a step-by-step action plan for harnessing the power modern marketing and PR to communicate with buyers directly, raise visibility, and increase sales. It shows how large and small companies, nonprofits, and more can leverage Web-based content to get the right information to the right people at the right time for a fraction of the cost of big-budget campaigns.Including a wealth of compelling case studies and real-world examples of content marketing and inbound marketing success, this is a practical guide to the new reality of reaching buyers when they're ready.Includes updated information, examples, and case studies plus an examination of newly popular tools such as Infographics, photo-sharing using Pinterest and Instagram, as well as expanded information on social media such as YouTube, Twitter, Facebook, and LinkedInDavid Meerman Scott is a marketing strategist, bestselling author of eight books including three international bestsellers, advisor to emerging companies including HubSpot and Eloqua, and a professional speaker on topics including marketing, leadership, and social media. Prior to starting his own business, he was marketing VP for two U.S. publicly traded companies and was Asia marketing director for Knight-Ridder, at the time one of the world's largest information companies."The New Rules of Marketing & PR" offers the single resource for entrepreneurs, business owners, nonprofit managers as well as those working in marketing or publicity departments to build a marketing and PR strategy to grow any business.

    The logical response is to ban electronics in class. But acclaimed educator James M. Lang argues that this solution obscures a deeper problem: how we teach is often at odds with how students learn. Classrooms are designed to force students into long periods of intense focus, but emerging science reveals that the brain is wired for distraction. We learn best when able to actively seek and synthesize new information.In Distracted, Lang rethinks the practice of teaching, revealing how educators can structure their classrooms less as distraction-free zones and more as environments where they can actively cultivate their students' attention.Brimming with ideas and grounded in new research, Distracted offers an innovative plan for the most important lesson of all: how to learn.

    This view was at the core of the compact between government and science that led to the golden age of scientific research after World War II—a compact that is currently under severe stress. In this book, Donald Stokes challenges Bush's view and maintains that we can only rebuild the relationship between government and the scientific community when we understand what is wrong with that view.Stokes begins with an analysis of the goals of understanding and use in scientific research. He recasts the widely accepted view of the tension between understanding and use, citing as a model case the fundamental yet use-inspired studies by which Louis Pasteur laid the foundations of microbiology a century ago. Pasteur worked in the era of the "second industrial revolution," when the relationship between basic science and technological change assumed its modern form. Over subsequent decades, technology has been increasingly science-based. But science has been increasingly technology-based--with the choice of problems and the conduct of research often inspired by societal needs. An example is the work of the quantum-effects physicists who are probing the phenomena revealed by the miniaturization of semiconductors from the time of the transistor's discovery after World War II.On this revised, interactive view of science and technology, Stokes builds a convincing case that by recognizing the importance of use-inspired basic research we can frame a new compact between science and government. His conclusions have major implications for both the scientific and policy communities and will be of great interest to those in the broader public who are troubled by the current role of basic science in American democracy.

    The Art of Game Design: A Book of Lenses shows that the same basic principles of psychology that work for board games, card games and athletic games also are the keys to making top-quality video games. Good game design happens when you view your game from many different perspectives, or lenses. While touring through the unusual territory that is game design, this book gives the reader one hundred of these lenses—one hundred sets of insightful questions to ask yourself that will help make your game better. These lenses are gathered from fields as diverse as psychology, architecture, music, visual design, film, software engineering, theme park design, mathematics, writing, puzzle design, and anthropology. Anyone who reads this book will be inspired to become a better game designer—and will understand how to do it.

    Lajos Egri's classic, The Art of Dramatic Writing, does just that, with instruction that can be applied equally well to a short story, novel, or screenplay. Examining a play from the inside out, Egri starts with the heart of any drama: its characters. All good dramatic writing hinges on people and their relationships, which serve to move the story forward and give it life, as well as an understanding of human motives - why people act the way that they do. Using examples from everything from William Shakespeare's Romeo and Juliet to Henrik Ibsen's A Doll's House, Egri shows how it is essential for the author to have a basic premise - a thesis, demonstrated in terms of human behavior - and to develop the dramatic conflict on the basis of that behavior.Using Egri's ABCs of premise, character, and conflict, The Art of Dramatic Writing is a direct, jargon-free approach to the problem of achieving truth in writing.

    of Wisconsin-Madison) and Wichern (Texas A&M U.) present the newest edition of this college text on the statistical methods for describing and analyzing multivariate data, designed for students who have taken two or more statistics courses. The fifth edition includes the addition of seve

    Whether you're writing a rags-to-riches tell-all memoir or literary journalism, telling true stories well is hard work. In You Can't Make This Stuff Up, Lee Gutkind, the go-to expert for all things creative nonfiction, offers his unvarnished wisdom to help you craft the best writing possible. Frank, to-the-point, and always entertaining, Gutkind describes and illustrates every aspect of the genre. Invaluable tools and exercises illuminate key steps, from defining a concept and establishing a writing process to the final product. Offering new ways of understanding the genre, this practical guidebook will help you thoroughly expand and stylize your work.