They bring a conceptual approach to chemistry and integrate problem-solving skills throughout, helping students transition from theory to practice. A strong emphasis on models, real-world applications, and visual learning prevails throughout the text. The Seventh Edition seamlessly integrates the strengths of the Zumdahl approach through a comprehensive and interwoven print and technology program. Enhanced Sample Exercises, online homework problems, and Classroom Response System content help instructors assess conceptual understanding and problem-solving skills, while new animations and images support visual learning. In addition, Houghton Mifflin offers implementation services through our TeamUP program to help instructors and students get the most out of the text and its supplements.

    Morris Mano, Charles R. Kime - Prentice Hall (2007) - Hardback - 678 pages - ISBN 013198926XFeaturing a strong emphasis on the fundamentals underlying contemporary logic design using hardware description languages, synthesis, and verification, this book focuses on the ever-evolving applications of basic computer design concepts with strong connections to real-world technology.Treatment of logic design, digital system design, and computer design.Ideal for self-study by engineers and computer scientists.

    The book s two-part coverage organizes topics under basic theory, and assembles an arsenal of approximation schemes with illustrative applications. For physicists and engineers. "

    It strikes a balance between theory and application by incorporating real-world examples; helping students visualize the three-dimensional atomic and molecular structures that are the basis of chemical activity; and developing problem-solving and critical thinking skills. Although the fifth edition incorporates many new features, such as macro to micro artwork, six new animations correlated to the text, and the addition of new hand-sketched worked examples, General Chemistry is still 200 to 300 pages shorter and much less expensive than other two-semester textbooks. Dr. Chang's concise-but-thorough approach will appeal to efficiency-minded instructors and value-conscious students.

    Floyd is well known for straightforward, understandable explanations of complex concepts, as well as for non-technical, on-target treatment of mathematics. The extensive use of examples, Multisim simulations, and graphical illustrations makes even complex concepts understandable. From discrete components, to linear integrated circuits, to programmable analog devices, this books¿ coverage is well balanced between discrete and integrated circuits. Also includes focus on power amplifiers; BJT and FET amplifiers; advanced integrated circuits–instrumentation and isolation amplifiers; OTAs; log/antilog amplifiers; and converters. Thorough coverage of optical topics–high intensity LEDs and fiber optics. Devices sections on differential amplifiers and the IGBT (insulated gate bipolar transistor) are now included. For electronics technicians.

    Contains 640 problems including solutions; additional practice problems with answers; explanations of complex variable theory; coverage of applications of complex variables in engineering, physics, and elsewhere, with accompanying sample problems and solutions.

    Offering time-tested problems, conceptual and visual pedagogy, and a state-of-the-art media package, this 11th edition looks to the future of university physics, in terms of both content and approach.

    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

    Written for a senior-level course, this engineering textbook presents the concepts of feedback control system theory as they have been developed in the frequency and time domains, discussing such topics as robust control systems, state variable models, computer control systems, internal model contro

    This book presents the fundamentals of discrete-time signals, systems, and modern digital processing and applications for students in electrical engineering, computer engineering, and computer science.The book is suitable for either a one-semester or a two-semester undergraduate level course in discrete systems and digital signal processing. It is also intended for use in a one-semester first-year graduate-level course in digital signal processing.

    This book applies the theory to the design of specialized audio spaces such as the home listening room, the control room, and the multi-track-recording studio.

    Assuming no prior science knowledge, this book supports main concepts with clinical applications, making them more relevant to students pursuing careers in the allied health field.

    The text shows you how to use statistical methods to design and develop new products, and new manufacturing systems and processes. You'll gain a better understanding of how these methods are used in everyday work, and get a taste of practical engineering experience through real-world, engineering-based examples and exercises. Now revised, this Fourth Edition of "Applied Statistics and Probability for Engineers" features many new homework exercises, including a greater variation of problems and more computer problems.

    Readers learn how to create control systems that support today's advanced technology and apply the latest computer methods to the analysis and design of control systems. * A methodology with clearly defined steps is presented for each type of design problem. * Continuous design examples give a realistic view of each stage in the control systems design process. * A complete tutorial on using MATLAB Version 5 in designing control systems prepares readers to use this important software tool.

    Sedra and Kenneth C. Smith. All material in the fifth edition of Microelectronic Circuits is thoroughly updated to reflect changes in technology-CMOS technology in particular. These technological changes have shaped the book's organization and topical coverage, making it the most current resource available for teaching tomorrow's engineers how to analyze and design electronic circuits.