Donna is so sensitive in exploring those issues, a first in a text for that class and a welcome addition.--Nick Eastmond, Utah State UniversityFocused on discussing what is considered to be good research, this text explains quantitative, qualitative, and mixed methods in detail, incorporating the viewpoints of various research paradigms into the descriptions of these methods. Approximately 60% of the content in this Third Edition is new, with lots of fresh examples.Key FeaturesPostpositivist, constructivist, transformative, and pragmatic paradigms discussedConducting research in culturally complex communities emphasized throughoutA step-by-step overview of the entire research process providedNew to this Edition New coverage on how to write a literature review and plan a dissertationNew pedagogy including Extending Your Thinking throughoutThis is a core or supplemental text for research courses in departments of education, psychology, sociology, social work and other human-services disciplines.

    Ethical Leadership and Decision Making in Education: Applying Theoretical Perspectives to Complex Dilemmas, Second Edition: *demonstrates the application of different ethical paradigms (the ethics of justice, care, critique, and the profession) through discussion and analysis of real-life moral dilemmas that educational leaders face in their schools and communities;*addresses some of the practical, pedagogical, and curricular issues related to the teaching of ethics for educational leaders;*emphasizes the importance of ethics instruction from a variety of theoretical approaches; and*provides a process that instructors might follow to develop their own ethics unit or course.Part I provides an overview of why ethics is so important, especially for today's educational leaders, and presents a multiparadigm approach essential to practitioners as they grapple with ethical dilemmas. Part II deals with the dilemmas themselves. It includes a brief introduction to how the cases were constructed, an illustration of how the multiparadigm approach may be applied to a real dilemma, and ethical dilemmas written by graduate students that represent the kinds of dilemmas faced by practicing administrators in urban, suburban, and rural settings in an era full of complexities and contradictions. Part III focuses on pedagogy and provides teaching notes for the instructor. The authors discuss the importance of self-reflection on the part of both instructors and students, and model how they thought through their own personal and professional ethical codes as well as reflected upon the critical incidents in their lives that shape their teaching and frequently determine what they privileged in class.New in the Second Edition: *A completely new chapter emphasizing religious differences and presenting the contradictions between religion and culture;*A completely new chapter on testing, juxtaposing the paradox of accountability with responsibility;*Several new dilemmas focusing on higher education, recognizing that many educational leadership training programs include students with this focus; and*Changes throughout to update the text, including a discussion of recent scholarship in the field of ethical leadership.Ethical Leadership and Decision Making in Education: Applying Theoretical Perspectives to Complex Dilemmas, Second Edition is easily adaptable for a variety of uses with a wide range of audiences. It is equally valuable as a text for university courses related to the preparation of educational leaders and as a professional reference for aspiring and practicing administrators, teacher leaders, office personnel, and educational policy makers.

    Using information gathered from interviews with over 100 social sector leaders, Jim Collins shows that his "Level 5 Leader" and other good-to-great principles can help social sector organizations make the leap to greatness.

    The way to do this, argue authors Bena Kallick and Allison Zmuda, is to increase the say students have in their own learning and prepare them to navigate complexities they face both inside and beyond school. This means rethinking traditional teacher and student roles and re-examining goal setting, lesson planning, assessment, and feedback practices. It means establishing classrooms that prioritizeVoice--Involving students in "the what" and "the how" of learning and equipping them to be stewards of their own education.Co-creation--Guiding students to identify the challenges and concepts they want to explore and outline the actions they will take.Social construction--Having students work with others to theorize, pursue common goals, build products, and generate performances.Self-discovery--Teaching students to reflect on their own developing skills and knowledge so that they will acquire new understandings of themselves and how they learn.Based on their exciting work in the field, Kallick and Zmuda map out a transformative model of personalization that puts students at the center and asks them to employ the set of dispositions for engagement and learning known as the Habits of Mind. They share the perspectives of educators engaged in this work; highlight the habits that empower students to pursue aspirations, investigate problems, design solutions, chase curiosities, and create performances; and provide tools and recommendations for adjusting classroom practices to facilitate learning that is self-directed, dynamic, sometimes messy, and always meaningful.

    "You need tools, not rules." His book distills decades of experience into 50 tools that will help any writer become more fluent and effective. WRITING TOOLS covers everything from the most basic ("Tool 5: Watch those adverbs") to the more complex ("Tool 34: Turn your notebook into a camera") and provides more than 200 examples from literature and journalism to illustrate the concepts. For students, aspiring novelists, and writers of memos, e-mails, PowerPoint presentations, and love letters, here are 50 indispensable, memorable, and usable tools. "Pull out a favorite novel or short story, and read it with the guidance of Clark's ideas. . . . Readers will find new worlds in familiar places. And writers will be inspired to pick up their pens." -Boston Globe"For all the aspiring writers out there-whether you're writing a novel or a technical report-a respected scholar pulls back the curtain on the art." -Atlanta Journal-Constitution"This is a useful tool for writers at all levels of experience, and it's entertainingly written, with plenty of helpful examples." -Booklist

      Statistics are everywhere, as integral to science as they are to business, and in the popular media hundreds of times a day. In this age of big data, a basic grasp of statistical literacy is more important than ever if we want to separate the fact from the fiction, the ostentatious embellishments from the raw evidence -- and even more so if we hope to participate in the future, rather than being simple bystanders. In The Art of Statistics, world-renowned statistician David Spiegelhalter shows readers how to derive knowledge from raw data by focusing on the concepts and connections behind the math. Drawing on real world examples to introduce complex issues, he shows us how statistics can help us determine the luckiest passenger on the Titanic, whether a notorious serial killer could have been caught earlier, and if screening for ovarian cancer is beneficial. The Art of Statistics not only shows us how mathematicians have used statistical science to solve these problems -- it teaches us how we too can think like statisticians. We learn how to clarify our questions, assumptions, and expectations when approaching a problem, and -- perhaps even more importantly -- we learn how to responsibly interpret the answers we receive. Combining the incomparable insight of an expert with the playful enthusiasm of an aficionado, The Art of Statistics is the definitive guide to stats that every modern person needs.

    In clear, lively, warm prose, this edition continues the title's integration of gender, culture, and ethnicity. By the end, readers will learn how to interpret research and to address and resolve controversies. MyPsychLab is an integral part of the Wade/Tavris/Garry program. Engaging activities and assessments provide a teaching and learning system that helps students think like a psychologist. With MyPsychLab, students can watch videos on psychological research and applications, participate in virtual classic experiments, and develop critical thinking skills through writing. "Invitation to Psychology, "5/e is available in a new DSM-5 Updated edition. To learn more, click here. This title is available in a variety of formats - digital and print. Pearson offers its titles on the devices students love through Pearson's MyLab products, CourseSmart, Amazon, and more.

    The authors identify and profile seven types of major donors and offer you detailed strategies on how to approach them. Both novice and expert fundraisers will find this framework a valuable supplement to existing strategies and techniques.

    The basic rules that apply to the most frequent problems are covered as thoroughly as the fine points of the problems that occur less often. The colorful examples and illustrations offer easy-to-follow models to help resolve the difficulties encountered in everyday communications from e-mail messages to formal reports. New features include: Up-to-date coverage on dealing with online source material and precautions to observe when citing electronic material New searchable index: the website accompanying the book allows the reader immediate access to definitions and information on specific topics Updated e-mail rules and expanded plagiarism coverage to meet the needs of changing technology

    Together the three authors have thoroughly updated Inside Out with the latest information on technology, a substantial reference section on resources, and loads of new examples.

    A bestseller through six editions, Writing Fiction by novelists Janet Burroway and Elizabeth Stuckey-French explores the elements of fiction, providing practical writing techniques and concrete examples. Written in a tone that is personal and non-prescriptive, the text encourages students to develop proficiency through each step of the writing process, offering an abundance of exercises designed to spur writing and creativity. The text also integrates diverse, contemporary short stories in every chapter in the belief that the reading of inspiring fiction goes hand-in-hand with the writing of fresh and exciting stories.

    This guide shows that good research and lively writing do not have to be mutually exclusive.

    It is for teachers who refuse to harden their hearts, because they love learners, learning, and the teaching life." - Parker J. Palmer [from the Introduction] Teachers choose their vocation for reasons of the heart, because they care deeply about their students and about their subject. But the demands of teaching cause too many educators to lose heart. Is it possible to take heart in teaching once more so that we can continue to do what good teachers always do -- give heart to our students?In The Courage to Teach, Parker Palmer takes teachers on an inner journey toward reconnecting with their vocation and their students -- and recovering their passion for one of the most difficult and important of human endeavors.

    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

    At many companies, being first with a concept and first to market are critical just to survive. In The Art of Innovation, Tom Kelley, general manager of the Silicon Valley based design firm IDEO, takes readers behind the scenes of this wildly imaginative and energized company to reveal the strategies and secrets it uses to turn out hit after hit.IDEO doesn't buy into the myth of the lone genius working away in isolation, waiting for great ideas to strike. Kelley believes everyone can be creative, and the goal at his firm is to tap into that wellspring of creativity in order to make innovation a way of life. How does it do that? IDEO fosters an atmosphere conducive to freely expressing ideas, breaking the rules, and freeing people to design their own work environments. IDEO's focus on teamwork generates countless breakthroughs, fueled by the constant give-and-take among people ready to share ideas and reap the benefits of the group process. IDEO has created an intense, quick-turnaround, brainstorm-and-build process dubbed "the Deep Dive."In entertaining anecdotes, Kelley illustrates some of his firm's own successes (and joyful failures), as well as pioneering efforts at other leading companies. The book reveals how teams research and immerse themselves in every possible aspect of a new product or service, examining it from the perspective of clients, consumers, and other critical audiences.Kelley takes the reader through the IDEO problem-solving method:> Carefully observing the behavior or "anthropology" of the people who will be using a product or service> Brainstorming with high-energy sessions focused on tangible results> Quickly prototyping ideas and designs at every step of the way> Cross-pollinating to find solutions from other fields> Taking risks, and failing your way to success> Building a "Greenhouse" for innovationIDEO has won more awards in the last ten years than any other firm of its kind, and a full half-hour Nightline presentation of its creative process received one of the show's highest ratings. The Art of Innovation will provide business leaders with the insights and tools they need to make their companies the leading-edge, top-rated stars of their industries.From the Hardcover edition.