Jumat, 30 Juli 2010

[B745.Ebook] Download Ebook How to Do Your Case Study, by Gary Thomas

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How to Do Your Case Study, by Gary Thomas

Vibrant and insightful, this�book introduces students and researchers to the basics of case study research. Adopting jargon-free language it grounds its advice in concrete experience and real-world cases. Using examples from across the social sciences, Gary Thomas provides practical guidance on how best to read, design and carry out case study research with a focus on how to manage and analyze data.

The new edition of this bestselling book addresses crucial issues around ethics and has improved coverage of key themes such as rigor, validity, generalization and the analysis of case studies. It demystifies case study research and answers important questions such as:

- What is a case study?

- When and why should case study methods be used?

- How are case studies designed?

- What methods can be used?

- How do we analyze and make sense of our data?

- How do we write up and write about our case?

Bursting with real world examples and multidisciplinary cases, and supported by a dynamic new website, this book is essential reading for any student or researcher in the social sciences and humanities.

  • Sales Rank: #1312477 in Books
  • Published on: 2015-11-04
  • Released on: 2015-11-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.53" h x .68" w x 6.69" l, .0 pounds
  • Binding: Paperback
  • 288 pages

Review

I would encourage all my students to make reference to this excellent resource. It provides a thorough, well explained foundation to case study research which will equip the reader to design and carry out their own projects. Thomas includes examples from across a number of disciplines, illustrating how to apply the theory to practice and presenting a clear discussion of how to effectively prepare, conduct, analyse and report research.

(Ruth Hewston)

This book continues to be our first recommendation for all our undergraduate education programmes due to the clarity of its prose, its wonderfully clear structure and the use of excellent examples to illustrate key points. This new edition includes expanded discussions and a very welcome new chapter on research ethics.

(James Percival)

About the Author
Gary Thomas is a professor of education at the University of Birmingham. His teaching and research have focused on inclusion, special education and research methodology in education, with a particular focus on case study. He has co-edited the International Journal of Research and Method in Education and the British Educational Research Journal and is currently executive editor of Educational Review.

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1 of 1 people found the following review helpful.
Careful! Reading this could add clarity to your research design!
By Scott J Phillpott
Can't believe I'm the first guy to rate this book!

I am doing a case study, which prompted me to get this book. As I read it, and compared it to all the other study books in my doctoral journey, I was struck by things the book didn't take presume as vital for a case study. In particular, the notions of "validity" and "reliability" which I must say, I was struggling with in my Ch 3. A researcher could certainly replicate my approach, but since we are dealing with "people" responses are likely to be varied and thus validity and reliability are less important, as is the sample size. What Thomas stresses, it is the conception, construction, and conduct of the study that is most important! (p71). Brilliant.

As I go back and look now at so many case study dissertations that burped up validity dialogue to push it past a committee in dogmatic progression I find it all a rather odd form of naive empiracism.

1 of 1 people found the following review helpful.
a solid readable book
By lithuanian clown
I've read other books on cast studies. I haven't much to say of note except this is highly readable, even an enjoyable read. there are parts where I disagree but the disagreements are more over the authors tendency to reject case studies as a means from which to generalize and he legitimizes the idiosyncratic nature of case studies by classifying all social science research as "provisional." The difference between the author's and my point of view is a matter of degree; and no need to get into it. The main point is that if you want to know about case studies and how they are done and how they relate to theory then this is as good a primer as you would want. The book is academic without becoming either tendentious or opaque. I will probably use it in my own methods courses

0 of 0 people found the following review helpful.
Mr. Thomas' case study guide is reader friendly and ...
By Cheryl Deverell
Mr. Thomas' case study guide is reader friendly and informative. A case study is a complex topic but needs to be interpreted for the novice practitioner. Thank you for a job well done.

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Rabu, 28 Juli 2010

[T461.Ebook] Get Free Ebook Domesticating Empire: Enlightenment in Spanish America, by Karen Stolley

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Domesticating Empire: Enlightenment in Spanish America, by Karen Stolley

Why has the work of writers in eighteenth-century Latin America been forgotten? During the eighteenth century, enlightened thinkers in Spanish territories in the Americas engaged in lively exchanges with their counterparts in Europe and Anglo-America about a wide range of topics of mutual interest, responding in the context of increasing racial and economic diversification. Yet despite recent efforts to broaden our understanding of the global Enlightenment, the Ibero-American eighteenth century has often been overlooked.



Through the work of five authors--Jose de Oviedo y Banos, Juan Ignacio Molina, Felix de Azara, Catalina de Jesus Herrera, and Jose Martin Felix de Arrate--Domesticating Empire explores the Ibero-American Enlightenment as a project that reflects both key Enlightenment concerns and the particular preoccupations of Bourbon Spain and its territories in the Americas. At a crucial moment in Spain's imperial trajectory, these authors domesticate topics central to empire--conquest, Indians, nature, God, and gold--by making them familiar and utilitarian. As a result, their works later proved resistant to overarching schemes of Latin American literary history and have been largely forgotten. Nevertheless, eighteenth-century Ibero-American writing complicates narratives about both the Enlightenment and Latin American cultural identity.

  • Sales Rank: #2512679 in Books
  • Published on: 2013-12-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.00" h x 7.00" w x .75" l, .0 pounds
  • Binding: Hardcover
  • 296 pages

Review
"The author's thoughtful analyses and exhaustive documentation make this a required resource on the Spanish American and global Enlightenment. [...] Highly recommended."
--Choice

"Domesticating Empire is a singular effort to unwind the stereotypes, myths, and misgivings about the Hispanic Enlightenment which have circulated since the Franco era. This ambitious volume is a bracing corrective for those scholars, students, and lay persons who have assumed that nothing of interest or importance happened in Latin America during the 18th century."
--Ruth Hill, Vanderbilt University, author of Hierarchy, Commerce, and Fraud in Bourbon Spanish America

"A wide-ranging treatment of eighteenth-century Spanish American writing that recovers the literary-historical significance of the Spanish American Enlightenment."
--Ralph Bauer, University of Maryland, author of The Cultural Geography of Colonial American Literatures

From the Inside Flap
The lost world of eighteenth-century Latin American literature

About the Author
Karen Stolley is Professor of Spanish at Emory University and author of El lazarillo de ciegos caminantes.

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Kamis, 22 Juli 2010

[U539.Ebook] Download Ebook The Apple Tree: A Short Novel and Some Stories, by Daphne Du Maurier

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The Birds The idea for this famous story came to her one day when she was walking across to Menabilly Barton farm from the house. She saw a farmer busily ploughing a field whilst above him the seagull s were diving and wheeling. She developed the idea about the birds becoming hostile and attacking him. In her story, the birds become hostile after a harsh winter with little food, first the seagull s, then birds of prey and finally even small birds, all turn against mankind. The nightmarish idea appealed to Hitchcock who turned it into the celebrated film. Daphne disliked the film and particularly disliked the translation of the setting from Cornwall, with its small fields and stone hedges, to small-town America. Monte Verita The Apple Tree The Little Photographer Kiss Me Again, Stranger The Old Man

  • Sales Rank: #3267102 in Books
  • Published on: 1952-12-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.86" h x .87" w x 5.79" l,
  • Binding: Hardcover
  • 264 pages

About the Author
In many ways the life of Daphne du Maurier resembles that of a fairy tale. Born into a family with a rich artistic and historical background, the daughter of a famous actor-manager, she was indulged as a child and grew up enjoying enormous freedom from financial and parental restraint. She spent her youth sailing boats, travelling on the Continent with friends, and writing stories. A prestigious publishing house accepted her first novel when she was in her early twenties, and its publication brought her not only fame but the attentions of a handsome soldier, Major (later Lieutenant-General Sir) Frederick Browning, who married her.

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... costing over $200 thank you so much for the great price my gf has been looking for a copy ...
By Andrew Portlock
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[B697.Ebook] Ebook Download Talk, Talk, Talk: Discussion-based Classrooms (Teacher to Teacher Publications) (Engaging Students), by Ann Cook, Phyllis Tashlik

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This classroom-based resource explores how both teachers and students learn the skills of discussion in content areas across the disciplines. Student reflections and teacher talk provide lively examples of how discussion plays a pivotal role in inquiry-based classrooms, developing students�’ basic skills of critical analysis and helping them become lifelong learners, able to confront and research any topic.

  • Sales Rank: #2170920 in Books
  • Brand: Brand: Teachers College Press
  • Published on: 2004-11-28
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.08" h x .13" w x 8.92" l, .31 pounds
  • Binding: Paperback
  • 64 pages
Features
  • Used Book in Good Condition

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Senin, 19 Juli 2010

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History of Modern Design, by David Raizman

Filling the gap for an extensively illustrated history of modern design, this introduction provides a balanced, chronological survey of the decorative arts, industrial design and graphic design from the eighteenth through the twentieth centuries. Focusing on the appreciation of design as a creative activity, as well as an enterprise conditioned by economic, technological and social history, Raizman includes the study of products and furnishing designed for mass consumption, and examines the social context for the democratization of culture. The author examines supply, demand, and design from 1700-1850, arts, crafts, and machines from 1850-1914, design after the Great War, 1918-1944and international modernism and mass culture after World War II. For design professionals.

  • Sales Rank: #654867 in Books
  • Brand: Brand: Prentice Hall
  • Published on: 2003-11-22
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.56" h x .87" w x 9.66" l, 2.78 pounds
  • Binding: Paperback
  • 400 pages
Features
  • Used Book in Good Condition

From the Back Cover

Design plays an integral part in our lives, surrounding us at home and in the office. The products of design—whether in the form of household products, packaging, fashion, software, industrial equipment, or promotional images in the mass media—can be seen both as objects of beauty and as the result of creative human endeavors.

This insightful, wide-ranging book surveys applied arts and industrial design from the eighteenth century to the present day, exploring the dynamic relationship between design and manufacturing, and the technological, social, and commercial context in which this relationship developed. The effects of a vastly enlarged audience for the products of modern design and the complex dynamic of mass consumption, are also discussed. Part of this dynamic reveals that products serve as symbols for desires that have little to do with need or function.

Wide-ranging examples of product and graphic design are shown—and their significance within the history of design explained—including vessels and other objects made from glass, ceramics, plastic, or metal, as well as tableware, furniture, textiles, lighting, housings for electric appliances, machines and equipment, cars, tools, books, posters, magazines, illustrations, advertisements, and digital information. The book also explores the impact of a wealth of new manmade industrial materials on the course of modern design—from steel to titanium, plywood to plastic, cotton to nylon, wire to transistors, and .from microprocessors to nanotubes. The research, development, and applications of these technologies are shown as depending upon far-reaching lines of communication, stretching across geographical and linguistic boundaries. In this way, David Raizman reveals the history of modern design as a "global" history.

About the Author

David Raizman is a professor in the Department of Visual Studies at Drexel University in Philadelphia, PA.

Excerpt. � Reprinted by permission. All rights reserved.

The material and methodology for this book were developed over eight years of teaching a course entitled History of Modern Design in the College of Media Arts & Design at Drexel University, and almost twenty years of general undergraduate art history teaching experience. During these past eight years it has been rewarding to hear students reflect upon everyday objects in relation to the values and attitudes of their time, to consider the complex interplay of technological, commercial, social, and esthetic considerations that deepen our understanding of their beauty and the range of their meanings.

One of the persistent difficulties in offering this course over the years has been the issue of a textbook. History of fine art courses are far more common than those in the history of design, and there is no shortage of art-history texts to provide images and narrative to accompany general and more specialized courses relating to a variety of periods and movements. Yet despite the many colleges and universities that educate professional industrial, interior, graphic, merchandising, textile, and fashion designers, I found in my teaching that no introductory text served the needs of a course that integrated material from a broad range of specialized design fields over the past three centuries. Rather than being limited to a single area like graphic design or industrial design, the present survey covers the history of these fields in relation to one another and the common themes they share, whether technology, production, consumption, or reform.

At first I relied upon a list of reserve readings, and in time supplemented these with my own outlines for lecture notes available through the university's computing services center. Subsequently I received a grant from the university to create a website that allowed an appropriate format to be developed for the presentation of a combination of text links and images for study and student preparation. Putting these notes into book form has been for me a formidable task. The required reading, travel, and study took me far from my own original training in the art of medieval Spain, requiring substantial historical perspective to provide a context for studying the objects and a desire to follow through with combining perspectives from both consumption and production for each chapter. In the course of writing and re-writing, I tried to organize the material both chronologically and thematically. Briefly stated, the themes are:

  • SPECIALIZATION AND THE TECHNOLOGY OF MATERIALS AND PRODUCTION
  • REFORM AND THE ROLE OF STANDARDS FOR DESIGN
  • THE EQUALITY OF THE ARTS
  • DESIGN FOR MECHANIZED PRODUCTION
  • "GOOD" DESIGN AND POPULAR CULTURE
  • PLURALISM AND DESIGN

In preparing this History of Modern Design I have benefited from a number of previous studies, beginning with most students' (of my generation anyway) introduction to modern design history, Sir Nikolaus Pevsner's Pioneers of Modern Design, and including more recent titles such as Penny Sparke's An Introduction to Design and Culture in the Twentieth Century (1986), Adrian Forty's Objects of Desire (1986), and Richard Woodham's Twentieth-Century Design (1997). There is also the excellent series of books by a range of specialists published by Oxford University Press. These include a number of volumes devoted to period styles (Arts and Crafts, Art Nouveau, Art Deco, Bauhaus, for example), as well as John Heskett's excellent Industrial Design (i98o). Also, Phillip Meggs's History of Graphic Design is a most informative survey of that material with a strong emphasis in the nineteenth and twentieth centuries.

As I began teaching the history, of modern design, I found myself drawn to the period room and decorative arts galleries of museums rather than to their Painting and sculpture galleries. As a result I've been pleased to observe, in my adopted city of Philadelphia,, that the Philadelphia Museum of Art has redesigned its galleries to merge fine with decorative art in a way which can only aid in the appreciation of our subject. It is also encouraging to note the recent increase in art-historical journals that have devoted issues to the applied arts, and those monographs that have done much to promote interest in the history of design. It is necessary to ma few of the latter, as they greatly aided in formulating many of the sections for the individual chapters that follow: Nancy Troy's Modernism and the Decorative Arts in France. Art Nouveau to Le Corbusier, the Guggenheim Museum's massive catalogue for The Great Utopia. The Russian and Soviet Avant-garde, 1915-1932 exhibition, the American Craft Museum's catalogues for their series of exhibitions on domestic design entitled The Ideal Home beginning with the period from 1890-1910, and Debora Silverman's Art Nouveau in Fin-de-Siecle France: Politics, Psychology, and Style. Many of these books incorporate ideas drawn from a significant literature on the study of consumption, stemming less from art history than from social anthropology and the field of popular and mass culture.

Aside from those mentioned above, a number of exhibitions and their accompanying catalogues introduced me to a wide range of material that has been incorporated into this text. These include German Graphic Design (2001), Godwin (2000), and Swedish Glass (1997) at the Bard Graduate School in New York; Henry Dreyfuss at the Cooper Hewitt (1998), the traveling collection of chairs and other furniture from the Vitra Museum in Switzerland (1999-2ooo) at the Allentown Museum and the Cooper Hewitt; Mackintosh (1994) and American Modernism (2000) at the Metropolitan Museum of Art (1994); the Aluminum by Design exhibition at the Carnegie Museum in Pittsburgh and the Cooper Hewitt (2000-2001); the Art in Rome in the Eighteenth Century exhibition in Philadelphia (2000); Will Price at the small Arthur Ross Gallery in the Fine Arts Library at the University of Pennsylvania; and the extensive Art Nouveau exhibition at the Victoria and Albert Museum in London and the National Gallery of Art in Washington, D.C. (2000).

Recent monographs stemming from renewed interest in A. W N. Pugin, Christopher Dresser, Russel Wright, C. R. Mackintosh and others are filling gaps in our knowledge and bringing new material to light, including the publication of primary source material and a wide range of visual material: they are among the numerous healthy signs of growing public and scholarly interest in an area with wide-ranging appeal to students, artists and designers, art historians, and collectors. Great Britain remains most active in the field of design history, through a variety of conferences, the Journal of Design History, the Design Research Society and its on-line publication Design Research News (DRN), and the number of courses offered at colleges and universities. Finally, the journal Design Issues not only contributes articles on the methods of designers but also frequently offers historical perspectives and reviews. It is my hope that the approach to this introductory text will be viewed as balanced and tolerant, and that the analyses will promote appreciation and suggest the synthesis of description and a framework based upon the interconnections of social, commercial, esthetic, and technological perspectives on design. In addition, as a teacher I have always enjoyed the challenge of comparing works of art from different or even successive time periods that share formal or ideological similarities. I am happy for the students in the College of Media Arts & Design who have made the study of design history part of their education and hope that what they have learned will in some way be incorporated into the contributions they are certain to make to their chosen design professions.

Most helpful customer reviews

5 of 6 people found the following review helpful.
Impressive!
By Babagunk
I completely disagree with the first reviewer's comments, especially about the quality of the pictures. In fact, that's probably one of the book's highlights. The writing is also extremely accessible whether you are a student or a coffee-table book browser. The book is clearly meant to complement a wide range of history of design courses, which may likely vary from instructor to instructor, college to college. I would venture that it is the instructor's responsibility to find relevant sections that can be utilized in her class, and not expect that the book will be organized according to her own syllabus.

3 of 4 people found the following review helpful.
Wonderful
By M. Bissinger
I've wanted this book for quite some time now. I actually remember the day I first spotted it on the shelves of a local bookstore. Since then, I have frequently gone to peruse its pages at the design library where I work, and I have found it to be an invaluable resource. It is one of the few books that strive to show the interrelationship between the many design disciplines, and, for those of us lucky enough to have had the opportunity to study under Dr. Raizman, it serves as a constant refresher and reminder of a truly wonderful class.

1 of 1 people found the following review helpful.
Great book
By siller44
I have to say, it is the best Design history book i've read in english.
His approach is very similar to some Italian, German and Scottish authors.
I strongly recommend it.

See all 7 customer reviews...

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Math for Merchandising: A Step-by-Step Approach (3rd Edition), by Evelyn C. Moore

This book takes users step by step through the concepts of merchandising math. It is organized so that the chapters parallel a career path in the merchandising industry. The book begins with coverage of fundamental math concepts used in merchandising and progresses through the forms and math skills needed to buy, price, and re-price merchandise. Next readers learn the basics of creating and analyzing six-month plans. The final section of the book introduces math and merchandising concepts that are typically used at the corporate level. For individuals pursuing a career in merchandising.

  • Sales Rank: #862342 in Books
  • Published on: 2004-06-25
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.80" h x 1.00" w x 8.20" l, 1.72 pounds
  • Binding: Paperback
  • 368 pages

From the Inside Flap
Preface

The mere thought of taking a math course causes most people to clench their teeth, break out in a cold sweat, and start biting their fingernails. Relax! This course is different.

This course uses practical applications to help you understand the tools of the trade. The approach is geared to help you interpret industry words and thoughts and then use your calculators (or computers) to translate your needs into clear mathematical answers.

You will approach this course in a very logical manner, with a step-by-step approach, one that parallels your career path in the merchandising industry. From the start in Chapter 1, you will discover, with the help of the text, which uses a worktext format, that your calculator is a key tool for solving problems effectively.

Chapter 2 teaches you the fundamentals of working with numbers. You look at the relationship of whole numbers to parts so you can calculate sales figures, commission statements, taxes, and discounts. With the numbers serving as the foundation, you can then look at how the numbers reflect the consumer, economic, fashion, and lifestyle trends that businesses address daily.

Once you grasp working with numbers, the work will flow, just as though you were on the job, to more responsible tasks. In Chapter 3 you will look at some of the forms you may be asked to complete in a clerical position or as an assistant buyer. Along with the forms, you will learn what you will be filling in, and why. The information on these forms comes from a buyer's purchases at market. You'll take an inside look at the buyer's role in the marketplace, as he or she must negotiate prices with the wholesalers to arrive at the sharpest terms and conditions of sale, including product price, payment arrangements, and shipping charges.

The text then takes you to the retail end of merchandising, pricing and reprising products. In Chapters 4 and S you will apply the basic math skills you learned in Chapter 2 to determine individual, initial, average, cumulative, and maintained markups. Through the exercises in Chapter 5, you will continue to develop strong critical thinking skills that reinforce pricing decisions. Markdowns, a very strong component in the competitive retailing world, are covered in Chapter 6.

As you move on in the text, you will see how job responsibilities expand and provide further challenges. Part IV of the workbook is designed to help merchandising majors learn the financial planning methods used in the industry. This section covers six-month plans, open to buy, and classification planning. Chapter 7 introduces you to the elements of six-month plans and explains why they are important to a merchandising operation. From there you move on to Chapter 8, where you will learn how to analyze and interpret what the numbers mean and how a merchant can use these figures to judge the overall "healthiness" of an operation. Chapters 9 and 10 will carry you to a different level, that of the planner. With a solid foundation in analyzing numbers, adding on markup, and applying markdown pricing, as a merchandiser you now plan stocks, balance the flow of new merchandise and maintain balanced stocks, first by using last year's figures as a guide in Chapter 9 and, then, in Chapter 10, by designing a plan from scratch, just as you would do for a new business. Chapter 11 helps you prepare buying plans for market, which are then reinforced in Chapter 12 as you learn how to build strong merchandise assortments through classification planning.

Part V shows you how numbers serve as tools to use in determining if a company's objectives and goals have been met. Here you take a look at how buying, pricing, and planning decisions are measured and evaluated. Again, using the skills from Chapter 2, you will apply basic math skills to profit-and-loss statements and income statements in Chapter 13. Sales per square foot, a key factor in profitability, is introduced in Chapter 14.

Part VI briefly introduces the basics of corporate buying offices. With an increase in national brand products and private labeling growing worldwide, merchandisers faced with increasing competition now have to be able to calculate the cost of goods sold and determine if it is feasible to develop a product for a company. In this chapter you will learn how to prepare cost sheets and apply the pricing concepts you learned in Part III to determine if a product is competitive. Here you get a glimpse of how merchandising strategies are developing for the 21st century.

The final section provides a check-in point for students. Often students want to make sure they are doing the calculations correctly, but if they are working outside the classroom, they don't have anyone with whom to check. Basic formulas and the solutions to the odd-numbered problems are given.

So, relax! You will take this course step by step, just like your career in the industry. This text will give you the big picture, serving as a "reality check" for what really goes on behind the store windows.

Hands-on experience is always the first step in on-the-job training, and this is a great place for all of you to start. The skills you learn here will lead you to the next step, coordinating this skill set with technology. Merchants today depend on the speed and accuracy of information provided by computer software programs. However, you first have to learn

What is entered into the programs What the data means How to interpret and develop effective strategies based on the direction the numbers target

Math for Merchandising: A Step-by-Step Approach guides you through the common-sense steps needed as you develop visionary ideas, forecast trends, and end up with financial success in the ever-changing fashion merchandising world. Acknowledgments

Completion of this project was due in great part to my students, who, for many years, have challenged me to find better and easier ways to teach them the merchandising math skills needed for success in the job market. I am grateful for their insistence and their one constantly repeated question, What do I do first? I thank all of you for reading and improving the materials in this manuscript over the years, but, most importantly, for the confidence you've placed in me.

Many people at Prentice Hall have played significant roles in the completion of this project, and I wish to extend my special thanks to Mark Cohen for his ongoing encouragement and to Stephen Helba and Elizabeth Sugg for their support and confidence.

To Kelli Jauron and Michael Jennings with Carlisle Publishing, I truly appreciate your efforts to design a very user friendly book for students of all ages.

I would also like to thank the experts who critiqued this work and provided such good advice and direction for the second edition: Leslie Evans Bush, Phoenix College (AZ); Gary M. Donnelly, Caspar College (WY); Farrell D. Doss, Ph.D., Radford University (VA); Fran Huey, ICM School of Business (PA); Dr. Gwendolyn Jones, University of Akron (OH); and Jerry W. Lancio, Daytona Beach Community College (FL).

Along with the help of my peers, the meticulous attention shown to me by Michelle Churma, associate editor, has been truly appreciated.

And, most importantly I would like to say to copyeditor Linda Thompson: Your advice, suggestions and expertise through both the first and second editions of this text, have been invaluable to me, and I honestly cannot begin to thank you enough!

Evelyn Moore

From the Back Cover

Key Benefit: This book provides a practical application of the skills necessary in a merchandising career. Beginning with number fundamentals, it moves into the skills needed to communicate words into calculators or computers as a means of translating business needs into mathematical answers. Key Topics: Merchandising Math parallels a merchandising career by presenting math in the same sequence as they would be encountered in business. Beginning with the functions of a sales associate (calculating percentage of sales), it progresses to writing orders, calculating markup, analyzing plans, profit and loss statements, and cost sheet development for corporate product development. It provides practical experience with math skills relevant to retail merchandising through charts and templates (T-charts for markup, templates for a six month plan, and profit/loss templates). Market: A valuable resource for any reader in a retail environment seeking a means of improving and expanding his skills and abilities.

About the Author

EVELYN C. MOORE


A graduate of Youngstown State University with a degree in business administration, Evelyn worked her way through the ranks as a sales associate, clerical, assistant buyer, and buyer at Ohio's Strouss Department Store, a division of the May Company. In that experience, she found the opportunity to participate in the May Company Executive Training Program. The classes, designed and presented by seasoned store leaders, were jammed with practical first-hand knowledge and made Evelyn realize that her first love was training and development.

Learning directly from the pros also made her realize the wide gap between college courses based on definitions and theory—versus the needed on-the-job skills. With the desire to bridge the gap, Evelyn returned to school and earned teaching certificates for grades K-12, secondary, and adult education programs. Upon entering the teaching arena, she found there were many other students who once, like her, asked, "OK, what do I do first? How do I start? What advice do you have?" This need led Evelyn to find ways to make learning easier...to show students how to by giving them step-by-step tools that are practical and relevant for the merchandising industry.

In fact, Evelyn has never stopped learning from the industry pros. This text is unique because it has been driven by industry colleagues who have critiqued the content and offered advice as it applies to the demands of the industry today and into the future. Together they shared the same goal—to provide a foundation that will help aspiring businessmen and women develop the indispensable decision-making skills essential to understanding the important merchandising concepts and measurements of performance.

Currently Evelyn is a specialized research consultant, as well as an adjunct instructor at Johnson & Wales University in North Miami Beach and a certified online facilitator. Formerly an instructor in the fashion program at the Art Institute of Fort Lauderdale (1987-1999) and earlier with Bauder College, a division of NEC, Evelyn also coauthored Apparel Product Development, Second Edition, Prentice-Hall, Inc., Copyright © 1998, 2001.

Evelyn is a 1996 and 1998 honoree in Who's Who in America's Teachers and a 1999 nominee for the National Achievement Awards as Distinguished Member of the Year by the Art Institute of Fort Lauderdale. She resides in Fort Lauderdale, Florida, with husband, Jesse, and sons, Peter and Zachary.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Ok but gross! When received had a spot where ...
By lulu79:-D
Ok but gross! When received had a spot where someone had a large sticker the spot still had glue on it and the last persons hair!!! I know it's a rental but that's nasty!!

0 of 0 people found the following review helpful.
Five Stars
By Jamie S.
Informative

2 of 2 people found the following review helpful.
Highly recommended for students and professionals
By B. Murray
I highly recommend this book for those who want a detailed understanding of the math required for merchandising. I have recently changed positions from a Buyer to Merchandiser in a medium sized company and this book has really helped me to fast track through the math I will need in my new position. Thanks for such an easy to understand book.

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Jumat, 16 Juli 2010

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Combined and updated version of the issues 60 and 84. Added are recently completed buildings such as the Tate Gallery of Modern Art in London and Eberswalde Library.

  • Sales Rank: #3247420 in Books
  • Published on: 2005-05-05
  • Original language: English, Spanish
  • Dimensions: 13.39" h x 13.39" w x 9.45" l, 4.55 pounds
  • Binding: Hardcover
  • 416 pages

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0 of 0 people found the following review helpful.
Amazing architecture book
By Ariel
If you like architecture and want a book to get inspired, this one will defiantly do the job.
I got it for my brother and he could not let it off his hand.
Beautiful.

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Rabu, 14 Juli 2010

[G677.Ebook] Ebook Paradise Lost..., by John Milton

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Paradise Lost..., by John Milton


This is a reproduction of a book published before 1923. This book may have occasional imperfections
such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact,
or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections,
have elected to bring it back into print as part of our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.



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The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification:

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Paradise Lost; Photogravure Series; Paradise Lost; John Milton

John Milton

G. Routledge, 1905

Literary Criticism; Poetry; Literary Criticism / Poetry; Poetry / English, Irish, Scottish, Welsh

  • Published on: 2012-01-20
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.69" h x .60" w x 7.44" l, 1.13 pounds
  • Binding: Paperback
  • 284 pages

About the Author
John Milton was a seventeenth-century English poet, polemicist, and civil servant in the government of Oliver Cromwell. Among Milton s best-known works are the classic epic Paradise Lost, Paradise Regained, considered one of the greatest accomplishments in English blank verse, and Samson Agonistes.

Writing during a period of tremendous religious and political change, Milton s theology and politics were considered radical under King Charles I, found acceptance during the Commonwealth period, and were again out of fashion after the Restoration, when his literary reputation became a subject for debate due to his unrepentant republicanism. T.S. Eliot remarked that Milton s poetry was the hardest to reflect upon without one s own political and theological beliefs intruding.

Excerpt. � Reprinted by permission. All rights reserved.
From David Hawkes’s Introduction to Paradise Lost



Milton believed that the kind of knowledge that can be attained by the human mind was necessarily contingent, or limited. It was limited by cultural and historical context: The ancient Greeks, for example, had been culturally unable to arrive at monotheism. But it was also inherently limited by its internal properties. The human mind is designed, or has developed, in such a way as to live in time and space. To exist outside time and space, the human mind would have to become something different than what it currently is. The same goes for such ideas as causality or extension; without the capacity to think according to these categories it would be simply impossible to have any kind of recognizably human experience. We do not, therefore, experience the world as it really is, we experience the world as it appears to human beings. And we know that this experience is contingent upon—limited by—the inherent nature of the human mind.



It follows that the concepts we form of things, the way they appear to us, do not correspond to the things in themselves. There are thus two kinds of truth: the truth “for us,” in what modern philosophers call the world of “phenomena,” and the truth “in itself,” in what is known as the world of “noumena.” In John Keats’s “Ode on a Grecian Urn,” for example, the poet laments that he can never experience the urn in its noumenal state, as it is in itself. Keats comes to this realization by considering the difference between the significance it possesses for him, as a modern Englishman, and the meanings it conveyed to its creator, an ancient Greek. The “phenomenal” appearance of the urn has changed, although the urn “in itself” has not. In a sense the noumenal is more true, because it is more absolute, than the phenomenal, but the truth “in itself” is by definition beyond the grasp of human thought. We are stuck with a consciousness that we know to be incomplete. This is philosophical terminology, but Milton expresses the same ideas in quasi-mythological, religious terms. Paradise Lost hinges upon the fundamental, unbridgeable, qualitative distinction between the world of earthly phenomena as experienced by Adam and Eve (and also by the poem’s all-too-human narrator), and the world of spiritual noumena as it is represented to them (and us) through the intricate system of characters, figures, and images that make up the Western mythological and religious traditions.



Above all, Milton insists on the disparity in nature between the Creator and His creation. Paradise Lost describes the alienation of labor in a cosmic context; it tells of how the universe that God made came to be alien to Him, and how it came to seem autonomous and self-generating to its inhabitants. The disjunction between the Maker and the made involves a contradiction between two different kinds of value, of significance. It follows that any knowledge we can have of God or His Providential designs must always be “mediated,” translated into the contingent terms and concepts to which the human mind has access.



Almost half of Paradise Lost consists of stories told to Adam and/or Eve through the voices of the archangels Raphael and Michael. These characters incessantly remind their auditors that they are attempting the impossible task of representing noumena in terms of phenomena. Asked to describe the fall of Satan to the human couple, Raphael falls into a quandry: “how shall I relate / To human sense th’invisible exploits / Of warring spirits” (5.564–566). He decides that he must tell his story in the form of an extended metaphor, using images that Adam and Eve are equipped to understand: “what surmounts the reach / Of human sense, I shall delineate so, / By likening spiritual to corporal forms, / As may express then best” (5.571–574). We are thus warned not to take the action of the “war in Heaven” that the angel describes literally, but to remain conscious that we are receiving figural representations of spiritual (we might call them psychological or philosophical) events. We can only understand those events if we take account of the fact that they are mediated for us through contingent human discourse:

Immediate are the acts of God, more swift

Than time or motion; but to human ears

Cannot without process of speech be told,

So told as earthly notion can receive (7.176–179).



The action of Paradise Lost takes place, then, in many different registers simultaneously. The ability to read a text as both literal and symbolic, and also at infinite gradations between these poles, came more naturally to educated people in Milton’s time than it does to us, trained as they were in the intricate hermeneutics of biblical exegesis. Furthermore, their facility with textual interpretation was matched by a happy disregard for the boundaries between what we regard as mutually exclusive intellectual fields. Paradise Lost is certainly a work of theology, representing the spiritual conflict between metaphysical beings, but this conflict is also the determining factor in world history, as well as within the human psyche. Although more than twenty characters address us in the course of the poem, such figures also represent disputing forces within Milton’s mind and, by implication, within the mind of the reader.

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263 of 271 people found the following review helpful.
Greatest Epic Poem in English, Norton Edition is Outstanding
By Michael Wischmeyer
Paradise Lost was not part of my core curriculum in science and mathematics. I was of course aware that scholars considered it a great work, a classic. But it seemed a bit daunting - long, difficult, dated, and possibly no longer relevant.
A few years ago I made two fortunate decisions. I elected to read Milton's Paradise Lost and I bought the Norton Critical Edition (edited by Scott Elledge). I read and reread Paradise Lost over a period of three months as well as the 300 pages of the Norton critical commentary. I was stunned by the beauty and power of Milton. Why had I waited so long to even approach such a literary masterpiece?
Make no mistake. I had been right in several ways. Paradise Lost is difficult, it is long, and full appreciation requires an understanding of the historical and religious context. But Paradise Lost is a remarkable achievement. It explores questions regarding man and God that are as relevant today as in the 17th century. And the genius of Milton has never been surpassed.
I found the Norton footnotes extremely helpful - definitions for rare or archaic words and expressions, explanations of the historical context, and links to the critical commentary section. The footnotes are at the page bottom, making them readily accessible.
The Norton biographical, historical, and literary commentaries were fascinating in their own right. I may well as spent as many hours reading commentary as with Paradise Lost itself.
John Milton led a remarkable life. His enthusiastic euology on Shakespeare was included in the second folio edition of Shakespeare in 1632. This was Milton's first public appearance as an author! While traveling as a young man he "found and visited" the great Galileo, old and blind, a house prisoner of the Inquisition for his astronomical heresy. Years later Milton, a close supporter of Cromwell, barely escaped the scaffold at the Restoration and was at risk for some period afterwards. Many considered Milton no more than an outcast, now old and blind himself, a republican and regicide who had escaped death by too much clemency. Within a few years this aging blind outcast created one of the masterpieces of the English language.
Milton broke all English tradition by writing Paradise Lost in blank verse. Homer in Greek and Vergil in Latin had used blank verse, but English demanded rhyme. Although others failed to imitate Milton's blank verse (I suspect that none wanted to be compared directly with genius), the praise was without exception. Dryden, a master of rhyme, is attributed with saying, "This man cuts us all out, and the ancients too".
Milton's characterization of Satan, Adam, Eve, the archangels Raphael, Michael, and Gabriel, and even God himself are masterful. The debates and arguments that evolve around free will, obedience, forbidden knowledge, love, evil, and guilt are timeless. And fascinating. And thought provoking.
Paradise Lost will require commitment and patience and thought. The commitment in time is substantial. (I enjoy Samuel Johnson's subtle comment: "None ever wished it longer than it is.") But the return is a personal experience with great literature, one of the masterpieces of the English language. I consider myself fortunate to have made such an investment.

177 of 185 people found the following review helpful.
Possibly the Best Edition Out There
By Nick
I have read "Paradise Lost" four times, and took no less than three semesters on it at university. This was the edition we used to work. Modernised spelling, coherent punctuation (plus variations of it in the notes), good introduction, and enormous work in the notes; this edition has all you need for a good reading of the epic poem.

As to the poem itself, some people are hard on it for all the wrong reasons. Remember that it is a 17th century poem, that English was not exactly similar as it is today, and that there are many, many words which were first used in English in "Paradise Lost". Milton was innovative with words, and he gave English new words, and expressions, such as the most famous "all Hell broke loose", which was first uttered in "Paradise Lost".

A poem like this cannot be read without good notes, and this is what this edition has to offer. Notes aren't enough, though, they have to be good, and in this edition, they are. The poem itself is not burdened by the numbers of the notes, because there are so many, the editor decided not to show them in the text per se, but at the end of the book, you will always have the reference, the lines, which the notes are about.

As to the poem itself, if you don't know it, you certainly know of the story of the Fall of Man, Adam and Eve, and the rebellion of Satan in Heaven. I'll only say that Milton's God is one seriously problematic figure in the poem, and that it caused centuries of academic discussion as to whether Milton's God is a good God or a devilish one, whether "Paradise Lost" was truly a "myth", in the old sense of a story which explains why we're here and how it got to be, or whether it was an attack on Christianity. Scholars still discuss this today, so make your own mind if you can!

73 of 75 people found the following review helpful.
An excellently annotated version
By Shane Cappuccio
When John Milton set out to write Paradise Lost, he had every intention of writing a masterpiece of the English language. He felt he was destined for greatness, and his creation does not disappoint. With over 9000 lines of some of the greatest poetry every written, Milton does an incredible job of using classical and biblical allusions within a classical format to create a surprisingly modern and incredibly poignant look at the nature of God and man. Add on to this the fact that he was blind when he composed it, and you cannot call PL anything less than a work of genius.

What separates this version from all the others available? The incredibly detailed work of the editors. The annotations of this edition are absolutely fantastic. They are plentiful (sometimes taking up as much as half a page), extremely informative, and surprisingly fun to read. Most annotated works such as this merely clarify antiquated vocabulary, but in this case the editors point out classical allusions, references to current events, and references to Milton's prose works. In addition to the prose and poetry associated with the text, the editors routinely mention the critical discourse (of which there is an unholy amount) associated with Milton. There are even moments where I laughed out loud at their comments. There is also a subtle touch to the annotations, in that there is no indication of annotations within the line. What I mean by this is that there are no bubbles or footnote marks in the body of the poem. The annotations at the bottom of the page simply point to a line number. This allows the reader to ignore the annotations if they choose to do so.
Another nice characteristic of this edition is the artwork and illustrations included. There's some really fantastic stuff in there.

All in all, this is an excellent edition of an excellent poem.

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Minggu, 11 Juli 2010

[X466.Ebook] PDF Download The Village in the Jungle, by Leonard Woolf

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The Village in the Jungle, by Leonard Woolf

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

  • Sales Rank: #12664999 in Books
  • Published on: 2012-01-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .68" w x 5.98" l, .96 pounds
  • Binding: Paperback
  • 326 pages

Review
"'a superbly dispassionate observation and a great novel' Quentin Bell 'as relevant today as when it first appeared' E F C Ludowyk"

About the Author
Leonard Woolf was born in London in 1880. Educated at St. Paul's School and Trinity College, Cambridge, in 1904 he joined the Civil Service in Ceylon returning to England in May 1911. With his wife, Virginia Woolf, he lived at the heart of the Bloomsbury Group, setting up the Hogarth Press with her in 1917. He wrote two novels, a number of works of non-fiction and a brilliant five-volume memoir. He died in 1969.

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14 of 15 people found the following review helpful.
Unedited scan
By Mark Sheehan
When the description says the book "may" include numerous typos, what it does not reveal is that the book DOES include at least twice, and often three times, on each full page of text a line break, the TITLE OF THE BOOK in capital letters, and the page number from the edition at the UC-Berkeley library from which it was scanned. I found these insertions so distracting that I immediately returned the book to Amazon and ordered a used copy of the out-of-print Oxford University Press edition from a different bookseller. I am deeply disappointed in Amazon for including such flawed produts among its offering.

18 of 21 people found the following review helpful.
The Village in the Jungle
By Alan Chi Kit Kwan
The Village in the Jungle, a fictional novel by Leonard Woolf, associates a series of catastrophic stories with one another. The predominant figures are Silindu (a hunter) and his two daughters Punchi Menika and Hinnihami. This story itself is based upon several different significant themes, including fate, love and tragedy. Personally, I found the book an absolute delight to read, being both suspenseful and interesting. Although the book cover jacket will most likely lack appeal to many people, this is most definitely a situation where one should not "judge a book by its cover". The title, The Village in the Jungle is nothing short of appropriate to the theme and plot of the novel. The plot, in a nutshell, is about a man named Silindu, who lives in the jungle and resists fate at every turn. He is an excellent hunter with cunning eyes, hunched-up shoulders and a small dark face all pinched. His ability of traveling around the jungle exceeds those of the animals. The incredible descriptions Woolf utilizes in the story allows the reader to clearly picture Silindu and his quest. The climax of the story is about Silindu's journey, having caught an "eccentric" disease. He didn't allow his daughter Hinnihami to marry a man from Vederala in the first place. Thus it was said that the disease he has is actually an evil spell. No matter how much effort he tries to cure himself it won't happen unless he willingly lets his daughter marry the man. The plot itself is really exciting throughout the entire book, with a few parts that are fairly slower in pace. "Leafless trees, hot humid air, rigid branches, and spider leg stems" is a portion of Leonard's description of the Jungle. All of his descriptions are perfectly arranged throughout the story, in which it makes the readers fall into the fabricated jungle described in his plot. "The air is heavy with the heat beating up from the earth. There is a fear everywhere: in the silence and in the shrill calls and the wild cries, in the stir of the scattered leaves and the grating of branches, in the gloom, in the startled, slinking, and peering beasts." (Pg 6, Woolf) This is one of the best lines taken out of the novel, because it gives the reader a full picture of the setting in the story. I highly recommend this novel to anyone looking for a hero's novel, although copies are exceedingly rare to locate as there were initially only a limited amount of copies printed. Through this story we can evidently see Silindu's courage in facing problems in unfavorable circumstances. I personally believe he is a true hero, because he really did have the spirit in surviving and staying alive no matter what happened. Overall, this novel is definitely an extraordinary thrilling book for anyone, providing hours of entertainment for people of all ages.

11 of 12 people found the following review helpful.
fraudulent copy of VILLAGE IN THE JUNGLE
By obey
I have bought from amazon a copy of leonard Woolf VILLAGE IN THE JUNGLE. It was meant as a present to a friend but it turns out to be a scanned copy with little connection with the original. The return menu also does not seem to work. I am seriously concerned about this kind of reproduction that amounts to fraud.
Professor Gananath Obeyesekere
Princeton University
Home: 61 West 62nd street, #22A, NY, NY 10023

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