Lab Manual for BiologyLabs On-Line (Flylab Student)

Book Description

The product of a unique collaboration between California State University system and Benjamin Cummings, Biology Labs On-Line allows readers to learn biological principles by designing and conducting simulated experiments online at http://biologylab.awlonline.com. The labs are available for sale separately or packaged together in a combined 12 pack. For college instructors and students.

Customer Reviews:

Dawn Dale (above) review's her purchase, not the on-line labs.......2007-01-21

Please note that the reviewer above reviewed the used condiion of the lab book - and it's true that lab access codes are non transferable.
The on-line labs are as good as on-line labs get. Which means that they are thoughtful, but in no way substitute for actual hands-on lab experiences.

Not quite what I was expecting.......2005-09-12

The text book was the correct book I needed but it came with an internet access code for labs. I was under the impression that the access code had not been used and was still good. However, that was not the case. I had to purchase the internet labs separetly on line. The price for the labs plus the book was about the same as it would have been in the book store at school.

Lab Manual for BiologyLabs On-Line EvolutionLab (Lab Manual for Biology Labs On-Line)

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Lab Manual for BiologyLabs On-Line EvolutionLab (Lab Manual for Biology Labs On-Line)
Robert Desharnais , and Jeffrey A. Bell
Manufacturer: California State University Center for Distri
ProductGroup: Book
Binding: Paperback

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Discover Biology: Core Topics

ASIN: 0321058496

Book Description

This book aims to present meshfree methods in a friendly and straightforward manner, so that beginners can very easily understand, comprehend, program, implement, apply and extend these methods. It provides first the fundamentals of numerical analysis that are particularly important to meshfree methods. Typical meshfree methods, such as EFG, RPIM, MLPG, LRPIM, MWS and collocation methods are then introduced systematically detailing the formulation, numerical implementation and programming. Many well-tested computer source codes developed by the authors are attached with useful descriptions. The application of the codes can be readily performed using the examples with input and output files given in table form. These codes consist of most of the basic meshfree techniques, and can be easily extended to other variations of more complex procedures of meshfree methods. Readers can easily practice with the codes provided to effective learn and comprehend the basics of meshfree methods.

An Introduction to Meshfree Methods And Their Programming

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An Introduction to Meshfree Methods And Their Programming
G. R./ Gu, Y. T. Liu
Manufacturer: NY
ProductGroup: Book
Binding: Paperback
ASIN: B000N666NG

Book Description

This volume gathers and annotates all of the Shakespeare criticism, including previously unpublished lectures and notes, by the maverick American intellectual Kenneth Burke. Burke's interpretations of Shakespeare have influenced important lines of contemporary scholarship; playwrights and directors have been stirred by his dramaturgical investigations; and many readers outside academia have enjoyed his ingenious dissections of what makes a play function. Burke's intellectual project continually engaged with Shakespeare's works, and Burke's writings on Shakespeare, in turn, have had an immense impact on generations of readers. Carefully edited and annotated, with helpful cross-references, Burke's fascinating interpretations of Shakespeare remain challenging, provocative, and accessible. Read together, these pieces form an evolving argument about the nature of Shakespeare's artistry. Included are thirteen analyses of individual plays and poems, an introductory lecture explaining his approach to reading Shakespeare, and a comprehensive appendix of scores of Burke's other references to Shakespeare. The editor, Scott L. Newstok, also provides a historical introduction and an account of Burke's legacy. This edition fulfils Burke's own vision of collecting in one volume his Shakespeare criticism, portions of which had appeared in the many books he had published throughout his lengthy career. Here, Burke examines Hamlet, Twelfth Night, Julius Caesar, Venus and Adonis, Othello, Timon of Athens, Antony and Cleopatra, Coriolanus, King Lear, Troilus and Cressida, A Midsummer Night's Dream, Macbeth, The Merchant of Venice, The Tempest, Falstaff, the Sonnets, and Shakespeare's imagery. KENNETH BURKE (1897-1993) was the author of many books, including the landmark Motivorum trilogy: A Grammar of Motives (1945), A Rhetoric of Motives (1950), and Essays Toward a Symbolic of Motives, 1950-1955 (2007). He has been hailed as one of the most original American thinkers of the twentieth century and possibly the greatest rhetorician since Cicero. Burke's enduring familiarity with Shakespeare helped shape his own theory of dramatism, an ambitious elaboration of the "all the world's a stage" conceit. Burke is renowned for his far-reaching 1951 essay on Othello, which wrestles with concerns still relevant to scholars more than half a century later; his imaginative ventriloquism of Mark Antony's address over Caesar's body has likewise found a number of appreciative readers, as have his many other essays on the playwright. SCOTT L. NEWSTOK is Assistant Professor of English at Gustavus Adolphus College and Andrew W. Mellon Post-Doctoral Fellow at Yale University.

Customer Reviews:

Burke on the Bard.......2007-05-18

All of Kenneth Burke's writings on Shakespeare have been assembled in one place in this book, and even a compendium of brief mentions of Shakespeare, through the assiduous efforts of Scott Newstok. And what a treasure trove it is. As an undergraduate, I remember working my way diligently through Burke's A Rhetoric of Motives and A Grammar of Motives and being dazzled by the breadth and depth of this man's thinking. I thought I might have to dust off these volumes in order to approach this collection, but I did not find that necessary. The work stands solidly on its own, touching on Burke's dramatistic analytical approach, but not requiring any special knowledge beyond the scope of the essays themselves. Burke is quirky, and though he has a definite critical system, he is not essentially systematic. These essays range widely, both individually and as a collection. For the Shakespeare scholar, each one is a gem worthy of contemplation; for the neophyte or undergrad, this is a fine book to read piecemeal, on a "need-to-know basis."

From a scholarly perspective, I am most struck by the prescient sensibility of Burke's thinking. His work seems to percolate up through the current generation of literary critics, largely latent and unacknowledged, but there for the perceptive reader to discern. In places a Marxist perspective emerges, as in brief discussions of the enclosure acts, calling to mind H. R. Coursen's The Leasing Out of England: Shakespeare's Second Henriad. Yet Burke is no doctrinaire Marxist. Elsewhere, insightful psychological approaches both to characters and to the audience's experience of the play emerge. But there is no Procrustean psychological deformation of the works. Most markedly, Burke seems to anticipate many of the new-historical perspectives so prevalent today. In Stephen Greenblatt's Will in the World and James Shapiro's A Year in the Life of Shakespeare: 1599, I hear echoes of Burke. Though best known as a rhetorical analyst, the scope of Burke's critical project is made clear in his work on Shakespeare.

For anyone who finds the previous paragraph "inside baseball," do not lose hope. This book is ideal for the beginning and intermediate Shakespeare student as well. Burke's treatment of Julius Caesar, Othello, Hamlet, Macbeth, and King Lear will provide any student of the Bard's tragedies with fresh perspectives and unique insights into Shakepeare's tragic vision. The essay on Caesar is especially illustrative of the uniqueness of the Burkean approach. In the essay, "Antony in Behalf of the Play," Burke gives a meta-dramatic view of the play through the persona of Marc Antony, exploring the motives of the characters, the playwright, the audience within the play (the crowd), and the audience of the play. "Psychology and Form," the essay on Hamlet, ranges far and wide, offering insight into Burke's extensive knowledge and synoptic approach to literature. Here, he develops a theory of the development and resolution of psychological expectations in an audience and compares this to the listener's expectation of resolution in music (the condition to which all art aspires, as Walter Pater memorably put it).

Burke is a great thinker and a gifted writer. This book does an invaluable service by assembling all of his writing on the greatest writer in English in one place. This is a book that will be treasured by the expert and can teach the student to treasure Shakespeare's work. It is highly recommended.

The title says it all: Kenneth Burke on Shakespeare.......2007-05-09

My introduction to Kenneth Burke was a classmate in graduate school whose enthusiasm was such that we were going to get him a t-shirt to wear to bars that said, "At my first mention of Kenneth Burke, stop serving me." Exposed to different theories of human communication it was Burke's dramatistic approach that appealed to me the most. It is simplistic to say that Burke provides a synthesis of Marx and Freud, but it does suggest the level of his critical thinking, the extent to which it speaks to the human condition, and the reason to despair that he is not considered the equal of that particular pair, especially since he work on rhetoric and aesthetics has more contemporary value. "Kenneth Burke on Shakespeare" gathers and annotates all of Burke's thoughts on Shakespeare, including previously unpublished notes and lectures. The result is not as epic as Harold Bloom's ""Shakespeare: The Invention of the Human," but just as insightful on its own terms. You will learn more about the Bard, but probably even more about Burke, which might be even better.

For me the most important essay by Burke has always been "The Rhetoric of Hitler's Battle," because of the way in which his critique of "Mein Kampf" exposed Hitler as a psychopathic snake oil salesman committed to escalating violence as a means to ignoble ends. However, his essay I have used the most in classes has been "Antony in Behalf of the Play," Burke's critique of "Julius Caesar" that is the third essay collected here. It is a stellar example of synchronic analysis, as Burke looks at how Antony's celebrated funeral oration worked upon Shakespeare's Elizabethan audience, showing how the Bard dictates the reactions of the playgoers almost as precisely as he scripts those of the Roman mob on the stage. Burke pays as much attention to syllables as he does to psychology and works out the dynamic of one of the great scenes (and speeches) of all time. The other dozen essays (nee chapters) collected here include his look at "Hamlet" to develop the relationship between "Psychology and Form" and "'Othello': An Essay to Illustrate a Method," along with looks at "Twelfth Night," "Venus and Adonis," "Timon of Athens," "Antony and Cleopatra," "Coriolanus," "King Lear," "Troilus and Cressida," "A Midsummer Night's Dream," and his notes on "Macbeth."

The Editor's Introduction, "Renewing Kenneth Burke's 'plea for the Shakespearean drama,'" is designed to "prove a series of entry-points" to Burke's work and prove "a recursive gathering of different perspectives on what exactly makes his Shakespearean meditations so (demandingly) reward." Following the essays a lengthy Appendix provides a look at "Additional References to Shakespeare in Burke's Writing." This goes all the way back to quoting Flaubert that Shakespeare was "not a man, but a continent," included in the 1921 essay "Three Adepts of 'Pure' Literature" that was republished in "Counter-Statement," and ends with references to "Troilus and Cressida" and "Othello" as examples of the manifestations of the "hierarchal" motive, taken from a 1955 essay published this year in "Essays Toward a Symbolic of Motives, 1950-1955." The excerpts show Shakespeare was a recurring touchstone in Burke's writing, and also give an indication of the scope of his intellectual grasp.

The story I heard was that Burke dropped out of Columbia University and continued his education by reading everything in the New York Public Library. Certainly this tale is apocryphal, but it is easy enough to believe when you read Burke and he gets going. The lecture that Burke delivered entitled "Shakespeare Was What?", which serves as the introduction to the 13 essays that make up the main part of this volume, not only references over a dozen Shakespeare plays but also works in Aristotle's' "Poetics," the British mathematician George Boole, "The New Criticism" of John Crowe Ransom, a poem by Henry Rago, the German word "Geworfenheit," and sundry other points of reference for his thinking. When you read Burke there will always come a point where his examples will leave you in the dust and send you to your library (or the Internet) scrambling to find a clue so you can try and get back on the same page.

When Daniel Webster gave his last great speech during the Senate debate on the Compromise of 1850, his introduction asked his audience to "Hear me for my cause." Apparently he assumed that most Americans, or at least most educated Americans, would recognize the quote from Brutus' funeral oration in "Julius Caesar," and therefore appreciate the deep sense of irony involved in its usage. I shudder to think of how few Americans today would recognize the quote, but when it comes to keeping up with Burke's encyclopedic knowledge I cannot imagine anyone can really keep up. That is why it is helpful that the essays and excerpts in this book are essentially annotated. Footnotes are reserved primarily by Burke's omissions from each work, the result of having access to the original manuscripts in preparing this edition, while the annotations that make up for the educational gap between Burke and his readers are provided as Notes following the book's Appendix. My preference would have been for the notes to be footnotes, but then I like annotated works as opposed to edited ones. Those who come to this volume looking for Burkeian insights into a particular play will find an Index of Works by Shakespeare before the book's regular Index; there is no breakdown of particular elements play by play, but that will simply compel you to flip through most of the book.

A well-writen editorial on a challenging topic.......2007-04-15

It is interesting that another reviewer found the book narrow as I found myself overwhelmed at first by the breadth. Really, can one edit a volume on Kenneth Burke and produce a simple overview? Even if Professor Newstock had chosen to cover Burke's writings on the Bible, I would guess the material available would have been difficult to summarize for a general audience.
I come from a family that waits each year with eyes fixed on the horizon for the latest Shakespeare books. I was very excited to receive this book in the mail and devoured the lengthy introduction the first day. (Then, I re-read it the second day, because I felt I missed some key points.) I admit that I had never read Kenneth Burke before I came across Newstock's edition. For an outsider, I found the book academic, but readable to a non-specialist. I felt I was able to develop a sense of the rogue Burke from the rich editorial comments. Rather than a dry, chronological biography with clichéd references to Burke's key themes on drama and character development, this book provides a multi-faceted approach to deciphering both Burke the critic and his writings. I felt myself transported through the twentieth century, watching Shakespeare studies evolve (and devolve) through Burke's essays and rebuttals to his work.
Newstock performed an amazing feat by making Burke accessible and relevant without resorting to thinly-veiled hero worship. Because Burke himself seems to have moved through the canon in a nonsystematic approach, shifting narrative and thesis with each essay, I would think it would be hard to edit a coherent volume on his Shakespeare writings. This is where I found the book most valuable, and Newstock's knowledge of the subject matter and crisp writing style most apparent. This is a real edited volume and I recommend it to readers like myself who are not familiar with Kenneth Burke but want to continue their scholarship of Shakespeare and his prime critics. This volume is not narrow but rather rich and expressive and quite readable and enjoyable. It became this year's book present among our family.

A very original investigation of Shakespeare's art.......2007-04-01

Kenneth Burke, the great American literary critic and intellectual, has a very original approach to Shakespeare. He takes an anthropological perspective, paying close attention to tragedy's origins in sacrificial ritual. He asks, for example, how and why the tragic protagonist's death is justified for the audience. His approach can also be characterized as rhetorical; he's very interested in the effects of a play in an audience, and how Shakespeare crafts his plays in order to create certain effects. Basically his approach is eclectic: he was also influenced by Freud and Marx (although he criticizes the limitations of both thinkers) and discusses historical and class issues. For example, his essay on Coriolanus discusses the play as a response to the enclosure acts and resulting riots in the early 17th century in England. Coriolanus doesn't fit the traditional tragic paradigm in interesting ways, and Burke discusses Coriolanus as a "grotesque tragedy" and both Coriolanus and Timons of Athens as "scurrilous" heros. Obviously his ideas are hard to summarize.

Burke was not apparently a professional academic (although he held various temporary teaching positions), so he is refreshingly free from critical dogmas. He's very interested in method: there's always a metacritical dimension to his writing, as he reflects not just on the play but also on his critical approach to the play or work. He has a great respect for the actual text of the dramatic work as it was crafted by a writer, performed by an acting company, and received by an audience. I like that he doesn't try to force the work into some critical straightjacket. In his concern for the underlying structure of a work, he could be characterized as a proto-structuralist, although a humanist structuralist, if that is not a contradiction in terms. His style reminds me of Montaigne, the great Renaissance French essayist. Rather than starting with a sharp thesis, he patiently explores the meaning of a work in all its contradictions.

This book includes essays on Hamlet, 12th Night, Julius Caesar, Venus and Adonis, Othello, Timons, Antony & Cleopatra, Coriolanus, King Lear, Troilus and Cressida, A Midsummer's Night Dream, and Macbeth. The essays are collected from various books and articles from Burke's writing career. This book is recommended for anyone who is intellectually curious and interested in Shakespeare's dramatic art.

An indispensable companion to Kenneth Burke.......2007-04-01

This book is extremely interesting because it collects what can be considered as all Kenneth Burke's writings on Shakespeare. This single fact makes this book an indispensable source of information if you are interested both in Kenneth Burke and Shakespeare. What's more the editing is very careful and rich because the editor systematically adds, in his notes, the variants and cut off passages of these texts that you could not find in standard editions. His end-notes provide you with all translations of foreign phrases and the references of all books or quotations in Kenneth Burke's text. All that makes the book easy to use and rich. Kenneth Burke was an essential character in criticism (he started with music and then moved to textual works), but also beyond this an essential actor in the definition and setting up of post-modernism. He was one of the best as for deconstructing received ideas or texts and reconstructing them along an open line that was also extremely original. So you may have great expectations when entering this volume. But do not push your expectations too far. Strangely enough all these studies, articles, monographs or notes, apart from a very few side remarks, are dealing with only the dramatic approach of the plays, hence with one side of Kenneth Burke's contributions, i.e. dramatism. Kenneth Burke considered that Shakespeare's plays were to be dealt with only from this point of view because they were fundamentally dramas. It is well-done, open-minded and open-ended, definitely deconstructing (post-modern critics may say today queering) some received ideas. But why did Kenneth Burke not use the clustering method he advocates in other books and particularly when he studies religious texts like Genesis or Saint Augustine. Here he does not deal with Shakespeare's poetry, his music that develops on a basic binary - iambic - equilibrium systematically disturbed by the ternary rhythm of the inconstant moon or the thrice-crowned goddess. that can unite Hecate, Selene, and Diana under one head, death and life, night and day, moon and sun, all of these together. He would have discovered that starting with sounds and rhythm Shakespeare moves to words, syntax, images, semantics, symbols and even more cabalistic numbers that can unite and identify a play. Richard III is nine. Antony and Cleopatra is eleven, etc. In other words he misses the stylistic grammar of the very language of the play that supports and even inspires the dramatic architecture. Why did not Kenneth Burke use his own concept of "grammar" to approach Shakespeare's style? Because probably he was only interested in the dramatic side of the plays. So, though this book under review is essential, we definitely have to get into Burke's other books, particularly when he deals with logology, the grammar of motives or the Rhetoric of Motives. It might also be necessary to widen the scope to understand how Kenneth Burke is a keystone in the vault of modern and post-modern thinking, he who never had a stable permanent university position, though he got his work through nicely. But he might have been more productive if he had had the chance to be on a campus for twenty years. The hunting for publishers and the small format of articles in journals would have become marginal, which it was not in his own time.

Dr Jacques COULARDEAU, University Paris Dauphine & University Paris 1 Pantheon Sorbonne

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Counter Statement
Kenneth Burke
Manufacturer: UNIVERSITY OF CALIFORNIA PRESS
ProductGroup: Book
Binding: Paperback
ASIN: B000TXN1I6

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Counter-Statement
Kenneth Burke
Manufacturer: Phoenix
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Binding: Unknown Binding
ASIN: B0000CJSO0

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Counter-Statement
Kenneth Burke
Manufacturer: Hermes Publications
ProductGroup: Book
Binding: Hardcover
ASIN: B000PDEUDK

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Counter-statement [microform]
Kenneth Burke
Manufacturer: Harcourt, Brace
ProductGroup: Book
Binding: Unknown Binding

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Reversionary Views: Some Counter Statements About Irish Life and Literature (Irish Research Series, 27)

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Reversionary Views: Some Counter Statements About Irish Life and Literature (Irish Research Series, 27)
David Krause
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A review of Bishop Meade's Counterstatement of the case of Bishop H.U. Onderdonk

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A review of Bishop Meade's Counterstatement of the case of Bishop H.U. Onderdonk
Horace Binney
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Auditing OTC derivatives for banks (Bank- und finanzwirtschaftliche Forschungen)

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Auditing OTC derivatives for banks (Bank- und finanzwirtschaftliche Forschungen)
Alexander Gut
Manufacturer: P. Haupt
ProductGroup: Book
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A counter and impartial statement of circumstances relative to a late withdrawment from a dissenting independent church: To which are added notes and an ... as a reply to Mr. Ryland's "Remarks."

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A counter and impartial statement of circumstances relative to a late withdrawment from a dissenting independent church: To which are added notes and an ... as a reply to Mr. Ryland's "Remarks."
John Clayton
Manufacturer: T. Conder
ProductGroup: Book
Binding: Unknown Binding
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