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<m175>David Ahmadi, 201-236-7861</m175>
<m283>david.ahmadi@pearsoned.com</m283>
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<b037>von Glahn, Gerhard</b037>
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<b037>Taulbee, James Larry</b037>
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<d104 textformat="02"><![CDATA[ <p sonormal="">Published in its first new edition in over a decade this revision offers the insights and work of a new co-author, James Larry Taulbee, an international law and organization expert at Emory University.&nbsp;&nbsp; Fully revised while maintaining the successful format of the original, the book continues to offer a comprehensive yet succinct introduction to the field; it draws upon classic and contemporary cases and provides clear exposition between theory and state practice.&nbsp; The Eighth Edition includes new chapters on human rights, humanitarian intervention, the International Criminal Court, and terrorism with expanded and updated guides to relevant internet resources and further reading.</p> 					 				]]></d104>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px">Preface</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Part I: The Law of Nations</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Chapter 1: The Nature of International Law</P>  <P style="MARGIN: 0px">Chapter 2: Development of Law Among Nations</P>  <P style="MARGIN: 0px">Chapter 3: Sources of the Law</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Part II: Subject of International Law</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Chapter 4: The Relationship Between International and Municipal Law</P>  <P style="MARGIN: 0px">Chapter 5: Subjects of International Law</P>  <P style="MARGIN: 0px">Chapter 6: Recognition of States and Governments</P>  <P style="MARGIN: 0px">Chapter 7: Rights and Duties of International Legal Persons</P>  <P style="MARGIN: 0px">Chapter 8: State Succession</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Part III: The Law and the Individual</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Chapter 9: Nationality</P>  <P style="MARGIN: 0px">Chapter 10: Jurisdiction: Allocation of Competence</P>  <P style="MARGIN: 0px">Chapter 11: International Agreements</P>  <P style="MARGIN: 0px">Chapter 12: State Responsibility: Responsibility for Injuries to Aliens</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Part IV: Territorial Questions</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Chapter 13: The Law of the Sea</P>  <P style="MARGIN: 0px">Chapter 14: Jurisdiction Over Air Space and Outer Space</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Part V: International Transactions</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Chapter 15: Agents of International Intercourse: Immunities</P>  <P style="MARGIN: 0px">Chapter 16: The Individual and International Law: Human Rights</P>  <P style="MARGIN: 0px">Chapter 17: International Criminal Law</P>  <P style="MARGIN: 0px">Chapter 18: Adjudication</P>  <P style="MARGIN: 0px">Chapter 19: International Law and Protection of the Environment</P>  <P style="MARGIN: 0px">Chapter 20: The Use of Force</P>  <P style="MARGIN: 0px">Chapter 21: International Humanitarian Law: War Crimes</P>  <P style="MARGIN: 0px">Chapter 22: War Crimes Tribunals</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">&nbsp;</P>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>1. The New Imperialism, 1900-1917.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Carl Schurz Opposes Expansion After the Spanish-American War, January 1899.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Albert Beveridge Supports Imperialism Before the U.S. Senate, January 1900.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Philippine War, A Suffragist's View.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Open Door Note to Germany, September 1899.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">J.P. Gordy, &ldquo;The Ethics of the Panama Case.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">TR Responds to His Critics, <i>An Autobiography,</i> 1916.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Roosevelt Corollary to the Monroe Doctrine, December 6, 1904.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Secretary of State Philander Knox and U.S. Private Investments in China, November 6, 1909.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Taft Defends Dollar Diplomacy, December 3, 1912.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Woodrow Wilson's Address to Congress on the Crisis in Mexico, April 20, 1914.</div> </p> <br> <br> <b>2. War and Peace, 1914-1920.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">President Woodrow Wilson's Appeal for Neutrality, August 19, 1914.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Secretary of State William Jennings Bryan's Note Protesting the Sinking of the <i>Lusitania,</i> May 13, 1915.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The <i>Sussex</i> Pledge, May 4, 1916.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Zimmermann Note from the German Foreign Secretary, Arthur Zimmermann, to the German Ambassador to Mexico, January 16, 1917.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Do the People Want War? <i>New Republic,</i> March 3, 1917.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President Woodrow Wilson's War Message to Congress, April 2, 1917.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Wilson's Fourteen Points, Delivered to a Joint Session of Congress, January 8, 1918.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President Woodrow Wilson's Statement to the Senate Foreign Relations Committee, August 19, 1919.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Senator William Borah's Speech Before the United States Senate in Opposition to the Ratification of The League of Nations, November 19, 1919.</div> </p> <br> <br> <b>3. The Interwar Period and Preparing for War, 1920-1939.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Five-Power Treaty, February 6, 1922.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Hoover's Disarmament Proposal Delivered to the League of Nations, June 22, 1932.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Letter from Joseph C. Grew, Ambassador to Japan, to Secretary of State Cordell Hull, May 11, 1933.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Consul General at Berlin (George Messersmith) to the Undersecretary of State, June 26, 1933.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">H.C. Engelbrecht and F.C. Hanighen, <i>Merchants of Death,</i> 1934.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Hirota Government's National Foreign Policies (Reported to Emperor Hirohito, August 15, 1936).</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President Franklin Roosevelt's Address Before the Pan-American Conference for the Maintenance of Peace, Buenos Aires, Argentina, December 1, 1936.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Neutrality Act of 1937, May 1, 1937.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>The London Times</i> Reports Prime Minister Neville Chamberlain's Return from Munich, September 30, 1938.</div> </p> <br> <br> <b>4. U.S. Foreign Policy and World War II.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">FDR's Fireside Chat on the Dangers of Nazi Domination of Europe, December 29, 1940.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Charles Lindbergh, <i>We Cannot Win This War for England,</i> May, 1941.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Atlantic Charter, August 14, 1941.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">FDR Responds to the Greer Incident, September 11, 1941.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Memorandum Handed by the Japanese Ambassador (Nomura) to the Secretary of State at 2:20 p.m., December 7, 1941.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Roosevelt's War Message to Congress, December 8, 1941.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Yalta Conference Accords, February, 1945.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Henry Stimson Explains Why the Bomb Was Necessary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Was the Bomb Necessary?</i>    </div> </p> <br> <br> <b>5. Origins of the Cold War, 1945-1952.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Truman's Statement on the Fundamentals of American Foreign Policy, October 27, 1945.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Henry Wallace's Madison Square Garden Speech, September 12, 1946.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Novikov Letter, September 1946.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Truman Doctrine, March 12, 1947.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Secretary of State George Marshall's Report to the Senate Committee on Foreign Affairs, January 8, 1948.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">&ldquo;X&rdquo; and Containment.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">George Kennan, &ldquo;The Sources of Soviet Conduct.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Walter Lippmann Responds to &#60;169Mr. X.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Declaration of the Founding of the Cominform, September 1947.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">National Security Council Paper #68, 1950.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Truman's Decision to the Enter the War in Korea, June 1950.</div> </p> <br> <br> <b>6. New Look: U.S. Foreign Policy in the Age of Eisenhower.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Secretary of State John Foster Dulles on the Importance of Indochina, March 29, 1954.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Secretary of State John Foster Dulles' Strategy of Massive Retaliation, January 12, 1954.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Hans Morgenthau's Response to Dulles.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Secretary of State John Foster Dulles Explains Events in Guatemala, June 30, 1954.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">E. Howard Hunt Explains Events in Guatemala.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President Eisenhower's Speech on the Suez Crisis and the Soviet Invasion of Hungary, January 5, 1957.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sputnik and the Space Race, <i>Newsweek,</i> October 14, 1957.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Speech by Dr. Fidel Castro at the U.N. General Assembly, September 26, 1960.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">U.S. Response to Castro's Speech, October 14, 1960.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Eisenhower's Farewell Address, January 18, 1961.</div> </p> <br> <br> <b>7. Kennedy, Johnson, and an American Tragedy, 1961-1968.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Dean Rusk Recalls the Bay of Pigs Incident, April 17, 1961.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">E. Howard Hunt Recalls the Bay of Pigs.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President John Kennedy Addresses the Nation on the Cuban Missile Crisis, October 22, 1962.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">John Kennedy, &ldquo;Ich Bin Ein Berliner,&rdquo; June 1963.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President Lyndon Johnson's Message to Congress on the Tonkin Gulf Incident, August 24, 1964.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President Lyndon Johnson's Speech, &ldquo;Peace Without Conquest,&rdquo; at Johns Hopkins University, April 7, 1965.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Senator J. William Fulbright on the Johnson Administration's Foreign Policy in Vietnam, May, 1966.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">@AHEADS = <i>&ldquo;Beyond Vietnam: A Time to Break Silence.&rdquo;</i> Martin Luther King, Jr., Opposes the War, April 4, 1967.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Vo Nguyen Giap on Neo-Colonialism and the American War.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Robert McNamara's Memoir of U.S. Involvement in Vietnam.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Mr. McNamara's Other War. A Vietnam Veteran Responds.</div> </p> <br> <br> <b>8. From Nixon to Carter, 1969-1981.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Richard Nixon on the Vietnamization of the War, November 3, 1969.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">George McGovern and the &ldquo;Cruel Hoax&rdquo; of Vietnamization, February 1970.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">CIA Operating Guidance Cable on Coup Plotting in Chile, October 16, 1970.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Proposed Coup on Chile.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">&ldquo;U.N. Seats Peking and Expels Taipei,&rdquo;<i>New York Times,</i> October 26, 1971.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Shanghai Communique, February 27, 1972.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Henry Kissinger, D&eacute;tente, and the Grand Design. Speech Before Senate Foreign Relations Committee, September 1974.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President Jimmy Carter on Human Rights as a Foreign Policy. Commencement Address at the University of Notre Dame, May 22, 1977.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President Jimmy Carter Announces the Camp David Accords, September 18, 1978.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Time</i>'s Report of the Iranian Hostage Crisis, November 19, 1979.</div> </p> <br> <br> <b>9. The Reagan Era, the Gulf War, and the New World Order.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">President Ronald Reagan's &ldquo;Evil Empire&rdquo; Speech, March 8, 1983.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President Ronald Reagan's &ldquo;Star Wars&rdquo; Speech, March 23, 1983.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Senator Christopher Dodd's Opposition to Ronald Reagan's Central American Policy, April 28, 1983.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Pat Buchanan, <i>How the Gulf Crisis Is Rupturing the Right,</i> August, 1990.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Stephen Solarz, <i>The Stakes in the Gulf,</i> January, 1991.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President George Bush, <i>The Challenge of Building Peace: A Renewal of History,</i> 1991.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">U.S. Department of State, Country Reports on Human Rights Practices for 1996.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">China Responds, <i>China Daily</i> March 5, 1997.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Secretary of State Madeline Albright, Commencement Address, Harvard University, June 5, 1997.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President Bill Clinton, &ldquo;Remarks by the President on Foreign Policy.&rdquo; San Francisco, February 26. 1999.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">President George W. Bush, September 11, 2001 Evening Address to the Nation.</div> </p>]]></d104>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px">Coeditor of the Longman Critical Edition of Jane Austen&rsquo;s <I>Pride and Prejudice, </I>Claudia L. Johnson, Murray Professor of English Literature and current chair of the English Department at Princeton University is a specialist in 18th- and early 19th-century literature, with a focus on the novel.&nbsp; In addition to the long 18<SUP>th</SUP> century, her courses feature gothic fiction, sentimentalism, the emergence of nationalism, film adaptations of fiction, Samuel Johnson, and Austen.&nbsp; Her critical studies, <I>Jane Austen: Women, Politics, and the Novel</I> (1988), and <I>Equivocal Beings: Politics, Gender and Sentimentality in the 1790s</I> (1995), are internationally acclaimed.&nbsp; She is the editor of <I>The Cambridge Companion to Mary Wollstonecraft</I> (2002), and of several Austen titles (for other presses): <I>Mansfield Park</I> (1998), <I>Sense and Sensibility</I> (2002), <I>Northanger Abbey</I> (2003). Her new book-projects are&nbsp; <I>Jane Austen&rsquo;s Cults and Cultures</I>, tracing permutations of &ldquo;Jane mania&rdquo; from 1817 to the present, and <I>Raising the Novel,</I> which explores the project of elevating novels to keystones of high culture.</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Susan J. Wolfson is professor of English at Princeton University. In addition to this present volume, her editorial work includes&nbsp; <I>Felicia Hemans</I> (Princeton UP, 2000) and the Longman Cultural Edition of <I>John Keats</I>.&nbsp; With Claudia Johnson, she is coeditor of the Longman Cultural Edition of Jane Austen&#39;s <I>Pride and Prejudice</I>. With Peter Manning, she is coeditor of the Romantics volume in <I>The Longman Anthology of British Literature</I>, and Selected Poems of Lord Byron (Penguin, 2005).&nbsp; Her critical books include the prize-winning <I>Formal Charges: The Shaping of Poetry in British Romanticism</I> (Stanford UP, 1997) and <I>Borderlines: The Shiftings of Gender in British Romanticism</I> (Stanford UP, 2007).<BR></P>]]></d104>
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<d104 textformat="02"><![CDATA[From Longman&#39;s Cultural Editions series, Jane Austen&#39;s <I>Pride and Prejudice</I> ,&nbsp;edited by Claudia Johnson and Susan Wolfson, offers&nbsp;the text of the first edition and is&nbsp;extensively annotated in several contexts, from Austen&#39;s views, to cultural issues, to first reviews and critical reception.]]></d104>
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<d104 textformat="02"><![CDATA[<p>    <b>List of Illustrations.</b> </p> <p>    <b>About Longman Cultural Editions.</b> </p> <p>    <b>About this Edition.</b> </p> <p>    <b>Introduction.</b> </p> <p>    <b>Table of Dates.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>Pride and Prejudice (1813).</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Volume 1.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Volume 2.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Volume 3.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Jane Austen's Letters.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">&ldquo;To Cassandra Austen,&rdquo; 2 June 1799.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">&ldquo;To Cassandra Austen,&rdquo; 20-21 November 1800.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">&ldquo;To Cassandra Austen,&rdquo; 29 January 1813.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">&ldquo;To Cassandra Austen,&rdquo; 4 February 1813.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">&ldquo;To Cassandra Austen,&rdquo; 9 February 1813.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">&ldquo;To Frank Austen,&rdquo; 3 July 1813.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">&ldquo;To Frank Austen,&rdquo; 25 September 1813.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">&ldquo;To Anna Austen,&rdquo; 9 September 1814.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">&ldquo;To James Stanier Clarke,&rdquo; 11 December 1815.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">&ldquo;To J. Edward Austen,&rdquo; 16 December 1816.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Contexts.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Money.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Money: From the 1790s to the Regency (1811-1820).</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Marriage and the Marriage Market.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Debates in the House of Commons on <i>The Clandestine Marriage Bill.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Jean-Jacques Rousseau, from <i>Emile</i> (1762, 1763).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Revd. James Fordyce, <i>Sermons to Young Women</i> (1766, 1795).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Mary Wollstonecraft, from <i>A Vindication of the Rights of Woman</i> (1792).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Jane Austen, from <i>Emma</i> (1816).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Lord Byron, <i>Don Juan</i> Canto 14. XVIII (1823).</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Female Character and Conduct.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Revd. James Fordyce, from <i>Sermons to Young Women</i> (1766, 1777).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Dr. John Gregory, <i>A Father's Legacy to His Daughters</i> (1774).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Mary Wollstonecraft, from <i>A Vindication of the Rights of Woman</i> (1792).</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Male Characters and Conduct.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Alexander Pope, from <i>Epistle IV, To Richard Boyl, Earl of Burlington; Of the Uses of Riches</i> (1731).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Samuel Johnson, <i>Rambler</i> (1750).</div> </p> <div STYLE="margin-left: 0.2in;">    <b>The Picturesque and Great Houses.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">William Gilpin, from <i>Observations, Relative chiefly to Picturesque Beauty, made in the year 1792, on Several Parts of England</i> (1786) and <i>Three Essays: On Picturesque Beauty, On Picturesque Travel, and on Sketching Landscape</i> (1792).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">John Byng, <i>Rules for Admission to Strawberry Hill.</i>    </div> </p> <div STYLE="margin-left: 0.2in;">    <b>Reactions to <i>Pride and Prejudice.</i>    </b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>First Reviews and Readers.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">       <i>British Critic</i> XLI (1813).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Critical Review</i> 4/3 (1813).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Anna Isabella Milbanke (1813).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Walter Scott, <i>Quarterly Review</i> (1815).</div> </p> <div STYLE="margin-left: 0.2in;">    <b>The Next Generation.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Henry Crabb Robinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Richard Whatley, <i>Quarterly Review</i> (1821).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Walter Scott, Journal, 1826-27.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Maria Jane Jewsbury, <i>The Athenaeum.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Charlotte Bronte, letters.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Further Reading.</b> </div> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px"><B>Features:</B></P>  <P style="MARGIN: 0px">&nbsp;</P>  <DIV sercontent>  <P style="MARGIN: 0px">The text explores four specific <B>themes</B> throughout its chapters:</P>  <OL>  <LI>The role of power and influence in state and local government and politics   <LI>The tension between representative and participatory politics   <LI>The ways in which the structures of government and political processes interact   <LI>Whether the outcomes produced by the governmental institutions and processes are good or bad.</LI></OL>  <P style="MARGIN: 0px"><B>&nbsp;</B></P>  <P style="MARGIN: 0px"><B>Practical Exercises </B>present real world scenarios that motivate students to get involved in their local the political systems.</P>  <P style="MARGIN: 0px"><I>&nbsp;</I></P>  <P style="MARGIN: 0px"><B>Questions for Review</B> <B>and Chapter Discussion Questions </B>help students review the main ideas of each chapter.</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">  <HR>    <P style="MARGIN: 0px"></P><B>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">New to this Edition:</P>  <P style="MARGIN: 0px">&nbsp;</P></B>  <DIV sercontent>This First Edition text is intended to serve as the core reading for a course on state and local politics. </DIV></DIV><A href="http:///hepm.pearsoned.com/editable/#logoHREF" umptop></A>]]></d104>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px"><I>PART I: INTRODUCTION </I></P>  <P style="MARGIN: 0px"><I>Chapter 1:&nbsp; Introduction: The Struggle for Power and Influence</I></P>  <P style="MARGIN: 0px">Importance of State and Local Politics</P>  <P style="MARGIN: 0px">Learning About Local Politics and Government</P>  <P style="MARGIN: 0px">Scope of the Book</P>  <P style="MARGIN: 0px">The Struggle</P>  <P style="MARGIN: 0px">Politics</P>  <P style="MARGIN: 0px"><I>&nbsp;</I></P>  <P style="MARGIN: 0px"><I>PART II:&nbsp; INSTITUTIONS AND ELECTIONS</I></P>  <P style="MARGIN: 0px"><I>Chapter 2: Constitutions and Charters: The Foundations of State</I></P>  <P style="MARGIN: 0px">The Beginnings of State and Local Governments in the United States</P>  <P style="MARGIN: 0px">Constitutions and Charters&ndash;the Ballpark of Politics</P>  <P style="MARGIN: 0px">State Constitutions</P>  <P style="MARGIN: 0px">City (Municipal) Charters</P>  <P style="MARGIN: 0px">Forms of Local Government</P>  <P style="MARGIN: 0px"><I>&nbsp;</I></P>  <P style="MARGIN: 0px"><I>Chapter 3: Struggles in State Legislatures and City Councils</I></P>  <P style="MARGIN: 0px">Serving in the City Council or the State Legislature</P>  <P style="MARGIN: 0px">Struggling for Power and Influence in Legislative Bodies</P>  <P style="MARGIN: 0px">Legislative Life</P>  <P style="MARGIN: 0px">Who are the lawmakers</P>  <P style="MARGIN: 0px">Lawmaking Roles</P>  <P style="MARGIN: 0px">Organizing and Operating a Legislative Body</P>  <P style="MARGIN: 0px">The Capacity to Legislate Effectively</P>  <P style="MARGIN: 0px">Committees as the Fountain and Deathtrap of Legislation</P>  <P style="MARGIN: 0px">Redistricting</P>  <P style="MARGIN: 0px">Making your Bill a Law</P>  <P style="MARGIN: 0px">Limits on Lawmakers</P>  <P style="MARGIN: 0px">Making Decisions is <I>Not</I> Simple</P>  <P style="MARGIN: 0px">Ethics in Legislative Decision Making &mdash; The &ldquo;Queasiness&rdquo; Test</P>  <P style="MARGIN: 0px">&ldquo;How&rsquo;re We Doin&rsquo;?&rdquo; in our Legislative Bodies</P>  <P style="MARGIN: 0px"><I>Chapter 4: Executive Power in State and Local Government</I></P>  <P style="MARGIN: 0px">State and Local Chief Executives Struggle for Power</P>  <P style="MARGIN: 0px">Powers of Governors and Mayors as Chief Executives</P>  <P style="MARGIN: 0px">The Various Roles of Chief Executives</P>  <P style="MARGIN: 0px">History of State and Local Executive Power</P>  <P style="MARGIN: 0px">The State Executive Branch</P>  <P style="MARGIN: 0px">Executive Officials in City and County Government</P>  <P style="MARGIN: 0px">Running a Bureaucracy</P>  <P style="MARGIN: 0px">Conclusion</P>  <P style="MARGIN: 0px"><I>&nbsp;</I></P>  <P style="MARGIN: 0px"><I>Chapter 5: Election Battles</I></P>  <P style="MARGIN: 0px">Getting Elected</P>  <P style="MARGIN: 0px">Nowlan and Simpson Campaigns</P>  <P style="MARGIN: 0px">Deciding to Run</P>  <P style="MARGIN: 0px">Launching a Candidacy</P>  <P style="MARGIN: 0px">Developing a Campaign Strategy</P>  <P style="MARGIN: 0px">A Candidate&rsquo;s Image</P>  <P style="MARGIN: 0px">A Campaign&rsquo;s Message</P>  <P style="MARGIN: 0px">Winning Elections</P>  <P style="MARGIN: 0px"><I>&nbsp;</I></P>  <P style="MARGIN: 0px"><I>Chapter 6: Justice and Corrections </I></P>  <P style="MARGIN: 0px">Structure</P>  <P style="MARGIN: 0px">People in the Criminal Justice System</P>  <P style="MARGIN: 0px">Processes of the Criminal Justice System</P>  <P style="MARGIN: 0px">Outcomes of the Justice System</P>  <P style="MARGIN: 0px">Civil Cases</P>  <P style="MARGIN: 0px"><I>&nbsp;</I></P>  <P style="MARGIN: 0px"><I>Chapter 7: Federalism: Playing Tug of War </I></P>  <P style="MARGIN: 0px">Historical Background of Federalism</P>  <P style="MARGIN: 0px">State and Local Governmental Connections with the Federal Judicial Branch</P>  <P style="MARGIN: 0px">State and Local Governmental Connections with the Federal Legislative Branch </P>  <P style="MARGIN: 0px">State and Local Governmental Connections with the Federal Executive Branch </P>  <P style="MARGIN: 0px">Interplay between Congress, State and Local Government, and Federal Agencies </P>  <P style="MARGIN: 0px">The Tug of War among States &mdash; Horizontal Federalism</P>  <P style="MARGIN: 0px">Interplay between States and Local Governments</P>  <P style="MARGIN: 0px">States and Cities Today:&nbsp; Stronger in the Tug of War?</P>  <P style="MARGIN: 0px">Intergovernmental Relations: A Summary </P>  <P style="MARGIN: 0px"><I>&nbsp;</I></P>  <P style="MARGIN: 0px"><I>PART III: POLITICAL PARTICIPATION</I></P>  <P style="MARGIN: 0px"><I>Chapter 8: Participation in State and Local Government</I></P>  <P style="MARGIN: 0px">Paid Lobbyists</P>  <P style="MARGIN: 0px">Lobbying in the Legislative Process</P>  <P style="MARGIN: 0px">Journalists&rsquo; and the Media&rsquo;s Role as Community Watchdogs</P>  <P style="MARGIN: 0px">Blogs</P>  <P style="MARGIN: 0px">Citizen Activists</P>  <P style="MARGIN: 0px">Community Organizations</P>  <P style="MARGIN: 0px">Roles Citizens Can Play</P>  <P style="MARGIN: 0px"><I>&nbsp;</I></P>  <P style="MARGIN: 0px"><I>PART IV: POLICIES AND PROBLEMS</I></P>  <P style="MARGIN: 0px"><I>Ch. 9: Follow the Money &mdash; The Politics of State and Local Budgeting</I></P>  <P style="MARGIN: 0px">Budgets as Allocations of Our Values and Demands or Needs</P>  <P style="MARGIN: 0px">Enormous Pressure to Spend</P>  <P style="MARGIN: 0px">Finding the Revenue Always a Struggle</P>  <P style="MARGIN: 0px">The Big Three Taxes: Sales, Income, Property</P>  <P style="MARGIN: 0px">Should We Tax Sales on the Internet?</P>  <P style="MARGIN: 0px">Evaluating Revenue Sources: The Old Regressive-Progressive&nbsp; Debate</P>  <P style="MARGIN: 0px">Budgeting Process Is Simple, But Decisions Are Difficult</P>  <P style="MARGIN: 0px">The Office of Management and Budget</P>  <P style="MARGIN: 0px">Capital Borrowing and Spending</P>  <P style="MARGIN: 0px">The Politics of &ldquo;Shift and Shaft"</P>  <P style="MARGIN: 0px">Political Dynamics of Budgeting</P>  <P style="MARGIN: 0px">Budget Trends</P>  <P style="MARGIN: 0px"><I>&nbsp;</I></P>  <P style="MARGIN: 0px"><I>Chapter 10.&nbsp; Metropolitanization and Globalization</I></P>  <P style="MARGIN: 0px">Governing the Metropolitan Region</P>  <P style="MARGIN: 0px">Urban Sprawl</P>  <P style="MARGIN: 0px">Gated Communities</P>  <P style="MARGIN: 0px">Globalization</P>  <P style="MARGIN: 0px">Problems of Metropolitanization and Globalization</P>  <P style="MARGIN: 0px">Our Neighbors: Canada and Mexico</P>  <P style="MARGIN: 0px">Getting Along with Our Neighbors</P>  <P style="MARGIN: 0px">Conclusion</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><I>Chapter 11: The Struggle for the Schoolhouse and Campus</I></P>  <P style="MARGIN: 0px">The Historical Development of American Public Education</P>  <P style="MARGIN: 0px">Public School Education &mdash; 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<d104 textformat="02"><![CDATA[<p>    <b>I. WRITING FOR HEALTH AND MEDICAL AUDIENCES.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>1. Audience Analysis and Context Analysis.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>2. Ethics in Medical Writing.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>3. Document Design Principles and Data Management.</b> </div> <br> <p>    <b>II. GENRES IN THE HEALTH PROFESSIONS.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>4. Medical Diagnostic Practices: The History and Physical, and Conventional and Online Charting in Patient Care.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>5. Medical Forms and Reports.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>6. Health Education Materials: Traditional and Online.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>7. Public Health Campaigns.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>8. Grants and Proposals, and Government and Insurance Documents.</b> </div> <br> <p>    <b>III. MEDIA AND CULTURES.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>9. Multicultural and International Medical Writing.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>10. Presenting Written Materials Visually.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>11. Electronic Medical Writing.</b> </div> <br> <p>    <b>IV. APPENDICES.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>Appendix A&mdash;Review of Process Writing.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Appendix B&mdash;Medical Language.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Appendix C&mdash;Frequently Used Visual Design Terms.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Appendix D&mdash;Frequently Used Clinical Abbreviations.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Appendix E&mdash;Sample Grant Budgets.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Appendix F&mdash;Online Resources for Latino Cultural Analysis.</b> </div> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<P><B></B> Motivates students to produce richer, more informed writing by exploring topics directly related to their own future&#8212;occupational inquiry.  <P>  <B></B> Uses analytical and critical reading techniques to show readers the types of writing required in different fields of study and professions (see writing activities in Part 1; classical rhetorical techniques in Part 2). Readings focus on a broad range of issues that readers care about like: finding meaningful work; affirmative action; family-friendly workplaces (see table of contents). Reading and Writing activities help readers find, evaluate, and synthesize research materials. Provides time-tested rhetorical techniques to help readers organize their ideas into coherent arrangement patterns and then builds on them with the writing styles of specific disciplines and professions (Ch 4).  <P>  <B></B> Anyone interested in exploring their future career or changing careers.  </P>]]></d104>
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<d102>04</d102>
<d104 textformat="02"><![CDATA[<BR><BR><B>Preface.</B> <BR><BR><BR><B>Introduction.</B> <BR>  <P><B>I. WRITING TO INQUIRE.</B> </P>  <DIV style="MARGIN-LEFT: 0.2in"><B>1. Discovering and Presenting Yourself in Writing.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Ethos and Rhetorical Situation.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Ethos and Community.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Establishing Ethos and Authority.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Occupational Ethos.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">A Rhetorical Approach to Writing.</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>2. Strategies for Discovering and Developing Your Ideas.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Developing a Writer's Notebook.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Setting Up a Writer's Notebook.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Getting Started on Your Writer's Notebook.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Cultivating Inventive Thinking.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Freewriting.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Exploring Implications.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Three Invention Strategies.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Imagining an Uninformed Audience.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Using Patterns of Development.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Collaborative Invention.</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Reading and Writing Applications 1: Finding Meaningful Work.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 1: Violence or Joy? What Does Work Make of Us?</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Studs Terkel, Introduction to <I>Working.</I> </DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Richard Reeves, &ldquo;The Joy of Work.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 2: What Is a &ldquo;Career?&rdquo; Real People at Work.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Maureen Bradley, Writer/Social Worker.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Jodi Heller, High School Teacher.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Jane Whitaker, Senior Systems Architect.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Robert Collelouri, Owner, Marketing and Advertising Agency.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Eric Engle, Geologist.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 3: Reflecting on Interests and Talents.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Richard Feynman, &ldquo;The Amateur Scientist.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Student Essays.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Emylee McFarland, &ldquo;Science: Choosing&nbsp;a Life of Reasoning.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Christina Jaffe, &ldquo;Beyond the Wardrobe and Above the Bar.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">James Bowman, &ldquo;Thought and Innocence.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 4: Imagining Occupational Ethos through Job Descriptions.</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>3. Investigating the Worlds of Work.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">What Are Commonplaces?</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Commonplaces as Shared Values.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Commonplaces as Community Ethos.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Commonplaces and Occupational Ethos.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Inquiring Further into an Occupation's Commonplaces.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Ethos and Professional Communities.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Writer's Notebook as Commonplace Book.</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Reading and Writing Applications 2: Work and Community.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 1: Interviewing/Interrogating Professional Ethos through Its People.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Kristin Lease, &ldquo;Taking the Challenge to Become &lsquo;Good&rsquo;.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 2: Web Site Discoveries.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 3: Academic-Occupational Connections.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 4: Community Connections.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">&ldquo;The Community Pharmacy.&rdquo;</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>4. Drafting and Arranging Ideas for Your Readers.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Changing a Reader's Mind.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Drafting as Discovery.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Mining for Coherence.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Conversant Outline.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Arranging Arguments and Gauging Reader Reactions.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">What Types of Readers Do We Create?</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Sarah C. Threnhauser, &ldquo;Could Home Schooling Be Right for Your Family?&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Why Order Matters.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Paragraphs as Micro-Units of Argument.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Arranging Paragraphs into Larger Arguments.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Chad Chadwick, &ldquo;Brave New World.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Creating Emphasis through Sentence Structure and Style.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Revealing the Arrangement Pattern through Transitions.</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Reading and Writing Applications 3: Practicing Patterns of Arrangement.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Description.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Narration.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Analysis.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Patrick Healy, &ldquo;School-to-Career Programs Help Students Focus on Future.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Ivan Charter, &ldquo;Study of School-to-Work Initiatives: Studies of Education Reform.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Evaluation 1: Developing Criteria.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Evaluation 2: Confirming and Refuting.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Virginia Miller, &ldquo;School-to-Work Education Shortchanges Academic Knowledge.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Academic and Occupational Writing.</DIV>  <P></P>  <P><B>II. READING AND WRITING IN ACADEMIC AND PROFESSIONAL COMMUNITIES.</B> </P>  <DIV style="MARGIN-LEFT: 0.2in"><B>5. Reading Actively and Critically.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Topic Analysis as Active Reading.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Questions of Past, Present, or Future Facts.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Questions of Size or Value.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Questions of Possibility.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Topics Approach: An Example.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Northwest Regional Educational Laboratory, &ldquo;Student Assessment and Testing.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">More Approaches to Active Reading.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Reading/Writing Connection.</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Reading and Writing Applications 4: Reading Actively.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 1: Identifying Points of Disagreement.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 2: Writing Summaries.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Sarah Ryan, &ldquo;Management by Stress.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Jenny Earle, &ldquo;Family-Friendly Workplaces.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 3: The Occupations and the Civic Conversation.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">John Allen Paulos, from <I>A Mathematician Reads the Newspaper.</I> </DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>6. Reading in Academic Disciplines.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Academic Discourse Communities.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Active Reading in Specialized Fields.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Reading Arguments in Academic Disciplines.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Humanities.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Martha C. Nussbaum, &ldquo;The Narrative Imagination.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Natural Sciences.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Carl Sagan, &ldquo;Science and Hope.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Social Sciences.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Juliet B. Schor, from <I>The Overspent American.</I> </DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Business.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Tom Kelley, from <I>The Art of Innovation.</I> </DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Exigency in Professional and Academic Fields.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Jason Kidwell, &ldquo;Racial Profiling.&rdquo;</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Reading and Writing Applications 5: Exploring Academic and Professional Journals.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 1: The Mission and Editorial Policies of Journals.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 2: Analyzing Journal Articles.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 3: Interdisciplinary Connections.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Social Sciences.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Lynette C. Zelezny, Poh-Pheng Chua, and Christina Aldrich, &ldquo;Elaborating on Gender Differences in Environmentalism.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Natural Sciences.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Thomas S. Reid and Dennis Murphy, &ldquo;Providing a Regional Context for Local Conservation Action.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Humanities.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Roger G. Kennedy, &ldquo;The Fish That Will Not Take Our Hooks.&rdquo;</DIV>  <P></P>  <P><B>III. THE PROCESS OF RESEARCH.</B> </P>  <DIV style="MARGIN-LEFT: 0.2in"><B>7. Research as Inquiry.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Research as a Means, Not an End.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Focusing Research Goals.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Fayneese Miller, Xae Alicia Reyes, and Elizabeth Shaffer, &ldquo;The Contextualization of Affirmative Action.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Writing a Research Proposal.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Audra Shearer, &ldquo;Can She Do It?: My Reality and a Proposal.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Memory, Technology, and the Organization of Information.</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>8. Building Credibility and Confidence through Researched Writing.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Inventing Ethos through Expertise.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Dowell Myers, &ldquo;Putting the Future in Planning.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Assessing Audience Level.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Eric Moore, &ldquo;Network Security.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Anthony Adshead, &ldquo;How Effective Are Gigabit Intrusion Detection Systems?&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Bruce Berkowitz and Robert W. Hahn, &ldquo;Cybersecurity: Who's Watching the Store?&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Constructing a Dialogue.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Analyzing Decorum and Tone.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Acknowledging the Ideas of Others.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Writing Multiple Introductions.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Writing a Working Abstract.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Finding Common Ground.</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Reading and Writing Applications 6: Inquiry and the Research Process.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 1: Focusing a Topic and Finding Search Terms.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Tracy Hanegraaf, &ldquo;Inquiring into the Gender-Wage Gap.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 2: Writing a Formal Proposal and Annotated Bibliography.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Tracy Hanegraaf, &ldquo;Exploration of the Gender-Wage Gap.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 3: Writing a Review of the Literature.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Social Sciences (Social Psychology).</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Pieternel Dijkstra and Bram P. Buunk, &ldquo;Jealousy as a Function of Rival Characteristics.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Natural Sciences (Genetics).</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Mary Mahowald, Dana Levinson, and Christine Cassel, &ldquo;The New Genetics and Women.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Humanities (History).</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Stephen Brooke,&nbsp;&ldquo;Gender and Working Class Identity in Britain during the 1950s.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Case 4: Proposals in the Workplace and Community.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Memo: Proposed Major in Professional Writing.</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>9. Developing Researched Arguments.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in"><I>Ethos</I> Revisited.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Establishing a Thesis.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Writing a Skeletal Draft.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Considering Disciplinary Expectations.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Incorporating Researched Information.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Re-Visioning and Revising.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Reading and Editing Your Own Writing.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Inviting Peer Response.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Using Peer Comments.</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>10. Delivering Researched Arguments.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Editing.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Run-ons and Comma Splices.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Subject/Verb Agreement Problems.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Punctuation Errors with Direct Quotations.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Misplaced Modifiers.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Pronoun References.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Word Choices.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Preparing Manuscripts in Academic Formats.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">APA Sample Paper: Audra Shearer, &ldquo;The Psychological Effects of School Violence.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">MLA Sample Paper: Rebecca Delli Carpini.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Visual Rhetoric.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Principles of Document Design.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Keep It Simple.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Keep It Clear.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Keep It Limited and Consistent.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Keep It Tasteful, Audience Centered, and Appropriate.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Keep It Correct.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Writing/Speaking Connection.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Composing for Oral Presentations.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Oral Presentation and Ethos.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Developing an Expert Voice.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Using Visual Aids and Technology.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">PowerPoint<SUP>TM</SUP> and Posters.</DIV>  <P></P>  <P><B>IV. CASEBOOKS FOR FURTHER READING AND RESEARCH.</B> </P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Casebook 1: Family, Materialism, and Responsibility.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">William Wordsworth, &ldquo;The World Is Too Much with Us.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Juliet Schor, &ldquo;The Downshifter Next Door.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Henry David Thoreau, from <I>Walden.</I> </DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Casebook 2: Work as a Civil Right: Issues of Race and Gender.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Proposed Equal Rights Amendment.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">The Civil Rights Act of 1964.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Naomi Barko, &ldquo;The Other Gender Gap.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Teresa Brady, &ldquo;How Equal Is Equal Pay?&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Laura Dresser, &ldquo;To Be Young, Black, and Female.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Tracy Hanegraaf, &ldquo;What Stirs Below the Surface?&rdquo;</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Casebook 3: Bowling Alone? Work, Volunteerism, and Civic Engagement.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Robert Putnam, &ldquo;Connections in the Workplace.&rdquo;</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Casebook 4: Liberal Education and Your Career.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Marriott Corporation, &ldquo;Bridges.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">John DeVault, &ldquo;School Without Books.&rdquo;</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Casebook 5: What Is a Career in the 21st Century?</B> </DIV><BR>  <DIV style="MARGIN-LEFT: 0.2in"><B>Casebook 6: Attitudes Toward Work: Writing an Ethnography.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Studs Terkel, &ldquo;Bureaucracy,&rdquo; and &ldquo;In Charge.&rdquo;</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Casebook 7: Ethics and the Workplace.</B> </DIV><BR>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Ben and Jerry's, Inc., Mission Statement.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Dorrit J. Bern, Letters to Fashion Bug Customers.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.4in">Terance D. Miethe, &ldquo;Trudi Lytle and the Clark County Public School System.&rdquo;</DIV>  <P></P>  <DIV style="MARGIN-LEFT: 0.2in"><B>Works Cited.</B> </DIV><BR>  <DIV style="MARGIN-LEFT: 0.2in"><B>Credits.</B> </DIV><BR>  <DIV style="MARGIN-LEFT: 0.2in"><B>Index.</B> </DIV><BR>&nbsp;]]></d104>
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<d104 textformat="02"><![CDATA[<P><B> </B><I>Elements of the Autobiography and Life Narratives</I> helps readers think about how their lives&#8212;as well as the texts that they write about them&#8212;are socially constructed. It presents the autobiography as a means of self-expression, personal and social growth, and development of insight, and shows how writing an autobiography occurs within social and cultural contexts and constraints.  <P>  <B></B> A unique chapter (Ch.4) on the media shows how Web sites, web logs, and blogging can be used in developing an autobiography, in understanding autobiography as a genre, and in demonstrating the connection of the autobiography to history and culture. Journaling is a central feature of the book, both as an end in itself and as a means of invention in life narratives. Unique Timeline assignments help readers understand how the personal and social are connected.    </P>]]></d104>
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<d104 textformat="02"><![CDATA[<BR><BR><B>Preface to the Teacher.</B> <BR><BR><BR><B>Preface to the Student.</B> <BR><BR><BR><B>Acknowledgments.</B> <BR><BR><BR><B>1. Autobiography and Its Elements.</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Language, Culture, Identity.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Mind and Inner Speech.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Meditation.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Journaling.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Memory.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">New models.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">I remember....</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">&ldquo;Coffee.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Writing with Others.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Beginnings.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">I was born....</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Five Chapters of Your Life.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Revising Autobiography and Memoir.</DIV>  <P></P><BR><BR><B>2. The Autobiographical &ldquo;I.&rdquo;</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">The Genre of Autobiography.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">History of the Word &ldquo;Autobiography.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">History of the Genre of Autobiography.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Autobiography and Truth.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Forms of Truth.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Memory and Memoir, Fiction and Truth.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Language, and Writing from Names.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Words, Names, Meanings.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Guidelines&ndash;Reading the Naming Essay.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Student Examples.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Writing from your name, an acrostic poem.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Places and Names.</DIV>  <P></P><BR><BR><B>3. Crafting Life Narratives: Elements of Stories in Time.</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Creating Timelines and Writing Our Lives.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Discussing and Expanding Upon Timelines.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Crafting Autobiographical Narratives-Themes and Phases.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Scene and Summary in Autobiographical Writing.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reflecting or Musing.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Elements of Narration in Time.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Recognizing Arrangements in Time.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Alternatives to Time Pattern of Organization.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Autobiography as Rhetorical.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">The Shape of Stories.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Roles, Functions, and the Shape of Narratives.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Common Roles and Scripts.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Seeing Roles for Yourself.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Roles and Voice.</DIV>  <P></P><BR><BR><B>4. Autobiography, Media and Technology: Old and New.</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Websites as New Sites for Life Narratives.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Plans Up Front: Design.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Blogging Your Life: Weblogs as Public Journals.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Blogging: How to Start.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Revisiting Elements of Traditional Autobiography.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Autobiographical Essays and Radio: A Funny Combination.</DIV>  <P></P><BR><BR><B>5. Writing Alternative Futures for the 21st Century &ldquo;I.&rdquo;</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Imagining a Future.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Autobiographical Manifestoes.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Values Toward the Future.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Embodiment.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Autobiographical Writing, Growth and Development.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Toward a Next Stage of Autobiographical Writing.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reading Others Autobiographical Writing.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Publishing Your Writing.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Sources for Learning More About Autobiography.</DIV>  <P></P>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Preface for Instructors and Students.</b> <br> <br> <br> <b>1. Recognizing Folklore.</b> <br> <br> <br> <b>2. Description: Heirlooms and Legacies.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Readings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Cathy Song, The Grammar of Silk.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Linda Hogan, Heritage.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">bell hooks, Inspired Eccentricity.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Alfred Kazin, The Kitchen.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Bette Bao Lord, Walking in Lucky Shoes.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sample Student Essay: <i>My Great-grandfather's Shaving Brush,</i> Howard Bennett.</div> </p> <br> <br> <b>3. Narration: Stories and Storytellers.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Readings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Judith Ortiz Cofer, A Partial Remembrance of a Puerto Rican Childhood.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">John Edgar Wideman's <i>Father Stories</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Excerpt from N. Scott Momaday's The Way to Rainy Mountain.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Pat Mora, Remembering Lobo.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Alix Strauss, Joy of Funerals.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sample Student Essay: My Special Place, Kristen Jacomino.</div> </p> <br> <br> <b>4. Exemplification: Folklore and the Search for Self.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Readings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Joe Vergara, Excerpt from Love and Pasta.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Octavio Paz,  Fiesta.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tepilit Ole Saitoti, Excerpt from The Initiation of a Maasai Warrior.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Andrew Rein, Taxidermist's Funeral.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Nicole Brodeur, The Meaning of the Hunt.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sample Student Essay: My Family Traditions, Lisa Desjardins.</div> </p> <br> <br> <b>5. Process Analysis: Traditional Processes.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Readings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Patricia Hampl, Grandmother's Sunday Dinner.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Linda Hogan, Waking Up the Rake.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Camara Laye, The Mysteries of My Father's Workshop.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Harryette Mullen, Saturday Afternoon, When Chores Are Done.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Excerpt from Zitkala-Sa's American Indian Stories.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sample Student Essay: My Family Tradition, Melissa Craner.</div> </p> <br> <br> <b>6. Comparison and Contrast: Traditions, A Changing Same.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Readings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Michael S. Glaser, Preparations for Seder.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Nikki Giovanni, On Holidays and How to Make Them Work.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Luci Tapahonso, All I Want.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Bernice Reagon, Black Music in Our Hands.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Jehan Sadat, from Growing Up in Cairo.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sample Student Essay: The Essence of Traditions, Angelique Wurpel.</div> </p> <br> <br> <b>7. Controversy/Argument: Millennium Folklore.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Readings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Richard Kurin, excerpt from Folklife in Comtemporary Multicultural Society.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">E.B. White,  Once More to the Lake.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Ethridge Knight, The Idea of Ancestry.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Nikki Giovanni, Legacies.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Gerald Celente, Welcome to the Millenium.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sample Student essay: Family Folklore: Has it Really Died Out?  Laurie Songhurst</div> </p>]]></d104>
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<d104 textformat="02"><![CDATA[<BR><BR><B>Preface for Students.</B> <BR><BR><BR><B>Preface for Teachers.</B> <BR><BR><BR><B>1. Introducing Difficulty.</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">What Do We Mean By Difficulty?</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Why Difficulty Merits Attention.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">What About the &ldquo;Easy&rdquo; Text.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">What Do We Mean By Reading?</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">How This Book Is Organized.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Three Tools of Teaching And Learning.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">The Difficulty Paper.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">The Triple Entry Notebook: Nick Jacobs.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Taking Stock.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Retrospective.</DIV>  <P></P><BR><BR><B>2. The Difficulty of Poetry.</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Discovering Your Repertoire.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reading &ldquo;One Art.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reading Elizabeth Bishop: Liza Funkhouser.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reading as Participatory: Liza Funkhouse and Kim Woomer.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Distinguishing Between Ordinary and Metaphorical Language.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Moving Beyond the Literal: Katie Stamm.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Taking Stock.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Retrospective.</DIV>  <P></P><BR><BR><B>3. The Difficulty of Longer Texts.</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">When a Work Seems Long and Boring.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Where to Begin with a Longer Text.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Introducing The Rime of The Ancyent Marinere.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Navigating the Waters: Kristin Pontoski.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Recuperating the Past.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reading the Hybrid Text.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Understanding Genre.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Viewing Your Own Writing As Hybrid Genre.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reading As Rewriting: Patrick Beh-Forrest.</DIV>  <P></P><BR><BR><B>4. Intermezzo.</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Moving from Poetry to Prose.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Surveying the Landscape.</DIV>  <P></P><BR><BR><B>5. The Difficulty of Prose Narrative.</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">What You Already Know About Narrative.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">How Narrative Can Be Theorized: Gerard Genette.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Using Theory to Reframe Your Understanding.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reading Krik? Krak!</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Understanding Strange Texts.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reading the &ldquo;Story&rdquo; in &ldquo;History.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Understanding the Language of Prose.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Tone in Prose.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Symbols in Prose.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Taking Stock.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Retrospective.</DIV>  <P></P><BR><BR><B>6. Writing and Reading the Personal Essay.</B> <BR>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Writing About the Self.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reflecting On Personal Writing.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Uncovering the Difficulty of Personal Writing.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Exploring the Self: The Example of Montaigne.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reading &ldquo;Of Books.&rdquo;</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Reading Against the Grain.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Writing About Montaigne: Tom Brennan.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Making the Move to the Academic Essay.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Understanding the Reading and Writing Transaction.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Taking Stock.</DIV>  <P></P>  <P>  <DIV style="MARGIN-LEFT: 0.2in">Retrospective.</DIV>  <P></P><BR><BR><B>7. 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<b037>Piper, J. Richard</b037>
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<d104 textformat="02"><![CDATA[<p>    <b>PART I.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>&nbsp;1. The Major Nation-States in the European Union:  An Introduction.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>&nbsp;2. The Development of the European Union.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>&nbsp;3. The European Union:  Major Institutions.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>&nbsp;4. The European Union and Its Member States:  Public Policies.</b> </div> <br> <p>    <b>PART II.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>&nbsp;5. France.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>&nbsp;6. France and the European Union.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>&nbsp;7. Germany.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>&nbsp;8. Germany and the European Union.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>&nbsp;9. Italy.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>10. Italy and the European Union.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>11. The United Kingdom.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>12. The United Kingdom and the European Union.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>13. Spain.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>14. Spain and the European Union.</b> </div> <br> <p>    <b>PART III.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>15. A Comparative Overview of the Fifteen Pre-2004 EU Member States.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>16. Eastward Enlargement of the European Union.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Glossary.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Appendix.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Bibliography.</b> </div> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<P><B></B> This how-to-write fiction book is comprised primarily of exercises introduced by brief but informative essays on the aspects of fiction.  Long on specifics and short on theoretical information so often found in books about the art of writing, this text provides a practical, hands-on approach to writing fiction.  Organized by the elements of fiction and concluded by an anthology of contemporary fiction, this book helps all fiction writers hone and improve their craft. <B></B> The elements of fiction&#8212;character, point of view, dialogue, plot, style and revision. <B> </B>For those interested in improving fiction-writing skills.          </P>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>&nbsp;1. Beginnings.</b> <br> <br> <br> <b>&nbsp;2. Notebooks, Journals, and Memory.</b> <br> <br> <br> <b>&nbsp;3. Characterization.</b> <br> <br> <br> <b>&nbsp;4. Perspective, Distance, and Point of View.</b> <br> <br> <br> <b>&nbsp;5. Dialogue.</b> <br> <br> <br> <b>&nbsp;6. Interior Landscapes.</b> <br> <br> <br> <b>&nbsp;7. Plot.</b> <br> <br> <br> <b>&nbsp;8. The Elements of Style.</b> <br> <br> <br> <b>&nbsp;9. A Writer's Tools.</b> <br> <br> <br> <b>10. Invention and Transformation.</b> <br> <br> <br> <b>11. Revision: Rewriting Is Writing.</b> <br> <br> <br> <b>12. Games.</b> <br> <br> <br> <b>13. Learning from the Greats.</b> <br> <br> <br> <b>14. Sudden, Flash, and Microfiction: The Short Story.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">       <i>20/20</i>, by Linda Brewer.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Excuses I Have Already Used</i> by Antonia Clark.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Mackerel Night</i> by Laurence Davies.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>The Custodian </i>by Brian Hinshaw.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Girl</i> by Jamaica Kincaid.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Confirmation Names </i>by Mariette Lippo.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>It Would've Been Hot</i> by Melissa McCracken.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>My Mother's Gifts</i> by Judith Claire Mitchell.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>The New Year </i>by Pamela Painter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Wants</i> by Grace Paley.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>No One's a Mystery</i> by Elizabeth Tallent.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Vision out of the Corner of One Eye </i>by Luisa Valenzeula.</div> </p> <br> <br> <b>15. A Collection of Short Fiction.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">       <i>Happy Endings</i> by Margaret Atwood.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Christmas Eve at Johnson's Drugs N Goods</i> by Toni Cade Bambara.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Gryphon</i> by Charles Baxter. </div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Some of Our Work with Monsters </i>by Ron Carlson. </div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Cathedral </i>by Raymond Carver.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Sister </i>by Deborah Joy Corey.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>White Angel </i>by Michael Cunningham.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>How to Talk to a Hunter </i>by Pam Houston. </div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Live Life King Sized</i> by Hester Kaplan. </div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>The Niece</i> by Margot Livesey.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Shiloh</i> by Bobbie Ann Mason. </div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Sheep</i> by Thomas McNeely.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Five Points</i> by Alice Munro.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>A Good Man Is Hard to Find </i>by Flannery O'Connor.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Wolinsky's Resort</i> by Edward Schwarzschild.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>The Appaloosa House</i> by Sharon Sheehe Stark.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Under the Roof</i> by Kate Wheeler. </div> </p>]]></d104>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px" soNormal>Sarah M. Anderson received her Ph.D. in Medieval Studies from Cornell University.&nbsp; Before coming to Princeton, Anderson was a research fellow at The Arnamagn&aelig;an Institute at the University of Copenhagen, where she studied and edited Old Icelandic sagas; she also worked on the Dictionary of Old Norse Prose.&nbsp; At Princeton, she is a member of both the Department of English and the Council of the Humanities. She specializes in early medieval language and literature, particularly in Old English, Old Norse and Old Icelandic, with strong secondary interests in textual criticism, Middle English literature and Arthuriana. As a fellow at Cornell&rsquo;s Society for the Humanities, Anderson investigated early printed editions of the sagas from Iceland, Sweden, and Denmark, placing these editions in the context of contention for national identity. In addition to articles and reviews, her publications include <I>Cold Counsel: Women in Old Norse Literature and Mythology </I>(Routledge, 2002) and the Introduction, notes, glossary, and contextual material to <I>Beowulf: A Longman&rsquo;s Cultural Edition </I>(Pearson, 2004). In the English department, Anderson teaches courses on Old English, Middle English romance, Arthurian literature, Old Icelandic sagas, comparative studies of early heroic literature, and fantasy; and in the Council of the Humanities, she has taught &ldquo;Interdisciplinary Approaches to Western Culture from Antiquity to the Middle Ages.&rdquo;&nbsp; She is now developing courses on medieval concepts of monster, medieval travel narratives and sacred space, and medieval European representations of Arthur.</P>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>List of Illustrations.</b> <br> <br> <br> <b>About Longman Cultural Editions.</b> <br> <br> <br> <b>About This Edition.</b> <br> <br> <br> <b>Introduction.</b> <br> <br> <br> <b>Translators' Introduction.</b> <br> <br> <br> <b>    <i>Beowulf</i>.</b> <br> <br> <br> <b>Glossary of Proper Names.</b> <br> <br> <br> <b>Genealogies.</b> <br> <br> <br> <b>Contexts.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The <i>Beowulf</i> Manuscript.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The &ldquo;Monsters in the Manuscript.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The &ldquo;Kin of Cain&rdquo;: Genesis 4: 1-16.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The &ldquo;Flood&rdquo;: Genesis 6: 1-9, 17.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Liber Monstrorum</i> (Part I, Chapter 2).</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Blickling Homily</i> 17 (excerpt from ll).</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Gregory of Tours, from <i>History of the Franks</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>The Finnsburh Fragment</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Widsith</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Deor</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Maxims I</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Vainglory</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">From <i>Hameism&aacute;l.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.2in;">Bragi the Old, <i>Ragnarsdr&aacute;pa</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">From<i>The Saga of Grettir the Son of Asmund</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">From <i>The Saga of King Hrolf Kraki</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">From <i>The Saga of Thidrek of Bern</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Snorri Sturluson, excerpts from <i>Heimskringla</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sven Aageson, from <i>A Brief History of the Kings of Denmark</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Saxo Grammaticus, from <i>Gesta Danorum</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Bede, from <i>Ecclesiastical History of the English People</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Alcuin, <i>What Has Ingeld To Do With Christ?</i>    </div> </p> <p>    <div STYLE="margin-left: 0.2in;">Wulfstan, <i>On False Gods</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Wulfstan, <i>The Sermon of the &ldquo;Wolf&rdquo; to the English.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.2in;">Edgar's <i>Canons</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Cnut's <i>Laws </i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">From <i>The Anglo-Saxon Chronicle</i>.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Material Remains: Archaeological Analogues.</div> </p> <br> <br> <b>Texts and Translations.</b> <br> <br> <br> <b>Further Reading.</b> <br>]]></d104>
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<b203>Hard Times, A Longman Cultural Edition</b203>
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<b035>A01</b035>
<b037>Dickens, Charles</b037>
<b039>Charles</b039>
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<b037>Nunokawa, Jeff</b037>
<b039>Jeff</b039>
<b040>Nunokawa</b040>
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<b037>McWeeny, Gage</b037>
<b039>Gage</b039>
<b040>McWeeny</b040>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px">Gage McWeeny is Assistant Professor of English at Williams College, where he specializes in Victorian literature and culture. He is the author of articles that have appeared in _Victorian Poetry_ and _Critical Matrix_, and writes cultural criticism for BBC radio. He is currently at work on a book about social theory and Victorian literature called _The Comfort of Strangers: Sociality and Victorian LIterature_. </P><BR>  <P style="MARGIN: 0px">Jeff Nunokawa specializes in English literature from about 1830 till about 1900 at Princeton University.&nbsp; His first book, <I>The Afterlife of Property</I>, studies how the novels of Dickens and Eliot labor to preserve the idea of secure possession by overseeing its transfer from the sphere of a cold and uncertain economy to a happier realm of romance.&nbsp; <I>Tame Passions of Wilde: Styles of Manageable Desire </I>excavates the aspiration to imagine a form of desire as intense as those that compel us, but as light as the daydream or thought experiment safely under our control.&nbsp;&nbsp;His current project is a book whose working title is "Eros and Isolation: Getting Away from Others in Nineteenth Century Literature." &nbsp;This book brings a range of social theory to bear on writers like Austen, C. Bront&euml;, Thackeray, Dickens and Eliot to figure out why it&rsquo;s so hard to break free, even for a little while, from the groups that surround and define us. Most generally, he is interested in the ways that various ideas of society clash and collaborate with one another.&nbsp; Before his day is done, he hopes to write a book about Henry James.</P>]]></d104>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px">Based on the first edition of <I>Hard Times, </I>this extensively annotated edition includes a lively introduction and helpful notes on cultural references, social and political mores, and literary allusioons.&nbsp; It includes a timeline, linking Dicken&#39;s life to significant historical events, as well as a guide to further reading.</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Handsomely produced and affordably priced, the Longman Cultural Editions series presents classic works in provocative and illuminating contexts&mdash;cultural, critical, and literary. Each Cultural Edition consists of the complete text of an important literary work, reliably edited, headed by an inviting introduction, and supplemented by helpful annotations; a table of dates to track its composition, publication, and public reception in relation to biographical, cultural, and historical events; and a guide for further inquiry and study. </P>]]></d104>
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<d102>04</d102>
<d104 textformat="02"><![CDATA[<br> <br> <b>List of Illustrations.</b> <br> <br> <br> <b>About Longman Cultural Editions.</b> <br> <br> <br> <b>About This Edition.</b> <br> <br> <br> <b>Introduction.</b> <br> <br> <br> <b>Table of Dates.</b> <br> <br> <br> <b>Hard Times, 1854.</b> <br> <p>    <b>CONTEXTS</b> </p> <div STYLE="margin-left: 0.2in;">    <b>Condition of England</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Benjamin Disraeli, from Sybil (1845).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Friedrich Engels, from <i>The Condition of the Working Class in 1844</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Thomas Carlyle, from <i>Past and Present </i>(1843).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Charles Dickens, &ldquo;On Strike&rdquo; (1854).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Thomas Hood, selected poetry.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Marx, Friedrich, and Engels, from <i>The Communist Manifesto</i>.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Political Economy and its Discontents.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Jeremy Bentham, from <i>An Introduction to the Principles of Morals and Legislation</i>, Chapter 1; Chapter 5.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">John Stuart Mill, &ldquo;Bentham;&rdquo; &ldquo;Coleridge&rdquo;.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Carlyle, from <i>Past and Present</i> and <i>Signs of the Times</i>.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Education.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">J.M. M'Culloch, from <i>A Series of Lessons</i> (1831).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">John Stuart Mill, from <i>Autobiography</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Charles Dickens, &ldquo;Matters Educational,&rdquo; from <i>Our Mutual Friend</i> (1865).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Herbert Spencer, &ldquo;What Knowledge is of Most Worth?&rdquo;(1859).</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Victorian Reactions to <i>Hard Times</i>.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Further Reading.</b> </div> <br>]]></d104>
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<b037>Shakespeare, William</b037>
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<b037>McEachern, Claire</b037>
<b039>Claire</b039>
<b040>McEachern</b040>
<b046>University of California, Los Angeles</b046>
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<d104 textformat="02"><![CDATA[&nbsp;Claire McEachern is Professor of English at the University of California, Los Angeles.&nbsp;&nbsp; Her other editions of Shakespeare include the Arden 3 edition of<U> Much Ado About Nothing</U> (2006);<U> 1&amp;2 Henry IV</U>,<U> Henry V</U>,<U> King John</U> and<U> All&#39;s Well that Ends Well</U> (Pelican, 2001).&nbsp; She is also the author or editor of the<U> Cambridge Companion to Shakespearean Tragedy</U> (CUP, 2004);<U> Religion and Culture in the English Renaissance</U> (CUP, 1997), and T<U>he Poetics of English Nationhood, 1590-1612</U> (CUP, 2006).   <DIV><BR></DIV>]]></d104>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px"><B>From Longman&#39;s </B><B><I>Cultural Editions </I></B><B>series, </B><B><I>King Lear</I> </B>, <B>edited by Claire McEachern, includes the play and contextual materials from the era of Shakespeare</B>.</P>  <P style="MARGIN: 0px">Handsomely produced and affordably priced, the Longman Cultural Editions series presents classic works in provocative and illuminating contexts&ndash;cultural, critical, and literary. Each Cultural Edition consists of the complete text of an important literary work, reliably edited, headed by an inviting introduction, and supplemented by helpful annotations; a table of dates to track its composition, publication, and public reception in relation to biographical, cultural, and historical events; and a guide for further inquiry and study. </P>]]></d104>
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<d104 textformat="02"><![CDATA[<I><B><I>List of Illustrations vii </I></B></I></B>  <P style="MARGIN: 0px"></P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>About Longman Cultural Editions ix </I></B></P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>About This Edition xi </I></B></P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>Introduction xiv </I></B></P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>Table of Dates xxii </I></B></P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B>King Lear 1 </B></P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>The Texts of </I>King Lear <I>134 </I></B></P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>Contexts 139 </I></B></P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>Shakespeare&rsquo;s Narrative and Dramatic Sources 141 </I></B></P>  <P style="MARGIN: 0px">RAPHAEL HOLINSHED, from &ldquo;The Second Booke of the Historie of England&rdquo; in <I>The First and Second Volumes of Chronicles </I>(1587) 144 </P>  <P style="MARGIN: 0px">From <I>The True Chronicle History of King Leir and his three daughters . . . As it hath beene divers and sundry times lately acted </I>(1605) 147 </P>  <P style="MARGIN: 0px">SIR PHILIP SIDNEY, from <I>The Countesse of Pembrokes Arcadia </I>(1590) 154 </P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>The State 158 </I></B></P>  <P style="MARGIN: 0px">From <I>An Exhortation Concerning Good Order and Obedience to Rulers and Magistrates </I>(1570) 160 </P>  <P style="MARGIN: 0px">CHARLES MERBURY, from <I>A Brief Discourse of Royal Monarchie, as of the Best Common Weale </I>(1581) 162 </P>  <P style="MARGIN: 0px">SIR THOMAS SMITH, from <I>De Republica Anglorum </I>(1583) 163<BR>JAMES VI OF SCOTLAND, from <I>The Trew Law of Fre</I>e <I>Monarchies </I>(1599) 164<BR>JAMES I OF ENGLAND, from <I>A Speech [. . .] delivere</I>d <I>in the Upper House of Parliament on Monday the 19 </I><I>March 1604, being the first day of the First Parliamen</I>t 167 </P>  <P style="MARGIN: 0px">THOMAS SACKVILLE AND THOMAS NORTON, from <I>Gorbuduc </I>(1562) 169 </P>  <P style="MARGIN: 0px">SAMUEL HARSNETT, from <I>A Declaration of Egregious Popish Impostures </I>(1603) 173 </P>  <DIV></DIV><BR>  <DIV section2="">  <P style="MARGIN: 0px"><B><I>The Household 176 </I></B></P>  <P style="MARGIN: 0px">MICHEL DE MONTAIGNE, from &ldquo;Of the Affection of Fathers for Their Children&rdquo; from <I>The Essays </I>(London, 1603) 179 </P>  <P style="MARGIN: 0px">WILLIAM GOUGE, from <I>Of Domesticall Duties </I>(1622) 184 </P>  <P style="MARGIN: 0px">JOSEPH SWETNAM, from <I>The Arraignment of Lewde, Idle</I>, <I>Forward, and Unconstant Women </I>(1615) 191<BR>JANE ANGER, from <I>Her Protection for Women </I>(1589) 193 </P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>Fools and Folly 194 </I></B></P>  <P style="MARGIN: 0px">ERASMUS, from <I>A Letter to Martin Dorp </I>(1515) 195 </P>  <P style="MARGIN: 0px">ROBERT ARMIN, from <I>Foole upon Foole </I>(1600) 196 </P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>&ldquo;Good&rdquo; and &ldquo;Evil&rdquo; 200 </I></B></P>  <P style="MARGIN: 0px">WILLIAM HARRISON, from &ldquo;Of the Ancient Religion Used in Albion&rdquo; (1587) 201 JEAN CALVIN, from <I>Institutes of the Christian Religion </I>(1536) 205 RICHARD HOOKER, from <I>Of the Laws of Ecclesiastical Polity </I>(1593) 209 THOMAS HOBBES, from <I>Leviathan </I>(1651) 215 ST. AUGUSTINE, from <I>The City of God, </I>Book XIX (c. 413&mdash;427) 218 </P></DIV>  <DIV section3="">  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>Early Readings and Rewritings 220&nbsp;</I></B>&nbsp;</P></DIV>  <DIV section4="">  <P style="MARGIN: 0px">NAHUM TATE, from <I>The History of King Lear </I>(1681) 222 </P>  <P style="MARGIN: 0px">LEWIS THEOBALD, from <I>The Censor </I>(1715) 230 </P>  <P style="MARGIN: 0px">SAMUEL JOHNSON, from &ldquo;Notes on King Lear&rdquo; in <I>The Plays of William Shakespeare </I>(London, 1765) 233 </P>  <P style="MARGIN: 0px">GEORGE COLMAN, from the Preface to <I>The History of Kin</I>g <I>Lear </I>(1768) 236<BR>CHARLES LAMB, from &ldquo;On the Tragedies of Shakespeare, considered with reference to their fitness for stage representation&rdquo; (1810) 238<BR>CHARLES LAMB, from &ldquo;King Lear&rdquo; in <I>Tales from Shakespeare </I>(1807) 241 </P>  <P style="MARGIN: 0px">WILLIAM HAZLITT, from <I>The Characters of Shakespear&rsquo;</I>s<I>Plays </I>(1818) 247<BR>SAMUEL TAYLOR COLERIDGE, from <I>Lectures on Shakespeare </I>(1818) 251 </P>  <P style="MARGIN: 0px">JOHN KEATS, &ldquo;On Sitting Down to Read King Lear Once Again&rdquo; (1818) 254</P></DIV>  <P style="MARGIN: 0px">A. C. BRADLEY, from <I>Shakespearean Tragedy: Lectures on </I>Hamlet, Othello, King Lear <I>and </I>Macbeth (1904) 255 </P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>Adaptations of </I>King Lear <I>259 </I></B></P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px"><B><I>Further Reading 261 </I></B></P>]]></d104>
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<d104 textformat="02"><![CDATA[<i>Arranged alphabetically by correction symbols.</i> <br> <br> <b>ab Abbreviations.</b> <br> <br> <br> <b>abst Abstract Expressions.</b> <br> <br> <br> <b>adj Adjective.</b> <br> <br> <br> <b>adv Adverb.</b> <br> <br> <br> <b>agr Agreement.</b> <br> <br> <br> <b>amb Ambiguity.</b> <br> <br> <br> <b>ant Antecedent (See pro).</b> <br> <br> <br> <b>ap, apos Apostrophe.</b> <br> <br> <br> <b>art Article.</b> <br> <br> <br> <b>awk Awkward.</b> <br> <br> <br> <b>br, / Brackets.</b> <br> <br> <br> <b>C Comma.</b> <br> <br> <br> <b>cap Capitalization.</b> <br> <br> <br> <b>case Case.</b> <br> <br> <br> <b>choppy Choppy Sentences.</b> <br> <br> <br> <b>cl Clarity (See vague).</b> <br> <br> <br> <b>clich&eacute; Clich&eacute; (See trite).</b> <br> <br> <br> <b>coh Coherence.</b> <br> <br> <br> <b>colon, :/ Colon.</b> <br> <br> <br> <b>comp Comparison.</b> <br> <br> <br> <b>coord Coordination (See sub).</b> <br> <br> <br> <b>CS Comma Splice.</b> <br> <br> <br> <b>D Diction.</b> <br> <br> <br> <b>dang Dangling Modifier.</b> <br> <br> <br> <b>dash Dash.</b> <br> <br> <br> <b>dev Development (See &para;).</b> <br> <br> <br> <b>doc Documentation.</b> <br> <br> <br> <b>Doc/app Appendix on Documentation Styles.</b> <br> <br> <br> <b>doc/bib Bibliography.</b> <br> <br> <br> <b>doc/cit In-Text Citations.</b> <br> <br> <br> <b>-ed error -Ed Error in -ed Endings.</b> <br> <br> <br> <b>ell, ... / Ellipsis.</b> <br> <br> <br> <b>em Emphasis.</b> <br> <br> <br> <b>ex Exactness (See D).</b> <br> <br> <br> <b>exag Exaggeration(See log/gen).</b> <br> <br> <br> <b>excl, !/ Exclamation Point.</b> <br> <br> <br> <b>frag Fragmentary Sentence.</b> <br> <br> <br> <b>fs Fused Sentence (See RO).</b> <br> <br> <br> <b>gen Generalization (See vague and log, 2).</b> <br> <br> <br> <b>hy Hyphen.</b> <br> <br> <br> <b>id Idiom.</b> <br> <br> <br> <b>inc Incomplete Construction.</b> <br> <br> <br> <b>ital Italics.</b> <br> <br> <br> <b>jarg Jargon.</b> <br> <br> <br> <b>lc Lowercase (See cap).</b> <br> <br> <br> <b>log Logic.</b> <br> <br> <br> <b>log/auth Appeal to Authority.</b> <br> <br> <br> <b>log/emot Appeal to Emotion.</b> <br> <br> <br> <b>log/gen Overgeneralization.</b> <br> <br> <br> <b>log/ns Non sequitur.</b> <br> <br> <br> <b>log/simp Oversimplification.</b> <br> <br> <br> <b>mm, mod Misplaced Modifier.</b> <br> <br> <br> <b>mood Mood (See shift).</b> <br> <br> <br> <b>ms Faulty Manuscript Form (See wp).</b> <br> <br> <br> <b>mx Mixed Construction.</b> <br> <br> <br> <b>No ,/ No Comma (See C, 6).</b> <br> <br> <br> <b>No &Agrave;, No Paragraph Should Start Here.</b> <br> <br> <br> <b>No P, No Punctuation Needed Here.</b> <br> <br> <br> <b>num Numbers.</b> <br> <br> <br> <b>om Omitted Word (See inc).</b> <br> <br> <br> <b>org Organization (See coh).</b> <br> <br> <br> <b>&Agrave; Paragraph.</b> <br> <br> <br> <b>P Punctuation (Obvious error or omission).</b> <br> <br> <br> <b>paral, // Parallelism.</b> <br> <br> <br> <b>paren, ( ) Parentheses.</b> <br> <br> <br> <b>pass Passive Voice.</b> <br> <br> <br> <b>per Period (See frag).</b> <br> <br> <br> <b>pf Period Fault (See frag).</b> <br> <br> <br> <b>plag Plagiarism (See doc).</b> <br> <br> <br> <b>poss Possessive Case (See case and ap, apos).</b> <br> <br> <br> <b>pro Pronoun Reference.</b> <br> <br> <br> <b>pv Point of View (See shift).</b> <br> <br> <br> <b>QM, ?/ Question Mark.</b> <br> <br> <br> <b>quot, "/" Quotation Marks.</b> <br> <br> <br> <b>red Redundant (See wdy).</b> <br> <br> <br> <b>ref Reference (See pro).</b> <br> <br> <br> <b>rep Repetition.</b> <br> <br> <br> <b>RO Run-On Sentence.</b> <br> <br> <br> <b>semi, ;/ Semicolon.</b> <br> <br> <br> <b>-s error -S Error in -S Endings.</b> <br> <br> <br> <b>sexist Sexist Expression.</b> <br> <br> <br> <b>shift Shift in Point of View.</b> <br> <br> <br> <b>slang Slang.</b> <br> <br> <br> <b>slash "See Overuse of Slash" sp Spelling (Consult Your Dictionary).</b> <br> <br> <br> <b>split Split Infinitive.</b> <br> <br> <br> <b>SS Sentence Structure (See awk).</b> <br> <br> <br> <b>stringy Stringy Sentences (See sub).</b> <br> <br> <br> <b>sub Subordination.</b> <br> <br> <br> <b>T Tense.</b> <br> <br> <br> <b>titles Titles (See quot, 3).</b> <br> <br> <br> <b>trans Transitions.</b> <br> <br> <br> <b>trite Triteness.</b> <br> <br> <br> <b>und Underlining (See ital).</b> <br> <br> <br> <b>unity Unity (See &para;).</b> <br> <br> <br> <b>us Usage (See d).</b> <br> <br> <br> <b>vague Vagueness.</b> <br> <br> <br> <b>var Variety in Sentence Patterns.</b> <br> <br> <br> <b>vb Verb Form (See T, 2).</b> <br> <br> <br> <b>voice Voice (See pass).</b> <br> <br> <br> <b>wc Word Choice (See D).</b> <br> <br> <br> <b>wdy Wordiness.</b> <br> <br> <br> <b>WP Word Processing.</b> <br> <br> <br> <b>ww Wrong Word.</b> <br> <br> <br> <b>Words Often Misused: A Glossary (See also D).</b> <br> <br> <br> <b>X Obvious Error.</b> <br> <br> <br> <b>Index.</b> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>1. Students In A New Century.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Past As Prologue.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tom Wolfe, "A Eulogy for the Twentieth Century-The Great Re-Learning."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Fareed Zakaria, "The Character of Our Campuses."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tertius Chandler, "Education-Less of It!"</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Linda Bowles, "Big Brother's Two-Minute Hate: Regulating Vice on Campus."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">John J. Miller, "What's In a (Team) Name?-The War Against Indian Symbols: Athletic Tradition and Social Sensitivity."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Matt Zoller Seitz, "Myth and Mayhem: How Terrorists Use Our Own Pop Culture Images Against Us."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Point/Counterpoint-Will The Internet Help Higher Education?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Bill Gates, "Linked Up for Learning."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Neil Postman, from The End of Education.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Making Connections</div> </p> <br> <br> <b>2. Contemporary Careers&mdash;The Workplace and You.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Past as Prologue.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Ben Franklin, Starting out in Business.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Robert E. Hall, College Pays.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Richard M. Freeland,"How Practical Experience Can Help Revitalize Our Tired Model of Higher Education."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Nadya Labi, No Time for Fun.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Natasha McDowell, Hooked on Research: Postgraduate Studies, While Not Always Well Paid, Can Be Addictive.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Jill-in-a-Box: Women in Top Management.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Cathy Young, The War on Sexual Harassment: Protection or Witch-hunt?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Marshall Burns, Automated Fabrication: Creating Ultracustomized Products.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Point/Counterpoint.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">"Pop," "Dining with Cannibals."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">"Lottee Absence," Sub-Middle Management Worksick Blues.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Making Connections.</div> </p> <br> <br> <b>3. Cybersociety-Life in the Information Age.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Past as Prologue.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Daniel Czitrom, from Media and the American Mind.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">William E. Halal and Jay Leibowitz, "Telelearning: The Multimedia Revolution in Education."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">John Perry Barlow, "Is There a There in Cyberspace?"</div> </p> <p>    <div STYLE="margin-left: 0.2in;">DeJuan Walker, "The Internet in Black and White."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sadie Plant, "Babes in the Net."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Heather Havrilesky, "Thinking Outside the Mailbox."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Neil Strauss, Foraging for Music in the Digital Jungle."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Robert S. Boynton, "Digital Age Cheats Us of Honor."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Point/Counterpoint&mdash;Children and Cyberporn.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Maureen Farsan, "Shouting Fire in a Virtual Theater."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Mike Godwin, Children, Child Abuse, and Cyberporn: A Primer for Clear Thinkers.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Making Connections.</div> </p> <br> <br> <b>4. Feminine Gender-Present Tense.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Past as Prologue.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Elizabeth Cady Stanton, "The Solitude of Self.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Maureen Dowd, "She's Not Really Ill.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Deborah Fallows, "Why Mothers Should Stay Home."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Joan K. Peters, "When Mothers Work: L Children Without Sacrificing Our Selves."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">bell hooks, "Feminism-It's a Black Thang."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Ivy McClure Stewart and Kae Kennedy, "Manhandled by Madison Avenue."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Silja Talvi, "The Case for Sex Workers."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Point/Counterpoint Point/Counterpoint&mdash;Who's to Blame for Date Rape?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Camille Paglia, "It's a Jungle Out There, So Get Used to It."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Susan Faludi, "Whose Hype?"</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Making Connections.</div> </p> <br> <br> <b>5. The Millennial Melting Pot&mdash;Race in 21st Century America.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Past as Prologue.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Maya Angelou, "The Arc of the Moral Universe Is Long, But It Bends Toward Justice."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Arthur Levine, "The Campus Divided and Divided Again."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">John Farmer, "Rethinking Racial Profiling."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Amy Tan, "Mother Tongue."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Ernesto Galarza, "Barrio Boy."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Jennifer Juarez Robles, "Tribes and Tribulations."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Jeff Jacoby, "Who's White? Who's Hispanic? Who Cares?"</div> </p> <p>    <div STYLE="margin-left: 0.2in;">William Raspberry, "It's Not Easy Being White."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Ryzsard Kapuscinski, "America as a Collage."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Point/Counterpoint&mdash;Reparations for Slavery?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Manning Marable, "An Idea Whose Time Has Come."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Walter Williams, "Does America Owe Reparations?"</div> </p> <br> <br> <b>6. The Environment of the Twenty-First Century.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Past as Prologue.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Rachel Carson, "Silent Spring: A Fable for Our Time."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Annie Dillard, "In the Jungle."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Ted Peters, "Not in My Backyard!-The Waste Disposal Crisis."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Andrew C. Palmer, "If Global Warming is Real, How Should Humankind Respond?"</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Norman Myers, "Reforest the Earth!"</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Trevor Corson, "How My Electric Car Saves the World."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Economist, "Sprawl is America's Great Strength."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Erik Baard, "The DNA Bomb: A Terrorist Weapon."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Point/Counterpoint--Should We Fear For the Future?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Bill McKibben, "Not So Fast."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Ronald Bailey, "Seven Doomsday Myths About The Environment."</div> </p> <br> <br> <b>7. Medicine&mdash;Human Life and Human Technology.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Past as Prologue.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Lewis Thomas, "1933 Medicine."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Jack Kevorkian, From Prescription Medicide.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">James A. Haught, "The Code of the Universe."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Natalie Angier, "Reading the Book of Life: Human DNA."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Peter Jaret, "Beyond Prozac."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Katha Pollitt, "When Is a Mother Not a Mother?"</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Pratima Cranse, "Fear and Loathing in Sex Education."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Point/Counterpoint--Human Cloning.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Virginia Postrel, "Fatalist Attraction."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Ellie Tesher, "Arrogance is Key to Human Cloning."</div> </p> <br> <br> <b>8. Popular Culture&mdash;Is Rock and Roll Really Here to Stay?</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Past as Prologue.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Frank Zappa "On 'Junk Food for the Soul': In Defense of Rock and Roll."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Anna Quindlin, "Raised on Rock-and-Roll."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Josh Ozersky, "The White Negro Revisited:White Rappers."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Patrick Goldstein, "Keeping Its Cool: MTV Stays Hip-and Powerful.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">David Pellicane, "My Eleven Minutes of Fame on The Open Mike."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Chuck D, "'Free' Music Can Free the Artist."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Fred Bronson, "A Selected Chronology of Twentieth-Century Musical Controversy originally "A Selected Chronology of Musical Controversy".</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Point/Counterpoint&mdash;Should We Control Content?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tipper Gore, "Curbing the Sexploitation Industry.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sam Brownback, "Free Speech: Lyrics, Liberty, and License."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Making Connections.</div> </p> <br> <br> <b>9. How Should We Respond to Terrorism?</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Past as Prologue.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Fred Brock, "The Crisis Through A Generational Lense."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Samuel Francis, "Why the Terrorists Attacked Us."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Christopher Hitchens, "Blaming Bin Ladin First."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Thomas Sowell, "Confrontation Between Islam and the West?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Linda Chavez, "Time to Rethink Our Immigration Policy."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">John Leo, "Cultural Leaders Turn a Blind Eye to Evil."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Point/Counterpoint&mdash;What Rights Should Terrorists Have?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Nat Hentoff, "Civil Liberties in Jeopardy."</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Michelle Mulkin, "No More Jury Trials for Terrorists."</div> </p>]]></d104>
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<title textcase="02">
<b202>01</b202>
<b203>Literature for Composition</b203>
<b029>Essays, Fiction, Poetry, and Drama, Compact Edition</b029>
</title>
<contributor>
<b034>1</b034>
<b035>A01</b035>
<b037>Barnet, Sylvan</b037>
<b039>Sylvan</b039>
<b040>Barnet</b040>
<b046>Tufts University</b046>
</contributor>
<contributor>
<b034>2</b034>
<b035>A01</b035>
<b037>Burto, William E.</b037>
<b039>William E.</b039>
<b040>Burto</b040>
<b046>University of Massachusetts - Lowell</b046>
</contributor>
<contributor>
<b034>3</b034>
<b035>A01</b035>
<b037>Cain, William E.</b037>
<b039>William E.</b039>
<b040>Cain</b040>
<b046>Wellesley College</b046>
</contributor>
<contributor>
<b034>4</b034>
<b035>A01</b035>
<b037>Stubbs, Marcia</b037>
<b039>Marcia</b039>
<b040>Stubbs</b040>
<b046>Wellesley College</b046>
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<b253>01</b253>
<b252>eng</b252>
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<b061>784</b061>
<b073>05</b073>
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<d102>01</d102>
<d104 textformat="02"><![CDATA[<P><B></B> <I>Literature for Composition, Compact Edition </I> offers renowned coverage of writing, argument, and critical thinking in a brief and accessible format. <B></B> While omitting the thematic anthology in the full version, the Compact Edition includes complete coverage of the writing process, three chapters devoted to argument, coverage of the literary elements and the study of visual images, and four case studies. A strong sampling of literary selections are integrated into every chapter. After preliminary chapters on getting ideas and thinking critically, readers encounter chapters devoted to the essay, fiction, drama, and poetry. Abundant material on research and the Internet provides up-to-date instruction on evaluating, using, and citing electronic sources.  A rich presentation of images supports an emphasis on visual learning and critical thinking.  <B></B> For those interested in the study and composition of literature.    </P>]]></d104>
</othertext>
<othertext>
<d102>04</d102>
<d104 textformat="02"><![CDATA[<br> <br> <b>Contents by Genre.</b> <br> <br> <br> <b>List of Illustrations.</b> <br> <br> <br> <b>Preface to Instructors.</b> <br> <br> <br> <b>Letter to Students.</b> <br> <p>    <b>I. GETTING STARTED: FROM RESPONSE TO ARGUMENT.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>1. The Writer as Reader.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Reading and Responding.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Ripe Figs,</i> Kate Chopin.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Reading as Re-Creation.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Making Reasonable Inferences.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Reading with Pen in Hand.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Recording Your First Responses.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Identifying Your Audience and Purpose.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Your Turn: A Writing Assignment.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Sample Essay by a Student: <i>Ripening</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Argument Analyzed.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Other Possibilities for Writing.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>2. The Reader as Writer.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Developing a Thesis, Drafting and Writing an Argument.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Pre-Writing: Getting Ideas.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Annotating the Text.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">More About Getting Ideas: A Second Story by Kate Chopin.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Story of an Hour, Kate Chopin.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Brainstorming for Ideas for Writing.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Focused Free Writing.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Listing.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Asking Questions.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Keeping a Journal.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Arguing with Yourself: Critical Thinking.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Arguing a Thesis.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Drafting Your Argument.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Sample Draft by a Student: <i>Ironies in an Hour.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Revising an Argument.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Outlining an Argument.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Soliciting Peer Review.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Final Version of the Sample Essay: <i>Ironies of Life in Kate Chopin's 'The Story of an Hour.'</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Brief Overview of the Final Version.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Writing with a Word Processor.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Writing with a Word Processor.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Your Turn: Two Additional Stories by Kate Chopin.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>D&eacute;sir&eacute;e's Baby.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Storm.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Note about Literary Evaluations.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>3. Reading Literature Closely: Explication.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">What Is Literature?</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Literature and Form.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Form and Meaning.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Span of Life,</i> Robert Frost.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Reading in Slow Motion.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Explication.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Sample Explication: <i>Harlem,</i> Langston Hughes.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Working Toward an Explication.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Journal Entries.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Sample Essay by a Student: <i>Langston Hughes' `Harlem.'</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Explication as Argument.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Drafting an Explication.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Why Write? Purpose and Audience.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Your Turn: Poems for Explication.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Sonnet 73 (&ldquo;That time of year thou mayst in me behold&rdquo;),</i> William Shakespeare.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>On My First Son,</i> Ben Jonson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>London,</i> William Blake.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Spellbound,</i> Emily Bront&euml;.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>I Ask My Mother to Sing,</i> Li-Young Lee.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>In Just-,</i> e.e. cummings.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Mus&eacute;e des Beaux Arts,</i> W. H. Auden.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>If We Die,</i> Claude McKay.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Ulysses,</i> Alfred, Lord Tennyson.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>4. Reading Literature Closely: Analysis.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Analyzing a Story from the Hebrew Bible: <i>The Judgment of Solomon.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Judgment of Solomon.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Analyzing the Story.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Other Possible Topics for Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Analyzing a Story from the New Testament: <i>The Parable of the Prodigal Son.</i> AHEADS = <i>The Parable of the Prodigal Son.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Comparison: An Analytic Tool.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Sample Essay by a Student: <i>Two New Women.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Looking at the Essay.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Revising a Comparison.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Evaluation in Explication and Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Choosing a Topic and Developing a Thesis in an Analytic Paper.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Analyzing a Story.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Secret Life of Walter Mitty,</i> James Thurber.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Working Toward a Thesis: Journal Entries.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Developing the Thesis: List Notes.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Sample Essay by a Student: Walter Mitty Is No Joke.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Developing an Argument.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Introductory Paragraphs.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Middle Paragraphs.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Concluding Paragraphs.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Coherence in Paragraphs: Using Transitions.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Revising Paragraphs.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Review: Writing an Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Note on Technical Terminology.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Lyric and a Sample Student Essay.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Song: Love Armed,</i> Aphra Behn.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Journal Entries.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Sample Essay by a Student: <i>The Double Nature of Love.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Editing a Draft.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Your Turn: Short Stories and Poems for Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Fall of the House of Usher,</i> Edgar Allan Poe.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>A Haunted House,</i> Virginia Woolf.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Necklace,</i> Guy de Maupassant.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Mine,</i> Raymond Carver.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Little Things,</i> Raymond Carver.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>El Tonto Del Barrio,</i> Jos&eacute; Armas.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Man to Send Rain Clouds,</i> Leslie Marmon Silko.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Filling Station,</i> Elizabeth Bishop.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Fish,</i> Elizabeth Bishop.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>One Art,</i> Elizabeth Bishop.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>5. Other Kinds of Writing About Literature.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Paraphrase.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">What Paraphrase Is.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Value of Paraphrase.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Literary Response.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Writing a Literary Response.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Story by a Student: <i>The Ticket (A Different View of `The Story of an Hour').</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Poem Based on a Poem.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Tyger,</i> William Blake.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>For Allen Ginsberg,</i> X. J. Kennedy.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Rewriting a Poem.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Annunciation,</i> William Butler Yeats.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Leda and the Swan,</i> [1924] William Butler Yeats.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Leda and the Swan,</i> [1933] William Butler Yeats.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Leda, Mona Van Duyn.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Parody.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>This Is Just to Say,</i> William Carlos Williams.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Reviewing a Dramatic Production.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Sample Review by a Student: An Effective Macbeth.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Review Reviewed.</div> </p> <p>    <b>II. UP CLOSE: THINKING CRITICALLY ABOUT LITERARY WORKS AND LITERARY FORMS.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>6. Critical Thinking: Asking Questions, Making Comparisons.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">What Is Critical Thinking?</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Asking and Answering Questions.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Comparing and Contrasting.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Analyzing and Evaluating Evidence.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Thinking Critically: Asking Questions and Comparing - E.E. Cummings <i>Buffalo Bill's,</i> e.e. cummings.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Three Versions of a Poem, and More,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>I Felt a Funeral, in My Brain,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>I Felt a Cleaving in My Mind,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Dust Behind I Strove to Join,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Imaginative Play: Thinking About Three Poems.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Wild Swans at Coole,</i> William Butler Yeats.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>We Real Cool,</i> Gwendolyn Brooks.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Wild Swans Skip School,</i> Andrew Hudgins.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Silver Swan,</i> Anonymous.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>7. Reading and Writing about Essays.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Types of Essays.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Essayist's Persona.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Tone.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Pre-writing.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Black Men and Public Space, Brent Staples.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Summarizing.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Writing Assignments.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Getting Ideas for Writing About Essays.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Your Turn: Essays for Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Hanging, George Orwell.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">The American Indian Wilderness, Louis Owens.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Rewards of Living a Solitary Life, May Sarton.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">September 11, 2001, John Updike.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>8. Reading and Writing About Fiction.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Stories True and False.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Samuel,</i> Grace Paley.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Elements of Fiction.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Plot and Character.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Foreshadowing.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Setting and Atmosphere.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Symbolism.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Narrative Point of View.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Style and Point of View.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Theme.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Cat in the Rain, Ernest Hemingway.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Student's Notes and Journal Entries on "Cat in the Rain".</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Asking Questions about a Story.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Sample Essay by a Student: "Hemingway's American Wife".</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Getting Ideas for Writing About Fiction.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Your Turn: Short Stories for Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Young Goodman Brown,</i> Nathaniel Hawthorne.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Misery,</i> Anton Chekhov.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Araby,</i> James Joyce.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Yellow Wallpaper,</i> Charlotte Perkins Gilman.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>One Friday Morning,</i> Langston Hughes.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>A Rose for Emily,</i> William Faulkner.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>A Worn Path,</i> Eudora Welty.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A &amp; P, John Updike.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Two, Gloria Naylor.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Lesson,</i> Toni Cade Bambara.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>In The Gloaming,</i> Alice Elliott Dark.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Courting a Monk,</i> Katherine Min.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>9. Thinking and Writing Critically About Short Stories: Two Case Studies.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Case Study: Writing About Ralph Ellison's <i>Battle Royal.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Battle Royal,</i> Ralph Ellison.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Atlanta Exposition Address,</i> Booker T. Washington.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Of Our Spiritual Strivings,</i> W. E. B. Du Bois.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Of Mr. Booker T. Washington and Others,</i> W. E. B. Du Bois.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>On Social Equality,</i> Gunnar Myrdal.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>On Negro Folklore,</i> Ralph Ellison.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Life in Oklahoma City,</i> Ralph Ellison.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Case Study: Writing About Flannery O'Connor.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>A Good Man Is Hard to Find,</i> Flannery O'Connor.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Revelation,</i> Flannery O'Connor.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Remarks from Essays and Letters.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">From <i>Some Aspects of the Grotesque in Southern Fiction</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">From <i>The Nature and Aim of Fiction</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">From <i>Writing Short Stories</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">On Interpreting <i>A Good Man Is Hard to Find</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>A Reasonable Use of the Unreasonable.</i>    </div> </p> <div STYLE="margin-left: 0.2in;">    <b>10. Reading and Writing About Drama.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Types of Plays.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Tragedy.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Comedy.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Elements of Drama.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Theme.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Plot.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Gestures.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Setting.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Characterization and Motivation.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Organizing an Analysis of a Character.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">First Draft.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Revised Draft.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Getting Ideas for Writing About Drama.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Thinking About a Filmed Version of a Play.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Writing About a Filmed Play.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Your Turn: Plays for Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Note on Greek Tragedy.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Thinking Critically About a Tragedy: Sophocles'<i>Antigone</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Antigone,</i> Sophocles.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Note on Elizabethan Theatre.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Note on Hamlet on Stage.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Tragedy Hamlet, The Prince of Denmark</i> William Shakespeare.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>A Doll's House,</i> Henrik Ibsen.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Trifles, Susan Glaspell.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Glass Menagerie,</i> Tennessee Williams.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Los Vendidos,</i> Luis Valdez.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>11. Reading and Writing About Poetry.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Elements of Poetry.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Speaker and the Poet.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>I'm Nobody! Who Are You?</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Wild Nights-Wild Nights,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Language of Poetry: Diction and Tone.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Writing About the Speaker.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Telephone,</i> Robert Frost.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Journal Entries.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Figurative Language.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Imagery and Symbolism.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Sick Rose,</i> William Blake.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Verbal Irony and Paradox.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Structure.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Upon Julia's Clothes,</i> Robert Herrick.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Sample Essay by a Student: <i>Herrick's Julia, Julia's Herrick.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">The Analysis Analyzed.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Love Is Not All,</i> Edna St. Vincent Millay.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>In an Artist's Studio,</i> Christina Rossetti.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Explication.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">An Example.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Balloon of the Mind,</i> William Butler Yeats.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Annotations and Journal Entries.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Sample Essay by a Student: <i>Explication of W.B. Yeats' `The Balloon of the Mind.'</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Explication.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Rhythm and Versification: A Glossary for Reference.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Meter.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Patterns of Sound.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Stanzaic Patterns.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Blank Verse and Free Verse.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Getting Ideas for Writing About Poetry.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Your Turn: Poems About People, Places, and Things.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">People.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>To His Coy Mistress,</i> Andrew Marvell.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>My Last Duchess,</i> Robert Browning.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Vanishing Red,</i> Robert Frost.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>anyone lived in a pretty how town,</i> e.e cummings.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Those Winter Sundays,</i> Robert Hayden.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>To the Lady,</i> Mitsuye Yamada.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Daddy,</i> Sylvia Plath.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">De Titanic, Huddie Ledbetter.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Indian Boarding School: The Runaways,</i> Louise Erdrich.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>For Malcolm, A Year After Places,</i> Etheridge Knight.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Daystar,</i> Rita Dove.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Places.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>An Old Pond,</i> Basho.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Sailing to Byzantium,</i> William Butler Yeats.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota,</i> James Wright.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Facing It,</i> Yusef Komunyakaa.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>A Far Cry from Africa,</i> Derek Walcott.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Deep River, Anonymous.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>I Saw in Louisiana a Live-Oak Growing,</i> Walt Whitman.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Things.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Red Wheelbarrow,</i> William Carlos Williams.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>A Noiseless Patient Spider,</i> Walt Whitman.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Hawk,</i> Mary Oliver.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>12. Thinking Critically About Poetry.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Case Study: Writing About Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>I Heard a Fly Buzz&mdash;When I Died&mdash;,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Soul Selects Her Own Society,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>These Are the Days When Birds Come Back,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Papa Above!</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>There's a certain Slant of Light,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>This World Is Not Conclusion,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>I got so I could hear his name&mdash;,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Because I could not stop for Death,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Those-dying, then,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Apparently with no surprise,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Tell All the Truth but tell it slant,</i> Emily Dickinson.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>A Sample Essay by a Student: Religion and Religious Imagery in Emily Dickinson.</i>    </div> </p> <p>    <b>III. STANDING BACK: ARGUING INTERPRETATIONS AND EVALUATIONS, AND UNDERSTANDING CRITICAL STRATEGIES.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>13. Arguing an Interpretation.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Interpretation and Meaning.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Is the Author's Intention a Guide to Meaning?</div> </p> <p>    <div STYLE="margin-left: 0.4in;">What Characterizes a Sound Interpretation?</div> </p> <p>    <div STYLE="margin-left: 0.4in;">An Example: Interpreting Pat Mora's <i>Immigrants.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Immigrants,</i> Pat Mora.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Thinking Critically About Responses to Literature.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Two Interpretations.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Stopping by Woods on a Snowy Evening,</i> Robert Frost.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Sample Essay by a Student: Stopping by Woods&mdash;and Going On.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Sample Essay by a Student: `Stopping by Woods on a Snowy Evening' as a Short Story.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Your Turn: Poems for Interpretation.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>When I Consider How My Light Is Spent,</i> John Milton.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Mending Wall,</i> Robert Frost.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>A Slumber Did My Spirit Seal,</i> William Wordsworth.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Love Song of J. Alfred Prufrock,</i> T. S. Eliot.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>14. Arguing an Evaluation.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Criticism and Evaluation.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Are There Critical Standards?</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Morality and Truth as Standards.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Other Ways of Thinking About Truth and Realism.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Your Turn: Poems and Stories for Evaluation.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Dover Beach,</i> Matthew Arnold.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Dover Bitch,</i> Anthony Hecht.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Design,</i> Robert Frost.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>The Man That Got Away,</i> Ira Gershwin.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Homosexuality,</i> Frank O'Hara.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>An Occurrence at Owl Creek Bridge,</i> Ambrose Bierce.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Miss Brill,</i> Katherine Mansfield.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>15. A Case Study: Writing About Barbie and Gender.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">       <i>Beauty and the Barbie Doll,</i> Anonymous.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Barbie Curtsies to Political Correctness,</i> Kevin Leary.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Barbie as Boy Toy,</i> Meg Wolitzer.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Sex and the Single Doll,</i> Yona Zeldis McDonough.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Barbie Doll,</i> Marge Piercy.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">       <i>Buddhist Barbie,</i> Denise Duhamel.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Appendix A: Remarks About Manuscript Form.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Basic Manuscript Form.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Corrections in the Final Copy.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Quotations and Quotation Marks.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Quotation Marks or Underlining?</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Note on the Possessive.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Appendix B. Writing a Research Paper.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">What Research Is Not, and What Research Is.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Primary and Secondary Materials.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Locating Materials: First Steps.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Other Bibliographic Aids.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Taking Notes.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Two Mechanical Aids: The Photocopier and the Word Processor.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">A Guide to Note-Taking.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Drafting the Paper.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Focus on Primary Sources.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Documentation.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">What to Document: Avoiding Plagiarism.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">How to Document: Footnotes, Internal Parenthetical Citations, and a List of Works Cited (MLA Format).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Researching a Literary-Historical Paper.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Evaluating Sources on the World Wide Web.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Checklist: Citing Sources on the World Wide Web.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Literary Credits.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Photo Credits.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Index of Authors, Titles, and First Lines of Poems.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Index of Terms.</b> </div> <br>]]></d104>
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<b046>Le Moyne College</b046>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px" soNormal>Edward H. Judge and John W. Langdon are professors of history at Le Moyne College, where they have&nbsp;team-taught for&nbsp;the last sixteen years&nbsp;a two-semester world history course for first-year students and courses on modern global history for upper-level students. Ed earned his doctorate at the University of Michigan and spent a year in the USSR as an IREX scholar. John earned his doctorate at Syracuse University&#39;s Maxwell School of Public Affairs, where he was a National Defense Fellow. Ed has taught at Le Moyne since 1978, was the College&#39;s Scholar of the Year in 1994, and was awarded the J. C. Georg Endowed Professorship in 1997. John has taught at Le Moyne since 1971, directed its Honors Program, and was awarded the O&#39;Connell Distinguished Teaching Professorship in 1996. Each has been named the College&#39;s Teacher of the Year and has chaired its Department of History. They have written or edited eight books: three in collaboration with each other, three as individuals, and two in collaboration with other scholars. They love teaching world history, especially to students of diverse backgrounds and interests, and they derive great joy from infecting their students with a passion and enthusiasm for the study of the human past. </P>]]></d104>
</othertext>
<othertext>
<d102>18</d102>
<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px"><B><I>Connections: A World History </I></B>focuses on the connections within and between societies, combining a uniquely comprehensive and consistent map program with a strong pedagogical support and a narrative that students will actually read. </P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Written by historians with years of experience teaching world history, <I>Connections </I>presents both a global and regional perspective, so students can appreciate both the diversity and connectedness of human societies.&nbsp; Concise chapters and a clear engaging narrative make the text accessible to a wide range of students.&nbsp; Because students struggle with geography, the book includes significantly more maps than other texts&ndash;in most cases twice as many&ndash;and great care was taken to make them consistent and exceptionally clear.&nbsp; In each caption, the authors have provided guidance for reading the map and for connecting it to the surrounding text.&nbsp; To further help students succeed, marginal notes highlight major connections for easy review, and pronunciation guides appear after difficult names.&nbsp; Compelling vignettes introduce the themes of each chapter, concise excerpts from relevant primary sources allow students to hear the voices of the past, and an extensive chapter review section is designed to help students test themselves and succeed in this difficult course.&nbsp; </P>]]></d104>
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<d102>04</d102>
<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px">Chapter 1&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Emergence of Human Societies, to 3000 B.C.E.</P>  <P style="MARGIN: 0px">Chapter 2 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Early Societies of West Asia and North Africa, to 500 B.C.E.</P>  <P style="MARGIN: 0px">Chapter 3 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Societies and Beliefs of Early India, to 300 C.E.</P>  <P style="MARGIN: 0px">Chapter 4 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Origins of the Chinese Empire, to 220 C.E.</P>  <P style="MARGIN: 0px">Chapter 5 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Early American Societies:&nbsp; Connection and Isolation, 20,000 B.C.E.-1500 C.E.</P>  <P style="MARGIN: 0px">Chapter 6 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Persian Connection:&nbsp; Its Impact and Influences, 2000 B-C.E-637 C.E.</P>  <P style="MARGIN: 0px">Chapter 7 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Classical Greece and Its Conflict with Asia, 2000-30 B.C.E.</P>  <P style="MARGIN: 0px">Chapter 8 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Romans Connect the Mediterranean World, 753 B.C.E-284 C.E.</P>  <P style="MARGIN: 0px">Chapter 9 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Germanic Societies and the Emergence of the Christian West, 100-1100 C.E.</P>  <P style="MARGIN: 0px">Chapter 10 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Byzantine World, 284-1240</P>  <P style="MARGIN: 0px">Chapter 11 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Origins and Expansion of Islam, 100-750</P>  <P style="MARGIN: 0px">Chapter 12 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Religion and Diversity in the Transformation of Southern Asia, 711-1400</P>  <P style="MARGIN: 0px">Chapter 13 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; African Societies and the Impact of Islam, 1500 B.C.E &mdash; 1500 C.E.</P>  <P style="MARGIN: 0px">Chapter 14 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Evolution and Expansion of East Asian Societies, 220-1240 C.E.</P>  <P style="MARGIN: 0px">Chapter 15 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Nomadic Conquests and Eurasian Connections, 100-1400</P>  <P style="MARGIN: 0px">Chapter 16 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Resurgence of the Christian West 1050-1530 </P>  <P style="MARGIN: 0px">Chapter 17 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Culture and Conflict in the Great Islamic Empires, 1071-1707 </P>  <P style="MARGIN: 0px">Chapter 18 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Aztec and Inca Empires, 1300-1550</P>  <P style="MARGIN: 0px">Chapter 19 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Global Exploration and Global Empires, 1400-1700</P>  <P style="MARGIN: 0px">Chapter 20 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The West in an Age of Religious Conflict and Global Expansion,&nbsp;1500-1650</P>  <P style="MARGIN: 0px">Chapter 21 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Search for Stability in East Asia, 1300-1800</P>  <P style="MARGIN: 0px">Chapter 22 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Southern Asia and the Global Shift in Wealth and Power, 1500-1800</P>  <P style="MARGIN: 0px">Chapter 23 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Africa and the Atlantic Slave Trade, 1400-1800 </P>  <P style="MARGIN: 0px">Chapter 24 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Absolutism and Enlightenment in Europe, 1600-1763</P>  <P style="MARGIN: 0px">Chapter 25 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Russia&rsquo;s Eurasian Empire: Convergence of East and West, 1300-1800</P>  <P style="MARGIN: 0px">Chapter 26 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Atlantic Revolutions, 1750-1830</P>  <P style="MARGIN: 0px">Chapter 27 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Industry, Ideology, and their Global Impact, 1700-1914</P>  <P style="MARGIN: 0px">Chapter 28 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Nation-Building in North and South America, 1789-1914</P>  <P style="MARGIN: 0px">Chapter 29 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Confrontation and Adaptation in Eastern and Southern Asia, 1770-1914</P>  <P style="MARGIN: 0px">Chapter 30 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Transformation of West Asia and Africa, 1800-1914</P>  <P style="MARGIN: 0px">Chapter 31 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Great War and the Russian Revolutions, 1890-1918</P>  <P style="MARGIN: 0px">Chapter 32 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Anxieties and Ideologies of the Interwar Years, 1918-1939</P>  <P style="MARGIN: 0px">Chapter 33 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; World War II and the Holocaust, 1933-1945</P>  <P style="MARGIN: 0px">Chapter 34 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; East Versus West: Cold War and It&rsquo;s Global Impact, 1945-Present</P>  <P style="MARGIN: 0px">Chapter 35 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Upheavals of Asia, 1945-Present</P>  <P style="MARGIN: 0px">Chapter 36 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Reform and Revolution in Latin America, 1914-2008</P>  <P style="MARGIN: 0px">Chapter 37 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Post-Colonial Challenges in Africa and the Middle East, 1939-Present</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Glossary</P>  <P style="MARGIN: 0px">&nbsp;</P>]]></d104>
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<d102>08</d102>
<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px">"History texts are not written for historians; they are written for students.&nbsp; Sometimes authors lose sight of this, but these authors have not."</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;--Connie Brand, Meridian Community College</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px" text-justify="auto" text-align="justify">&ldquo;This text very carefully demonstrates the complex interactions between civilizations while emphasizing the strengths, weaknesses, and challenges of individual civilizations.&nbsp; I&rsquo;ve never encountered a text that blends these two themes more effectively.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Robert McCormick, University of South Carolina, Spartanburg</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-justify="auto" text-align="justify">&ldquo;One great strength of showing connections is that it helps make history come alive for students.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ David John Marley, Vanguard University</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-justify="auto" text-align="justify">&ldquo;I thought the connections were very well done.&nbsp; It was easy to read and contain all of the relevant information without being dull.&nbsp; The maps were very helpful as were the important facts off to the side.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Tracey Provost, Middle Georgia College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-justify="auto" text-align="justify">&ldquo;The text covers well the interaction of civilizations and gives the students the sense that events and civilizations do not exist in a vacuum.&nbsp; This is precisely the approach that I use in my classes.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Gregort Havrilcsak, University of Michigan, Flint</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">&ldquo;I found the broader connections presented here to be accurate, easily accessible, and meaningful for students.&nbsp; This is one of the strong points of the text.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Anthony Gulig, University of Wisconsin, Whitewater"</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px">The progression of maps within each chapter is incredibly well thought out and integrated.&nbsp; The maps are beautiful and carefully done, and the number of maps included in each chapter is far more than in a typical world history textbook."</P>  <P style="MARGIN: 0px">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;---Linda Bregstein Scherr, Mercer County Community College</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px" text-justify="auto" text-align="justify">&ldquo;The maps are vivid.&nbsp; The show connections, trace routes in a direct contextual line with the text.&nbsp; They serve as an ancillary for the text, not as a distraction.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ John H. Frederick, South Louisiana Community College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-justify="auto" text-align="justify">&ldquo;I think this book would be effective with a range of my students, because of its clear writing and nice narrative flow.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ~ Jonathan Ablard, Ithaca College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-justify="auto" text-align="justify">&ldquo;The best part of the book is how well it flows.&nbsp; Sometimes I feel like I am reading a story book rather than a textbook, but I am still learning history&hellip;I think the end-of-chapter material puts everything into perspective.&nbsp; It basically sums some lose ends up that completes your knowledge of history.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Katrina Slaski, student at Le Moyne College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-justify="auto" text-align="justify">&ldquo;I like that the history textbook has many maps and very specific information on all topics. This textbook is easier to follow [than other textbooks].&nbsp; I like that maps are easy to read and contain details on the side.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Lejor Custic, student at Le Moyne College</P>]]></d104>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px" soNormal>Edward H. Judge and John W. Langdon are professors of history at Le Moyne College, where they have&nbsp;team-taught for&nbsp;the last sixteen years&nbsp;a two-semester world history course for first-year students and courses on modern global history for upper-level students. Ed earned his doctorate at the University of Michigan and spent a year in the USSR as an IREX scholar. John earned his doctorate at Syracuse University&#39;s Maxwell School of Public Affairs, where he was a National Defense Fellow. Ed has taught at Le Moyne since 1978, was the College&#39;s Scholar of the Year in 1994, and was awarded the J. C. Georg Endowed Professorship in 1997. John has taught at Le Moyne since 1971, directed its Honors Program, and was awarded the O&#39;Connell Distinguished Teaching Professorship in 1996. Each has been named the College&#39;s Teacher of the Year and has chaired its Department of History. They have written or edited eight books: three in collaboration with each other, three as individuals, and two in collaboration with other scholars. They love teaching world history, especially to students of diverse backgrounds and interests, and they derive great joy from infecting their students with a passion and enthusiasm for the study of the human past. </P>]]></d104>
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<d102>18</d102>
<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px"><B><I>Connections: A World History </I></B>focuses on the connections within and between societies, combining a uniquely comprehensive and consistent map program with a strong pedagogical support and a narrative that students will actually read. </P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Written by historians with years of experience teaching world history, <I>Connections </I>presents both a global and regional perspective, so students can appreciate both the diversity and connectedness of human societies.&nbsp; Concise chapters and a clear engaging narrative make the text accessible to a wide range of students.&nbsp; Because students struggle with geography, the book includes significantly more maps than other texts&mdash;in most cases twice as many&mdash;and great care was taken to make them consistent and exceptionally clear.&nbsp; In each caption, the authors have provided guidance for reading the map and for connecting it to the surrounding text.&nbsp; To further help students succeed, marginal notes highlight major connections for easy review, and pronunciation guides appear after difficult names.&nbsp; Compelling vignettes introduce the themes of each chapter, concise excerpts from relevant primary sources allow students to hear the voices of the past, and an extensive chapter review section is designed to help students test themselves and succeed in this difficult course.&nbsp; </P>  <DIV></DIV>]]></d104>
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<othertext>
<d102>04</d102>
<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px">Chapter 1&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Emergence of Human Societies, to 3000 B.C.E.</P>  <P style="MARGIN: 0px">Chapter 2 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Early Societies of West Asia and North Africa, to 500 B.C.E.</P>  <P style="MARGIN: 0px">Chapter 3 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Societies and Beliefs of Early India, to 300 C.E.</P>  <P style="MARGIN: 0px">Chapter 4 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Origins of the Chinese Empire, to 220 C.E.</P>  <P style="MARGIN: 0px">Chapter 5 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Early American Societies:&nbsp; Connection and Isolation, 20,000 B.C.E.-1500 C.E.</P>  <P style="MARGIN: 0px">Chapter 6 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Persian Connection:&nbsp; Its Impact and Influences, 2000 B-C.E-637 C.E.</P>  <P style="MARGIN: 0px">Chapter 7 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Classical Greece and Its Conflict with Asia, 2000-30 B.C.E.</P>  <P style="MARGIN: 0px">Chapter 8 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Romans Connect the Mediterranean World, 753 B.C.E-284 C.E.</P>  <P style="MARGIN: 0px">Chapter 9 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Germanic Societies and the Emergence of the Christian West, 100-1100 C.E.</P>  <P style="MARGIN: 0px">Chapter 10 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Byzantine World, 284-1240</P>  <P style="MARGIN: 0px">Chapter 11 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Origins and Expansion of Islam, 100-750</P>  <P style="MARGIN: 0px">Chapter 12 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Religion and Diversity in the Transformation of Southern Asia, 711-1400</P>  <P style="MARGIN: 0px">Chapter 13 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; African Societies and the Impact of Islam, 1500 B.C.E &mdash; 1500 C.E.</P>  <P style="MARGIN: 0px">Chapter 14 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Evolution and Expansion of East Asian Societies, 220-1240 C.E.</P>  <P style="MARGIN: 0px">Chapter 15 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Nomadic Conquests and Eurasian Connections, 100-1400</P>  <P style="MARGIN: 0px">Chapter 16 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Resurgence of the Christian West 1050-1530 </P>  <P style="MARGIN: 0px">Chapter 17 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Culture and Conflict in the Great Islamic Empires, 1071-1707 </P>  <P style="MARGIN: 0px">Chapter 18 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Aztec and Inca Empires, 1300-1550</P>  <P style="MARGIN: 0px">Chapter 19 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Global Exploration and Global Empires, 1400-1700</P>  <P style="MARGIN: 0px">Chapter 20 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The West in an Age of Religious Conflict and Global Expansion, 1500-1650</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Glossary</P>  <P style="MARGIN: 0px">&nbsp;</P>]]></d104>
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<d102>08</d102>
<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px">"History texts are not written for historians; they are written for students.&nbsp; Sometimes authors lose sight of this, but these authors have not."</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;~ Connie Brand, Meridian Community College</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;This text very carefully demonstrates the complex interactions between civilizations while emphasizing the strengths, weaknesses, and challenges of individual civilizations.&nbsp; I&rsquo;ve never encountered a text that blends these two themes more effectively.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Robert McCormick, University of South Carolina, Spartanburg</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;One great strength of showing connections is that it helps make history come alive for students.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ David John Marley, Vanguard University</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;I thought the connections were very well done.&nbsp; It was easy to read and contain all of the relevant information without being dull.&nbsp; The maps were very helpful as were the important facts off to the side.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Tracey Provost, Middle Georgia College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;The text covers well the interaction of civilizations and gives the students the sense that events and civilizations do not exist in a vacuum.&nbsp; This is precisely the approach that I use in my classes.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Gregort Havrilcsak, University of Michigan, Flint</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">&ldquo;I found the broader connections presented here to be accurate, easily accessible, and meaningful for students.&nbsp; This is one of the strong points of the text.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Anthony Gulig, University of Wisconsin, Whitewater"</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px">The progression of maps within each chapter is incredibly well thought out and integrated.&nbsp; The maps are beautiful and carefully done, and the number of maps included in each chapter is far more than in a typical world history textbook."</P>  <P style="MARGIN: 0px">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;---Linda Bregstein Scherr, Mercer County Community College</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;The maps are vivid.&nbsp; The show connections, trace routes in a direct contextual line with the text.&nbsp; They serve as an ancillary for the text, not as a distraction.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ John H. Frederick, South Louisiana Community College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;I think this book would be effective with a range of my students, because of its clear writing and nice narrative flow.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ~ Jonathan Ablard, Ithaca College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;The best part of the book is how well it flows.&nbsp; Sometimes I feel like I am reading a story book rather than a textbook, but I am still learning history&hellip;I think the end-of-chapter material puts everything into perspective.&nbsp; It basically sums some lose ends up that completes your knowledge of history.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Katrina Slaski, student at Le Moyne College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;I like that the history textbook has many maps and very specific information on all topics. This textbook is easier to follow [than other textbooks].&nbsp; I like that maps are easy to read and contain details on the side.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Lejor Custic, student at Le Moyne College</P>]]></d104>
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<d104 textformat="02"><![CDATA[Edward H. Judge and John W. Langdon are professors of history at Le Moyne College, where they have&nbsp;team-taught for&nbsp;the last sixteen years&nbsp;a two-semester world history course for first-year students and courses on modern global history for upper-level students. Ed earned his doctorate at the University of Michigan and spent a year in the USSR as an IREX scholar. John earned his doctorate at Syracuse University&#39;s Maxwell School of Public Affairs, where he was a National Defense Fellow. Ed has taught at Le Moyne since 1978, was the College&#39;s Scholar of the Year in 1994, and was awarded the J. C. Georg Endowed Professorship in 1997. John has taught at Le Moyne since 1971, directed its Honors Program, and was awarded the O&#39;Connell Distinguished Teaching Professorship in 1996. Each has been named the College&#39;s Teacher of the Year and has chaired its Department of History. They have written or edited eight books: three in collaboration with each other, three as individuals, and two in collaboration with other scholars. They love teaching world history, especially to students of diverse backgrounds and interests, and they derive great joy from infecting their students with a passion and enthusiasm for the study of the human past.]]></d104>
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<d102>18</d102>
<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px"><B><I>Connections: A World History </I></B>focuses on the connections within and between societies, combining a uniquely comprehensive and consistent map program with a strong pedagogical support and a narrative that students will actually read. </P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Written by historians with years of experience teaching world history, <I>Connections </I>presents both a global and regional perspective, so students can appreciate both the diversity and connectedness of human societies.&nbsp; Concise chapters and a clear engaging narrative make the text accessible to a wide range of students.&nbsp; Because students struggle with geography, the book includes significantly more maps than other texts&mdash;in most cases twice as many&mdash;and great care was taken to make them consistent and exceptionally clear.&nbsp; In each caption, the authors have provided guidance for reading the map and for connecting it to the surrounding text.&nbsp; To further help students succeed, marginal notes highlight major connections for easy review, and pronunciation guides appear after difficult names.&nbsp; Compelling vignettes introduce the themes of each chapter, concise excerpts from relevant primary sources allow students to hear the voices of the past, and an extensive chapter review section is designed to help students test themselves and succeed in this difficult course.&nbsp; </P>  <DIV></DIV>]]></d104>
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<d102>04</d102>
<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px">Chapter 19 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Global Exploration and Global Empires, 1400-1700</P>  <P style="MARGIN: 0px">Chapter 20 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The West in an Age of Religious Conflict and Global Expansion, 1500-1650</P>  <P style="MARGIN: 0px">Chapter 21 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Search for Stability in East Asia, 1300-1800</P>  <P style="MARGIN: 0px">Chapter 22 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Southern Asia and the Global Shift in Wealth and Power, 1500-1800</P>  <P style="MARGIN: 0px">Chapter 23 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Africa and the Atlantic Slave Trade, 1400-1800 </P>  <P style="MARGIN: 0px">Chapter 24 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Absolutism and Enlightenment in Europe, 1600-1763</P>  <P style="MARGIN: 0px">Chapter 25 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Russia&rsquo;s Eurasian Empire: Convergence of East and West, 1300-1800</P>  <P style="MARGIN: 0px">Chapter 26 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Atlantic Revolutions, 1750-1830</P>  <P style="MARGIN: 0px">Chapter 27 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Industry, Ideology, and their Global Impact, 1700-1914</P>  <P style="MARGIN: 0px">Chapter 28 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Nation-Building in North and South America, 1789-1914</P>  <P style="MARGIN: 0px">Chapter 29 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Confrontation and Adaptation in Eastern and Southern Asia, 1770-1914</P>  <P style="MARGIN: 0px">Chapter 30 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Transformation of West Asia and Africa, 1800-1914</P>  <P style="MARGIN: 0px">Chapter 31 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Great War and the Russian Revolutions, 1890-1918</P>  <P style="MARGIN: 0px">Chapter 32 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Anxieties and Ideologies of the Interwar Years, 1918-1939</P>  <P style="MARGIN: 0px">Chapter 33 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; World War II and the Holocaust, 1933-1945</P>  <P style="MARGIN: 0px">Chapter 34 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; East Versus West: Cold War and It&rsquo;s Global Impact, 1945-Present</P>  <P style="MARGIN: 0px">Chapter 35 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Upheavals of Asia, 1945-Present</P>  <P style="MARGIN: 0px">Chapter 36 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Reform and Revolution in Latin America, 1914-2008</P>  <P style="MARGIN: 0px">Chapter 37 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Post-Colonial Challenges in Africa and the Middle East, 1939-Present</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">Glossary</P>  <P style="MARGIN: 0px">&nbsp;</P>]]></d104>
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<d102>08</d102>
<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px">"History texts are not written for historians; they are written for students.&nbsp; Sometimes authors lose sight of this, but these authors have not."</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;--Connie Brand, Meridian Community College</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;This text very carefully demonstrates the complex interactions between civilizations while emphasizing the strengths, weaknesses, and challenges of individual civilizations.&nbsp; I&rsquo;ve never encountered a text that blends these two themes more effectively.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Robert McCormick, University of South Carolina, Spartanburg</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;One great strength of showing connections is that it helps make history come alive for students.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ David John Marley, Vanguard University</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;I thought the connections were very well done.&nbsp; It was easy to read and contain all of the relevant information without being dull.&nbsp; The maps were very helpful as were the important facts off to the side.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Tracey Provost, Middle Georgia College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;The text covers well the interaction of civilizations and gives the students the sense that events and civilizations do not exist in a vacuum.&nbsp; This is precisely the approach that I use in my classes.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Gregort Havrilcsak, University of Michigan, Flint</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px">&ldquo;I found the broader connections presented here to be accurate, easily accessible, and meaningful for students.&nbsp; This is one of the strong points of the text.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Anthony Gulig, University of Wisconsin, Whitewater"</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px">The progression of maps within each chapter is incredibly well thought out and integrated.&nbsp; The maps are beautiful and carefully done, and the number of maps included in each chapter is far more than in a typical world history textbook."</P>  <P style="MARGIN: 0px">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;---Linda Bregstein Scherr, Mercer County Community College</P>  <P style="MARGIN: 0px">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;The maps are vivid.&nbsp; The show connections, trace routes in a direct contextual line with the text.&nbsp; They serve as an ancillary for the text, not as a distraction.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ John H. Frederick, South Louisiana Community College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;I think this book would be effective with a range of my students, because of its clear writing and nice narrative flow.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ~ Jonathan Ablard, Ithaca College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;The best part of the book is how well it flows.&nbsp; Sometimes I feel like I am reading a story book rather than a textbook, but I am still learning history&hellip;I think the end-of-chapter material puts everything into perspective.&nbsp; It basically sums some lose ends up that completes your knowledge of history.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Katrina Slaski, student at Le Moyne College</P>  <P style="MARGIN: 0px" align=right text-align="right">&nbsp;</P>  <P style="MARGIN: 0px" text-align="justify" text-justify="auto">&ldquo;I like that the history textbook has many maps and very specific information on all topics. This textbook is easier to follow [than other textbooks].&nbsp; I like that maps are easy to read and contain details on the side.&rdquo;</P>  <P style="MARGIN: 0px" align=right text-align="right">~ Lejor Custic, student at Le Moyne College</P>]]></d104>
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<d104 textformat="02"><![CDATA[<P><B> Ideal for beginning writers, this guide explains how to use source material&#8212;from the library, personal experience, the Internet, and field research&#8212;to form the basis of a composition.</B>    <B></B> From the author of the definitive research paper guide, this new writing text teaches students how to find, evaluate, and incorporate valid source material, examining the differences between good sources and those that offer insufficient or suspect evidence.  Helping students frame their thesis, it offers methods for finding an argument and avoiding common fallacies.  In addition to explaining how and where to discover valuable source material, the text demonstrates techniques for critical reading and for choosing the best sources for quotation and paraphrase.  Numerous readings, including two complete student sample papers, appear throughout the text in various stages of completion, demonstrating the techniques covered in the lessons.  The performance stage is covered in depth&#8212;framing the text, documenting it accurately, and polishing it for the reader.      <B></B>  Individuals interested in learning more about writing a research paper.               Lester Sources SMP    Page 1 of 1    </P>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>1. Why We Compose from Sources.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Using Personal Experience as a Source for Writing: Zoya's Story.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prologue to Zoya's Story.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Researching and Composing from Sources: Analysis and Interpretation.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">William Speed Weed, &ldquo;Circles of Life.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing to Combine Personal Experiences and Outside Sources.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Latoya Waller, &ldquo;Freedom of Speech on Campus.&rdquo;</div> </p> <br> <br> <b>2. Finding and Choosing Your Sources.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Searching the Library and Its Sources.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Searching the Internet and Its Sources.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Collecting Data Beyond the Library and the Internet.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Interview by Peggy Langstaff, &ldquo;When the West Was New: Annie Dillard's `The Living'.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Interview of Alice Walker by Ellen Kanner, &ldquo;The Same River Twice: Honoring the Difficult.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Student Survey: &ldquo;Mandatory Car Pooling and Shuttle-Bus Parking: A Survey.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Chapter Review.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Chapter 2 Assignment: Gathering a Mix of Sources.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tracing the Work of Two Students: Listing Sources for Your Paper.</div> </p> <br> <br> <b>3. Strategies for Critical Reading.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Highlighting.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Annotating with Marginal Notes.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">James Carville and Paul Begala, from &ldquo;Miz Nippy and the Bass Boat&rdquo;.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Being Selective.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">James Campbell, from Travels with R. L. S.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Questioning with a Critical Eye.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Robert J. Samuelson, &ldquo;A Sad Primer in Hypocrisy.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Outlining a Source to Discover Its Key Ideas.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">From The Birth of Pleasure by Carol Gilligan.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Discovering the Writer's Intentions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Thomas Harrison, &ldquo;Keats's `To Autumn'.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">John Gray, &ldquo;Good Intentions Aren't Enough.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Bernard Goldberg, &ldquo;They Think You're a Traitor.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">David L. Evans, &ldquo;If You're Tired of Jesse and Al, Get Involved.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Testing the Validity of an Article or Essay.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Drawing Inferences.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Margaret Loftus, &ldquo;But What's It Like?&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Finding and Evaluating a Writer's Argument.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Understanding Logic.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Identifying Fallacies.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Robert Weinberg, &ldquo;Of Clones and Clowns.&rdquo;</div> </p> <br> <br> <b>4. Writing a Summary.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Writing a Summary to Capture an Idea.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Victor Davis Hanson, from Carnage and Culture.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing a Summary of a Paragraph.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Jacques Barzun, from From Dawn to Decadence.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summarizing a Paragraph that Contains Irony.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Mark Twain, from &ldquo;The Damned Human Race.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing a Summary of an Entire Article, Essay, or Book.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Willie Nelson, from The Facts of Life.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Albert Schweitzer, &ldquo;What Does It Mean to Be Good?&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Rachel Naomi Remen, &ldquo;From the Heart,&rdquo; from My Grandfather's Blessings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing the Specialized Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing the Brief Review.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing an Annotated Bibliography.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing a Plot Summary or a Book Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing an Abstract.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Wendell Berry, &ldquo;Health Is Membership.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Robert K. Goldman, &ldquo;Certain Legal Questions and Issues Raised by the September 11th Attacks.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">William Saffire, &ldquo;Four Score and Seven.&rdquo;</div> </p> <br> <br> <b>5. Writing a Paraphrase.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Writing an Effective Paraphrase in Two Steps.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Paraphrasing Cumbersome, Archaic, or Technical Passages.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Paraphrasing Passages that Require Your Subjective Response.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Blending Several Paraphrases into Your Passage.</div> </p> <br> <br> <b>6. Using Quotations.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Using Quotations for a Variety of Reasons.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Selecting Effective Sources and Blending Them into the Paper.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Bob Berman, &ldquo;Wrong Time, Wrong Place.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Following the Conventions for Quoting Others in Your Text.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Punctuating by the Rules.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Using Quotations in a Nonacademic Article.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Carol Gilligan, from The Birth of Pleasure.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Keith S. Thomson, &ldquo;Dinosaurs, the Media and Andy Warhol.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Citing Quotations in One of the Academic Styles.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Using Scholarly Citations Throughout an Article.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Roger Platizky, from &ldquo;Poe's `The Cask of Amontillado'.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Krista West, &ldquo;Lion versus Lamb.&rdquo;</div> </p> <br> <br> <b>7. Practicing Academic Integrity.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Explaining and Sharing the Literature on a Subject.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Rina Chandarana, from &ldquo;Canada's CyberSnooping Plans Raise Ire.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Placing a Source in its Proper Context.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Thomas Friedman, from &ldquo;Cuckoo in Carolina.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Honoring Property Rights.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Avoiding Plagiarism.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Understanding the Common Knowledge Exceptions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Using Scholarly Citations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Modern Language Association (MLA) Style.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Chicago Manual of Style (CMS footnote style).</div> </p> <p>    <div STYLE="margin-left: 0.2in;">American Psychological Association (APA) Style.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Nancy Hellmich, from &ldquo;Caught in the Catty Corner.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Seeking Permission to Publish Material on Your Web Site.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Laura Madson and Robert M. Hessling, &ldquo;Readers' Perceptions of Four Alternatives to Masculine Generic Pronouns.&rdquo;</div> </p> <br> <br> <b>8. Writing the Single-Source Essay.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Writing a Personal Response Essay.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Fenella Saunders, &ldquo;Chaotic Warnings from the Last Ice Age.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Student Paper: Ramona Parker, &ldquo;Don't Ignore the Small Stuff.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">William Raspberry, &ldquo;Our Problems vs. Enemies.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Dave Barry, &ldquo;Farm Security: The Mohair of the Dog That Bites You.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Interpreting a Work, Performance, or Event.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">John F. Kennedy, &ldquo;Inaugural Address.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Student Paper: Ralph Conover, &ldquo;John F. Kennedy: The Inaugural Address.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">George W. Bush, &ldquo;Inaugural Address.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing a Rebuttal.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Atlanta Journal-Constitution, &ldquo;English-Only Work Rule Is Dumb in Any Language.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Jim Boulet Jr., &ldquo;Expect Host of Problems When Languages Collide.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Ellen Goodman, &ldquo;Family Counterculture.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Student Draft: Lamar Clift, &ldquo;The Children Are the Counterculture.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Kay Hawes, &ldquo;Gender Research Shows Mixed Results for Women.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Jay Walljasper, &ldquo;Why Johnny and Jana Can't Walk to School.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing an Evaluation or Review.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The New Yorker, Review of Oklahoma!</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The New Yorker, Review of Leopards in the Temple by Morris Dickstein.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Student Review: Roland Stamps, &ldquo;Doonesbury on Corporate Greed.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Chapter 8 Assignment: Writing the Single-Source Essay.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tracing the Work of Two Students: Kaci Holz: Developing Research Paper.</div> </p> <br> <br> <b>9. Writing the Multi-Source Essay. Choosing Your Sources.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Shirley J. Wilcher, &ldquo;Racism Is Still Alive throughout the United States.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Suzanne Fields, &ldquo;Bad Raps: Music Rebels Revel in Their Thug Life.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Establishing Your Own Point of View.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Reading Critically to Discover Shades of Meaning in Various Sources.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Grouping Multiple Sources for Analysis and Synthesis.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Student Paper: Robert Sanders, &ldquo;Mountain Climbing: It's Not Just a Sport.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Chapter 9 Assignment: Writing the Multi-Source Essay.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Nashville Tennessean, &ldquo;Should the United States End Affirmative Action?&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tracing the Work of Two Students: Halley Fishburn: Developing Research Paper.</div> </p> <br> <br> <b>10. Writing a Paper Using MLA Style.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Considering an Academic Approach to the Subject Matter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Selecting an Appropriate Design for Your Paper.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Handling Text Citations in MLA Style.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Formatting the MLA Paper.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing Entries for the Works Cited Section.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Chapter 10 Assignment: Evaluating Use of MLA Style.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tracing the Work of Two Students: Research Paper in MLA Style.</div> </p> <br> <br> <b>11. Writing a Paper Using CMS Note Style.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">R.H. 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Writing a Paper Using APA Style.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Considering an Academic Approach to the Subject Matter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Designing a Paper in APA Style.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Handling Text Citations in APA Style.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Formatting the APA Paper.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Writing the References Entries in APA Style.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Chapter 12 Assignment: Writing a Paper in APA Style.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Appendix A: Writing an Essay Examination Answer.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Appendix B: Writing a Scientific Paper: CSE Style.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Appendix C: Readings.</div> </p>]]></d104>
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<d104 textformat="02"><![CDATA[<P><B></B> <I>Issues in Gender</I> explores how gender roles operate in and through work, sexuality, popular culture, family, and across global perspectives.      <B></B> This brief collection of non-fiction and fiction essays examines constructions of femininities and masculinities and foregrounds intersections of race, class, and sexual preference as both shaping and shaped by gender.  Brief apparatus encourages writers to think critically about the ideas raised and challenges them to reconsider personal perspectives on gender issues in light of the readings.         <B></B>  Individuals interested in reading selections about the gender roles in society.  </P>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Gender and Family</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Friedman, Ellen G. and Corinne Squire, Morality USA.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Rubin, Lillian B, &ldquo;The Transformation of Family Life.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">hooks, bell. &ldquo;Witnessing the Death of Love: She Hears Him Tell the Woman That He Will Kill Her.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Davis-Floyd, Robbie E. &ldquo;Gender and Ritual: Giving Birth the American Way.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Townsend, Nicholas W. &ldquo;Fatherhood and the Mediating Role of Women.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Hunter, Nan D. &ldquo;Sexual Dissent and the Family.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tapahonso, Luci. &ldquo;Blue Horses Rush In.&rdquo;</div> </p> <br> <br> <b>Gender and Popular Culture</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Jhally, Sut, &ldquo;Image-Based Culture: Advertising and Popular Culture.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Kilbourne, Jean.  &ldquo;Buy This 24-year-old and Get All His Friends Absolutely Free.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sells, Laura.  &ldquo;Where Do the Mermaids Stand?&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Davis, Eisa.  &ldquo;Sexism and the Art of Feminist Hip-Hop Maintenance.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">&ldquo;How Does a Supermodel Do Feminism? An Interview with Veronica Webb.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Vavrus, Mary Douglas.  &ldquo;Putting Ally on Trial: Contesting Postfeminism in Popular Culture.&rdquo;</div> </p> <br> <br> <b>Gender and Sexuality</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Chesler, Phyllis. &ldquo;Letters to a Young Feminist on Sex and Reproductive Freedom.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Stoltenberg, John. &ldquo;How Men Have (A) Sex.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Steedman, Mercedes E. &ldquo;Who's on Top?  Heterosexual Practices and Male Dominance During the Sex Act.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Abu-Lughod, Lila.  &ldquo;Is There a Muslim Sexuality? Changing Constructions of Sexuality in Egyptian Bedouin Weddings.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Scott, D. Travers.  &ldquo;Le Freak, C'Est Chic! Le Fag, Quelle Drag!&rdquo;</div> </p> <br> <br> <b>Gender and Work</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Kelly, Rita Mae.  &ldquo;Sex-Role Spillover: Personal, Familial, and Organizational Roles.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Hochschild, Arlie Russell and Ann Machung. &ldquo;The Second Shift: Working Parents and the Revolution at Home.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Praeger, Roberta.  &ldquo;A World Worth Living In.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Allen, Kim.  &ldquo;The 3rd WWWave: Who We Are, and Why We Need to Speak&rdquo; (http://www.io.com/~wwwave/addresses/kimaddress.html).</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Hill, Anita. &ldquo;Sexual Harrassment: The Nature of the Beast.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Nonn, Timothy.  &ldquo;Hitting Bottom: Homelessness, Poverty, and Masculinity.&rdquo;</div> </p> <br> <br> <b>Gender and Global Perspectives</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Human Rights Watch. &ldquo;The Global Women's Human Rights Movement.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Enloe, Cynthia.  &ldquo;The Globetrotting Sneaker.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">al-Idlibi, Ulfat. &ldquo;The Women's Baths.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Hughes, Donna M.  &ldquo;The Internet and the Global Prostitution Industry.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Afkhami, Mahnaz.  &ldquo;Empathy Among Women on a Global Scale.&rdquo;</div> </p>]]></d104>
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<d104 textformat="02"><![CDATA[<P><p align="left"><b>Philip Romanik</b> is an independent consultant who has been designing and implementing real-world software applications for the past twenty years. He is an expert in the development of real-time, embedded software for performance-intensive applications. He has created patentable technology for his clients and has provided services to such leading companies as Eastman Kodak and Microsoft.</p>    <p align="left"><b>Amy Muntz</b> is an independent consultant who holds advanced technical and business degrees, and writes from broad experience in both fields. She specializes in the development and management of aggressive software projects, successfully helping her clients over the past fifteen years build and market products that meet their business objectives.</p>      <br><br>  0321108949AB03212003  </P>]]></d104>
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<d104 textformat="02"><![CDATA[<P><p align="left"><i>"I really like the software engineering advice given here. As the chief engineer/architect for a large development group, I can say with certainty that the advice given in this book about how real-world projects must work is right on the mark."</i></p><p align="left">--Steve Vinoski, coauthor of <i>Advanced CORBA Programming with C++</i>, columnist for <i>C/C++ Users Journal</i> and <i>IEEE Internet Computing</i>, and Chief Architect, IONA Technologies</p><p align="left"><i><b>Applied C++</b></i> is a practical, straightforward guide to developing high-quality, maintainable software. It reflects the power of C++, templates, and the Standard Template Library for industrial-strength programming. Whether you are a single developer or work in a large team, the tips and techniques presented in this book will help you improve your language and design skills and show you how to solve substantial problems more effectively.</p><p align="left">The authors, drawing on their extensive professional experience, teach largely by example. To illustrate software techniques useful for any application, they develop a toolkit to solve the complex problem of digital image manipulation. By using a concrete, real-world problem and describing exact feature, performance, and extensibility requirements, the authors show you how to leverage existing software components and the tools inherent in C++ to speed development, promote reuse, and deliver successful software products. </p><p align="left">Inside <b><i>Applied C++</i></b>, you will find:</p><ul>	<li>A C++ templates primer</li>	<li>Workable coding guidelines and extensive coding examples</li>	<li>Quick lists of need-to-know information about Exceptions, Assertions, and Standard Template Library components</li>	<li>A technique for effectively using prototypes to move your design from an initial concept to a robust solution</li>	<li>A technique for building debugging support into your software without a ton of overhead</li>	<li>Thirteen specific techniques to improve the overall performance of your software</li></ul><br><br> 0321108949B03212003  </P>  					  				]]></d104>
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<d102>33</d102>
<d104 textformat="02"><![CDATA[<p>This book is about applying C++ to solve the problems inherent in building commercial software. Those of you who have worked on engineering teams building complex software will know exactly what we mean by calling it commercial software. </p><p>Commercial software is delivered to customers (internal or external) who will rely on the interface you provide. It may be in an embedded system, or it may be a software library or application for standard platforms. No matter where it ultimately runs, the software must be released at a particular time with all of the features it needs to be successful in the market. It is software that is built by one group of engineers and potentially extended and maintained by other engineers. The engineers who take over maintaining the software may not have been part of the original team, and they might have to add features or try to fix problems while visiting customer sites. </p><p>Getting a group of engineers to build a complex piece of software and deliver it on time with full functionality is one of software engineering's biggest challenges. An even bigger challenge is building that same software in such a way that it can be handed off to others to extend and maintain. The C++ techniques and practical tips we have compiled into this book have been used repeatedly to accomplish just this. In many cases, we draw a distinction between the ideal solution and the practical one. We try to provide discussions of the trade-offs so that you can make informed decisions, and we tell you what our criteria are when selecting one method over another. We leave it to you to determine what works best in your application. Our goal is to share practical techniques that we have found made our commercial software efforts much more successful than they otherwise would have been. We hope you will find them useful. </p><p>For those of you who prefer to learn by looking at the code, you will find plenty of examples. We illustrate all of the techniques by using a concrete example that runs throughout the book. Because it was our experiences with imaging software that prompted us to write this book, our example comes from the image processing domain, but the C++ techniques are applicable to any domain.  We start with a simple, although inadequate, application that generates thumbnail images. We use this application in our prototyping phases to experiment with different C++ design and implementation techniques. The application is simple to understand and the results of applying various C++ techniques are immediately obvious, making it a nice candidate for prototyping. This simple thumbnail image generator has many of the same inherent problems that our final image framework will have to address. The application is:</p><ul>	<li>Memory intensive. Working with images requires efficient use of memory, because images can get quite large and unwieldy. Managing memory becomes critical to the overall performance of the application.</li>	<li>Performance intensive. While generating thumbnails is a straightforward image processing technique, others that we introduce later in the book (such as edge sharpening and noise reduction) require thoughtful designs to make them usable. It's great to have cool image functions to manipulate your digital images, but they are useless if they take a really long time to run.</li>	<li>Upon completion, you will have an image processing framework for manipulating your digital images and a practical toolkit of C++ utilities. The framework will provide efficient image storage and memory usage, routines for manipulating your digital images (like edge sharpening, image resizing, noise reduction, edge detection, image subtraction, and more), interfaces to third-party software, and many performance optimizations. It will be a useful piece of software that has practical design and implementation features, so that you could even use it as the basis of a commercial software product. </li></ul><p>The complete source code for the thumbnail generator application, the prototypes, and the final image framework can be found on the included CD-ROM. Any updates to the software can be found at the web site: <a href="http://www.appliedcpp.com" target="new">http://www.appliedcpp.com</a>.</p><h3>Intended Audience</h3><p>We expect you to be familiar with C++ so that when we apply various constructs from the language, you have seen or used them before. We also assume that you have built applications either for personal or commercial use and are familiar with what the Standard Template Library (STL) can provide. We hope to engage you in detailed discussions of the advantages and disadvantages of certain C++ constructs. Finally, we hope you really like to look at actual code examples, because the book is filled with them.</p><p>We do not attempt to provide a reference for the C++ language, but we do provide primers and reviews of those topics that have exacting syntax or are not used as frequently. For the basics of the C++ language, we refer you to The C++ <i>Programming Language, Special Edition</i> Stroustrup00. For in-depth discussions on certain C++ constructs, such as reference counting, we refer you to <i>Effective C++, Second Edition</i> Meyers98. For information on the Standard Template Library, we refer you to <i>Effective STL</i> Meyers01. For information on using C++ templates, we refer you to <i>C++ Templates</i> Vandevoorde03.</p><p>As for our chosen domain of digital imaging, we don't expect you to have any experience with writing software that manipulates images. We provide some basic information about imaging that you can review; if you are familiar with imaging, you can skip that section. Whenever we talk about a particular operation that we apply to an image, we take the time to give a simple explanation, as well as some before and after pictures, before proceeding to the code example. If you want an in-depth, mathematical discussion of image processing operations, we refer you to <i>Digital Image Processing</i> Pratt01.</p><h3>How to Use This Book</h3><p>The book is intended to be read sequentially, since there is a concrete example introduced in Chapter 2 and used to evolve the final design of the image framework that is presented in Chapter 5. Throughout the book, we highlight the C++ techniques we are exploring in heading titles and in summary boxes that appear on the first page of each chapter.</p><p>The book is organized as follows:</p><p>Chapter 1, Introduction, provides an overview of what we set out to accomplish by writing this book, and reveals our background and biases as they apply to the C++ techniques we recommend. We also provide an optional background section on digital imaging. If you have experience working with imaging applications, you may want to skip the final section of this chapter.</p><p>Chapter 2, A Test Application, introduces our simple, inadequate application, used as a test bed for prototyping C++ techniques. We deliberately create this strikingly simple application because it effectively demonstrates the trade-offs of various design and implementation decisions.</p><p>Chapter 3, Design Techniques, begins our discussion of C++ design. We use lots of code examples to demonstrate design strategies, and we provide a primer on templates since they are used so heavily within the book. Finally, we prototype various aspects of the design and build general utilities needed to support the design. </p><p>Chapter 4, Design Considerations, explores guidelines and additional strategies you may want to use in your designs. We offer a practical set of coding guidelines, reusability strategies, and a simple but effective debugging strategy.</p><p>Chapter 5, System Considerations, explores system-level design issues, like multi-threaded and multi-process designs, exception handling (including a framework we provide for handling exceptions), compile time and run-time issues, template specialization, and internationalization concerns.</p><p>Chapter 6, Implementation Considerations, applies the C++ techniques we have explored to the final design and implementation of all pieces in the image framework. In addition, this chapter introduces global image processing functions, like edge sharpening and noise reduction, and provides both a visual overview of these techniques and the C++ implementations. We also provide a high-level interface to libraries and other third-party software. Specifically, we introduce you to the Intel Integrated Performance Primitives (IPP) library and show you how to use IPP for high-speed imaging applications.</p><p>Chapter 7, Testing and Performance, provides a reasonable strategy for integrating unit tests into your software development cycle, including a full unit test framework and a discussion of how you can extend it to meet your particular needs. We also focus on performance, giving specific techniques that you can use to immediately improve the run-time performance of your application.</p> <p>Chapter 8, Advanced Topics, explores those issues that we felt warranted more detailed discussion, such as copy on write, caching, explicit keyword usage, const, and pass by reference. We also include a section on extending the image framework, to serve as a guide for taking the existing framework and adding your own processing functions. We've highlighted some routines that work particularly well for enhancing your digital photographs.</p><p>Appendix A, Useful Online Resources, provides links to those software tools and resources that we thought might be helpful.</p><p>Appendix B, CD-ROM Information, outlines the contents of the CD-ROM included with this book. There is a great deal of code presented in this book. All of the source code for our test application, prototypes, and image framework is included on the disc. In addition, we provide all of the unit tests, unit test framework, and makefiles necessary to run the software on a variety of platforms. We also include some useful third-party software: the freeware DebugView utility by SysInternals for Microsoft Windows, the evaluation version of the Intel Integrated Performance Primitives (IPP) library for Microsoft Windows and Linux, the evaluation version of the Intel C++ Compiler for Microsoft Windows, the source code to build the JPEG file delegate, and the source code to build the TIFF file delegate.</p><p>Philip Romanik, 2003<br>Amy Muntz, 2003<br></p> <br><br> 0321108949P04142003 </UL>]]></d104>
</othertext>
<othertext>
<d102>04</d102>
<d104 textformat="02"><![CDATA[<br> <br> <b>Preface.</b> <br> <br> <br> <b>1. Introduction.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Imaging Basics.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">RGB Images.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">HSI Images.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>2. A Test Application.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Image Class Design.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Thumbnail Class.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Thumbnail Algorithm.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Implementation.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Image Class.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Thumbnail Class.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>3. Design Techniques.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Memory Allocation.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Why a Memory Allocation Object Is Needed.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Memory Allocation Object Requirements.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">A Primer on Templates.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Notations Used in Class Diagrams.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Memory Allocator Objects Class Hierarchy.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prototyping.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Why Prototyping Works.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Common Fears.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Our Image Framework Prototyping Strategy.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prototype 1: Simple Image Objects.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prototype 2: Templated Image Objects.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prototype 3: Separating Storage from Image Objects.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>4. Design Considerations.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Coding Guidelines.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Changes to Existing Software.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Naming Conventions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Indentation.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Comments.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Header File Issues.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Restrictions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Reusable Code.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Economics of Reusability.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Designing in Debugging Support.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Creating a Generalized Debugging Stream.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Creating Sinks.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Connecting a Sink to a Stream.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Controlling Debugging Output.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Accessing Objects Indirectly Through an Object Registry.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>5. System Considerations.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Multithreaded and Multiprocess Designs.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Threads.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Thread Synchronization.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Processes.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Exception Handling.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Designing Your Own Exception Framework.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Avoiding Exception Abuse.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Using Assertions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Compile-Time Versus Run-Time Issues.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Compiler Issues.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Run-Time Issues.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Template Specialization.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Coding for Internationalization.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Unicode.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">A Simple Resource Manager for Strings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Saving and Restoring Strings from Files.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">An Alternate Approach to Handling Strings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Locales.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>6. Implementation Considerations.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Finalizing the Image Components.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Image Coordinates.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Image Storage.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Pixel Types.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Finalizing the Image Class.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Image Object.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Adding Global Image Functions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Copying an Image.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Processing Single Source Images.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Processing Two Source Images.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Processing Images with Neighborhood Operators.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Generating Thumbnails.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Finalizing Interfaces to Third-Party Software.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">File Delegates.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Image Delegates.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>7. Testing and Performance.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Unit Tests.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Using the Unit Test Framework.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Design of the Unit Test Framework.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Extending the Unit Test Framework.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Performance Tuning.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">General Guidelines.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Thirteen Ways to Improve Performance.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Image-Specific Improvements.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">A Note About Timing Your Code.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>8. Advanced Topics.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Memory Issues.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Copy on Write.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Caching Issues.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Language Construct Issues.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Explicit Keyword Usage.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Const Usage.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Pass by Reference Usage.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Extending the Framework.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Adding Image Processing Functions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Enhancing Digital Photographs.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>A. Useful Online Resources.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Software.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Standards.</div> </p> <br> <br> <b>B. CD-ROM Information.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Contents.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Framework.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prototypes.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Utilities.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">DebugView Utility.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Intel C++ Compiler.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Delegates.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Intel Integrated Performance Primitives (IPP).</div> </p> <p>    <div STYLE="margin-left: 0.2in;">JPEG.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">TIFF.</div> </p> <br> <br> <b>Bibliography.</b> <br> <br> <br> <b>Index. 0321108949T04142003</b> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<p><b>Lance Spitzner</b> is a senior security architect for Sun Microsystems, Inc., and an acknowledged authority in security and honeypot research. He is a developer, the moderator of the honeypots mailing list, and an instructor for the SANS honeypot course. He is also the founder of the Honeynet Project, a nonprofit group of thirty security professionals dedicated to Honeynet research and learning the tools, tactics, and motives of blackhats and sharing their lessons learned. Lance has presented data on honeypot technologies to organizations such as the Pentagon, the FBI Academy, the Naval War College, the National Security Agency, West Point, SANS, CanSecWest, and Black Hat Briefings.</p>      <br><br>  0321108957AB08282002]]></d104>
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<othertext>
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<d104 textformat="02"><![CDATA[<p><i>"The text is comprehensive, an honest survey of every honeypot technology I had ever heard of and a number I read about for the first time."</i><br>--Stephen Northcutt, The SANS Institute</p><p><i>"One of the great byproducts of Lance&#39;s work with honeypots and honeynets is that he&#39;s helped give us a much clearer picture of the hacker in action."</i><br>--From the Foreword by Marcus J. Ranum</p><p><i>"From the basics of shrink-wrapped honeypots that catch script kiddies to the detailed architectures of next-generation honeynets for trapping more sophisticated bad guys, this book covers it all....This book really delivers new information and insight about one of the most compelling information security technologies today."</i><br>--Ed Skoudis, author of <i>Counter Hack,</i> SANS instructor, and Vice President of Security Strategy for Predictive Systems</p><p>Honeypots are unique technological systems specifically designed to be probed, attacked, or compromised by an online attacker. Implementing a honeypot provides you with an unprecedented ability to take the offensive against hackers. Whether used as simple "burglar alarms," incident response systems, or tools for gathering information about hacker motives and tactics, honeypots can add serious firepower to your security arsenal. </p><p><i><b>Honeypots: Tracking Hackers</b></i> is the ultimate guide to this rapidly growing, cutting-edge technology. The book starts with a basic examination of honeypots and the different roles they can play, and then moves on to in-depth explorations of six specific kinds of real-world honeypots: BackOfficer Friendly, Specter&#153;, Honeyd, Homemade honeypots, ManTrap&reg;, and Honeynets.</p><p>Honeypots also includes a chapter dedicated to legal issues surrounding honeypot use. Written with the guidance of three legal experts, this section explores issues of privacy, entrapment, and liability. The book also provides an overview of the Fourth Amendment, the Electronic Communications Privacy Act, the Wiretap Act, and the Pen/Trap Statute, with an emphasis on how each applies to honeypots.</p><p>With this book you will gain an understanding of honeypot concepts and architecture, as well as the skills to deploy the best honeypot solutions for your environment. You will arm yourself with the expertise needed to track attackers and learn about them on your own. Security professionals, researchers, law enforcement agents, and members of the intelligence and military communities will find this book indispensable.</p> <br><br> 0321108957B08282002  					  				]]></d104>
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<d104 textformat="02"><![CDATA[<p>It began as an innocent probe. A strange IP address was examining an unused service on my system. In this case, a computer based in Korea was attempting to connect to a rpc service on my computer. There is no reason why anyone would want to access this service, especially someone in Korea. Something was definitely up. Immediately following the probe, my Intrusion Detection System screamed an alert: An exploit had just been launched. My system was under assault! Seconds after the attack, an intruder broke into my computer, executed several commands, and took total control of the system. My computer had just been hacked! I was elated! I could not have been happier.</p><p>Welcome to the exciting world of honeypots, where we turn the tables on the bad guys. Most of the security books you read today cover a variety of concepts and technologies, but almost all of them are about keeping blackhats out. This book is different: It is about keeping the bad guys in--about building computers you want to be hacked. Traditionally, security has been purely defensive. There has been little an organization could do to take the initiative and challenge the bad guys. Honeypots change the rules. They are a technology that allows organizations to take the offensive.</p><p>Honeypots come in a variety of shapes and sizes--everything from a simple Windows system emulating a few services to an entire network of productions systems waiting to be hacked. Honeypots also have a variety of values--everything from a burglar alarm that detects an intruder to a research tool that can be used to study the motives of the blackhat community. Honeypots are unique in that they are not a single tool that solves a specific problem. Instead, they are a highly flexible technology that can fulfill a variety of different roles. It is up to you how you want to use and deploy these technologies.</p><p>In this book, we explain what a honeypot is, how it works, and the different values this unique technology can have. We then go into detail on six different honeypot technologies. We explain one step at a time how these honeypot solutions work, discuss their advantages and disadvantages, and show you what a real attack looks like to each honeypot. Finally, we cover deployment and maintenance issues of honeypots. The goal of this book is not to just give you an understanding of honeypot concepts and architecture but to provide you with the skills and experience to deploy the best honeypot solutions for your environment. The examples in the book are based on real-world experiences, and almost all of the attacks discussed actually happened. You will see the blackhat community at their best, and some of them at their worst. Best of all, you will arm yourself with the skills and knowledge to track these attackers and learn about them on your own.</p><p>I have been using honeypots for many years, and I find them absolutely fascinating. They are an exciting technology that not only teaches you a great deal about blackhats but also teaches you about yourself and security in general. I hope you enjoy this book as much as I have enjoyed writing and learning about honeypot technologies.</p><h3>Audience</h3><p>This book is intended for the security professional. Anyone involved in protecting or securing computer resources will find this resource valuable. It is the first publication dedicated to honeypot technologies, a tool that more and more computer security professionals will want to take advantage of once they understand its power and flexibility. </p><p>Due to honeypots' unique capabilities, other individuals and organizations will be extremely interested in this book. Military organizations can apply these technologies to Cyberwarfare. Universities and security research organizations will find tremendous value in the material concerning research honeypots. Intelligence organizations can apply this book to intelligence and counterintelligence activities. Members of law enforcement can use this material for the capturing of criminal activities. Legal professionals will find Chapter 15 to be one of the first definitive resources concerning the legal issues of honeypots. </p><h3>CD-ROM</h3><p>A CD-ROM accompanies this book and contains additional information related to the topics in the book. It includes everything from whitepapers and source code to actual evaluation copies of software and data captures of real attacks. This will give you the hands-on opportunity to develop your skills with honeypot technologies.</p><h3>Web Site</h3><p>This book has a Web site dedicated to it. The purpose of the Web site is to keep this material updated. If any discrepancies or mistakes are found in the book, the Web site will have updates and corrections. For example, if any of the URLs in the book have been changed or removed, the Web site will provide the updated links. Also, new technologies are always being developed and deployed. You should periodically visit the Web site to stay current with the latest in honeypot technologies.<br><a href="http://www.tracking-hackers.com/book/" id="http://www.tracking-hackers.com/book/"> http://www.tracking-hackers.com/book/</a></p><h3>References</h3><p>Each chapter ends with a references section. The purpose is to provide you with resources to gain additional information about topics discussed in the book. Examples of references include Web sites that focus on securing operating systems and books that specialize in forensic analysis. </p><h3>About the Author</h3><p>Lance Spitzner is a geek who constantly plays with computers, especially network security. He loves security because it is a constantly changing environment. His love for tactics first began in the U.S. Army, where he served both as an enlisted infantryman in the National Guard and as an armor officer in the Rapid Deployment Force. Following the Army he received his graduate degree and became involved in the world of information security. Now he fights the enemy with IPv4 packets instead of 120mm SABOT rounds.</p><p>His passion is researching honeypot technologies and using them to learn more about the bad guys. He is also actively involved with the security community.  He is founder of the Honeynet Project, moderator of the honeypot mail list, coauthor of <i>Know Your Enemy,</i> and author of several whitepapers. He has also spoken at various conferences and organizations, including Blackhat, SANS, CanSecWest, the Pentagon, the FBI Academy, West Point, National Security Agency, and Navy War College. He is a senior security architect for Sun Microsystems Inc. </p> <br><br> 0321108957P09172002 </UL>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Foreword: Giving the Hackers a Kick Where It Hurts.</b> <br> <br> <br> <b>Preface.</b> <br> <br> <br> <b>1. The Sting: My Fascination with Honeypots.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Lure of Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How I Got Started with Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Perceptions and Misconceptions of Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>2. The Threat: Tools, Tactics, and Motives of Attackers.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Script Kiddies and Advanced Blackhats.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Everyone Is a Target.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Methods of Attackers.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Targets of Opportunity.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Targets of Choice.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Motives of Attackers.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Adapting and Changing Threats.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>3. History and Definition of Honeypots.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The History of Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Early Publications.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Early Products.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Recent History: Honeypots in Action.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Definitions of Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How Honeypots Work.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Two Examples of Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Types of Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summmary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>4. The Value of Honeypots.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Advantages of Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Data Value.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Resources.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Simplicity.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Return on Investment.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Disadvantages of Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Narrow Field of View.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Fingerprinting.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Risk.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Role of Honeypots in Overall Security.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Production Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Research Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Honeypot Policies.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>5. Classifying Honeypots by Level of Interaction.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Tradeoffs Between Levels of Interaction.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Low-Interaction Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Medium-Interaction Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">High-Interaction Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">An Overview of Six Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">BackOfficer Friendly.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Specter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Honeyd.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Homemade.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">ManTrap.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Honeynets.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Reference.</div> </p> <br> <br> <b>6. BackOfficer Friendly.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Overview of BOF.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Value of BOF.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How BOF Works.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Installing, Configuring, and Deploying BOF.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Information Gathering and Alerting Capabilities.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Risk Associated with BOF.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tutorial.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Step 1&mdash;Installation.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Step 2&mdash;Configure.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Step 3&mdash;Netstat.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Step 4&mdash;Attack System.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Step 5&mdash;Review Alerts.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Step 6&mdash;Save Alerts.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>7. Specter.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Overview of Specter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Value of Specter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How Specter Works.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Installing and Configuring Specter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Operating System.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Character.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Services.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Intelligence, Traps, Password Types, and Notification.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Additional Options.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Starting the Honeypot.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Deploying and Maintaining Specter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Information-Gathering and Alerting Capabilities.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Short Mail.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Alert Mail.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Log Analyzer.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Event Log.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Syslog.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Intelligence Gathering.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Risk Associated with Specter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>8. Honeyd.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Overview of Honeyd.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Value of Honeyd.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How Honeyd Works.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Blackholing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">ARP Spoofing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">ARP Proxy.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Responding to Attacks.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Installing and Configuring Honeyd.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Deploying and Maintaining Honeyd.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Information Gathering.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Risk Associated with Honeyd.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>9. Homemade Honeypots.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">An Overview of Homemade Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Port Monitoring Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Value of Port Monitoring.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How Homemade Port Monitors Work.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Risk Associated with Homemade Port Monitors.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Jailed Environments.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Value of Jails.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How Jails Work.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Installing and Configuring Jails.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Deploying and Maintaining Jails.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Information Gathering with Jails.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Risk Associated with Jails.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>10. ManTrap.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Overview of ManTrap.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Value of ManTrap.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prevention.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Detection.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Response.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Research.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Nontraditional Applications.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Limitations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How ManTrap Works.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Adjustments to the Kernel.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How ManTrap Handles the File System.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Resulting Cages and Their Limitations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Installing and Configuring ManTrap.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Building the Host System.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">iButton and Configuration Options.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Client Administration.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Customizing the Cages.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Deploying and Maintaining ManTrap.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Information Gathering.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Data Capture in Practice: An Example Attack.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Viewing Captured Data</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Data Capture at the Application Level.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">File Recovery.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Using a Sniffer with ManTrap.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Using iButton for Data Integrity.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Risk Associated with ManTrap.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>11. Honeynets.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Overview of Honeynets.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Value of Honeynets.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Methods, Motives, and Evolving Tools.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Trend Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Incident Response.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Test Beds.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How Honeynets Work.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Controlling Data.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Capturing Data.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Collecting Data.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Honeynet Architectures.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">GenI.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">GenII.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Virtual Honeynets.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sweetening the Honeynet.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Deploying and Maintaining Honeynets.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Information Gathering: An Example Attack.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Risk Associated with Honeynets.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>12. Implementing Your Honeypot.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Specifying Honeypot Goals.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Selecting a Honeypot.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Interaction Level.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Commercial Versus Homemade Solutions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Platform.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Determining the Number of Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Selecting Locations for Deployment.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Placement for Prevention.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Placement for Detection.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Placement for Response</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Placement for Research.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Implementing Data Capture.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Maximizing the Amount of Data.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Adding Redundancy to Data Capture.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">IP Addresses Versus Resolved Names.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Logging and Managing Data.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Using NAT.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">NAT and Private Addressing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Role of NAT with Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Mitigating Risk.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Mitigating Fingerprinting.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>13. Maintaining Your Honeypot.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Alert Detection.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Reliability of Alerts.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Critical Content.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prioritizing Alerts.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Archiving.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Response.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Determining Reaction Practices and Roles.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Documenting Reaction Practices.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Remote Access and Data Control.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Data Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">A Simple Scenario: Low-Interaction Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">A Complex Scenario: High-Interaction Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Updates.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>14. Putting It All Together.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Honeyp.com.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Matching Goals to Honeypot Solutions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Deploying the Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Maintaining the Honeypots.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Surviving and Responding to an Attack.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Honeyp.edu.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Matching Goals to Honeypot Solutions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Deploying the Honeynet.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Maintaining the Honeynet.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Analyzing Attacks.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>15. Legal Issues.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Are Honeypots Illegal?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Precedents.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Privacy.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Fourth Amendment.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Stored Information: The Electronic Communications Privacy Act.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Real-Time Interception of Information: The Wiretap Act and the Pen/Trap Statute.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Entrapment.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Liability.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Resourcess.</div> </p> <br> <br> <b>16. Future of Honeypots.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">From Misunderstanding to Acceptance.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Improving Ease of Use.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Easier Administration.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prepackaged Solutions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Closer Integration with Technologies.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Targeting Honeypots for Specific Purposes.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Expanding Research Applications.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Early Warning and Prediction.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Studying Advanced Attackers.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Identifying New Threats.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Deploying in Distributed Environments.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">A Final Caveat.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>Appendix A. BackOfficer Friendly ASCII File of Scans.</b> <br> <br> <br> <b>Appendix B. Snort Configuration File.</b> <br> <br> <br> <b>Appendix C. IP Protocols.</b> <br> <br> <br> <b>Appendix D. Definitions, Requirements, and Standards Document.</b> <br> <br> <br> <b>Appendix E. Honeynet Logs.</b> <br> <br> <br> <b>Index. 0321108957T09172002</b> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<p>WILLIAM C. WAKE is an independent software consultant, coach, and trainer who has been programming for over 20 years. He has previously worked for Capital One Financial, MCI/WorldCom, VTLS, Inc, and others. He is the author of Extreme Programming Explored, also available from Addison-Wesley Professional.</p>]]></d104>
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<d104 textformat="02"><![CDATA[<p>As a programmer, you need to be able to recognize and improve problematic code, so the program remains in a working state throughout the software lifecycle. Refactoring-the art of improving the design of existing code safely-provides an efficient, reliable system for bringing order to the chaos, and one that keeps the surprises to a minimum! Refactoring can be difficult to learn, but Refactoring Workbook, by consultant William C. Wake, presents the material in a easy-learning format that makes learning enjoyable and effective.</p><p>For many, the obstacle to learning refactoring is in identifying the "smells"&#8212;the potential problem areas-found in code. Instead of having you read about the smells, Refactoring Workbook makes sure you understand them. You'll solve a carefully assembled series of problems, and you'll find yourself learning at a deeper level and arriving at a few insights of your own. Wake uses the workbook method&#8212;a learning-focused approach that forces you to apply the techniques presented in the book-in the rest of the book. This approach helps you learn and apply the most important refactoring techniques to your code and, as a side benefit, helps you to think more about creating great code even when you're not refactoring.</p><p>Refactoring Workbook provides user-friendly references such as:</p><ul>	<li>A handy, quick-reference "smell finder"</li>	<li>A standard format for describing smells</li>	<li>Appendices showing key refactorings</li>	<li>A listing of Java&#8482; tools that support refactoring</li></ul><p>This book is intended for programmers with a knowledge of Java, though a C# or C++ programmer with a basic understanding of Java would also be able to follow and learn from the examples. It can be used as a companion to Martin Fowler's Refactoring (also from Addison-Wesley Professional), which provides step-by-step instructions for many refactorings.</p>]]></d104>
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<d104 textformat="02"><![CDATA[<html><h2>Preface</h2><h3>What Is Refactoring?</h3><p>Refactoring is the art of improving the design of existing code. Refactoring provides us with ways to recognize problematic code and gives us recipes for improving it.</p><h3>What Are the Goals of This Book?</h3><p>This book is a workbook designed to help you</p><ul>	<li>Practice recognizing the most important smells (i.e., problems)</li>	<li>Apply the most important refactoring techniques</li>	<li>Think more about how to create great code</li>		<li>Have fun!</li></ul><p>To a smaller extent, this book is a reference book with</p><ul>	<li>A smell finder inside the covers</li>	<li>A standard format for describing smells</li>	<li>An appendix listing Java tools supporting refactoring</li>	<li>An appendix showing key refactorings</li></ul><h3>Who Is This Book For?</h3><p>Refactoring being a technique for code, this book then is especially intended for practicing programmers who write and maintain code.</p><p>Students can also benefit from refactoring, although I'd expect they'd see the value only after they've had a chance to develop medium-sized or larger programs or had to work in teams (this probably applies to juniors, seniors, and graduate students).</p><h3>What Background Do You Need?</h3><p>It would be helpful to have the book, <i>Refactoring: Improving the Design of Existing Code</i>, by Martin Fowler et al. for its catalog of refactorings. (You can read my book and <i>Refactoring</i> at the same time.) Martin and his colleagues have worked out step-by-step instructions for many refactorings, and I will not repeat those in this book. Furthermore, they've provided a fully worked-out example, along with a lot of good discussion and background material. Someone determined to get through this book without that one could probably do it, but I wouldn't recommend it.</p><p>The examples in this book are written in Java. This is not because it's the easiest language to refactor, but because it's popular, and the best Java development environments provide automated refactoring support. A C# or C++ programmer has enough reading knowledge of Java to make sense of most of the questions. However, in later parts of the book, you will modify, test, and run larger programs, and this could be problematic for programmers using languages other than Java.</p><p>The book <i>Design Patterns</i>, by Gamma et al., describes patterns as "targets for refactoring." It would be helpful to have some familiarity with the ideas in that book because I freely refer to the patterns it mentions. If you're not yet familiar with Design Patterns, let me recommend Steve Metsker's book, <i>Design Patterns Java Workbook</i>, as well.</p><h3>How to Use This Book</h3><p>Solving a problem is more challenging than recognizing a solution. There are answers to some problems in the back of the book, but you'll learn more if you try the problems before peeking at the answers. If you work through the problems, you'll probably even find that you disagree with me on some answers. That will be more fun for all of us than if you just look at my answers and nod.</p><p>I think it's more fun to work with others (either a partner or in a small group), but I recognize that isn't always possible.</p><p>The later (longer) examples need to be done at a computer. Looking for problems, and figuring out how to solve them, is different when you're looking at a program in your environment.</p> </UL>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Preface.  </b> <br> <br> <br> <b>1. Roadmap.  </b> <br> <p>    <div STYLE="margin-left: 0.2in;">Overview. Section 1: Smells within Classes. Section 2: Smells between Classes. Section 3: Programs to Refactor. A Word on the Challenges.  </div> </p> <p>    <b>I. SMELLS WITHIN CLASSES.  </b> </p> <div STYLE="margin-left: 0.2in;">    <b>2. The Refactoring Cycle.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">What Is Refactoring? Smells Are Problems. The Refactoring Cycle. When Are We Done? Inside a Refactoring. Challenges. Conclusion.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>3. Measured Smells.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Smells Covered. Comments. Long Method. Large Class. Long Parameter List. More Challenges. Conclusion.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>Interlude 1. Smells and Refactorings.  </b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>4. Names.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Smells Covered. Type Embedded in Name (Including Hungarian). Uncommunicative Name. Inconsistent Names.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>5. Unnecessary Complexity.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Smells Covered. Dead Code. Speculative Generality.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>Interlude 2. Inverses.  </b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>6. Duplication.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Smells Covered. Magic Number. Duplicated Code. Alternative Classes with Different Interfaces. Challenges.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>7. Conditional Logic.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Smells Covered. Null Check. Complicated Boolean Expression. Special Case. Simulated Inheritance (Switch Statement).  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>Interlude 3. Design Patterns.  </b> </div> <br> <p>    <b>II. SMELLS BETWEEN CLASSES.  </b> </p> <div STYLE="margin-left: 0.2in;">    <b>8. Data.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Smells Covered. Primitive Obsession. Data Class. Data Clump. Temporary Field.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>9. Inheritance.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Smells Covered. Refused Bequest. Inappropriate Intimacy (Subclass Form). Lazy Class.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>10. Responsibility.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Smells Covered. Feature Envy. Inappropriate Intimacy (General Form). Message Chains. Middle Man. Challenges.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>11. Accommodating Change.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Smells Covered. Divergent Change. Shotgun Surgery. Parallel Inheritance Hierarchies. Combinatorial Explosion.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>12. Library Classes.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Smells Covered. Incomplete Library Class. Challenges.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>Interlude 4. Gen-A-Refactoring.  </b> </div> <br> <p>    <b>III. PROGRAMS TO REFACTOR.  </b> </p> <div STYLE="margin-left: 0.2in;">    <b>13. A Database Example.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Course.java (Online at www.xp123.com/rwb). Offering.java. Schedule.java. Report.java. TestSchedule.java. TestReport.java.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>14. A Simple Game.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Development Episodes.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>15. Catalog.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Introduction. Path 1: Catalog.itemsMatching(query). Path 2: Query.matchesIn(catalog). Path 3: Process(catalog.data, query.data). Conclusion.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>16. Planning Game Simulator.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Part 1: Original Code. Part 2: Redistributing Features. Removing Duplication, Selection Troubles, and a Few Burrs. Part 3: Pushing the Code Further.  </div> </p> <div STYLE="margin-left: 0.2in;">    <b>17. Where to Go from Here.  </b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Books. Admonitions. Exercises to Try. Web Sites.  </div> </p> <p>    <b>IV. APPENDIXES.  </b> </p> <div STYLE="margin-left: 0.2in;">    <b>A: Answers to Selected Questions.  </b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>B: Java Refactoring Tools.  </b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>C: Inverses for Refactorings.  </b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>D: Key Refactorings.  </b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Bibliography.  </b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Index.  </b> </div> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<P><B></B>  This rhetorical, multi-disciplinary guide discusses the major genres of science writing including research reports, grant proposals, conference presentations, and a variety of forms of public communication.    <B></B> <I>Writing in the Sciences</I> combines a descriptive approach&#8212;helping students to recognize distinctive features of common genres in their fields&#8212;with a rhetorical focus&#8212;helping them to analyze how, why, and for whom texts are created by scientists.  Multiple samples from real research cases illustrate a range of scientific disciplines and audiences for scientific research along with the corresponding differences in focus, arrangement, style, and other rhetorical dimensions.  Comparisons among disciplines provide the opportunity for students to identify common conventions in science and investigate variation across fields.    <B></B> Individuals who need to write in the sciences.        </P>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Preface.</b> <br> <br> <br> <b>List of stylistic features.</b> <br> <p>    <b>I. SCIENTIFIC CONVENTIONS.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>1. Science as a Social Enterprise.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">1.1 The shaping of knowledge in science.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">1.2 The social nature of science.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">1.3 The centrality of communication in science.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">1.4 The role of persuasion in scientific communication.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">1.5 Scientific communication and convention.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">1.6 The role of collaboration in scientific communication.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>2. Forums for Communication in Science.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">2.1 The socialization process: Entering a new community.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">2.2 Research journals and their readers.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">2.3 Research conferences and professional associations.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">2.4 Research proposals and their audiences.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">2.5 Communicating beyond the research community.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">2.6 Electronic communication in science.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>3. Reading and Writing Research Reports.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">3.1 Argumentation in science.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">3.2 The logic(s) of scientific inquiry.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">3.3 Introducing the research problem.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">3.4 Describing methods.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">3.5 Reporting results.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">3.6 Discussing trends and implications.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">3.7 The research report abstract.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">3.8 Brief report genres: Research letters and notes</div> </p> <p>    <div STYLE="margin-left: 0.4in;">3.9 How scientists write reports.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">3.10 How scientists read reports.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">3.11 How reviewers evaluate reports.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>4. 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Writing Research Proposals.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">6.1 The role of the proposal in science.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">6.2 Multiple audiences of the proposal.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">6.3 Logic and organization in the research proposal</div> </p> <p>    <div STYLE="margin-left: 0.4in;">6.4 Introducing the research problem and objectives</div> </p> <p>    <div STYLE="margin-left: 0.4in;">6.5 Providing background.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">6.6 Describing proposed methods.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">6.7 The research proposal abstract.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">6.8 How scientists write research proposals.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">6.9 How reviewers evaluate research proposals.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">6.10 Accountability in the research process.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>7. Documenting Procedures and Guidelines.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">7.1 Audiences and purposes in industry and government.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">7.2 General principles for writing instructions.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">7.3 Developing procedures for quality assurance.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">7.4 Documenting procedures for regulatory purposes.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">7.5 Documenting procedures for commercial application.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">7.6 Procedures as public policy.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">7.7 Procedures as public ethos.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>8. Communicating Science in the Public Realm.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">8.1 Why do scientists communicate with public audiences?</div> </p> <p>    <div STYLE="margin-left: 0.4in;">8.2 Understanding &ldquo;general&rdquo; audiences.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">8.3 Adapting through narration.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">8.4 Adapting through examples.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">8.5 Adapting through definition.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">8.6 Adapting through analysis.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">8.7 Adapting through comparison.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">8.8 Adapting through graphics.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">8.9 Logic and organization in writing for public audiences.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>9. Considering Ethics in Scientific Communication.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">9.1 Scientific and social ethics.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">9.2 The question of authorship.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">9.3 Scientific communication as moral responsibility</div> </p> <p>    <div STYLE="margin-left: 0.4in;">9.4 Scientific communication and public communication: An ethical conflict?</div> </p> <p>    <div STYLE="margin-left: 0.4in;">9.5 Scientific style and social responsibility.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">9.6 The ethics of style as socialization.</div> </p> <p>    <b>II. SAMPLE RESEARCH CASES.</b> </p> <div STYLE="margin-left: 0.2in;">    <b>10. Research on the &ldquo;Ulcer Bug:&rdquo; From Theory to Clinical Application.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Marshall and Warren and Colleagues.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Warren JR, Marshall B. 1983. &ldquo;Unidentified Curved Bacilli on Gastric Epithelium in Active Chronic Gastritis, &rdquo; from Letters to the <i>Lancet</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Blaser MJ. 1987. &ldquo;Gastric <i>Campylobacter</i>&mdash;like organisms, gastritis, and peptic ulcer disease,&rdquo; from <i>Gastroenterology</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Letters to the <i>Lancet</i> and <i>Annals of Internal Medicine</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Veldhuyzen van Zanten and others 1988.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Lam 1989.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Marshall, Warren, and Goodwin 1989.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Loffeld, Stobberingh, and Arends 1989.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Bell 1990.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Graham DY, Lew GM, Klein PD, Evans DG, Evans DJ Jr, Saeed ZA, and Malaty HM. 1992. &ldquo;Effect of treatment of <i>Helicobacter pylori</i> Infection on the Long-Term Recurrence of Gastric or Duodenal Ulcer,&rdquo; from <i>Annals of Internal Medicine</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Blaser MJ. 1996 Feb. &ldquo;The Bacteria Behind Ulcers,&rdquo; from <i>Scientific American</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Alimenterics Inc. 1999. Pylori-Chek Breath Test Kit.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Chiba N, Veldhuyzen van Zanten SJO, Sinclair P, Ferguson RA, Escobedo S, and Grace E. 2002. &ldquo;Treating <i>Helicobacter pylori</i> Infection in Primary Care Patients with Uninvestigated Dyspepsia: The Canadian Adult Dyspepsia Empiric Treatment-<i>Helicobacter pylori</i> Positive (CADET-Hp)Randomized Controlled Trial, &rdquo; from <i>British Medical Journal</i>.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>11. Research on Predatory Algae: From Environmental Event to Environmental Policy.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Burkholder and Colleagues.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Burkholder JM, Noga EJ, Hobbs CH, Glasgow HB Jr., and Smith SA. 1992. &ldquo;New `Phantom' Dinoflagellate is the Causative Agent of Major Estuarine Fish Kills,&rdquo; from <i>Nature</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Huyghe P. 1993 Apr. &ldquo;Killer Algae,&rdquo; from <i>Discover</i>. National Sea Grant College Program. 1994. &ldquo;Statement of Opportunity for Funding: Marine Biotechnology,&rdquo; [Excerpts].</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Burkholder JM, Rublee PA. 1994. &ldquo;Improved Detection of an Ichthyotoxic Dinoflagellate in Estuaries and Aquaculture Facilities.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Mallin MA, Burkholder JM, Larsen LM, Glasgow HB Jr. 1995. Response of two zooplankton grazers to an ichthyotoxic estuarine dinoflagellate. Journal of Plankton Research.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Maryland Department of Natural Resources. 1999. &ldquo;Maryland Guidelines for Closing and Reopening Rivers Potentially Affected by <i>Pfiesteria</i> or <i>Pfiesteria</i>-like Events.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.4in;">US Environmental Protection Agency. 2002. &ldquo;Pfiesteria Piscicida Fact Sheet.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.4in;">North Carolina Department of Environment and Natural Resources. 2002. &ldquo;Collection and Handling of Fish Pathology Samples.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.4in;">North Carolina Department of Environment and Natural Resources. 2002. &ldquo;Safety and Personal Protection During Fish Kills.&rdquo;</div> </p> <div STYLE="margin-left: 0.2in;">    <b>12. Research on Supernova Remnants: From Proposal to Publication.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Reynolds and Colleagues.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">National Aeronautics and Space Administration. 1993. &ldquo;NASA Research Announcement Soliciting Proposals for Theory in Space Astrophysics (NRA 93-OSSA-06)&rdquo; [Excerpt].</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Reynolds SP, Borkowski KJ, Blondin JM. 1994. &ldquo;X-ray Emission and Dynamics of Supernova Remnants&rdquo; (Proposal submitted to NASA's Astrophysics Theory Program).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Reynolds SP, Blondin JM, and Borkowski KJ. &ldquo;1995 X-ray Emission and Dynamics of Supernova Remnants&rdquo; (First-Year Report to NASA).</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Reynolds SP, Blondin JM, Borkowski KJ. 1996 X-ray emission and dynamics of supernova remnants. Second-Year Report to NASA.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Reynolds SP, Blondin JM, Borkowski KJ. 1997 X-ray emission and dynamics of supernova remnants. Third-Year Report to NASA.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Reynolds SP. 1996. &ldquo;Synchrotron Models for X-rays From the Supernova Remnant (SN1006),&rdquo; from <i>Astrophysical Journal</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Hendrick SP, Reynolds SP, and Borkowski KJ. 2001. &ldquo;Maximum Energies of Shock-Accelerated Electrons in Supernova Remnants in the Large Magellanic Cloud,&rdquo; from <i>Young Supernova Remnants: Eleventh Astrophysics Conference</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Hendrick SP and Reynolds SP. 2001. <i>Maximum Energies of Shock-Accelerated Electrons in Large Magellanic Cloud Supernova Remnants,&rdquo; from Astrophysical Journal</i>.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>13. Research on the Oracle at Delphi: From Ancient Myth to Modern Interdisciplinary Science.</b> </div> <br> <p>    <div STYLE="margin-left: 0.4in;">Hale and Deboer and Colleagues.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">DeBoer JZ and Hale JR. 1996. &ldquo;Request for Permission to Take Samples of Travertine Rock from the Vicinity of the Apollo Temple at Delphi.&rdquo;</div> </p> <p>    <div STYLE="margin-left: 0.4in;">DeBoer JZ, Hale JR, Chanton J. 2001. New Evidence for the Geological Origins of the Ancient Delphic Oracle (Greece),&rdquo; from <i>Geology</i>.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Spiller HA, Hale JR, DeBoer JZ. 2002. &ldquo;The Delphi Oracle: A Multidisciplinary Defense of the Gaseous Vent Theory,&rdquo; from <i>Journal of Toxicology-Clinical Toxicology.</i>    </div> </p> <p>    <div STYLE="margin-left: 0.4in;">Hale JR, DeBoer J, Chanton J, and Spiller H. 2002. &ldquo;New Evidence for the Geological Origin of the Delphic Oracle: Active Faults, Gaseous Emissions, and Architectural Anomalies in the Temple of Apollo,&rdquo; from Conference abstract, 103rd Annual Meeting of the Archeological Institute of America.</div> </p> <p>    <div STYLE="margin-left: 0.4in;">Broad WJ. 2002. &ldquo;For Delphic Oracle, Fumes and Visions,&rdquo; from <i>New York Times</i>.</div> </p> <div STYLE="margin-left: 0.2in;">    <b>Works Cited.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Index of Names and Titles.</b> </div> <br> <div STYLE="margin-left: 0.2in;">    <b>Subject Index.</b> </div> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<P>Not everyone has their very own online superstore. In fact, many people don't even know how to build a homepage from scratch. If you're new to Web design, or if you're simply new to Adobe GoLive 6, you'll want <B>Adobe GoLive 6 for Macintosh and Windows: Visual QuickStart Guide</B> by your side as you learn the ins and outs of this cutting-edge Web creation tool. Adobe GoLive offers visual design tools, dynamic HTML, flexible source code editors, and advanced site management capabilities, making it a favorite of many professional Web designers around the world. <B>Adobe GoLive 6 for Macintosh and Windows: Visual QuickStart Guide</B> teaches you this professional tool through step-by-step tasks illustrated with hundreds of screenshots, so you never get lost while learning. Before you know it, you'll be working the program's menus and palettes like a pro as you quickly master GoLive's powerful site management and collaboration capabilities, wireless authoring features, and dynamic database tools.</P>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Introduction.</b> <br> <br> <br> <b>1. Learning Your Way Around.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The GoLive Workspace. The Document Window. The Toolbar. The Objects Palette. The Inspector. The Color Palette. Auxiliary Palettes. Site Management Tools. Using the GoLive Interface. Getting Help.</div> </p> <br> <br> <b>2. Your First GoLive Project.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Setting Up a Site. Opening and Creating Files. Saving and Adding Files. Introducing Point &amp; Shoot.</div> </p> <br> <br> <b>3. Working with Text.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Entering Text. Formatting Text. Formatting Text Blocks. Spell Checking. Find and Replace Text.</div> </p> <br> <br> <b>4. Working with Images.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Using Images on the Web. Adding Images. Setting Image Attributes. Creating Image Maps. Smart Objects and Save For Web. Adding Layered Photoshop Images. Importing Tracing Images.</div> </p> <br> <br> <b>5. Working with Color.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">GoLive Color Schemes. Applying Color. Using the Color Palette to Match Colors.</div> </p> <br> <br> <b>6. Working with Links.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">How Links Work. Creating Links. Editing Links. Linking to Anchors on a Page. Links and Targets. Finding Broken Links.</div> </p> <br> <br> <b>7. Working with Tables.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Table Basics. Setting Table and Cell Dimensions. Setting Table Attributes. Adding and Removing Cells. Adding Content to A Table. Nesting Tables. Using Table Styles. Converting Tables to Layout Grids.</div> </p> <br> <br> <b>8. Working with Layout Grids.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Meet the Layout Grid. Adding Text to a Grid. Objects on a Grid.</div> </p> <br> <br> <b>9. Floating Boxes and Positioning.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Floating Box Basics. Floating Box Tools. Working with Floating Boxes. Working with Positioning.</div> </p> <br> <br> <b>10. Working with Forms.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">How Forms Work. Creating Forms. Adding Form Elements. HTML 4.0 Form Elements.</div> </p> <br> <br> <b>11. Working with Frames.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">How Frames Work. Creating Frames. Linking Content to Frames. Adding Frames and Framesets. Adding Noframes Content.</div> </p> <br> <br> <b>12. Working with Code.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Source Editor. Using Source Code and Visual Tools Together. Using the Outline Editorl. Head Elements. Web Settings.</div> </p> <br> <br> <b>13. Working with Style Sheets.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">How Style Sheets Work. Types of Style Sheets. Creating Style Sheets. Style Types. Adding Properties. Cascading and Inheritance. Using Style Sheets.</div> </p> <br> <br> <b>14. Working with Rich Media.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Setting Up Plug-ins. JavaScript. Java Applets.</div> </p> <br> <br> <b>15. Building Sites.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Site-Building Tools. Creating Sites. Adding Files and Objects. Site Assets. Fine-tuning Preferences. Using Site Templates. Site Diagramming.</div> </p> <br> <br> <b>16. Viewing and Managing Sites.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">A Closer Look at the Site Window. Working with Site Objects. The Navigation View. The Links View. Peripheral Panes. Troubleshooting Sites. Site Reports.</div> </p> <br> <br> <b>17. Publishing Sites.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Choices for Publishing Your Site. Two Kinds of FTP. Exporting a Site. Using WebDAV.</div> </p> <br> <br> <b>18. The Workgroup Server.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Workgroup Server Architecture. Setting up a Workgroup Server. Collaborative Authoring.</div> </p> <br> <br> <b>19. Using Actions.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Action Tools. Adding Action Icons. Configuring Actions. The External Script Library. Types of Actions. Creating Your Own Actions.</div> </p> <br> <br> <b>20. Animation and QuickTime.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Animation Basics. QuickTime Authoring and Editing. Working with QuickTime Movies. QuickTime Tracks.</div> </p> <br> <br> <b>21. Dynamic Content.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Dynamic Content Basics. Dynamic Content Resources.</div> </p> <br> <br> <b>Index.</b> <br>]]></d104>
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<d104 textformat="02"><![CDATA[					  				<p><i><b>Software Systems Architecture</b></i> is a practitioner-oriented guide to designing and implementing effective architectures for information systems. It is both a readily accessible introduction to software architecture and an invaluable handbook of well-established best practices. It shows why the role of the architect is central to any successful information-systems development project, and, by presenting a set of architectural viewpoints and perspectives, provides specific direction for improving your own and your organization&#39;s approach to software systems architecture.</p><p>With this book you will learn how to</p><ul><li>Design an architecture that reflects and balances the different needs of its stakeholders</li><li>Communicate the architecture to stakeholders and demonstrate that it has met their requirements</li><li>Focus on architecturally significant aspects of design, including frequently overlooked areas such as performance,  resilience, and location</li><li>Use scenarios and patterns to drive the creation and validation of your architecture</li><li>Document your architecture as a set of related views</li><li>Use perspectives to ensure that your architecture exhibits important qualities such as performance, scalability, and security </li></ul><p>The architectural viewpoints and perspectives presented in the book also provide a valuable long-term reference source for new and experienced architects alike.</p><p>Whether you are an aspiring or practicing software architect, you will find yourself referring repeatedly to the practical advice in this book throughout the lifecycle of your projects.</p><p>A supporting Web site containing further information can be found at <a href="http://www.viewpoints-and-perspectives.info" id="www.viewpoints-and-perspectives.info">www.viewpoints-and-perspectives.info</a></p>  <br><br>  					  				]]></d104>
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<d104 textformat="02"><![CDATA[<p>The authors of this book are both practicing software architects who have worked in this role, together and separately, on information system development projects for quite a few years. During that time, we have seen a significant increase in the visibility of software architects and in the importance with which our role has been viewed by colleagues, management, and customers. No large software development project nowadays would expect to go ahead without an architect--or a small architectural group--in the vanguard of the development team.</p><p>While there may be an emerging consensus that the software architect's role is an important one, there seems to be little agreement on what the job actually involves. Who are our clients? To whom are we accountable? What are we expected to deliver? What is our involvement once the architectural design has been completed? And, perhaps most fundamentally, where are the boundaries between requirements, architecture, and design?</p><p>The absence of a clear definition of the role is all the more problematic because of the seriousness of the problems that today's software projects (and specifically, their architects) have to resolve.</p><ul> <li>The expectations of users and other stakeholders in terms of functionality, capability, time to market, and flexibility have become much more demanding.</li> <li>Long system development times result in continual scope changes and consequent changes to the system's architecture and design.</li> <li>Today's systems are more functionally and structurally complex than ever and are usually constructed from a mix of off-the-shelf and custom-built components.</li> <li>Few systems exist in isolation; most are expected to interoperate and exchange information with many other systems.</li> <li>Getting the functional structure--the design--of the system right is only part of the problem. How the system behaves (i.e., its quality properties) is just as critical to its effectiveness as what it does.</li> <li>Technology continues to change at a pace that makes it very hard for architects to keep their technical expertise up-to-date.</li></ul><p>When we first started to take on the role of software architects, we looked for some sort of software architecture handbook that would walk us through the process of developing an architectural design. After all, other architectural disciplines have behind them centuries of theory and established best practice.</p><p>For example, in the first century A.D., the Roman Marcus Vitruvius Pollio wrote the first ever architectural handbook, <i>De architectura libri decem</i> ("Ten Books on Architecture"), describing the building architect's role and required skills and providing a wealth of material on standard architectural structures. In 1670, Anthony Deane, a friend of diarist Samuel Pepys, a former mayor of the English town of Harwich and later a member of Parliament, published a ground-breaking textbook, <i>A Doctrine of Naval Architecture,</i> which described in detail some of the leading methods of the time for large ship design. Deane's ideas and principles helped systematize the practice of naval architecture for many years. And in 1901, George E. Davis, a consulting engineer in the British chemical industry, created a new field of engineering when he published his text <i>A Handbook of Chemical Engineering.</i> This text was the first book to define the practical principles underpinning industrial chemical processes and guided the field for many years afterward.</p><p>The existence of such best practices has a very important consequence in terms of uniformity of approach. If you were to give several architects and engineers a commission to design a building, a cruise liner, or a chemical plant, the designs they produced would probably differ. However, the processes they used, the ways they represented their designs on paper (or a computer screen), and the techniques they used to ensure the soundness of their designs would be very similar.</p><p>Sadly, our profession has yet to build any significant legacy of mainstream industrial best practices. When we looked, we found a dearth of introductory books to guide practicing information systems architects in the details of doing their jobs.</p><p>Admittedly, we have an abundance of books on specific technologies, whether it's J2EE, CORBA, or .NET, and some on broader topics such as Web services or object orientation (although, because of the speed at which software technology changes, many of these become out-of-date within a few years). There are also a number of good general software architecture books, several of which we refer to in later chapters. But many of these books aim to lay down principles that apply across all sorts of systems and so are written in quite general terms, while most of the more specific texts are aimed at our colleagues in the real-time and embedded-systems communities.</p><p>We feel that if you are a new software architect for an information system, the books that actually tell you how to do your job, learn the important things you need to know, and make your architectural designs successful are few and far between. While we don't presume to replace the existing texts on software architecture or place ourselves alongside the likes of Vitruvius, Deane, and Davis, addressing these needs was the driving force behind our decision to write this book.</p><p>Specifically, the book shows you</p><ul> <li>What software architecture is about and why your role is vitally important to successful project delivery</li> <li>How to determine who is interested in your architecture (your <i>stakeholders</i>), understand what is important to them (their <i>concerns</i>), and design an architecture that reflects and balances their different needs</li> <li>How to communicate your architecture to your stakeholders in an understandable way that demonstrates that you have met their concerns (the <i>architectural description</i>)</li> <li>How to focus on what is <i>architecturally significant,</i> safely leaving other aspects of the design to your designers, without neglecting issues like performance, resilience, and location</li> <li>What important activities you most need to undertake as an architect, such as identifying and engaging stakeholders, using scenarios, creating models, and documenting and validating your architecture</li></ul><p>Throughout the book we primarily focus on the development of large-scale information systems (by which we mean the computer systems used to automate the business operations of large organizations). However, we have tried to present our material in a way that is independent of the type of information system you are designing, the technologies the developers will be using, and the software development lifecycle your project is following. We have standardized on a few things, such as the use of Unified Modeling Language (UML) in most of our diagrams, but we've done that only because UML is the most widely understood modeling language around. You don't have to be a UML expert to understand this book.</p><p>We didn't set out to be the definitive guide to developing the architecture of your information system--such a book would probably never be finished and would require the collaboration of a huge number of experts across a wide range of technical specializations. Also, we did not write a book of prescriptive methods. Although we present some activity diagrams that explain how to produce your deliverables, these are designed to be compatible with the wide range of software development approaches in use today.</p><p>What we hope we have achieved is the creation of a practical, practitioner-oriented guide that explains how to design successful architectures for information systems and how to see these through to their successful implementation. This is the sort of book that we wish had been available when we started out as software architects, and one that we expect to refer to even now.</p><p>You can find further useful software architecture resources, and contact us to provide feedback on the book's content, via our Web page: <a href="http://www.viewpoints-and-perspectives.info" id="www.viewpoints-and-perspectives.info">www.viewpoints-and-perspectives.info.</a> We look forward to hearing from you.</p> </UL>]]></d104>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>Preface.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>Acknowledgments.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>About the Authors.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>1. Introduction.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Stakeholders, Viewpoints, and Perspectives.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Structure of This Book.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Who Should Read This Book.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Conventions Used.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>I. ARCHITECTURE FUNDAMENTALS.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>2. Software Architecture Concepts.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Software Architecture.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Elements.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Stakeholders.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Descriptions.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Interrelationships between the Core Concepts.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>3. Viewpoints and Views.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Views.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Viewpoints.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Interrelationships between the Core Concepts.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Benefits of Using Viewpoints and Views.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Viewpoint Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Our Viewpoint Catalog.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>4. Architectural Perspectives.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Quality Properties.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Perspectives.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Applying Perspectives to Views.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Consequences of Applying a Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Interrelationships between the Core Concepts.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Benefits of Using Perspectives.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Perspective Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp; &nbsp;Our Perspective Catalog.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>5. The Role of the Software Architect.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Architecture Definition Process.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Role of the Architect.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Interrelationships between the Core Concepts.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Specializations.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Organizational Context.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Architect&#39;s Skills.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Architect&#39;s Responsibilities.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>II. THE PROCESS OF SOFTWARE ARCHITECTURE.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>6. Introduction to the Software Architecture Process.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>7. The Architecture Definition Process.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Guiding Principles.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Process Outcomes.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Process Context.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Supporting Activities.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architecture Definition Activities.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Process Exit Criteria.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architecture Definition in the Software Development Lifecycle.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>8. Scope, Concerns, Principles, and Constraints.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Business Goals and Drivers.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Scope.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Principles.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Other Architectural Constraints.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>9. Identifying and Engaging Stakeholders.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Selection of Stakeholders.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Classes of Stakeholders.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Examples.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Proxy Stakeholders.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Stakeholder Groups.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Stakeholders&#39; Responsibilities.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>10. Identifying and Using Scenarios.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Types of Scenarios.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Uses for Scenarios.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Identifying and Prioritizing Scenarios.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Capturing Scenarios.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Applying Scenarios.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Effective Use of Scenarios.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>11. Using Styles and Patterns.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Software Patterns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Styles, Patterns, and Idioms.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; An Example of an Architectural Style.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Benefits of Using Architectural Styles.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Styles and the Architectural Description.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Common Architectural Styles.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Design Patterns and Language Idioms in Architecture.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>12. Producing Architectural Models.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Why Models Are Important.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Types of Models.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Modeling Languages.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Guidelines for Creating Effective Models.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Agile Modeling Techniques.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>13. Creating the Architectural Description.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Properties of an Effective Architectural Description.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Glossaries.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The IEEE Standard.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Contents of the Architectural Description.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>14. Validating the Architecture.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Why Validate the Architecture?</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Validation Techniques.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Scenario-Based Evaluation Methods.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp; &nbsp;Validation during the Software Lifecycle.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Recording the Results of Validation.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Summary.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>III. THE VIEWPOINT CATALOG.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>15. Introduction to the Viewpoint Catalog.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>16. The Functional Viewpoint.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Models.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Problems and Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>17. The Information Viewpoint.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Models.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Problems and Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>18. The Concurrency Viewpoint.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Models.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Problems and Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>19. The Development Viewpoint.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Models.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Problems and Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>20. The Deployment Viewpoint.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Models.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Problems and Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>21. The Operational Viewpoint.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Models.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Problems and Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklist.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>22. Achieving Consistency across Views.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Relationships between Views.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Functional and Information View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Functional and Concurrency View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Functional and Development View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Functional and Deployment View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Functional and Operational View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Information and Concurrency View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Information and Development View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Information and Deployment View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Information and Operational View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concurrency and Development View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concurrency and Deployment View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Deployment and Operational View Consistency.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>IV. THE PERSPECTIVE CATALOG.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>23. Introduction to the Perspective Catalog.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>24. The Security Perspective.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Applicability to Views.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Activities: Applying the Security Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Tactics.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Problems and Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklists.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>25. The Performance and Scalability Perspective.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Applicability to Views.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Activities: Applying the Performance and Scalability Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Tactics.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Problems and Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklists.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>26. The Availability and Resilience Perspective.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Applicability to Views.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Activities: Applying the Availability and Resilience Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Tactics.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Problems and Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklists.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>27. The Evolution Perspective.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Applicability to Views.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Concerns.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Activities: Applying the Evolution Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Architectural Tactics.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Problems and Pitfalls.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Checklists.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Further Reading.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>28. Other Perspectives.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Accessibility Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Development Resource Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Internationalization Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Location Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Regulation Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Usability Perspective.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>V. PUTTING IT ALL TOGETHER.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>29. Working as a Software Architect.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Architect in the Project Lifecycle.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; The Architect in Different Types of Projects.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>Appendix: Other Viewpoint Sets.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Kruchten "4+1".</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; RM-ODP.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Siemens (Hofmeister, Nord, and Soni).</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; SEI Viewtypes.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText>&nbsp;&nbsp;&nbsp; Garland and Anthony.</P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>Bibliography.</B></P>  <P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 200%" soPlainText><B>Index.</B></P>]]></d104>
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<d104 textformat="02"><![CDATA[<p><b>Jim Arlow </b>has been programming and designing object-oriented software systems since 1990. He has created object models for blue chip companies such as British Airways and M&G. He is a respected OO consultant in Europe and has written and delivered many training courses on object technology and Java. Jim is a regular speaker at conferences such as Object World, and has been an invited speaker at University College London, City University, and the British Computer Society.</p>    <p><b>Ila Neustadt </b>has worked in IT for British Airways for more than twenty years and has experience of all parts within the IT development life cycle. She worked in the strategy department modeling the architecture process and developing architecture training, and acted as program head for the graduate business analyst program. Ila now coordinates skills development for BA&trade;s IT staff.</p>      <br><br>]]></d104>
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<d104 textformat="02"><![CDATA[<P><B><i>Praise for Enterprise Patterns and MDA</i></B> <p> &#8220I&#8217;ve never seen a system of business patterns as detailed as this one. The completeness that Arlow and Neustadt provide in these patterns is impressive. The explanations for why the patterns are formed the way they are and how they&#8217;re interconnected are incredibly thorough. The patterns presented here have the potential to impact business applications in the same way the &#8216;Gang of Four&#8217; patterns have impacted general software development.&#8221;  </p>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&mdash;<b>Steve Vinoski</b><br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Chief Engineer of Product Innovation<bR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;IONA Technologies <p> &#8220<i>Enterprise Patterns and MDA</i> is a detailed, yet very readable, guide to designing business applications using reusable model components and Model Driven Architecture. It deserves a place on every application designer&#8217;s desk.&#8221;  </p>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&mdash;<b>Andrew Watson</b><br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Vice President and Technical Director<br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Object Management Group, Inc.<br>  <p> &#8220Design patterns are generally acknowledged as an effective approach to developing robust and highly reusable software. Now that Model Driven Architecture is raising software design to ever-higher levels of abstraction, it is only natural that pattern concepts should find application in advanced modeling techniques. With this book, Arlow and Neustadt have greatly advanced the state of the art of MDA by defining both a theory and a methodology for applying the concept of Archetype Patterns to business software modeling.&#8221;  </p>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&mdash;<b>John Poole</b><br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Distinguished Software Engineer<br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Hyperion Solutions Corporation<br><p>&#8220;The burgeoning field of Model Driven Architecture tools and worldwide support for the Unified Modeling Language are finally being met with high-quality books that explain standard modeling techniques in a way any developer can follow. This book meets an urgent need squarely and clearly, and explains with copious examples a powerful approach to building usable (and reusable!) assets and applications. Every enterprise developer needs this book.&#8221;</i></p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#8212;<b>Richard Mark Soley, Ph.D.</b><br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Chairman and CEO<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Object Management Group<p>This book is a practical guide to applying Model Driven Architecture (MDA) and patterns in order to create business applications more easily. It provides you with a proven catalog of archetype patterns: high-value model components that can be easily incorporated into Unified Modeling Language (UML) models. Each archetype pattern allows you to understand and model a specific part of an enterprise system.</p><p><b><i>Enterprise Patterns and MDA</i></b> teaches you how to customize any archetype pattern&#8212;such as Customer, Product, and Order&#8212;to reflect the idiosyncrasies of your own business environment. Because all the patterns work harmoniously together and have clearly documented relationships to each other, you&#8217;ll come away with a host of reusable solutions to common problems in business-software design. </p><p>This book shows you how using a pattern or a fragment of a pattern can save you months of work and help you avoid costly errors. You&#8217;ll also discover how&#8212;when used in literate modeling&#8212;patterns can solve the difficult challenge of communicating UML models to broad audiences.</p><p>The configurable patterns can be used manually to create executable code. However, the authors draw on their extensive experience to show you how to tap the significant power of MDA and UML for maximum automation. Not surprisingly, the patterns included in this book are highly valuable; a blue-chip company recently valued a similar, but less mature, set of patterns at hundreds of thousands of dollars.</p><p>Use this practical guide to increase the efficiency of your designs and to create robust business applications that can be applied immediately in a business setting.</p> <br><br>  </P>]]></d104>
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<d104 textformat="02"><![CDATA[<p><b>About This Book</b></p><p>This is a practical book that we hope will save you a great deal of time and effort in your software development projects. It gives you a set of archetype patterns and the theory you need to use them effectively. We&#8217;re planning to publish some more volumes of archetype patterns over the next few years, and because this book is the first volume, it sets the theoretical groundwork for future work on archetypes.</p><p>Archetype patterns are high-value model components that you can easily use in your own UML models. Each archetype pattern provides a solution for understanding and modeling a specific part of a business system. These patterns are valuable&#8212;a similar, but much less mature, set of patterns was recently independently valued at about $300,000 by a blue chip company. Using any one of these patterns, or even a pattern fragment, may save you many days or months of work. Even more important than this saving is the fact that each archetype pattern may prevent you from making expensive mistakes! All of the patterns presented in this volume work together harmoniously and so provide a unified pattern language for talking about selling systems. This harmony greatly adds to their value.</p><p>We think that in the year 2003, we are at the start of a revolution in software development. Much as the 1990s saw an increase in the level of abstraction from procedural to object-oriented code, we believe that this decade will see a further, and more significant, increase in the level of abstraction. This will be a change from code-centric software development to model-centric software development through the OMG&#8217;s Model Driven Architecture (MDA) initiative. We hope that the concepts, techniques, tools and patterns that we describe in this book will help us all to make this revolution in software development a reality.</p><p><b>Our Vision</b></p><p>One of the reasons this book came about was through boredom! After modeling for many years, we decided that we were often just doing the same old thing over and over again. At their most abstract levels, most businesses seem to be made up of the same semantic elements&#8212;Customer, Product, Order, Party, etc. In fact, so pervasive are some of these elements, that it led us to the notion of business archetype patterns. We speculated that most business systems could be assembled, like Lego bricks, from a sufficiently complete set of archetype patterns.</p><p>The essence of our vision is that archetype patterns should be treated as a type of &#8220;model component&#8221; that can be taken off the shelf, customized and instantiated in your own models. This process can be done manually, but ideally should be automated to as high a degree as possible, by using an MDA (Model Driven Architecture) tool.</p><p>Today, you can use a GUI builder to create graphical user interfaces rapidly from GUI components. The work we describe in Chapter 2 enables you to construct semantically correct and verifiable UML models rapidly from platform independent, generic, model components with a high degree of automation. We believe that this may be the future of software development. We call this &#8220;component based modeling.&#8221;</p><p>This is reuse writ large&#8212;software systems are not considered to be composed of reusable classes, reusable code components, or even reusable subsystems, but rather from the reusable semantic elements that we call archetype patterns. In fact, to a great extent the essence of the business system lies in its archetypes and their patterns, rather than in any code or design artifacts. Coding practices, design practices and even architectures come and go with technology changes, but the archetypes survive, largely unchanged, sometimes over millennia.</p><p><b>Why We Haven&#8217;t Done It Sooner</b></p><p>We have wanted to write this book for several years but there have been obstacles that we have only recently overcome. These obstacles were:<ul><li>The state of the art of UML modeling. Until the OMG&#8217;s recent Model Driven Architecture initiative, we have not really had the conceptual tools necessary to describe archetype patterns in good form.</li><li>The problem of pattern variation&#8212;business patterns often need to adapt their form to a specific business context. We have now formulated a simple solution to this problem that allows us to create archetype patterns that are adaptable to different business environments.</li><li>The problem of communicating UML models to a wide audience. In fact, we&#8217;ve had a good solution to this for a few years now, in the form of literate modeling (described in Chapter 3).</li><li>UML modeling tool support. It&#8217;s all very well presenting a theory of archetype patterns, but such a theory is useful to the average software engineer only if it can be put into practice. Modeling tools have recently come on to the market that can accommodate our requirements for archetype pattern automation.</li></ul></p><p><b>The Structure of This Book</b></p><p>There are four main threads to this book:<ol><li>The theory of archetypes and archetype patterns (Chapters 1 and 2)</li><li>Pattern automation using Model Driven Architecture (Chapter 2)</li><li>Increasing the business value of UML models by making them accessible to a wide audience through literate modeling (Chapter 3)</li><li>A valuable pattern catalog that you can use in your own models (Chapter 4  onward)</li></ol></p><p>Chapters 1, 2 and 3 provide you with the theoretical basis for the rest of the book, and you will find that they cover a lot of new material. In Chapter 1 we describe a new approach to dealing with the problem of pattern variation&#8212;how to adapt patterns for different usage contexts. In Chapter 2 we show you how you can automate the process of using archetype patterns using an MDA-enabled UML modeling tool. The first two Chapters are intimately related. The pattern automation described in Chapter 2 depends on the theory of archetypes and archetype patterns presented in Chapter 1. Chapter 3 describes the technique of literate modeling that you can use to document your patterns. This chapter is pretty much self-contained. Literate modeling is a powerful way of communicating UML models to a wide audience.</p><p>Each of the first three chapters contains a summary that reiterates the key information in the chapter in a very concise outline form. This is great for revision and it is also a useful source of bullet points for presentations.</p><p>The pattern catalog can stand alone. If you choose to use the book primarily as a pattern catalog (Chapter 4 through Chapter 12), then you can skip much of the theoretical background in the first three chapters. Use the pattern catalog as a valuable resource for your own models. Each of the pattern chapters ends with a very brief summary that lists the key concepts and archetypes introduced in that chapter. Again, we do this in outline form.</p><p>Having said that the pattern catalog can stand alone, we believe that you will be able to apply the patterns much more effectively if you have at least a basic understanding of archetype theory first. You can find all you need to know in Chapter 1. All the patterns in the in the pattern catalog are a direct result of the application of the theories and techniques described in the first three chapters. The notions of archetypes, archetype patterns, pattern configuration and literate modeling have allowed us to create much more complete and robust patterns than would otherwise have been possible. Finally, we provide a glossary of archetypes, a bibliography and a complete index.</p> <br><br> 032111230XP09152003 </UL>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Introduction.</b> <br> <br> <br> <b>&nbsp;1 Archetypes and Archetype Patterns.</b> <br> <br> <br> <b>&nbsp;2 Model Driven Architecture with Archetype Patterns.</b> <br> <br> <br> <b>&nbsp;3 Literate Modeling.</b> <br> <br> <br> <b>&nbsp;4 Party Archetype Pattern.</b> <br> <br> <br> <b>&nbsp;5 Party Relationship Archetype Pattern.</b> <br> <br> <br> <b>&nbsp;6 Customer Relationship Management (CRM) Archetype Pattern.</b> <br> <br> <br> <b>&nbsp;7 Product Archetype Pattern.</b> <br> <br> <br> <b>&nbsp;8 Inventory Archetype Pattern.</b> <br> <br> <br> <b>&nbsp;9 Order Archetype Pattern.</b> <br> <br> <br> <b>10 Quantity Archetype Pattern.</b> <br> <br> <br> <b>11 Money Archetype Pattern.</b> <br> <br> <br> <b>12 Rule Archetype Pattern.</b> <br> <br> <br> <b>13 Summary.</b> <br> <br> <br> <b>Archetype Glossary.</b> <br> <br> <br> <b>Bibliography. 032111230XT09152003</b> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>1. Critical Thinking Skills.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Inductive Reasoning.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Estimation.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem Solving.</div> </p> <br> <br> <b>2. Sets.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Set Concepts.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Subsets.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Venn Diagrams and Set Operations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Venn Diagrams with Three Sets and Verification of Equality of Sets.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Applications of Sets.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Infinite Sets.</div> </p> <br> <br> <b>3. Logic.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Statements and Logical Connectives.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Truth Tables for Negation, Conjunction, and Disjunction.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Truth Tables for the Conditional and Biconditional.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Equivalent Statements.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Symbolic Arguments.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Euler Diagrams and Syllogistic Arguments.</div> </p> <br> <br> <b>4. 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Algebra, Graphs, and Functions.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Order of Operations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Linear Equations in One Variable.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Formulas.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Applications of Linear Equations in One Variable.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Variation.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Linear Inequalities.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Graphing Linear Equations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Linear Inequalities in Two Variables.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Solving Quadratic Equations by Using Factoring and By Using The Quadratic Formula.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Functions and Their Graphs.</div> </p> <br> <br> <b>7. Systems of Linear Equations and Inequalities.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Systems of Linear Equations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Solving Systems of Equations by the Substitution and Addition Methods.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Matrices.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Solving Systems of Equations by Using Matrices.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Systems of Linear Inequalities.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Linear Programming.</div> </p> <br> <br> <b>8. The Metric System.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Basic Terms and Conversions within the Metric System.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Length, Area, and Volume.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Mass and Temperature.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Dimensional Analysis and Conversions to and from the Metric System.</div> </p> <br> <br> <b>9. Geometry.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Points, Lines, Planes, and Angles.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Polygons.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Perimeter and Area.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Volume.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Transformational Geometry, Symmetry, and Tessellations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The M&ouml;bius Strip, Klein Bottle, and Maps.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Non-Euclidean Geometry and Fractal Geometry.</div> </p> <br> <br> <b>10. Mathematical Systems.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Groups.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Finite Mathematical Systems.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Modular Arithmetic.</div> </p> <br> <br> <b>11. Consumer Mathematics.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Percent.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Personal Loans and Simple Interest.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Compound Interest.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Installment Buying.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Buying a House with a Mortgage.</div> </p> <br> <br> <b>12. Probability.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Nature of Probability.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Theoretical Probability.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Odds.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Expected Value (Expectation).</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tree Diagrams.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">       <i>Or</i> and <i>And </i>Problems.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Conditional Probability.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Counting Principle and Permutations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Combinations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Solving Probability Problems by Using Combinations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Binomial Probability Formula.</div> </p> <br> <br> <b>13. Statistics.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Sampling Techniques.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Misuses of Statistics.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Frequency Distributions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Statistical Graphs.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Measures of Central Tendency.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Measures of Dispersion.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Normal Curve.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Linear Correlation and Regression.</div> </p> <br> <br> <b>Appendix: Graph Theory </b> <br> <br> <br> <b>Answers</b> <br> <br> <br> <b>Credits</b> <br> <br> <br> <b>Index</b> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<p><b>David Mertz</b> came to writing about programming via the unlikely route of first being a humanities professor. Along the way, he was a senior software developer, and now runs his own development company, Gnosis Software ("We know stuff!"). David writes regular columns and articles for <i>IBM developerWorks, Intel Developer Network, O'Reilly ONLamp,</i> and other publications.</p>      <br><br>  0321112547AB05022003]]></d104>
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<d104 textformat="02"><![CDATA[<p><b><i>Text Processing in Python</i></b> is an example-driven, hands-on tutorial that carefully teaches programmers how to accomplish numerous text processing tasks using the Python language. Filled with concrete examples, this book provides efficient and effective solutions to specific text processing problems and practical strategies for dealing with all types of text processing challenges.</p><p><b><i>Text Processing in Python</i></b> begins with an introduction to text processing and contains a quick Python tutorial to get you up to speed. It then delves into essential text processing subject areas, including string operations, regular expressions, parsers and state machines, and Internet tools and techniques. Appendixes cover such important topics as data compression and Unicode. A comprehensive index and plentiful cross-referencing offer easy access to available information. In addition, exercises throughout the book provide readers with further opportunity to hone their skills either on their own or in the classroom. A companion Web site (<a href="http://gnosis.cx/TPiP" id="http://gnosis.cx/TPiP" title="http://gnosis.cx/TPiP" target="_new">http://gnosis.cx/TPiP</a>) contains source code and examples from the book.</p><p>Here is some of what you will find in thie book:</p><ul>	<li>When do I use formal parsers to process structured and semi-structured data? 	<b>Page 257</b></li>	<li>How do I work with full text indexing? 	<b>Page 199</b></li>	<li>What patterns in text can be expressed using regular expressions?	<b>Page 204</b></li>	<li>How do I find a URL or an email address in text?	 <b>Page 228</b></li>	<li>How do I process a report with a concrete state machine? 	<b>Page 274</b></li>	<li>How do I parse, create, and manipulate internet formats? 	<b>Page 345</b></li>	<li>How do I handle lossless and lossy compression?	<b>Page 454</b></li>	<li>How do I find codepoints in Unicode?	<b>Page 465</b></li></ul> <br><br> 0321112547B05022003]]></d104>
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<d104 textformat="02"><![CDATA[<p>Beautiful is better than ugly.<br>Explicit is better than implicit.<br>Simple is better than complex.<br>Complex is better than complicated.<br>Flat is better than nested.<br>Sparse is better than dense.<br>Readability counts.<br>Special cases aren't special enough to break the rules.<br>Although practicality beats purity.<br>Errors should never pass silently.<br>Unless explicitly silenced.<br>In the face of ambiguity, refuse the temptation to guess.<br>There should be one&#8212;and preferably only one&#8212;obvious way to do it.<br>Although that way may not be obvious at first unless you're Dutch.<br>Now is better than never.<br>Although never is often better than <b>right</b> now.<br>If the implementation is hard to explain, it's a bad idea.<br>If the implementation is easy to explain, it may be a good idea.<br>Namespaces are one honking great idea&#8212;let's do more of those!<br>&#8212;Tim Peters, The Zen of Python</p><h3>0.1 What is Text Processing?</h3><p>At the broadest level text processing is simply taking textual information and <i>doing something</i> with it. This doing might be restructuring or reformatting it, extracting smaller bits of information from it, algorithmically modifying the content of the information, or performing calculations that depend on the textual information. The lines between "text" and the even more general term "data" are extremely fuzzy; at an approximation, "text" is just data that lives in forms that people can themselves read&#8212;at least in principle, and maybe with a bit of effort. Most typically computer "text" is composed of sequences of bits which have a "natural" representation as letters, numerals and symbols; and most often such text is delimited (if delimited at all) by symbols and formatting that can be easily pronounced as "next datum."</p><p>The lines are fuzzy, but the data that seems least like text&#8212;and that, therefore this particular book is least concerned with&#8212;is the data that makes up "multimedia" (pictures, sounds, video, animation, etc.) and data that makes up UI "events" (draw a window, move the mouse, open an application, etc.). Like I said, the lines are fuzzy, and some representations of the most non-textual data are themselves pretty textual. But in general, the subject of this book is all the stuff on the near side of that fuzzy line.</p><p>Text processing is arguably what most programmers spend most of their time doing. The information that lives in business software systems mostly comes down to collections of words about the application domain&#8212;maybe with a few special symbols mixed in. Internet communications protocols consist mostly of a few special words used as headers, a little bit of constrained formatting, and message bodies consisting of additional wordish texts. Configuration files, log files, CSV and fixed-length data files, error files, documentation, and source code itself, are all just sequences of words with bits of constraint and formatting applied.</p><p>Programmers and developers spend so much time with text processing, that it is easy to forget that that is what we are doing. The most common text processing application is probably your favorite text editor. Beyond simple entry of new characters, text editors perform such text processing tasks as search/replace and copy/paste, which&#8212;given guided interaction with the user&#8212;accomplishes sophisticated manipulation of textual sources. Many text editors go farther than these simple capabilities, and include their own complete programming systems (usually called "macro processing"); in those cases where editors include "Turing-complete" macro languages, text editors suffice, in principle, to accomplish anything that the examples in this book can.</p><p>After text editors, a variety of text processing tools are widely used by developers. Tools like "File Find" under Windows, or "grep" on Unix (and other platforms) perform the basic chore of <i>locating</i> text patterns. "Little languages" like sed and awk perform basic text manipulation (or even non-basic). A large number of utilities&#8212;especially in Unix-like environments&#8212;perform small custom text processing tasks: <code>wc</code>, <code>sort</code>, <code>tr</code>, <code>md5sum</code>, <code>uniq</code>, <code>split</code>, <code>strings</code> and many others.</p><p>At the top of the text processing food chain are general purpose programming languages, such as Python. I wrote this book on Python in large part because Python is such a clear, expressive, and general purpose language. But for all Python's virtues, text editors and "little" utilities will always have an important place for developers "getting the job done." As simple as Python is, it is still more complicated than you need to achieve many basic tasks. But once you get past the very simple, Python is a perfect language for making the difficult things possible (and it is also good at making the easy things simple).</p><h3>0.2 The Philosophy of Text Processing</h3><p>Hang around any Python discussion groups for a little while, and you will certainly be dazzled by the contributions of the Python developer, Tim Peters (and by a number of other Pythonistas). His "Zen of Python" captures much of the reason that I choose Python as the language in which to solve most programming tasks that are presented to me. But to understand what is most special about text processing as a programming task, it is worth turning to Perl creator Larry Wall's cardinal virtues of programming: Laziness, impatience, hubris.</p><p>What sets text processing most clearly apart from other tasks computer programmers accomplish is the frequency with which we perform text processing on an ad hoc or "one-shot" basis. One rarely bothers to create a one-shot GUI interface for a program. You even less frequently performs a one-shot normalization of a relational database. But every programmer with a little experience has had numerous occasions where she has received a trickle of textual information (or maybe a deluge of it) from another department, from a client, from a developer working on a different project, or from data dumped out of a DBMS; the problem in such cases is always to "process" the text so that it is usable for our own project, program, database, or work unit. Text processing to the rescue. This is where the virtue of impatience first appears&#8212;we just want the stuff processed, right now!</p><p>But text-processing tasks that were obviously one-shot tasks that we knew we would never need again have a habit of coming back like restless ghosts. It turns out that that client needs to update the one-time data they sent last month. Or the boss decides that she would really like a feature of that text summarized in a slightly different way. The virtue of laziness is our friend here&#8212;with our foresight not to actually delete those one-shot scripts, we have them available for easy reuse and/or modification when the need arises.</p><p>Enough is not enough, however. That script you reluctantly used a second time turns out to be quite similar to a more general task you will need to perform frequently, perhaps even automatically. You imagine that with only a slight amount of extra work you can generalize and expand the script, maybe add a little error checking and some runtime options while you are at it; and do it all in time and under budget (or even as a side project, off the budget). Obviously, this is the voice of that greatest of programmers' virtues: hubris.</p><p>The goal of this book is to make its readers a little lazier, a smidgeon more impatient, and a whole bunch more hubristic. Python just happens to be the language best suited to the study of virtue. </p><h3>0.3 What You'll Need to Use This Book</h3><p>This book is ideally suited for programmers who are a little bit familiar with Python, and whose daily tasks involve a fair amount of text processing chores. Programmers who have some background in other programming languages&#8212;especially with other "scripting" languages&#8212;should be able to pick up enough Python to get going by reading Appendix A.</p><p>While Python is a rather simple language at heart, this book is not intended as a tutorial on Python for non-programmers. Instead, this book is about two other things: getting the job done, pragmatically and efficiently; and understanding why what works works and what doesn't work doesn't work, theoretically and conceptually. As such, we hope this book can be useful both to working programmers and to students of programming at a level just past the introductory.</p><p>Many sections of this book are accompanied by problems and exercises, and these in turn often pose questions for users. In most cases, the answers to the listed questions are somewhat open-ended&#8212;there are no simple right answers. I believe that working through the provided questions will help both self-directed and instructor-guided learners; the questions can typically be answered at several levels, and often have an underlying subtlety. Instructors who wish to use this text are encouraged to contact the author for assistance in structuring a curriculum involving it. All readers are encouraged to consult the book's web site to see possible answers provided by both the author and other readers; additional related questions will be added to the web site over time, along with other resources.</p><p>The Python language itself is conservative. Almost every Python script written ten years ago for Python 1.0 will run fine in Python 2.3+. However, as versions improve, a certain number of new features have been added. The most significant changes have matched the version number changes&#8212;Python 2.0 introduced list comprehension's, augmented assignments, Unicode support, and a standard XML package. Many scripts written in the most natural and efficient manner using Python 2.0+ will not run without changes in earlier versions of Python.</p><p>The general target of this book will be users of Python 2.1+, but some 2.2+ specific features will be utilized in examples. Maybe half the examples in this book will run fine on Python 1.5.1+ (and slightly fewer with older versions), but examples will not necessarily indicate their requirement for Python 2.0+ (where it exists). On the other hand, new features introduced with Python 2.1 and above will only be utilized where they make a task significantly easier, or where the feature itself is being illustrated. In any case, examples requiring versions past Python 2.0 will usually indicate this explicitly.</p><p>In the case of modules and packages&#8212;whether in the standard library or third-party&#8212;we will explicitly indicate what Python version is required; and where relevant, which version added the module or package to the standard library. In some cases, it will be possible to use later standard library modules with earlier Python versions. In important cases, this possibility will be noted.</p><h3>0.4 Conventions Used in This Book</h3><p>All constants, functions, and classes in discussions and cross-references will be explicitly prepended with their namespace (module). Methods will additionally, be prepended with their class. In some cases, code examples will use the local namespace, but a preference for explicit namespace identification will be present in sample code also. For example, a reference might read:</p><p><strong>See Also: email.Generator.DecodedGenerator.flatten() <i>346</i>; raw input() <i>442</i>; tempfile.mktemp() <i>70</i>;</strong></p><p>The first is a class method in the <i>email.Generator</i> module; the second, a built-in function; the last, a function in the <i>tempfile</i> module</p><p>In the special case of built-in methods on types, the expression for an empty type object will be used in the style of a namespace modifier. For example:</p><p>Methods of built-in types include <i>.sort()</i>, <i>"".islower()</i>, <i>{}.keys()</i>, and <i>(lambda:1).func code</i>.</p><p>The file object type will be indicated by the name FILE in capitals; A reference to a file object method will appear as, e.g.:</p><p><strong>See Also: FILE.flush() <i>16</i>;</strong></p><p>Brief inline illustrations of Python concepts and usage will be taken from the Python interactive shell. This approach allows readers to see the immediate evaluation of constructs, much as they might explore Python themselves. Moreover, examples presented in this manner will be self-sufficient (not requiring external data), and may be entered&#8212;with variations&#8212;by readers trying to get a grasp on a concept. For example:</p><code><p><dd>>>> 13/7 # integer division<br>1<br>>>> 13/7. # float division<br>1.8571428571428572</dd><br></p></code><p>In documentation of module functions, where named arguments are available, they are listed with their default value. Optional arguments are listed in square brackets. These conventions are also used in the Python Library Reference. For example:<br><br><dd><b><code>foobar.spam(s, val=23 ,taste="spicy")</code></b><br>&nbsp;&nbsp;&nbsp;&nbsp;The <i>function foobar.spam()</i> uses the argument s to . . .</dd></p><p>If a named argument does not have a specifiable default value, the argument is listed followed by an equal sign and ellipsis. For example:<br><br><dd><b><code>foobar.baz(string=. . . , maxlen=. . . )</code></b><br>&nbsp;&nbsp;&nbsp;&nbsp;The <i>foobar.baz() </i>function . . .</dd></p><p>With the introduction of Unicode support to Python, an equivalence between a character and a byte no longer holds in all cases. Where an operation takes a numeric argument affecting a string-like object, the documentation will specify whether characters or bytes are being counted. For example:</p><em><p>Operation A reads num bytes from the buffer. Operation B reads num charactersfrom the buffer.</p></em><p>The first line indicates a number of actual 8-bit bytes affected. The second line indicates an indefinite number of bytes are affected, but that they compose a number of (maybe multi-byte) characters.</p><h3>0.5 A Word on Source Code Examples</h3><p>First things first. All the source code in this book is hereby released to the public domain. You can use it however you like, without restriction. You can include it in free software, or in commercial/proprietary projects. Change it to your heart's content, and in any manner you want. If you feel like giving credit to the author (or sending him large checks) for code you find useful, that is fine&#8212;but no obligation to do so exists.</p><p>All the source code in this book, and various other public domain examples, can be found at the book's web site. If such an electronic form is more convenient for you, we hope this helps you. In fact, if you are able, you might benefit from visiting this location, where you might find updated versions of examples or other useful utilities not mentioned in the book.</p>First things out of the way, let us turn to second things. Little of the source code in this book is intended as a final say on how to perform a given task. Many of the examples are easy enough to copy directly into your own program, or to use as stand-alone utilities. But the real goal in presenting the examples is educational. We really hope you will <i>think</i> about what the examples do, and why they do it the way they do. In fact, we hope readers will think of better, faster, and more general ways of performing the same tasks. If the examples work their best, they should be better as inspirations than as instructions.<h3>0.6 External Resources</h3><h4>GENERAL RESOURCES</h4><p>A good clearing house for resources and links related to this book is the book's web site. Over time, I will add errata and additional examples, questions, answers, utilities, etc. to the site, so check it from time to time: <br><br><a href="http://gnosis.cx/TPiP/" target="_new">http://gnosis.cx/TPiP/</a></p><p>The first place you should probably turn for <i>any</i> question on Python programming(after this book), is: <br><br><a href="http://www.python.org/" target="_new">http://www.python.org/</a></p><p>The Python newsgroup <code>comp.lang.python</code> is an amazingly useful resource, with discussion that is generally both friendly and erudite. You may also post to and follow the newsgroup via a mirrored mailing list:<br><br><a href="http://mail.python.org/mailman/listinfo/python-list" target="_new">http://mail.python.org/mailman/listinfo/python-list</a></p><h4>BOOKS</h4><p>This book generally aims at an intermediate reader. Other Python books are better introductory texts (especially for those fairly new to programming generally). Some good introductory texts are:</p><ul>	<li><i>Core Python Programming</i>, Wesley J. Chun, Prentice Hall/PTR, 2001.                          ISBN: 0-130-26036-3</li>	<li><i>Learning Python</i>, Mark Lutz and David Ascher, O'Reilly, 1999. ISBN: 1-56592-464-9</li>	<li><i>The Quick Python Book</i>, Daryl D. Harms and Kenneth McDonald, Manning Publications, 2000.     ISBN: 1-884777-74-0.</li></ul><p>As introductions, I would generally recommend these books in the order listed, but learning styles vary between readers.</p><p>Two texts that overlap this book somewhat, but focus more narrowly on referencing the standard library are:</p><ul>	<li><i>Python Essential Reference, Second Edition</i>, David M. Beazley, New Riders 2001. ISBN: 0-7357-1091-0.</li>	<li><i>Python Standard Library</i>, Fredrik Lundh, O'Reilly 2001. ISBN: 0-596-00096-0.</li></ul><p>For coverage of XML, at a far more detailed level than this book has room for, is the excellent text:</p><ul>	<li><i>Python &amp; XML</i>, Christopher A. Jones and  Fred L. Drake, Jr., O'Reilly 2002.          ISBN: 0-596-00128-2.</li></ul><h4>SOFTWARE DIRECTORIES</h4><p>Currently, the best Python-specific directory for software is the Vaults of Parnassus:<br><br><a href="http://www.vex.net/parnassus/" target="_new">http://www.vex.net/parnassus/</a></p><p>SourceForge is a general open source software resource. Many projects&#8212;Python and otherwise&#8212;are hosted at that site, and the site provides search capabilities, keywords, category browsing, and the like:<br><br><a href="http://sourceforge.net/" target="_new">http://sourceforge.net/</a></p><p>Freshmeat is another widely used directory of software projects (mostly open source). Like the Vaults of Parnassus, Freshmeat does not directly host project files, but simply acts as an information clearing house for finding relevant projects:<br><br><a href="http://freshmeat.net/" target="_new">http://freshmeat.net/</a></p><h4>SPECIFIC SOFTWARE</h4><p>A number of Python projects are discussed in this book. Most of those are listed in one or more of the software directories mentioned above. A general search engine like Google, <a href="http://google.com" target="_new">http://google.com</a>, is also useful in locating project homepages. Below are a number of project URLs that are current at the time of this writing. If any of these fall out of date by the time you read this book, try searching in a search engine or software directory for an updated URL.</p><p>The author's <i>Gnosis Utilities</i> contains a number of Python packages mentioned in this book, including <i><code>gnosis.indexer</code></i>, <i><code>gnosis.xml.indexer</code></i>, <i><code>gnosis.xml.pickle</code></i>, and others. You can download the most current version from:<br><br><a href="http://gnosis.cx/download/Gnosis%20Utils-current.tar.gz" target="_new">http://gnosis.cx/download/Gnosis Utils-current.tar.gz</a></p><p>eGenix.com provides a number of useful Python extensions, some of which are documented in this book. These include <i><code>mx.TextTools</code></i>, <i><code>mx.DateTime</code></i>, severeral new datatypes, and others facilities:<br><br><a href="http://egenix.com/files/python/eGenix-mx-Extensions.html" target="_new">http://egenix.com/files/python/eGenix-mx-Extensions.html</a></p><p><i>SimpleParse</i> is hosted by SourceForge, at:<br><br><a href="http://simpleparse.sourceforge.net/" target="_new">http://simpleparse.sourceforge.net/</a></p><p>The <i>PLY</i> parsers has a home page at:<br><br><a href="http://systems.cs.uchicago.edu/ply/ply.html" target="_new">http://systems.cs.uchicago.edu/ply/ply.html</a></p> <br><br> 0321112547P01302003 </UL>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Preface.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">What Is Text Processing?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Philosophy of Text Processing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">What You'll Need to Use This Book.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Conventions Used in This Book.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">A Word on Source Code Examples.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">External Resources.</div> </p> <br> <br> <b>1. Python Basics.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Techniques and Patterns.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Utilizing Higher-Order Functions in Text Processing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Exercise: More on combinatorial functions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Specializing Python Datatypes.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Base Classes for Datatypes.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Exercise: Filling out the forms (or deciding not to)</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Working with lines from a large file.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Standard Modules.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Working with the Python Interpreter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Working with the Local Filesystem.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Running External Commands and Accessing OS Features.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Special Data Values and Formats.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Other Modules in the Standard Library.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Serializing and Storing Python Objects.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Platform Specific Operations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Working with Multi-Media Formats.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Miscellaneous Other Modules.</div> </p> <br> <br> <b>2. Basic String Operations.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Some Common Tasks.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Quickly sorting lines on custom criteria.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Reformatting paragraphs of text.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Column statistics for delimited or flat-record files.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Counting characters, words, lines and paragraphs.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Transmit binary data as ASCII.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Creating word or letter histograms.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Reading a file backwards by record, line, or paragraph.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Standard Modules.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Basic String Transformations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Strings as Files, and Files as Strings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Converting Between Binary and ASCII.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Cryptography.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Compression.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Unicode.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Solving Problems.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Exercise: Many ways to take out the garbage.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Exercise: Making sure things are what they should be</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Exercise: Finding needles in haystacks (full-text indexing).</div> </p> <br> <br> <b>3. Regular Expressions.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">A Regular Expression Tutorial.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Just What is a Regular Expression Anyway?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Matching Patterns In Text: The Basics.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Matching Patterns In Text: Intermediate.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Advanced Regular Expression Extensions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Some Common Tasks.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Making a text block flush left.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Summarizing command-line option documentation.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Detecting duplicate words.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Checking for server errors.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Reading lines with continuation characters</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Identifying URLs and email addresses in texts.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem: Pretty printing numbers.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Standard Modules.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Versions and optimizations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Simple Pattern Matching.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Regular Expression Modules.</div> </p> <br> <br> <b>4. Parsers and State Machines.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">An Introduction to Parsers.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">When data becomes deep and texts become stateful.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">What is a grammar?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">An EBNF grammar for IF/THEN/END structures.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Pencil-and-Paper Parsing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Exercise: Some variations on the language.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">An Introduction to State Machines.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Understanding State Machines.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Text Processing State Machines.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">When Not To Use A State Machine.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">When to Use a State Machine.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">An Abstract State Machine Class.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Processing a Report with a Concrete State Machine.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Subgraphs and State Reuse.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Exercise: Finding other solutions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Parser Libraries for Python.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Specialized Parsers in the Standard Library.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Low-Level State Machine Parsing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">High-Level EBNF Parsing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">High-Level Programmatic Parsing.</div> </p> <br> <br> <b>5. Internet Tools and Techniques.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Working With Email and Newsgroups.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Manipulating and Creating Message Texts.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Communicating with Mail Servers.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Message Collections and Message Parts.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">World Wide Web Applications.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Common Gateway Interface.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Parsing, Creating, and Manipulating HTML Documents.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Accessing Internet Resources.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Synopses of Other Internet Modules.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Standard Internet-Related Tools.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Third Party Internet-Related Tools.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Understanding XML.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Python Standard Library XML Modules.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Third Party XML-Related Tools</div> </p> <br> <br> <b>A. A Selective and Impressionistic Short Review of Python.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">What Kind of Language is Python?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Namespaces and Bindings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Assignment and Dereferencing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Function and Class Definitions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">import Statements.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">for Statements.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">except Statements.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Datatypes.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Simple Types.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">String Interpolation.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Printing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Container Types.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Compound Types.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Flow Control.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">if / then / else Statements.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Boolean Shortcutting.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">for / continue / break Statements.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">map( ), filter( ), reduce( ), and List Comprehensions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">while / else / continue / break Statements.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Functions, Simple Generators and the yield Statement.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Raising and Catching Exceptions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Data as Code.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Functional Programming.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Emphasizing Expressions using lambda.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Special List Functions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">List-Application Functions as Flow Control.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Extended Call Syntax and apply( ).</div> </p> <br> <br> <b>B. A Data Compression Primer.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Introduction.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Lossless and Lossy Compression.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">A Data Set Example.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Whitespace Compression.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Run-Length Encoding.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Hu_man Encoding.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Lempel-Ziv Compression.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Solving the Right Problem.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">A Custom Text Compressor.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">References.</div> </p> <br> <br> <b>C. Understanding Unicode.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Some Background on Characters.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">What is Unicode?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Encodings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Declarations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Finding Codepoints.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Resources.</div> </p> <br> <br> <b>D. A State-Machine for Adding Markup to Text.</b> <br> <br> <br> <b>E. Glossary.</b> <br> <br> <br> <b>Index. 0321112547T01302003</b> <br>]]></d104>
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<b029>Case Studies and Best Practices from the Trenches</b029>
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<b037>Shelford, Thomas J.</b037>
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<d104 textformat="02"><![CDATA[<P><p align="left"><b>Thomas J. Shelford</b> is a partner in Project Calibrate&#8482;, a consulting group specializing in Web project management training (<a href="http://www.projectcalibrate.com">http://www.projectcalibrate.com</a>). He began his Web-related career in 1996 as the founder of SeaState Internet Solutions, a freelance Web development shop.</p>    <p align="left"><b>Gregory A. Remillard</b> has been a project manager on large-scale Web development projects for five years. He has managed projects for diverse companies such as Gruner &amp; Jahr USA (Parents.com) and UrbanExpress.com (formerly UrbanFetch.com). Greg is a founding partner of Project Calibrate&#8482; (<a href="http://www.projectcalibrate.com">http://www.projectcalibrate.com</a>).</p>      <br><br>  0321112555AB09172002  </P>]]></d104>
</othertext>
<othertext>
<d102>18</d102>
<d104 textformat="02"><![CDATA[<P><p align="left">The process of designing and building today's dynamic Web applications comes with a host of challenges not typically solved by traditional project management methodologies. A wealth of practical resources, <b><i>Real Web Project Management: Case Studies and Best Practices from the Trenches</i></b> is a book of solutions for designing, managing, and delivering virtually any type of Web-based project under even the most challenging of conditions.</p><p align="left">Based on solutions implemented from actual, real-world scenarios, this practical book offers a complete road map for navigating every facet of a contemporary Web project. Filled with tips and techniques, it provides practices to implement and pitfalls to avoid to ensure success. Beginning by outlining the responsibilities of the project manager, this complete and comprehensive guide then covers team assembly and communication, project definition, change management, planning strategies, and workflow before moving on to the design, build, and delivery stages. The book's accessible format also provides immediate hands-on solutions for project managers seeking a quick answer to a particular problem.</p><p align="left">Issues covered include:</p><ul><li>The Web project manager--definitions and responsibilities</li><li>The project team--assembling and tips for effective collaborative communication</li><li>The project--defining and planning, plus managing change in any type of environment   </li><li>The Workflow--processes and analysis</li><li>The design and build phases--managing and quality control</li><li>The delivery of a completed project</li></ul><p align="left">This book is packaged with a value-added CD-ROM, which includes complete project plan templates, model Web sites, project checklists, consulting contracts, software vendor reviews, and more. Additional resources and templates are available on the book's accompanying Web site at <a href="http://www.realwebprojects.com">http://www.realwebprojects.com</a>.</p> <p align="left">All of this makes <i><b>Real Web Project Management</b></i> an essential reference for the working project manager, or for those new to the field. It is the most comprehensive resource available for planning, managing, and executing successful Web-based applications.</p> <br><br> 0321112555B09172002  </P>]]></d104>
</othertext>
<othertext>
<d102>33</d102>
<d104 textformat="02"><![CDATA[<p align="left">Like many of our fellow Web project managers, we came to the role, or rather the role came to us, suddenly and somewhat unexpectedly. Without really knowing it, we had been preparing for the role through our individual professional experiences for some time. We were familiar enough with the project lifecycle to be able to distinguish one end of a project from the other, but the more refined aspects of project management were as yet unknown when we assumed our new responsibilities. It was time to discover just what project managers actually are and what they actually do.</p><p align="left">The search for knowledge began with Yahoo! At the time, our search turned up only a small handful of Web sites devoted to project management but nothing Web-specific. We did discover the Project Management Body of Knowledge&#174; (PMBOK&#174;) from the Project Management Institute (PMI). PMBOK, and other project management books, taught us basic, traditional project management processes and methods that had been used in other industries for years. We felt reassured with this newfound knowledge but at the same time a little uneasy because we still could find nothing specific on Web project management. "That's all right," we thought. "A project's a project--right?"</p><p align="left">As we set out to mimic our colleagues in the more mature branches of software project management, a dark, uneasy feeling entered the pits of our stomachs at the kickoff meeting of every new project. Somehow, in spite of everything we had recently read about process and methodology, we knew we were going to end up doing the one thing we felt sure would betray the very premise of project management: wing it.</p><p align="left">The disconnect between the correct process and what happens in real life has been a source of growing unease among Web project managers. For a time, many people explained away the problem by pointing to the inexperience of the industry. It was assumed that, once traditional software development processes and best practices were understood by immature Web professionals, the chaos would subside. Well, not quite. As we gained more experience, project by project, we discovered that the harder we tried to adhere to the use of traditional project management methods, the more frustrated we became, and the more chaotic the atmosphere seemed.</p><p align="left">How do you hit a hard-and-fast completion date when the specifications for the project are changed and expanded daily by the very person who is mandating the completion date? In your project plan, how do you account for the time your star developer spends getting in the mood to work by shooting minibasketball free throws for a couple of hours, followed by a donut run, and then a few quick games of UNO with the graphic designer? This was our reality. Knowing when or how to implement overengineered or seemingly inapplicable project management techniques like "force field analysis" or "interrelationship digraphs"caused us to second guess our approach to the "science" of project management. We needed techniques and processes we could implement NOW that would garner us the greatest results in the shortest amount of time.</p><p align="left">Because of the continued rapid growth of the Web, the constant changes to the technologies that support it, and the frenzied, media-driven expectations and mythologies that surround it, developing Web sites using only traditional project management methodologies adopted from other industries just was not enough to get the job done. Many traditional methodologies rely on the existence of a fixed scope and clear, measurable objectives. Web site design and development, however, is not like building a rocket or releasing an off-the-shelf software product. Web teams must collaborate in a continually unfolding creative process, which is often more of an art than a science. </p><p align="left">Traditional methods will get you part way there. Basic process building blocks can be used with great success and should be. In this book, we demonstrate some of the basic methods as they relate to Web development. But we also demonstrate where traditional methods fail and discuss how the ability to improvise and think on your feet will serve you far better than a painstakingly constructed work breakdown structure or GANTT chart.</p><p align="left">It all boils down to this: There is no accepted, proven, documented, or foolproof process for developing Web sites or Web applications. You use what works, and what works you glean from experience. We certainly don't think we have a patentable method, but we do have a lot of experience; and we know what has worked for us and our peers in the industry.</p><h4>Our Approach</h4><p align="left">In writing this book, the goal was to spare the new project manager the pain of learning project management theories, processes, and terminology that would cause only confusion and frustration when they were applied to the Web development arena. We wanted to chronicle our experience and describe the methods and processes that have worked by showing them at work in real-world situations.</p><p align="left">From the moment we embarked on this project, we decided that the best approach to recounting experiences was to be as lighthearted as possible without undermining the point of the lessons. We are the first to admit that project management for the Web, or any industry for that matter, is a pretty dry topic. We hope that a little humor mixed into the content will keep the material engaging. One thing we've learned from our experiences as project managers is that you must maintain a sense of humor--without it you will lose the ability to lead effectively, and your life at work will be tedious. By the same token, why should reading a book about your profession be tedious? Simple answer: It shouldn't.</p><h4>The Use of Case Studies and Interviews</h4><p align="left">What's the use of a lot of theoretical mumbo jumbo without some illustrative material to prove or disprove the theory? In our early search for project management knowledge, we read many books that were long on theory but short on examples of real-life application. We wanted to see an example of a "force field analysis" in action. More to the point, we wanted to see an example of a "force field analysis" in action on a Web project in full meltdown mode with only two days to go before launch. While working our way through project after project, we discovered traditional methodologies that worked and many that did not. We found other methodologies and techniques that could be tweaked to fit into the Web environment. After a couple of years, it dawned on us that the hundreds of e-mail threads, scope documents, and project plans we had drafted contained our own project management body of knowledge. The basis for this body of knowledge was experience: the real-life projects we had managed.</p><p align="left">As we interviewed colleagues and peers in the Web development industry for this book, we were provided with more case studies and stories that could be used to illustrate project management methods. We found that the experiences that resonated the most with colleagues were not the huge successes but the dismal failures. To be truly helpful and instructive, we have chosen to publish case studies and interviews that illustrate things that can and often do go wrong during a Web development project. In order to avoid any legal difficulties from sensitive corporations and their attorneys, we have fictionalized the stories recounted here and changed the names to protect the not-so-innocent. But be assured: The stories herein are all based on real-life events; we couldn't have made up some of this stuff if we tried.</p><h4>Who Should Read This Book</h4><p align="left">This book was written for people who are new to the project manager role in the Web development industry. <b><i>Real Web Project Management</i></b> will provide those of you who come to the role from more specialized expertise, such as programming or design, with an introduction to the world of Web development from a manager's or generalist's perspective. We also hope the book will provide a resource for fresh ideas and inspiration to veteran Web project managers who may recognize themselves in some of the case studies and situations described in the book.</p><p align="left">Through frontline experience and during the many interviews conducted for this book, it became crystal clear that the role of the project manager in the Web development industry has come to be considered indispensable. This is true for both interactive agencies and internal Web development or IT departments. Web project management has become a crucial success factor for a huge variety of organizations. Having worked with many unfortunate companies that lack solid project management practices, we believe that reading this book will be worth your time. Please enjoy it, and send any feedback to <tt>feedback@realwebprojects.com</tt>.</p> <br><br> 0321112555P10042002 </UL>]]></d104>
</othertext>
<othertext>
<d102>04</d102>
<d104 textformat="02"><![CDATA[<br> <br> <b>Foreword.</b> <br> <br> <br> <b>Preface.</b> <br> <br> <br> <b>Acknowledgments.</b> <br> <br> <br> <b>About the Authors.</b> <br> <br> <br> <b>1. The Project Manager: Who You Are and What You Do.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Who You Are.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Best Seat in the House.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">What You Do.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Enabler.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>2. Web Team Roles.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Common Web Team Roles.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Project Stakeholder.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Producer.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Editor.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Information Architect.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Graphic Designer.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The HTML Developer.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Developer.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Tech Lead.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Database Administrator.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Quality Assurance Engineer.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Common Team Problems.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Missing in Action-Become Part of the Team.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Micromanaging Stakeholder.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Case Study: Startup Breakdown.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>3. Communication Cues.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Communication: What It Is.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Unambiguous Information Society.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Translation Skills.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Nonverbal Communication.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Communication: What It Isn't.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">It Takes Tact.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Know Your Audience.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Communication Best Practices.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Best Practice #1: Plan to Communicate.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Best Practice #2: The Issue Log and the Change Request Form: Communication Tools for Control.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Case Study: Peeling the Corporate Onion.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Interview: The Voice of Experience. Tracy Brown.</div> </p> <br> <br> <b>4. Defining the Project.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Creative Brief.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Getting Started with Internal Initiatives.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Project Documentation.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Needs Assessment.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Project Charter.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Statement of Work.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Use-Case Scenarios.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Wireframe Mockups.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Content Map.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Tech Requirements Meeting.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Application Flow Diagrams.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Technical Specification.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Project Risk Assessment.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Case Study: Defining the Project with HTML &ldquo;Shells&rdquo;.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>5. Managing Change.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">A New Perspective on Scope.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Classic Scope Control.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Project Web Site-Getting Everyone on the Same (Home) Page.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Managing Scope Change.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Project Triangle-Scope, Schedule, Resources.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Getting Project Documents Approved by the Client.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Playing Defense.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problems with Classic Approaches.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Iterative Approaches.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Common Scope Headaches.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem #1: I Sketched the Site Out on a Napkin-Is that Okay?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem #2: It's Nice, But It's Not What We Had in Mind.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem #3: Just One More Tiny Little Change&hellip;</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Interview: Extreme Programming&mdash;Alex Cone.</div> </p> <br> <br> <b>6. The Art of Planning.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Project Schedule.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Infatuation with Planning Software.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Planning by the Numbers.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Work Breakdown Structure.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Drafting the Schedule.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Assigning Resources.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Obtaining Approval and Scheduling Work.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Plan (and Pay) as You Go.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Using Your Judgment.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Planning Pitfalls.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Approvals and Revisions.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Copy Editing for Design.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">QA Testing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prelaunch Review.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Case Study: Planning Software Overload.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>7. Learning to Love Meetings.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Why Are We Here?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Agenda Is Your Road Map.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Meeting Pitfalls.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Common Project Meetings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Kickoff Meetings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Status Meetings.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Postmortems.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Case Study: The Exploding Meeting.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>8. Workflow.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Workflow for the Web.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Benefits of Workflow Planning.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Creating Workflow Standards.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Code Review: Standards for Developers.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">What Processes Do You Need?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Documenting Your Current Workflow.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Workflow Analysis.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Workflow Recommendations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Content Production Workflow.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>9. Managing the Design Phase.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Is Information Architecture the Designer's Job?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Design Production.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Revisions and Sign-off: Making the Client Happy.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Design Production Phases.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Internal and External Design Groups.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Internal Design Experience.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The External Design Experience.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How Technical Do Designers Need to Be?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Interview: The Information Architect Role in Practice&mdash;Fabrice Hebert.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Interview: How We Manage Design&mdash;David Young.</div> </p> <br> <br> <b>10. The Technical Build.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Anxiety over the Technical Build.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Mitigating the Fear Factor.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Model-View-Controller.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">What Is Model-View-Controller?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">A Generic Technical Build.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Tech Kickoff Meeting.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Infrastructure Configuration.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Component Inventory.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Data Modeling.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Display Markup.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Application Coding.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Prototyping.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Code Review.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Code Review Guidelines.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Production Challenges.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem #1: The Designer's Blind Date.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem #2: No News Is Not Good News.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Problem #3: &ldquo;You need Java? Cool! I used to work at Starbucks!&rdquo;.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Case Study: A Recipe for Disaster.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>11. Surviving Quality Assurance.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">A Common Scenario.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Quality Assurance for the Web.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">What Does QA Test For?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Usability.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Browser and OS Compatibility.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Functionality.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Internal Standards.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Performance and Load Handling.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Content.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Security.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">How Does QA Test Web Sites?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The QA Process.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Early Quality Assurance Milestones.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Bug Database.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Testing Process.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Handoff.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Rounds One, Two, and Three.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Blessing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Politics of QA.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">That's Not a Bug, That's a Feature!</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Who Needs Code Reviews?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Case Study: Burning QA.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>12. Getting It Out the Door.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Final QA Phase.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Soft Launch.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Launch Deliverables.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Turning over the Keys.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Going Live.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Launch Moment.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Case Study: The Most Expensive Launch that Never Happened.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>13. Leading Organizational Change.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">The Invisible Team Member.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Common Organizational Structures.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Functional Organizations.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Functional Matrix.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Project Matrix.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Project Unit.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Early Stages of Project Management.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Project Management Office.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Establishing a Project Management Office.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Case Study: Establishing Web Project Management at a Media Company.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Summary.</div> </p> <br> <br> <b>Appendix A: Project Quick-Start Guide.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">Brochureware.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Business-to-Business Portals (&ldquo;Vortals&rdquo;).</div> </p> <p>    <div STYLE="margin-left: 0.2in;">E-Commerce Web Sites.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Putting the &ldquo;E&rdquo; in E-Commerce.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">What Kind of E-Commerce?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The E-Commerce Project Plan.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">E-Commerce Nuts and Bolts.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">E-Marketing Projects.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Message IS the Medium.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Campaign Process.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Conclusion.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">International Web Sites.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Internationalization.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Localization.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Back-end Inventory.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Code Cleansing.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Content Management.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Graphics.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Editorial Muscle.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Intranets.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">It Doesn't Get Much More Political than This.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Whose Site Is It Really?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Who's Going to Take Care of It?</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Features.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">You'll Need a Marketing Plan Too.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Intranet Resources.</div> </p> <br> <br> <b>Appendix B: Technology for the Web Project Manager.</b> <br> <p>    <div STYLE="margin-left: 0.2in;">What You Really Need to Know-Frameworks.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Microsoft .NET.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Sun Microsystems' Java 2 Enterprise Edition.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The Open Source Initiative.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Object-Oriented Design.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">CRC Cards.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">The UML.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Web Services with XML.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Content Management Systems.</div> </p> <p>    <div STYLE="margin-left: 0.2in;">Digital Rights Management.</div> </p> <br> <br> <b>Appendix C: Useful Web Sites.</b> <br> <br> <br> <b>Recommended Reading.</b> <br> <br> <br> <b>Index. 0321112555T10042002</b> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Introduction.</b> <br> <br> <br> <b>&nbsp;1. Background.</b> <br> <br> <br> <b>&nbsp;2. Interface.</b> <br> <br> <br> <b>&nbsp;3. Site Control.</b> <br> <br> <br> <b>&nbsp;4. Basics.</b> <br> <br> <br> <b>&nbsp;5. Linking.</b> <br> <br> <br> <b>&nbsp;6. Typography.</b> <br> <br> <br> <b>&nbsp;7. Tables Zoo.</b> <br> <br> <br> <b>&nbsp;8. Layout.</b> <br> <br> <br> <b>&nbsp;9. Frames.</b> <br> <br> <br> <b>10. Rollovers.</b> <br> <br> <br> <b>11. Cascading Style Sheets.</b> <br> <br> <br> <b>12. HTML.</b> <br> <br> <br> <b>13. Forms.</b> <br> <br> <br> <b>14. Behaviors.</b> <br> <br> <br> <b>15. Working with Fireworks.</b> <br> <br> <br> <b>16. Automation.</b> <br> <br> <br> <b>17. Templates/Libraries.</b> <br> <br> <br> <b>18. Accessibility.</b> <br> <br> <br> <b>19. Plug-Ins.</b> <br> <br> <br> <b>20. Getting It Online.</b> <br> <br> <br> <b>A: Troubleshooting FAQ and Technical Support.</b> <br> <br> <br> <b>B: Online Resources.</b> <br> <br> <br> <b>Index.</b> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<P>There's no better way for you to get your feet wet using Macromedia Flash MX than with a H.O.T. tutorial, Lynda Weinman's well-loved and unique style of instruction. With <B> Macromedia Flash MX Hands-On Training</B>, you'll learn core Macromedia Flash MX principles and techniques in a real-world Web design environment. The step-by-step projects build successively, teaching you not only the various features of Macromedia Flash MX, but also how to actually work with the program to achieve results. Each lesson is chock-full of background information, tips, and insight aimed at helping you understand the process as much as the exercise itself. And the accompanying CD-ROM includes both starter files and finished files for each lesson, as well as QuickTime instructional movies, so that you can learn by watching <I>and</I> doing.     <P><B>Macromedia Flash MX H.O.T.</B> covers all of the most important new features of Macromedia Flash MX, beginning with projects that focus on the MX interface, drawing and color tools, animation basics, tweening, symbols and instances, bitmaps, and more. As the projects progress, you'll tackle more complex techniques, such as working with movie clips, text, sound, and video. The latter part of the book addresses publishing and managing Macromedia Flash MX content, as well as how to create content by integrating other software into Macromedia Flash MX. If you're looking for an intelligent, approachable guide for learning Macromedia's latest version of Flash, you'll find lynda.com's Hands-On Training your e-ticket to Macromedia Flash MX expertise!</P>        </P>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Introduction.</b> <br> <br> <br> <b>&nbsp;1. Background Information.</b> <br> <br> <br> <b>&nbsp;2. Interface.</b> <br> <br> <br> <b>&nbsp;3. Drawing and Color Tools.</b> <br> <br> <br> <b>&nbsp;4. Animation Basics.</b> <br> <br> <br> <b>&nbsp;5. Shape Tweening.</b> <br> <br> <br> <b>&nbsp;6. Symbols and Instances.</b> <br> <br> <br> <b>&nbsp;7. Motion Tweening.</b> <br> <br> <br> <b>&nbsp;8. Bitmaps.</b> <br> <br> <br> <b>&nbsp;9. Buttons.</b> <br> <br> <br> <b>10. Movie Clips.</b> <br> <br> <br> <b>11. ActionScripting Basics.</b> <br> <br> <br> <b>12. Working with Text.</b> <br> <br> <br> <b>13. Sound.</b> <br> <br> <br> <b>14. Components and Forms.</b> <br> <br> <br> <b>15. Video.</b> <br> <br> <br> <b>16. Publishing and Exporting.</b> <br> <br> <br> <b>17. Putting It All Together.</b> <br> <br> <br> <b>18. Integration.</b> <br> <br> <br> <b>Appendix A. Troubleshooting FAQ and Technical Support.</b> <br> <br> <br> <b>Appendix B. Macromedia Flash MX Resources.</b> <br> <br> <br> <b>Index.</b> <br>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>Introduction.</b> <br> <br> <br> <b>&nbsp;1. Getting Started.</b> <br> <br> <br> <b>&nbsp;2. Interface.</b> <br> <br> <br> <b>&nbsp;3. Color.</b> <br> <br> <br> <b>&nbsp;4. Optimization.</b> <br> <br> <br> <b>&nbsp;5. Layers.</b> <br> <br> <br> <b>&nbsp;6. Type.</b> <br> <br> <br> <b>&nbsp;7. Shapes and Layer Styles.</b> <br> <br> <br> <b>&nbsp;8. Background Images.</b> <br> <br> <br> <b>&nbsp;9. Transparent GIFs.</b> <br> <br> <br> <b>10. Slicing.</b> <br> <br> <br> <b>11. Rollovers.</b> <br> <br> <br> <b>12. Image Maps.</b> <br> <br> <br> <b>13. Animated GIFs.</b> <br> <br> <br> <b>14. Automation.</b> <br> <br> <br> <b>15. Data Sets.</b> <br> <br> <br> <b>16. Integration with Other Programs.</b> <br> <br> <br> <b>17. Troubleshooting FAQ.</b> <br> <br> <br> <b>Index.</b> <br>]]></d104>
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<b039>Joel F.</b039>
<b040>Clark</b040>
<b046>George Mason University</b046>
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<d104 textformat="02"><![CDATA[<P><B></B> A practical guide on how to make the most of a Political Science degree and prepares students for a career in the political field. <B></B> Overview of major career sectors of interest to Political Science majors expands their knowledge and broadens their search for a rewarding career. Two career profiles per chapter offer students an opportunity to learn how individual people achieved success with their Political Science degrees. Students are given anticipated employment and salary statistics for various career fields as a valuable resource in their pre-graduation career planning by way of opportunity and salary. <B></B> A valuable resource for Intro to Political Science courses that have a mix of &#8220;undeclared&#8221;  students and Political Science majors in need of guidance on what they can do with a Political Science major.  </P>]]></d104>
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<d104 textformat="02"><![CDATA[<br> <br> <b>&nbsp;1. Introduction to <i>Careers in Political Science.</i> </b> <br> <br> <br> <b>&nbsp;2. Self-Assessment: A Useful First Step.</b> <br> <br> <br> <b>&nbsp;3. Federal Government.</b> <br> <br> <br> <b>&nbsp;4. State and Local Government.</b> <br> <br> <br> <b>&nbsp;5. International Affairs.</b> <br> <br> <br> <b>&nbsp;6. Nonprofit Organizations.</b> <br> <br> <br> <b>&nbsp;7. Law.</b> <br> <br> <br> <b>&nbsp;8. Lobbying and Interest Advocacy.</b> <br> <br> <br> <b>&nbsp;9. Print and Electronic Journalism.</b> <br> <br> <br> <b>10. Campaigns and Polling.</b> <br> <br> <br> <b>11. Business and For-Profit Organizations.</b> <br> <br> <br> <b>12. Public Service and Elective Office.</b> <br> <br> <br> <b>13. Graduate Study.</b> <br> <br> <br> <b>14. Additional Strategies for Eductional and Career Success.</b> <br>]]></d104>
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<b202>01</b202>
<b203>Considering Literacy</b203>
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<b034>1</b034>
<b035>A01</b035>
<b037>Adler-Kassner, Linda</b037>
<b039>Linda</b039>
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<d104 textformat="02"><![CDATA[<P style="MARGIN: 0px"><B><B></B></B> Showing the important connection between education and Literacy, this collection of writing assignments and readings encourage readers to think about their experiences in college.   <P style="MARGIN: 0px">  <P style="MARGIN: 0px"><B></B>Writing Assignments provide a flexible structure and help students practice writing strategies and make connections between familiar and new writing strategies. Readings provide a variety of approaches to literacy and encourage students to think creatively and innovatively about how they and others define &ldquo;education&rdquo; and &ldquo;literacy.&rdquo; Included are narratives, analytical pieces, and essays.   <P style="MARGIN: 0px"><B></B> College students wanting to improve their writing skills. </P>]]></d104>
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<d102>04</d102>
<d104 textformat="02"><![CDATA[<P style="MARGIN: 0in 0in 0pt" soNormal><B>Introduction for Instructors</B></P>  <P style="MARGIN: 0in 0in 0pt" soNormal><B>&nbsp;</B></P>  <P style="MARGIN: 0in 0in 0pt" soNormal><B>About This Book: Approaches and Assignments</B></P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;</P>  <P style="MARGIN: 0in 0in 0pt" soNormal><B>&ldquo;Reading: Words and Images&rdquo;</B></P>  <BLOCKQUOTE>  <P style="MARGIN: 0in 0in 0pt" soNormal>&ldquo;Getting&rdquo; reading</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>Reading questions</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>Strategic reading</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>Reading images</P></BLOCKQUOTE>  <P dir=ltr style="MARGIN: 0in 0in 0pt" soNormal><B>Assignments</B></P>  <BLOCKQUOTE>  <P style="MARGIN: 0in 0in 0pt" soNormal><I>&ldquo;Learning from Self&rdquo; Assignments</I></P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Expectations and Experiences</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Influencing Your Literacy Development</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Purposes of Schooling</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Why Are You Here?</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;Your&rdquo; Campus</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Your Literacy History and Its Significance</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Your Literacy Development</P>  <P style="MARGIN: 0in 0in 0pt" soNormal><I><BR>&ldquo;Learning from Others&rdquo; Assignments</I>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What&rsquo;s the Purpose of Education and Literacy</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Literacy Practices and Schooling</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Testing Definitions: Dominant and Vernacular Literacies</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What Counts as &ldquo;Learning&rdquo; and for Whom?</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; How Is Literacy/Education Defined by You and by Others?</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Community Literacies</P>  <P style="MARGIN: 0in 0in 0pt" soNormal><I><BR>&ldquo;Learning Through Research&rdquo; Assignments</I></P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Debating the Purpose of School</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Representing the College Experience</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Designing Assessments </P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What Counts, for What, and Who Says?</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Analyzing Literacy Experiences</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Positive Learning Experiences</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What&rsquo;s Taught and Why</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What Counts, for What, and Who Says?</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Observing Literacy Practices</P>  <P style="MARGIN: 0in 0in 0pt" soNormal><I><BR>&ldquo;Speaking Out, Joining In, Talk Back&rdquo; Assignment</I></P></BLOCKQUOTE>  <P dir=ltr style="MARGIN: 0in 0in 0pt" soNormal><B>Readings About Uses of Learning:</B></P>  <BLOCKQUOTE>  <P style="MARGIN: 0in 0in 0pt" soNormal>David Barton and Mary Hamilton. &ldquo;Literacy Practices&rdquo;&nbsp; </P>  <P style="MARGIN: 0in 0in 0pt" soNormal>bell hooks. &ldquo;Engaged Pedagogy&rdquo;</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>Paolo Freire. &ldquo;The Banking Concept of Education&rdquo; </P>  <P style="MARGIN: 0in 0in 0pt" soNormal>Theodore Sizer. &ldquo;What High School Is&rdquo;</P></BLOCKQUOTE>  <P dir=ltr style="MARGIN: 0in 0in 0pt" soNormal><B>Readings About Learners:</B></P>  <BLOCKQUOTE>  <P style="MARGIN: 0in 0in 0pt" soNormal>David Barton and Mary Hamilton. &ldquo;How They&rsquo;ve Fared in Education: Harry&rsquo;s Literacy Practices&rdquo;</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>Lorene Cary. From <I>Black Ice.</I> </P>  <P style="MARGIN: 0in 0in 0pt" soNormal>Mark Edmundson. &ldquo;On the Uses of a Liberal Education I: As lite entertainment for bored college students.&rdquo;</P>  <P style="MARGIN: 0in 0in 0pt" soNormal>Andrea Fishman. &ldquo;Becoming Literate: A Lesson from the Amish&rdquo; </P>  <P style="MARGIN: 0in 0in 0pt" soNormal>June Jordan. &ldquo;Don&rsquo;t Nobody Mean More to Me Than You