Wednesday 31 October 2012

[I626.Ebook] Ebook Free MAYTAG CORP.: International Competitive Benchmarks and Financial Gap Analysis (Financial Performance Series), by Ltd. Icon Group

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MAYTAG CORP.: International Competitive Benchmarks and Financial Gap Analysis (Financial Performance Series), by Ltd. Icon Group

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MAYTAG CORP.: International Competitive Benchmarks and Financial Gap Analysis (Financial Performance Series), by Ltd. Icon Group

The goal of this report is to assist managers in gauging a company's financial performance vis--vis firms competing in the same sector, at the global level. In particular, this report covers MAYTAG CORP., NEWTON, USA.

With the globalization of markets, greater foreign competition, and the reduction of entry barriers, it becomes all the more important to benchmark a company's performance against other firms on a worldwide basis. Doing so, however, is not an obvious task. First, one needs to find firms competing in the same sector. Second, one needs to control for exchange rate volatility. Finally, one needs use comparable financial standards. This report overcomes these issues and gives full financial benchmarks vis--vis worldwide competitors who are present in the same narrow industrial classification. Benchmarks cover assets, liabilities, income and ratios. Since our reports are printed on demand, the figures available are for the latest quarter and are the most up to date available (4 reports are produced each year).

  • Published on: 2000-10-31
  • Binding: Ring-bound
  • 24 pages

From the Publisher
For over 20,000 companies, Icon Group International uses a proprietary methodology to generate international benchmarks and measure gaps that might be revealed from such an exercise. First, for a given company Icon Group searches across over 26,000 firms for others producing similar products, offering similar services, or are in the same stage of the value chain for a particular industrial classification. We then collect the financials for each of these firms and standardize these into comparable categories (assets, liabilities, income and ratios). From there, we eliminate all currency effects by standardizing within each category and country. All benchmarks are updated quarterly. TABLE OF CONTENTS: 1

INTRODUCTION & METHODOLOGY

1.1 What does this report cover? 2

ASSET STRUCTURE: 2000

2.1 Asset Structure: Benchmarks

2.2 Large Gaps to Competitors: Assets 3

LIABILITY STRUCTURE: 2000

3.1 Liability Structure: Benchmarks

3.2 Large Gaps to Competitors: Liabilities 4

INCOME STRUCTURE: 2000

4.1 Income Structure: Benchmarks

4.2 Large Gaps to Competitors: Income 5

RATIO STRUCTURE: 2000

5.1 Ratio Structure: Benchmarks

5.2 Large Gaps to Competitors: Ratio

From the Author
Icon Group publishes a number of other benchmarks for firms in related product areas, including: -- BS CONTINENTAL S/A UTILIDADES DOMESTICAS -- CAMCO INC. -- DEVILLE SA -- FOURLIS BROS SA -- GROUPE SEB SA -- MAYTAG CORP. -- PREMIER INVESTMENTS LTD. -- RINNAI CORP. -- STOVES GROUP PLC -- SUNBEAM CORP. -- TSANN KEUN (CHINA) ENTERPRISE CO. LTD -- WHIRLPOOL CORP.

Excerpt. � Reprinted by permission. All rights reserved.
Though we heavily rely on historical performance, the figures reported in this report are not historical but are forecasts and projections for the coming fiscal year. The forecasts are updated quarterly. This particular report was updated in the last quarter. In order to maintain comparability over time and across companies and countries, we use an index system. In the case of a firm's assets, we treat the total assets as equaling 100, irrespective of the value of the local currency. All other assets are then calculated as a percent from total assets. In this way, the structure of the firm's assets can be easily interpreted and compared with international benchmarks. For liabilities, total liabilities and equity are indexed to equal to 100. For the income statement, total revenue is indexed to equal 100, and all other figures are calculated as a percent of these figures. Ratios are projected using raw financial statistics and, as ratios, are therefore comparable. The source(s) for the various raw statistics include public filings, corporate releases, and various other data sources.

Given a company's financial structure, the resulting figures are benchmarked across "leading competitors". In choosing the leading competitors, Icon Group chooses only those firms with sound financial situations or those not undergoing radical restructuring, or where random volatility, mergers, or bankruptcy affects financial performance.

Since the calculation of competitors' benchmarks proceeds in a similar fashion, but are aggregated across all competitors, one can directly conduct a financial gap analysis. Here, Icon Group graphically reports, for each part of the financial statement, the larger gaps that the firm has vis-�-vis the leading competitors. A gap need not be a bad sign. Rather, it is simply a substantial difference that might merit further attention or signal a firm's relative strength or weakness for the coming fiscal year. Again, all figures are projections, so due caution is required.

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Monday 29 October 2012

[W797.Ebook] Free Ebook Biological Sequence Analysis: Probabilistic Models of Proteins and Nucleic Acids, by Richard Durbin, Sean R. Eddy, Anders Krogh, Graeme Mi

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Biological Sequence Analysis: Probabilistic Models of Proteins and Nucleic Acids, by Richard Durbin, Sean R. Eddy, Anders Krogh, Graeme Mi

Free Ebook Biological Sequence Analysis: Probabilistic Models of Proteins and Nucleic Acids, by Richard Durbin, Sean R. Eddy, Anders Krogh, Graeme Mi

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Biological Sequence Analysis: Probabilistic Models of Proteins and Nucleic Acids, by Richard Durbin, Sean R. Eddy, Anders Krogh, Graeme Mi

Probablistic models are becoming increasingly important in analyzing the huge amount of data being produced by large-scale DNA-sequencing efforts such as the Human Genome Project. For example, hidden Markov models are used for analyzing biological sequences, linguistic-grammar-based probabilistic models for identifying RNA secondary structure, and probabilistic evolutionary models for inferring phylogenies of sequences from different organisms. This book gives a unified, up-to-date and self-contained account, with a Bayesian slant, of such methods, and more generally to probabilistic methods of sequence analysis. Written by an interdisciplinary team of authors, it is accessible to molecular biologists, computer scientists, and mathematicians with no formal knowledge of the other fields, and at the same time presents the state of the art in this new and important field.

  • Sales Rank: #372287 in Books
  • Brand: Brand: Cambridge University Press
  • Published on: 1998-05-13
  • Released on: 1998-04-23
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.72" h x .75" w x 6.85" l, 1.60 pounds
  • Binding: Paperback
  • 356 pages
Features
  • Used Book in Good Condition

Review
"The book is amply illustrated with biological applications and examples." Cell

"...successfully integrates numerous probabilistic models with computational algorithms to solve molecular biology problems of sequence alignment...an excellent textbook selection for a course on bioinformatics and a very useful consultation book for a mathematician, statistician, or biometrician working in sequence alignment." Bulletin of Mathematical Biology

"This is one of the more rewarding books I have read within this field. My overall evaluation is that this book is very good and a must read for active participants in the field. In addition, it could be particularly useful for molecular biologists" Theoretical Population Biology

Most helpful customer reviews

4 of 5 people found the following review helpful.
Brief and clear
By wiredweird
I keep coming back to this book for its readable, applicable summaries of basic algorithms.
One chapter covers the basics of dynamic programming for string matching: a staple of bioinformatics computing. The authors come back to it a number of times as they introduce new variations on the string-matching theme. They give about the clearest description of the Needleman-Wunsch and basic variants (including Smith-Waterman) of any book I know.
The bulk of the book is devoted to Hidden Markov Models (HMMs), as one might have guessed in a book with Eddy as co-author. It covers the basics of model construction, motif finding, and various uses for decoding. Again, it covers all the basics so clearly you'll want to start coding as soon as you read it.
The later sections of the book cover phylogeny and tree building, along with the relationships to multiple alignment. Good, solid, clear writing prepares the reader for texts that may be more specialized, but possibly less transparent.
The next-to-last chapter, on RNA folding, is weaker than the ones before, in my opinion. It ties to the other chapters reasonably well in terms of algorithms, but I don't think it does justice to the thermodynamic models of RNA folding. If there is any weakness in this chapter, though, it does not detract from the strengths elsewhere.
The final chapter, the "background on probability", is the one that I think needs the most support. If you don't already understand its topics, I doubt that this will help very much. (If you do understand them, you won 't need the help.) There's nothing inherently tricky about probability, but individual distributions carry many assumptions, and I did not see those spelled out well.
This shouldn't be the only book in your bioinformatics library. If you really want algorithms, though, it's a good book to have in the collection and one you'll keep coming back to.

24 of 26 people found the following review helpful.
Fantastic Descriptions of Probabilistic Sequence Algorithms
By Bob Carpenter
I picked up this book at the recommendation of a number of colleagues in computational linguistics and speech processing as a way to find out what's going on in biological sequence analysis. I was hoping to learn about applications of the kinds of algorithms I know for handling speech and language, such as HMM decoding and context-free grammar parsing, to biological sequences. This book delivered, as recommended.
As the title implies, "Biological Sequence Analysis" focuses almost exlusively on sequence analysis. After a brief overview of statistics (more a reminder than an introduction), the first half of the book is devoted to alignment algorithms. These algorithms take pairs of sequences of bases making up DNA or sequences of amino acids making up proteins and provide optimal alignments of the sequences or of subsequences according to various statistical models of match likelihoods. Methods analyzed include edit distances with various substitution and gapping penalties (penalties for sections that don't match), Hidden Markov Models (HMMs) for alignment and also for classification against families, and finally, multiple sequence alignment, where alignment is generalized from pairs to sets of sequences. I found the section on building phylogenetic trees by means of hierarchical clustering to be the most fascinating section of the book (especially given its practical application to classifying wine varietals!). The remainder of the book is devoted to higher-order grammars such as context-free grammars, and their stochastic generalization. Stochastic context-free grammars are applied to the analysis of RNA secondary structure (folding). There is a good discussion of the CYK dynamic programming algorithm for non-deterministic context-free grammar parsing; an algorithm that is easily applied to finding the best parse in a probabilistic grammar. The presentations of the dynamic programming algorithms for HMM decoding, edit distance minimization, hierarchical clustering and context-free grammar parsing are as good as I've seen anywhere. They are precise, insightful, and informative without being overly subscripted. The illustrations provided are extremely helpful, including their positioning on pages where they're relevant.
This book is aimed at biologists trying to learn about algorithms, which is clear from the terse descriptions of the underlying biological problems. The technical details were so clear, though, that I was able to easily follow the algorithms even if I wasn't always sure about the genetic applications. After studying some introductions to genetics and coming back to this book, I was able to follow the application discussions much more easily. This book assumes the reader is familiar with algorithms and is comfortable manipulating a lot of statistics; a gentler introduction to exactly the same mathematics and algorithms can be found in Jurafsky and Martin's "Speech and Language Processing". For biologists who want to see how sequence statistics and algorithms applied to language, I would suggest Manning and Schuetze's "Foundations of Statistical Natural Language Processing". Although it is much more demanding computationally, more details on all of these algorithms, as well as some more background on the biology, along with some really nifty complexity analysis can be found in Dan Gusfield's "Algorithms on Strings, Trees and Sequences".
In these days of fly-by-night copy-editing and typesetting, I really appreciate Cambridge University Press's elegant style and attention to detail. Durbin, Eddy, Krogh and Mitchison's "Biological Sequence Analysis" is as beautiful and readable as it is useful.

6 of 15 people found the following review helpful.
Good bargain, but...
By A Customer
not suffciently precise for being an academic textbook. The definitions are sometimes incomplete, correctness proofs are missing, some exercises are incorrect. On the positive side, it does cover important topics, and brings good examples to illustrate main concepts and algorithms (which partially compemsates for the lack of precisenss).

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Sunday 28 October 2012

[P668.Ebook] Download PDF Visual Shock: A History of Art Controversies in American Culture, by Michael Kammen

Download PDF Visual Shock: A History of Art Controversies in American Culture, by Michael Kammen

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Visual Shock: A History of Art Controversies in American Culture, by Michael Kammen

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Visual Shock: A History of Art Controversies in American Culture, by Michael Kammen

In this lively narrative, award-winning author Michael Kammen presents a fascinating analysis of cutting-edge art and artists and their unique ability to both delight and provoke us. He illuminates America’s obsession with public memorials and the changing role of art and museums in our society. From Thomas Eakins’s 1875 masterpiece The Gross Clinic, (considered “too big, bold, and gory” when first exhibited) to the bitter disputes about Maya Lin’s Vietnam War Memorial, this is an eye-opening account of American art and the battles and controversies that it has ignited.

  • Sales Rank: #148363 in Books
  • Published on: 2007-11-06
  • Released on: 2007-11-06
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.95" h x .95" w x 5.15" l, 1.09 pounds
  • Binding: Paperback
  • 480 pages

From Publishers Weekly
From the Washington Monument to the 1913 Armory show to 9/11 memorials, controversies over art exhibitions, memorials and public art have abounded in the U.S. In this expansively researched history of major and lesser-known disputes from the 1830s to the 21st century, Pulitzer Prize winner Kammen (A Time to Every Purpose) argues that the "disturbations" roused by artworks and monuments are often both "destabilizing" and "enlightening and educational," indicative of healthy social change and increasing democratization. Structured chronologically, the book balances scholarly investigation and insightful analysis in its fascinating discussion of monuments, memorials and American national identity, and in its probing of modernism's threat to American concepts of morality, pluralism and art itself. While this is a work of meticulous scholarship with remarkable depth and range, Kammen's dry writing style sharply contrasts with the vigor of the controversies he so painstakingly details. Yet for scholars and students of cultural history and art history, Kammen's highly informed analysis will prove an invaluable contribution to American cultural history. (Oct. 3)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* Art and controversy have gone together like day and night throughout American history, and while the specifics of each conflict are unique, recurring patterns can be discerned. Pulitzer Prize-winning historian Kammen chronicles both particle and wave, as it were, in this kaleidoscopic survey of art-related battles. How instructive it is to learn that the objections raised against Maya Lin's Vietnam Veterans Memorial in the 1980s echo protests against the Washington Monument a century earlier. Concerns about decency led to furor over Rodin's sculptures in one era and the photographs of Robert Mapplethorpe and Sally Mann in another. Over the course of detailing myriad nineteenth- and twentieth-century art innovations and controversies, Kammen tells the fascinating story not only of artists overtly politicizing art but also of corresponding social change and backlash. Drawing on original sources, Kammen elucidates dramatic skirmishes over public art, race and gender issues, modernism and conceptualism, depictions of the American flag, and disputed museum exhibitions. Kammen's history of art considered shocking and art made to shock reveals that for all the controversy art arouses, efforts at censorship fail because even art's harshest critics value freedom of expression. Donna Seaman
Copyright � American Library Association. All rights reserved

Review
"Deep, richly detailed, and enlightening."—The Boston Globe“Compelling. . . . A nuanced study . . . offers an important context for looking at ongoing issues of censorship and debates about the point of art.”—The Miami Herald "Kammen . . . handles these variegated brouhahas with welcome deftness; he squeezes in all the facts while maintaining a nice narrative flow."—The Nation"A detailed and comprehensive survey of the history of artistic battles in the United States."—The Houston Chronicle

Most helpful customer reviews

21 of 24 people found the following review helpful.
A History of the Culture Wars
By Rob Hardy
Artist George Braque said, "Art is meant to disturb." This is a profoundly twentieth-century view of what art should accomplish, and clashes with the views of most Americans who enjoy going to a museum or contemplating a commemorative civic sculpture, and do not do so for any advantage of being disturbed. There has certainly been an acceleration of controversy in America regarding art; the Brooklyn Museum's notorious show "Sensation" of 1999, which Rudolph Giuliani tried repeatedly to close down, is a good example, as are countless shows picketed, boycotted, vandalized, or censored in the past couple of decades. But although art controversies in America may have increased, they did not begin only in the recent years, but have been ongoing for at least two centuries. In _Visual Shock: A History of Art Controversies in American Culture_, critic Michael Kammen has written a detailed account of the art and architecture that has bothered Americans. It is a surprise to learn how many buildings, sculptures, and paintings were notorious in the past and have become beloved icons, but it is no surprise to learn how indignation comes in various forms against the sexuality, politics, or religious feelings which the art portrays.

It is hard to imagine that anyone could ever have objected to the Lincoln Memorial but it was not just die-hard Confederates that did so when the nation prepared to honor Lincoln at the centennial of his birth. Many hated the location selected, as if America was deliberately sticking its greatest president into a marsh. A Grecian temple was not a universally accepted choice; members of Congress pointed out, for instance, that Lincoln never would have even learned the Greek alphabet, so why honor him with a modern Parthenon? There have always been people who are convinced that any depiction of nudity is scandalous, despite the persistence of artists over the centuries who found the human form worthy of representation. It is surprising, however, that the first controversy over nudity mentioned here is for a memorial to George Washington. Horace Greenough got a commission in 1833 to sculpt the Father of Our Country to stand in the Capitol, and although Washington wasn't actually nude in the huge marble statue that resulted, except above the waist; he had a toga wrapped around the rest of him, and the statue was a figure of ridicule. Age did not bring acceptance to the statue, which after placements other than the Capitol, was condemned to the Smithsonian. There are, to be sure, other controversies of nudity in art described here, especially regarding such photographs as those of Robert Mapplethorpe, and the displays of performance artists who do shows in the buff. It does not take nudity to make controversy, however; sometimes just a style will do so. Until recent years, the most controversial art show in America was the Armory Show of 1913, which was literally set up in an armory building in New York City by an ad hoc group of artists. It was the first chance for the modernism that had grown up in Europe to be seen here, and people didn't like it. Influential critics did not like the exhibit, and their writings gave justification for the public to disdain modernism for two subsequent generations. Eventually in the witch-hunting years after World War II, the generally progressive politics of modern artists was decried, with anti-communists declaring that modern art was Marxist at its core, ignoring that Stalin could abide nothing but artistic realism.

Art museums are more popular than ever, and one of the best bits of good news in Kammen's wide-ranging survey is that Americans cannot agree on what is good art, or even what is art. There has not been complete agreement on such matters in previous centuries or now. This is why reading Kammen's book is such fun; it is full of optimism. There were angry controversies about art in previous years, and those have been settled, with the controversial pieces now widely accepted and even loved. Freedom of expression is strong, and creativity is rewarded even when it is controversial. We can learn from art that is made deliberately to provoke. The controversies described here have not produced bland conformity and have resulted only in occasionally regional, not national, censorship. We can withstand the visual shocks, and we are ready for more.

7 of 8 people found the following review helpful.
Especially for art lovers
By Armchair Interviews
Reviewed by Kristin Grabarek

For the past two hundred years Americans have been bewildered, riled, or both, by art. Michael Kammen provides a history of this exasperation, in his disclosure of disputes created by art from the 1830s to September 11, 2001, entitled Visual Shock: A History of Art Controversies in American Culture.

Kammen argues that art controversies are relevant because they are symptomatic of social change, and that art controversies are not necessarily negative. He discusses nearly every art form, weaving the history of paintings, sculptures, murals, film, photographs, architecture, even performance, together to support his theses.

The historical narrative climaxes with the 1960s, when Pop Art emerged and almost instantly became a status symbol. Kammen argues that the "new mood" that Pop Art introduced must be recognized as no less than a statement of disenchantment with the previous role of art in society.

Since the 1830s, the general public evidenced general panic when presented with ambiguous art, as the public wanted concreteness and security. This desire was dashed consistently by artists like Horatio Greenborough, who sculpted a half-naked statue George Washington in 1841, and Judy Chicago, who in 1979 designed a series of vaginal motifs in The Dinner Party, which honored accomplished women. The 1930's Modernism ("Art for art's sake," according to Kammen) grew into the even more shocking Abstract Expressionism, which dominated art controversies with its seeming meaninglessness during the 1950s.

But Kammen assures that not all art controversies were about decency and morality. Indeed, many centered on more substantive problems like monument gigantism, location of memorials, and the role of the art museum.

Throughout his book, Kammen successfully maintains the voice of a historian, rather than an art critic, a feat which must have proved a challenge. And while his discussion is of American art controversies, Kammen provides enough international art controversy anecdotes to situate American controversies within an appropriate perspective. Complete with pictures for the reader's quick-reference and pleasure, Visual Shock is an enticing and often witty read for the skeptic seeking context for his bafflement, and for the art lover interested in the triumph of controversial art.

Armchair Interviews says: For art lovers, and those who love to read about art controversies.

10 of 14 people found the following review helpful.
Michael Kammen's Visual Shock
By SHAWN ROSSITER
As a national experiment able and eager to invent itself from a relatively clean slate, and as a democracy open to multiple voices, America has been and continues to be a country where the nature and purpose of art is hotly debated. In his recently published book, Visual Shock: A History of Art Controversies in American Culture, Pulitzer-prize winning cultural historian Michael Kammen turns his insightful attention to American controversies over the visual arts to discover what these controversies reveal about the nature of America and its public discourse.

Kammen's examination includes controversies familiar to most informed readers -- Diego Rivera's murals for Rockefeller Center or the photographs of Robert Mapplethorpe, for example -- but also finds lesser known controversies -- such as John Singer's Sargent's own troubles with murals or the initial Washington monument, a half-nude neo-classical statue -- equally fruitful for his scholarly inquest.

This meticulously researched and cogently argued book is not another repeat of the history of American art. Kammen's book follows a unique trajectory because Kammen's interest in the subject is as a cultural rather than art historian. He is more interested in how the public talks about art than the art itself; so that in Visual Shock discussions of the art that changed the art world give way to the art controversies that changed the way Americans discuss art, and what those discussion say about America.

Kammen divides his investigation into nine chapters, each of which follows a chronological examination of a particular form of art controversy -- from issues of monumentalism and memorialization and nudity and decency, which were prominent in the 19th century, to the debates on public art, political art and the nature of the museums in more recent times.

Within the scope of the entire work, Kammen identifies four main themes that interest him as a cultural historian: the way art controversies are symptomatic of social change in the U.S.; the debate over art's role in a democratic society and expectation such a society has of art and architecture; the impulse for the origins of art controversies and how they have changed over time; and the outcome, negative or positive, of controversies.

Kammen's book reveals that America has a fairly short cultural memory and that what causes an initial stir and even ideological battle usually becomes, within a generation, an established part of our cultural framework. Many of us will know the controversy regarding Maya Lin's Vietnam Memorial, but fewer will remember or have learned that practically every other monument along D.C.'s Mall -- now endeared landmarks of our country's capitol -- was controversial as well.

What moves America to discourse also changes over time. In the 19th century, issues of nudity and moral decency were hotly debated, even when, as in the case of Thomas Eakins' use of nude models in a classroom, the offending practices occurred in non-public settings. In our own time, nudity per se rarely causes a stir (BYU's selective editing of a Rodin exhibit in 1997 being an exception Kammen notes) and issues of moral decency spring up only in the case of government funding, as in the furor of NEA funding during the 80s.

As a cultural historian, Kammen is particularly interested in public art, where the full force of community discussion takes place. His chapter, "The Dimension and Dilemmas of Public Sculpture," which examines controversial public sculptures such as Richard Serra's "Tilted Arc" in lower Manhattan, is particularly interesting reading. Another element of the public realm Kammen illuminates is the changing nature of the Museum, which Kammen examines in a chapter in its own right. The author demonstrates that museums recover rather quickly from any initial uproar over a controversial exhibit and usually achieve higher turnout because of the controversy. Many museums, galleries, and artists understand this and create their own uproar; and when they don't, the media, knowing controversy makes for good copy, often stokes the flames of discontent.

Whatever part of his topic Kammen examines, his arguments are always well illustrated with particular cases. Too often, however, what he illustrates in prose is not illustrated by images, an unfortunate deficiency in a book whose main focus is the visual arts.

For the most part, Kammen keeps his own feelings about the merits of the artworks discussed to himself and does his job as historian in parsing out the factors that influenced the controversies examined. At times Kammen's writing style can be overly academic and his expositions can be lengthy, causing the casual reader to wish for a condensed version. But whether skimmed over for its salient kernels or examined in detail for its double-helix intricacies, Visual Shock has a great deal to offer both specialized art audiences and general ones interested in American culture. The book will teach you as much about America as it will about art.

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Wednesday 24 October 2012

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Wednesday 10 October 2012

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  • Sales Rank: #468269 in Books
  • Published on: 2015-05-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.10" h x .20" w x 7.30" l, .0 pounds
  • Binding: Paperback
  • 272 pages

About the Author

Jim Keogh, MSN, RN-BC is a registered nurse and the author of more than 70 books including Nurse Management Demystified, Medical Billing and Coding Demystified, Pharmacology Demystified, Microbiology Demystified, Medical-Surgical Demystified, Medical Charting Demystified, and Dose Calculations Demystified. He is on the faculty of New York University and Saint Peter's College.

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3 of 3 people found the following review helpful.
This book is amazing. Helped me pass Math Dosage exam
By julia clarke
This book is amazing. Helped me pass Math Dosage exam. Even my instructor was impressed and used the book for review

1 of 1 people found the following review helpful.
Three Stars
By Andrea E. Crompton
Several incorrect answers in book, be careful. Decent resource otherwise.

1 of 1 people found the following review helpful.
Arrived quickly!
By Amazon Customer
Gods book! Arrived quickly.

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Monday 1 October 2012

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Embracing a sociocultural perspective on human cognition and employing an array of methodological tools for data collection and analysis, this volume documents the complexities of second language teachers’ professional development in diverse L2 teacher education programs around the world, including Asia, South America, Europe, and North America, and traces that development both over time and within the broader cultural, historical and institutional settings and circumstances of teachers’ work.

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  • Sales Rank: #695095 in Books
  • Published on: 2010-11-26
  • Released on: 2011-02-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .69" w x 5.98" l, .55 pounds
  • Binding: Paperback
  • 304 pages

About the Author

Karen E. Johnson is Liberal Arts Research Professor of Applied Linguistics, The Pennsylvania State University.

Paula R. Golombek is Clinical Associate Professor, Linguistics, University of Florida.

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