In SPSS Statistics Essential Training, author Barton Poulson takes a practical, visual, and non-mathematical approach to the basics of statistical concepts and data analysis in SPSS, the statistical package for business, government, research, and academic organization. From importing spreadsheets to creating regression models to exporting presentation graphics, this course covers all the basics, with an emphasis on clarity, interpretation, communicability, and application. Exercise files are included with the course.
From Mary Shelley's Frankenstein and Charles Dickens' Tiny Tim to Jane Austen's Mr. Darcy and Shakespeare's Juliet, British authors have created some of the most compelling characters in all of literature. But too often, textbooks reduce these vibrant voices to boring summaries that would put even an English dean to sleep.
What are the key issues in contemporary literary studies? What notion of 'history' is appropriate for today's study of 'modern' (post-1800) literature? How can we best understand the recent transition from theory to literary history? In 20 chapters, this book both probes and answers these questions, and more, emphasising the importance of literary history to current critical thinking.
Although best known for his plays, William Shakespeare (1564 – 1616) was also a poet who achieved extraordinary depth and variety in only a few key works. This edition of his poetry provides detailed notes, commentary and appendices resulting in an academically thorough and equally accessible edition to Shakespeare’s poetry.
This book is a fully revised and largely expanded successor to Mr Williams's widely read Drama from Ibsen to Eliot (1952). In it he argues that although plays are meant to be acted, any play in which the text is no more than an outline, to be filled in by acting, production and decor, must fall short of the purpose and full scope of drama. The naturalistic theatre is criticised because in spite of some great achievements, the devices it makes use of to express the depths of human experience are never really adequate substitutes for the traditional language of the theatre: poetry.
