Matthew Arnold, 19th century English poet, literary critic and school inspector, felt that each age had to determine that philosophy that was most adequate to its own concerns and contexts. This study looks at the influence that Matthew Arnold had on John Dewey and attempts to fashion a philosophy of education that is adequate for our own peculiarly awkward age. Today, Arnold and Dewey are embraced by opposing political positions. Arnold, as the apostle of culture, is often advocated by conservative educators who see in him a support for an education founded on great books and Victorian values, while Dewey still has a notably liberal coloring and is not too infrequently tarred for the excesses of progressive education, even those for which he bears no responsibility at all. Both, no doubt, are misread by those who rather carelessly use them as idols for their own politics of education. This study proposes a pluralistic approach to education in which pluralism means not only plurality of voices, but also plurality of processes. Using a model built out of a study of rhetoric and hermeneutics, four aspects of mind are indentified that draw Arnold and Dewey into close correspondence. These aspects are the tentacle mind (using Dewey’s favorite metaphor for breaking down the barrier between mind and body), the critical mind (which builds on the concepts of criticism that animated both Arnold and Dewey’s approach to experience), the intentional mind (which attempts a long overdue rehabilitation of the concept of authority and an expansion upon the increasingly apparent limitations of reader-response theory) and the reflective-response mind (in which the contemplative mind is treated to that active quality that makes it more a true instrumentality and less an obscuring mechanism of isolation). Dewey echoed Matthew Arnold who himself echoed so many of the voices that preceded and were contemporary with his own. Theirs were awkward echoes, as all such echoes invariably are. They caught at the intentionality of those voices they echoed, trying for nearness, but hoping, at least, for adequacy. Awkward, but adequate, is what this study offers, but it may well be what we most need right now.
THEIR FINEST HOUR, OR THEIR FINAL DAYS... The First Empire has entered what may very well be its last crisis: the Emperor is dead by assassination and has left an infant heir. Worse, the imperial mystique is but a fading memory: nobody believes in empire anymore. Indeed nobody believes in much of anything beyond the boundaries of self. There are exceptions, of course, and to those few falls the self-appointed duty of maintaining a military-civil order that is corrupt, despotic¾and infinitely preferable to the barbarous chaos that will accompany its fall. One such is commander Anson Merikur. This is his story. At the publisher's request, this title is sold without DRM (Digital Rights Management).
Trying to determine when to use a logistic regression and how to interpret the coefficients? Frustrated by the technical writing in other books on the topic? Pampel′s book offers readers the first "nuts and bolts" approach to doing logistic regression through the use of careful explanations and worked out examples. Pampel first offers readers a review of some basic concepts, such as exponents, percentage change, and likelihood functions. Next, he describes in some detail how taking the log of the odds eliminates the floor so that the transformation of logistic regression coefficients into coefficients that effect odds and probabilities makes more sense to readers. And, third, he describes maximum likelihood estimation through words and simple samples (along side of the formulas) so as to make the concept more concrete and the procedure easier to comprehend. Throughout the book, he emphasizes examples, explanations, and how to interpret the results of each procedure. This book will enable readers to use and understand logistic regression techniques and will serve as a foundation for more advanced treatments of the topic. Learn more about "The Little Green Book" - QASS Series! Click Here
Frankie Avonlea, a once-famous child television star, is set to make the biggest show business comeback since John Travolta (before Battlefield:Earth, that is.) Or, so says his comically shady talent agent MURRAY SILVERBERG. Murray has booked Frankie to headline a comedy/variety show at a recently rebuilt — but still not A1 condition — dinner theater, much to the chagrin of Frankie's show-business wife, ANNE KONDA. As a way of putting Anne's concerns to rest — as well as to protect his investment in Frankie's talent — Murray hires JAKE BULLET, a deadly-serious (almost to the point of absurdity) bodyguard. Jake's job is to ensure that the show goes off without a hitch, as well as to make sure that Frankie stays safely out of the spotlight until the time is right. Unfortunately for Jake and all concerned, Frankie turns up dead just as the spotlight comes upon him at the show's final dress rehearsal. It then becomes Jake's duty to determine who could have caused Frankie's star to fall — permanently. His task is made all the more confusing — and hilarious — by the fact that his chief suspects are the people closest to Frankie. Apart from Murray and Frankie's wife, Anne, there's LANCE BOYLE, a young up-and-upcoming talent who, it seems, will do anything to become a star — and for whom Anne has developed a voracious sexual appetite! Could it possibly be MISS KELLY, Murray Silverberg's trusted assistant who seems to know more about business management than Murray himself? Or what about CAROL HINGLE, an obsessed fanatic with her own Frankie Avonlea-related web site and more information about him than any normal human should be concerned with? Jake's investigation into Frankie's death takes the audience on several harrowing — and hilarious — twists as he attempts to salvage his reputation by solving the mystery of Frankie Avonlea's murder. So, whodunit? Only the killer knows for sure!
THE STORY: A young boy, John, comes downstairs to tell about his upcoming trip with his dad to the family friend, Dell. Mother, Donnie, is in the kitchen making tea. Soon the three are discussing the excitement of the trip, why John can't sleep, an
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