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MyEconLab does not come packaged with this content. If you would like to purchase both the physical text and MyEconLab search for ISBN-10: 0134004655/ISBN-13: 9780134004686. That package includes ISBN-10: 0133872297/ISBN-13: 9780133872293 and ISBN-10: 0133917606/ISBN-13: 9780133917604.

 

For the two-semester principles of economics course.

 

An intuitive and grounded approach to economics 

Get students to think like an Economist using the latest policy and data while incorporating global issues. Economics, Twelfth Edition builds on the foundation of the previous edition and retains a thorough and careful presentation of the principles of economics. Economics emphasizes real-world applications, the development of critical thinking skills, diagrams renowned for pedagogy and clarity, and path-breaking technology.

 

Each chapter begins with one of today’s key issues, and additional issues appear throughout the chapter to show the real-world applications of the theory being discussed. When the chapter concludes, students “read between the lines” to think critically about a news article relating to the issue, demonstrating how thinking like an economist can bring a clearer perspective to and deeper understanding of today’s events. Students will begin to think about issues the way real economists do and learn how to explore difficult policy problems to make more informed decisions in their own economic lives.

 

Also available with MyEconLab

MyEconLab is an online homework, tutorial, and assessment program designed to work with this text to engage students and improve results. Within its structured environment, students practice what they learn, test their understanding, and pursue a personalized study plan that helps them better absorb course material and understand difficult concepts.

• Sales Rank: #18611 in Books
• Published on: 2015-01-19
• Original language: English
• Number of items: 1
• Dimensions: 10.70" h x 1.00" w x 8.40" l, 2.23 pounds
• Binding: Paperback
• 552 pages

About the Author

Michael Parkin is Professor Emeritus in the Department of Economics at the University of Western Ontario, Canada. Professor Parkin has held faculty appointments at Brown University, the University of Manchester, the University of Essex, and Bond University. He is a past president of the Canadian Economics Association and has served on the editorial boards of the American Economic Review and the Journal of Monetary Economics and as managing editor of the Canadian Journal of Economics. Professor Parkin’s research on macroeconomics, monetary economics, and international economics has resulted in over 160 publications in journals and edited volumes, including the American Economic Review, the Journal of Political Economy, the Review of Economic Studies, the Journal of Monetary Economics, and the Journal of Money, Credit and Banking. He became most visible to the public with his work on inflation that discredited the use of wage and price controls. Michael Parkin also spearheaded the movement toward European monetary union. Professor Parkin is an experienced and dedicated teacher of introductory economics.

 

Most helpful customer reviews

0 of 0 people found the following review helpful.
Good for class but Expensive
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Bought the Kindle version for my Economics class, only works on Kindle Fire but still a decent book.

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Two Stars
By Debra A. Duggan
This product DID NOT come with the necessary codes needed. Full/New edition not as advertised

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Titles:
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• Sales Rank: #1590679 in eBooks
• Published on: 2008-02-12
• Released on: 2016-02-25
• Format: Kindle eBook

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I enjoy almost every piece in this book and have been ...
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• Sales Rank: #2420814 in eBooks
• Published on: 2015-07-20
• Released on: 2015-07-20
• Format: Kindle eBook

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• Sales Rank: #7506700 in Books
• Published on: 1600
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Elia Kazan was the twentieth century’s most celebrated director of both stage and screen, and this monumental, revelatory book shows us the master at work.  Kazan’s list of Broadway and Hollywood successes—A Streetcar Named Desire, Death of a Salesman, On the Waterfront, to name a few—is a testament to his profound impact on the art of directing. This remarkable book, drawn from his notebooks, letters, interviews, and autobiography, reveals Kazan’s method: how he uncovered the “spine,” or core, of each script; how he analyzed each piece in terms of his own experience; and how he determined the specifics of his production.  And in the final section, “The Pleasures of Directing”—written during Kazan’s final years—he becomes a wise old pro offering advice and insight for budding artists, writers, actors, and directors.

• Sales Rank: #90174 in Books
• Published on: 2010-01-12
• Released on: 2010-01-12
• Original language: English
• Number of items: 1
• Dimensions: 7.99" h x .75" w x 5.19" l, .75 pounds
• Binding: Paperback
• 368 pages

From Booklist
*Starred Review* The late film and theater director Elia Kazan may still be vilified in some circles for naming names to HUAC in the 1950s, but there is no denying he was an important artistic force in mid-twentieth-century America. Many a seminal play and film from this period—All My Sons, A Streetcar Named Desire, Death of a Salesman, On the Waterfront, and others—has Kazan’s fingerprints on it. This fascinating book collects Kazan’s notes and journal entries associated with those seminal works as well as his notes on his productions of many lesser or, at least, less successful works by Tennessee Williams, Arthur Miller, and others, including Thornton Wilder, Archibald MacLeish, and Maxwell Anderson. From these writings we learn, for example, the extent to which Williams depended on the kindness and insight of Kazan to birth his masterpieces and also the limits of that dependence. We learn from Kazan’s journal entries how self-lacerating his criticism of his own artistic missteps could be. Also included is Kazan’s fine essay on the craft of directing, “The Pleasure of Directing,” and editor Cornfield’s extensive notes and commentary, providing a context for Kazan’s words. An invaluable resource for American theater and film aficionados. --Jack Helbig

Review
“To read this book is to sit with Kazan as he talks about his work. You feel his energy, devotion, and openness. You are given rare and fascinating access to the insights and techniques of a great director.” —Sidney Lumet

“Kazan stands alone in his work both on stage and screen. This book provides an excellent opportunity to deepen our understanding of Kazan’s achievements.” —Alec Baldwin

“A fascinating account of how a master director works. . . .  It is also, quite simply, a good read.” —The New Criterion
 
“A wonderfully conflicted yet curiously confident self-portrait of a great director.” — Los Angeles Times
 
“Unusually entertaining . . . It’s not just his insights, it’s the incisive way he expresses them.” —New York Observer

“This is Kazan the professional speaking, a giant of the Method spilling his secrets. . . . An indispensable resource for anyone hoping to understand the direction of actors and the differences between stage and screen. . . . Revelatory and instructive.” —Directors Guild of America Quarterly
 
“Kazan on Directing displays Kazan’s interpretive genius at work, analyzing each major play and movie, working with writers on scripts and actors on interpretations. . . . Invaluable.” —The Providence Journal
 
“[Kazan] may be the most influential director of his time after Hitchcock. . . . If only every living American director would read this..” —The Buffalo News
 
“Remarkable. . . . A portrait of the artist in his own words. . . . A marvelous dissection and explanation of how Kazan brought to life some of America’s greatest pieces of drama, and at what personal price.” —Eric Lax, truthdig.com
 
“Elia Kazan possessed a treasure trove of knowledge about acting and storytelling. What a gift it is to have his ideas between covers in Kazan on Directing—a wonderful compilation of Kazan’s shrewd insights and vast experience.” —George Stevens, Jr.
 
“Kazan has been called the greatest actor’s director. In this illuminating book he details his methods. A must-read for everyone in show business.” —Carroll Baker
 
“[This] riveting book is Kazan talking to us—pushing us, lifting us, motivating us. Every student of stage and film should read it.” —Karl Malden
 
“[Kazan’s] experience as an actor in the Group Theatre helped train him to become one of the greatest directors of actors in the twentieth century. This amazing book demonstrates his rich understanding of the actor as an artist.”  —Ellen Adler, Stella Adler Studio of Acting
 
“Astounding. . . . I have never, ever read anything as clear and personal and detailed (not to mention well-written) as this book. . . . I devoured it.” —André Bishop, Artistic Director, Lincoln Center Theater

About the Author
Elia Kazan was born in 1909 in Istanbul. He graduated from Williams College and attended the Yale School of Drama before joining the Group Theatre. He was the founder of the Actors Studio, and he won three Tony Awards for direction (for All My Sons, Death of a Salesman, and J.B.) and two Academy Awards (for Gentleman’s Agreement and On the Waterfront), as well as an honorary Oscar in 1999 for lifetime achievement. He died in September 2003.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Amazing Book! - Both amazingly inspirational, passionate and at the same time very precise and rational
By Mindia Chlaidze
The Book is amazing! for a number of reasons: first of all the great author. Despite some controversy over 1952's affair Kazan remains one of the best American directors ever... Just like another great director Sidney Lumet comments on the book - reading it really feels like having a deep interesting conversation with the author, that alone is one hell of a rare treat for books of this type. It is amazing and very useful how Kazan treats material a play or a screenplay, his amazing quest for certainty and precision, how he breaks the material down to find a basic idea - a spine, and how he explains the importance of finding this spine and how all the rest of the things like acting, lighting and generally everything comes from and should be connected to this "Spine". The other amazingly important bit about the author and this book is that he is very critical first of all to himself. He would sit and watch a show in a theater and think and capture it's mistakes and then analyse those and if they lead to him the director he doesn't ignore it on the contrary he goes deeper and draws the exact conclusions why and how this or that mistake has been made and how he should avoid them in the future. He is very rational, adequate and precise but at the same time amazingly passionate, he works with actors knowing each of them amazingly well for what they really are and what they are capable of. In other words he explains and shows the enormous importance of good Casting. I came across this book by watching Francis Ford Coppola's interview where he mentions this book and how the approach of Kazan in treating the material helped him create his big notebook for Godfather. He states that this notebook was so dense and full of important details for each scene that he practically didn't need a script on the set. Coppola uses the same method as Kazan for example for the scene: what the scene is about?, what he wants to express with it?, how to express it the best way? and what are the risks? and etc. this structural approach to the material is very useful both for beginner filmmakers and professionals. Book doesn't have the setups and how to do recipes it has a lot more. It gives the most important ingredient of all on how to find, formulate and then express the general idea, It gives clues on how to find the inspiration and I guess that is much more important than any instructions. This book is amazingly inspirational and passionate and at the same time superbly precise and rational - I guess the unity of these elements underlines most the significance of this book and the significance of the body of work of this great visionary who has influenced a lot of great directors such as Nicholas Ray, Sindey Lumet, Martin Scorcese, Francis Ford Coppola and many more

3 of 3 people found the following review helpful.
Great for film lovers, and filmmakers!
By C. Santas
Rarely has a book on film said so much in so little space. First, it is mostly Kazan's voice we hear. Secondly, the book is finely organized, offering editorial comments and questions,letters from Kazan countering with his lively answers to these and elaborating on his views, separate sections as director of stage and film (the book actually comes in two parts),and the most fascinating articles/speeches Kazan ever gave, as, for instance, an address by Kazan delivered ar Wesleyan University in 1973, which covers just about everything about directing under the sun. Kazan is a "no holds barred" commentator of his own work, relating his experiences in life and in film in sometimes scorching language, managing to be entertaing and completely outspoken. There are hidden treasures everywhere about filmmaking that will make the film buff and filmmaker alike salivate with pleasure. Not to forget here a foreward by John Lahr,a Preface by Martin Scorsese, and an illuminating Introduction by Robert Cornfield, which contains the best remarks on "method acting" I have ever seen. All in all, a good read, worth all the pennies you spend on it.

1 of 1 people found the following review helpful.
and thorough explanation of every production should be studied by everyone interested in the greatest period of American drama o
By Ryan C Bernales
Book arrived in mint condition. An absolute must read for any actor (like myself) or director. Kazan's candid, surprisingly humorous, and thorough explanation of every production should be studied by everyone interested in the greatest period of American drama on stage and one of the greatest pioneering times for American actors. Actors will especially benefit from his advice and insight into the performance process as well. Study up kids!

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