Laura Frost - Böcker

For courses in General, Organic, and Biological Chemistry (1 - Semester)

An integrated and applied approach to General, Organic, and Biological Chemistry  

General, Organic, and Biological Chemistry strengthens the evidenced strategy of integrating general, organic, and biological chemistry for a focused introduction to the fundamental connections between chemistry and life. The streamlined approach establishes a clear path through the content over a single semester. The text integrates essential topics more effectively than any text on the market, covering core concepts in each discipline in just 12 comprehensive chapters. 

With the 4th Edition, authors Laura Frost and Todd Deal apply their knowledge and experience in the science of learning to incorporate research and best practices based on how students learn. A stronger applied focus provides practical connections and applications, showing both allied-health and non-science majors how to use their understanding of chemistry in future health professions and in their everyday lives. Enhanced digital tools in Mastering Chemistry and embedded in the Pearson eText guide students through all stages of the course, providing support when and where students need it.

Also available as a Pearson eText or packaged with Mastering Chemistry

Pearson eText is a simple-to-use, mobile-optimized, personalized reading experience that can be adopted on its own as the main course material. It lets students highlight, take notes, and review key vocabulary all in one place, even when offline. Seamlessly integrated videos and other rich media engage students and give them access to the help they need, when they need it. Educators can easily customize the table of contents and share their own notes with students so they see the connection between their eText and what they learn in class — motivating them to keep reading, and keep learning. 

Mastering™ combines trusted author content with digital tools developed to engage students and emulate the office-hour experience, Mastering personalizes learning and improves results for each student. The fully integrated and complete media package allows instructors to engage students before they come to class, hold them accountable for learning during class, and then confirm that learning after class.

Note: You are purchasing a standalone product; Mastering Chemistry does not come packaged with this content. Students, if interested in purchasing this title with Mastering Chemistry, ask your instructor for the correct package ISBN and Course ID. Instructors, contact your Pearson representative for more information. 

If you would like to purchase both the physical text and Mastering Chemistry, search for:

0134990803 / 9780134990804 General, Organic, and Biological Chemistry Plus Mastering Chemistry with Pearson eText -- Access Card Package

Package consists of:

0134988698 / 9780134988696 General, Organic, and Biological Chemistry 0134990080 / 9780134990088 Mastering Chemistry with Pearson eText -- ValuePack Access Card -- for General, Organic, and Biological Chemistry

Aldous Huxley decried "the horrors of modern 'pleasure,'" or the proliferation of mass produced, widely accessible entertainment that could degrade or dull the mind. He and his contemporaries, including James Joyce, T. S. Eliot, Gertrude Stein, D. H. Lawrence, and Jean Rhys, sought to radically redefine pleasure, constructing arduous and indirect paths to delight through their notoriously daunting work. Laura Frost follows these experiments in the art of unpleasure, connecting modernism's signature characteristics, such as irony, allusiveness, and obscurity, to an ambitious attempt to reconfigure bliss. In The Problem with Pleasure, Frost draws upon a wide variety of materials, linking interwar amusements, such as the talkies, romance novels, the Parisian fragrance Chanel no. 5, and the exotic confection Turkish Delight, to the artistic play of Joyce, Lawrence, Stein, Rhys, and others. She considers pop cultural phenomena and the rise of celebrities such as Rudolph Valentino and Gypsy Rose Lee against contemporary sociological, scientific, and philosophical writings on leisure and desire.Throughout her study, Frost incorporates recent scholarship on material and visual culture and vernacular modernism, recasting the period's high/low, elite/popular divides and formal strategies as efforts to regulate sensual and cerebral experience. Capturing the challenging tensions between these artists' commitment to innovation and the stimulating amusements they denounced yet deployed in their writing, Frost calls attention to the central role of pleasure in shaping interwar culture.

Aldous Huxley decried "the horrors of modern 'pleasure,'" or the proliferation of mass produced, widely accessible entertainment that could degrade or dull the mind. He and his contemporaries, including James Joyce, T. S. Eliot, Gertrude Stein, D. H. Lawrence, and Jean Rhys, sought to radically redefine pleasure, constructing arduous and indirect paths to delight through their notoriously daunting work. Laura Frost follows these experiments in the art of unpleasure, connecting modernism's signature characteristics, such as irony, allusiveness, and obscurity, to an ambitious attempt to reconfigure bliss. In The Problem with Pleasure, Frost draws upon a wide variety of materials, linking interwar amusements, such as the talkies, romance novels, the Parisian fragrance Chanel no. 5, and the exotic confection Turkish Delight, to the artistic play of Joyce, Lawrence, Stein, Rhys, and others. She considers pop cultural phenomena and the rise of celebrities such as Rudolph Valentino and Gypsy Rose Lee against contemporary sociological, scientific, and philosophical writings on leisure and desire.Throughout her study, Frost incorporates recent scholarship on material and visual culture and vernacular modernism, recasting the period's high/low, elite/popular divides and formal strategies as efforts to regulate sensual and cerebral experience. Capturing the challenging tensions between these artists' commitment to innovation and the stimulating amusements they denounced yet deployed in their writing, Frost calls attention to the central role of pleasure in shaping interwar culture.

Salvador Dalí's autobiography confesses that "Hitler turned me on in the highest," while Sylvia Plath maintains that "every woman adores a Fascist." Susan Sontag's famous observation that art reveals the seamier side of fascism in bondage, discipline, and sexual deviance would certainly appear to be true in modernist and postwar literary texts. How do we account for eroticized representations of fascism in anti-fascist literature, for sexual desire that escapes the bounds of politics?Laura Frost advances a compelling reading of works by D. H. Lawrence, Virginia Woolf, Jean Genet, Georges Bataille, Marguerite Duras, and Sylvia Plath, paying special attention to undercurrents of enthrallment with tyrants, uniforms, and domination. She argues that the first generation of writers raised within psychoanalytic discourse found in fascism the libidinal unconscious through which to fantasize acts—including sadomasochism and homosexuality—not permitted in a democratic conception of sexuality without power relations. By delineating democracy's investment in a sexually transgressive fascism, an investment that persists to this day, Frost demonstrates how politics enters into fantasy. This provocative and closely-argued book offers both a fresh contribution to modernist literature and a theorization of fantasy.

Salvador Dalí's autobiography confesses that "Hitler turned me on in the highest," while Sylvia Plath maintains that "every woman adores a Fascist." Susan Sontag's famous observation that art reveals the seamier side of fascism in bondage, discipline, and sexual deviance would certainly appear to be true in modernist and postwar literary texts. How do we account for eroticized representations of fascism in anti-fascist literature, for sexual desire that escapes the bounds of politics?Laura Frost advances a compelling reading of works by D. H. Lawrence, Virginia Woolf, Jean Genet, Georges Bataille, Marguerite Duras, and Sylvia Plath, paying special attention to undercurrents of enthrallment with tyrants, uniforms, and domination. She argues that the first generation of writers raised within psychoanalytic discourse found in fascism the libidinal unconscious through which to fantasize acts—including sadomasochism and homosexuality—not permitted in a democratic conception of sexuality without power relations. By delineating democracy's investment in a sexually transgressive fascism, an investment that persists to this day, Frost demonstrates how politics enters into fantasy. This provocative and closely-argued book offers both a fresh contribution to modernist literature and a theorization of fantasy.