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The Science of Wine
"The Science of Wine does an outstanding job of integrating 'hard' science about wine with the emotional aspects that make wine appealing."--Patrick J. Mahaney, former senior Vice President for wine quality at Robert Mondavi Winery "Jamie Goode is a rarity in the wine world: a trained scientist who can explain complicated subjects without dumbing them down or coming over like a pointy head. It also helps that he's a terrific writer with a real passion for his subject."--Tim Atkin MW, The Observer
Cover Cropping in Vineyards
This guide features cutting-edge methods for using cover crops to enhance vineyard performance. Based on extensive research, this guide details technical and theoretical information on how cover crops affect vineyards and promote ecological stability. With how-to instructions for activities such as field application, this practical reference is a must-have for vineyard owners, managers, consultants, and pest control advisers.
How Higher Education Feels
Teaching and learning in higher education can evoke strong feelings, including confusion, anxiety, boredom, curiosity, surprise and exhilaration. These emotions affect students’ learning, progress and overall success. Teachers’ emotions affect how they teach and their relationships and communication with students. Yet the emotional dimensions of teachers’ and students’ experiences are rarely discussed in the context of improving higher education. This book addresses that gap, offering short, evocative case studies to spark conversation among university teachers. It challenges readers to reflect on how higher education feels, to explore the emotional landscape of courses and programme...
生命、語言與形式：美學感受性研究在臺灣
「感受」（pathic）一詞，指我們稱之為移情（em- pathic）和同情（sym-pathic）的表達性理解方式。移情和同情，是一種關係性的體驗，在經驗中把握經驗，透過想像把自己放到別人的位置，感覺他人的感受，參與他人的生活，這是開拓自身心靈疆域的活動，存有、生命與價值，俱顯於斯。 「感受」屬於美感經驗的接受面向，而感受經驗的把握，誠如高友工所言：「把注意力轉移到可以客觀觀察的材料上去，從純粹的內容結構分析，到作家背景、歷史考證、語文詮釋……這固然都是文學研究不可或缺的因素，但卻忽略了最重要的...
Crucible
Crucible is a collection of poems by award-winning poet Daniel Bosch. The poems break easily into two sections. In the first, a set of ironic, emulative "Homages & Elegies," Bosch playfully apostrophizes poets living and dead, as if it took two not only to tango, but to write a poem. He wrestles with Dickinson, grooves with the glacial wit of Frost (belatedly), waltzes with Walcott's ghost (prematurely), mimics Mandelstam, picks apples with Sappho, and shares a transcontinental flight with Brodsky. Each poem is carefully measured; some are composed by meticulous inversion of their precursor's poetic strategy. Literary but by no means prudish, these poems look back-and forward-to a time when ...
Fishery Data Series
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