1,721,037 research outputs found
Restructuring the knowledge production value chain in publishing
Full text linkThe current system of publishing (i.e. knowledge sharing) values individualism and commodification, restricting our use of existing knowledge. The Western model of knowledge production is not currently inclusive of other forms of knowledge, which inhibits the reuse, adaptation, reinterpretation and development of existing knowledge. The author proposes that knowledge systems be purposefully re-created to prioritize the end users’ needs and value them as co-creators
Restructuring the knowledge production value chain in publishing
Full text linkThe current system of publishing (i.e. knowledge sharing) values individualism and commodification, restricting our use of existing knowledge. The Western model of knowledge production is not currently inclusive of other forms of knowledge, which inhibits the reuse, adaptation, reinterpretation and development of existing knowledge. The author proposes that knowledge systems be purposefully re-created to prioritize the end users’ needs and value them as co-creators
Towards a new history of literary media
Full text linkThis chapter argues that the history of literary media from the early 20th century to today’s immersive fictions should be viewed as three movements. Each movement illustrates a change in the expectations of storytelling within society. Such a history is not a linear timeline of technological development, rather it focuses on the innovative techniques in storytelling. Initially it is a move to increased reciprocation between the author and the reader characterized by a rise of fandom, author celebrity, and the development of audiences who cross-media in the first half of the 20th century. Then in the second movement there is a desire for interaction with the reader with examples from Choose Your Own Adventures stories and analogue games to interactive electronic fictions and gamification of narratives. Thirdly, it discusses the desire for immersion by the reader in the storyworld with examples from trompe-l’oeil architectural illusions to immersive virtual reality. The discussion of each movement references a range of examples which illustrate the key themes and motifs, and discusses the forces within society which have resisted authors’ and readers' attempts to fulfil these aesthetic aspirations. It argues that we need to undertake Christine Gledhill’s ‘micro-analysis of the conditions of historical practice’ to understand the complexity of this history. In two tables, it tabulates the characteristics of each movement and the socio-economic resistances which need to be considered as we trace the origins of literary transmedia storytelling
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The Impact of Television on the Audience for National Newspapers, 1945-68
No full textThis collection brings together published papers on key themes which book historians have identified as of particular significance in the history of twentieth-century publishing. It reprints some of the best comparative perspectives and most insightful and innovatively presented scholarship on publishing and book history from such figures as Philip Altbach, Lewis Coser, James Curran, Elizabeth Long, Laura Miller, Angus Phillips, Janice Radway, Jonathan Rose, Shafquat Towheed, Catherine Turner, Jay Satterfield, Clare Squires, Eva Hemmungs Wirten. It is arranged into six sections which examine the internationalisation of publishing businesses, changing notions of authorship, innovation in the design and marketing of books, the specific effects of globalisation on creative property and the book in a multimedia marketplace. Twentieth-century book history attracts an audience beyond the traditional disciplines of librarianship, bibliography, history and literary studies. It will appeal to publishing educators, editors, publishers, booksellers, as well as academics with an interest in media and popular culture
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Geneva v. St Petersburg: two concepts of literary property and the material lives of books in <i>Under Western Eyes</i>
No full textThis chapter examines the impact of the development of international copyright law in the late nineteenth and early twentieth centuries upon authorial practice in the period through a close examination of Joseph Conrad's novel, 'Under Western Eyes' (1911). The first half of the chapter provides a detailed survey and critical commentary on the expanding domain and extent of international copyright law in this period, while the second half offers a close examination of the textual matter (and its copyright status) circulating within Conrad's novel
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
This Is Not My House: Notes on film-making, photography and my father
Full text linkAn essay on my filmmaking practice and visual methodology which takes as its starting point Annette Kuhn’s premise that memory is a process, an activity, and a construct. The film attempts to mobilise her definition of memory-work as ‘an active practice of remembering’ by stitching together a montage of closely observed vignettes in which I ask my father to re-enact aspects of his everyday life before the camera. My intention in the film and the essay is to explore the question of how the past may be re-enacted in the present through what Kuhn calls ‘performances of memory’ and at the same time to find an equivalence between ways of looking in terms of visual methodology and what is actually being looked at as object: my father
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