Policy makers, academic administrators, scholars, and members of the public are clamoring for indicators of the value and reach of research. The question of how to quantify the impact and importance of research and scholarly output, from the publication of books and journal articles to the indexing of citations and tweets, is a critical one in predicting innovation, and in deciding what sorts of research is supported and whom is hired to carry it out. There is a wide set of data and tools available for measuring research, but they are often used in crude ways, and each have their own limitations and internal logics. Measuring Research: What Everyone Needs to Know (R) will provide, for the first time, an accessible account of the methods used to gather and analyze data on research output and impact. Following a brief history of scholarly communication and its measurement - from traditional peer review to crowdsourced review on the social web - the book will look at the classification of knowledge and academic disciplines, the differences between citations and references, the role of peer review, national research evaluation exercises, the tools used to measure research, the many different types of measurement indicators, and how to measure interdisciplinarity. The book also addresses emerging issues within scholarly communication, including whether or not measurement promotes a "publish or perish" culture, fraud in research, or "citation cartels." It will also look at the stakeholders behind these analytical tools, the adverse effects of these quantifications, and the future of research measurement.

In Early Modern Europe the first readers of a book were not those who bought it. They were the scribes who copied the author's or translator's manuscript, the censors who licensed it, the publisher who decided to put this title in his catalogue, the copy editor who prepared the text for the press, divided it and added punctuation, the typesetters who composed the pages of the book, and the proof reader who corrected them. The author's hand cannot be separated from the printers' mind. This book is devoted to the process of publication of the works that framed their readers' representations of the past or of the world. Linking cultural history, textual criticism and bibliographical studies, dealing with canonical works - like Cervantes' "Don Quixote" or Shakespeare's plays - as well as lesser known texts, Roger Chartier identifies the fundamental discontinuities that transformed the circulation of the written word between the invention of printing and the definition, three centuries later, of what we call 'literature'.

A multifaceted career-spanning collection from famed activist and journalist David Harris David Harris is a reporter, a clear-eyed idealist, an American dissident, and, as these selected pieces reveal, a writer of great character and empathy. Harris gained national recognition as an undergraduate for his opposition to the Vietnam War and was imprisoned for two years when he refused to comply with the draft. His writings trace a bright throughline of care for and attention to outsiders, the downtrodden, and those who demand change, and these eighteen pieces of long-form journalism, essays, and opinion writings remain startlingly relevant to the world we face today. This career-spanning collection of writings by an always-independent journalist follow Harris from his early days as a prominent leader of the resistance to the Vietnam War, through regular contributions to many publications, including Rolling Stone and the New York Times, and on into the twenty-first century. Born in Fresno and elected student body president of Stanford University in 1966, Harris has always had an undeniably Californian point of view-he imagines the future with an open heart and mind and pursues stories out of genuine curiosity, embedding himself among striking farmworkers, marijuana growers, the homeless on LA's skid row, and occasionally, redwood trees. Inspiring, clarifying, and fearless, his abiding and lucid patriotism insists that our country live up to its own ideals.

This is a major bibliographic research guide designed to assist scholars of South Asian history (India, Pakistan, and Nepal) in finding materials relevant to their research. It offers an annotated and indexed list of over 5,000 articles from 351 periodicals and 26 books of collected essays and encyclopedias. It lists 341 English and bilingual English-vernacular newspapers, and 251 vernacular papers published in South Asia, all with pertinent information. It also provides an extensive unified list of dissertations for degrees in modern South Asian history from South Asian, European, and American universities. About 3,100 of the entries are annotated. Originally published in 1968. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Lin Shu, Inc. explores the dynamic interactions between literary translation, commercial publishing, and the politics of "traditional" Chinese culture in the late nineteenth and early twentieth centuries. It breaks new ground as the first full-length study in any Western language on the career and works of Lin Shu and his many collaborators in the publishing, academic, and business worlds. Integrating literary scholarship, translation studies, and print history, this book provides new insights into a controversial figure in world literature and his place in the profound transformations in authorship and cultural production in modern China. Well before Ezra Pound and Bertolt Brecht transformed Western-language poetry and theater with their inventions of Chinese culture, Lin Shu and his collaborators had already embarked on a translation project unique in modern literature. Although he knew no foreign languages, in a 20-year period Lin Shu worked with 19 different assistants schooled in English, French, and other tongues to complete more than 180 book-length translations into classical Chinese. Through burgeoning print outlets such as the Commercial Press (Shangwu yinshuguan), Lin and his collaborators offered many readers in China their first taste of "Western literature" - usually 19th-century novels and short stories from the United States, England, and France. At the same time, Lin Shu leveraged his labors as a translator to make himself into a leading authority on "traditional" Chinese literature and cultural values. From what one publisher called his "factory of words," Lin issued scores of textbooks and anthologies of classical-language literature, along with short stories, poems, essays, and a handful of full-length novels.

What does it mean to author a piece of music? What transforms the performance scripts written down by musicians into authored books? In this fascinating cultural history of Western music's adaptation to print, Kate van Orden looks at how musical authorship first developed through the medium of printing. When music printing began in the sixteenth century, publication did not always involve the composer: printers used the names of famous composers to market books that might include little or none of their music. Publishing sacred music could be career-building for a composer, while some types of popular song proved too light to support a reputation in print, no matter how quickly they sold. Van Orden addresses the complexities that arose for music and musicians in the burgeoning cultures of print, concluding that authoring books of polyphony gained only uneven cultural traction across a century in which composers were still first and foremost performers.

Of all the cultural "revolutions" brought about by the development of printing technology during the sixteenth century, perhaps the most remarkable but least understood is the purported rise of European vernacular languages. It is generally accepted that the invention of printing constitutes an event in the history of language that has profoundly shaped modernity, and yet the exact nature of this transformation—the mechanics of the event—has remained curiously unexamined. In The Prosthetic Tongue, Katie Chenoweth explores the relationship between printing and the vernacular as it took shape in sixteenth-century France and charts the technological reinvention of French across a range of domains, from typography, orthography, and grammar to politics, pedagogy, and poetics. Under François I, the king known in his own time as the "Father of Letters," both printing and vernacular language emerged as major cultural and political forces. Beginning in 1529, French underwent a remarkable transformation, as printers and writers began to reimagine their mother tongue as mechanically reproducible. The first accent marks appeared in French texts, the first French grammar books and dictionaries were published, phonetic spelling reforms were debated, modern Roman typefaces replaced gothic scripts, and French was codified as a legal idiom. This was, Chenoweth argues, a veritable "new media" moment, in which the print medium served as the underlying material apparatus and conceptual framework for a revolutionary reinvention of the vernacular. Rather than tell the story of the origin of the modern French language, however, she seeks to destabilize this very notion of "origin" by situating the cultural formation of French in a scene of media technology and reproducibility. No less than the paper book issuing from sixteenth-century printing presses, the modern French language is a product of the age of mechanical reproduction.

Jakob Friedrich Reimmann stands between Baroque and Enlightenment. He is one of the major representatives of early 18th century historia litteraria, that forgotten discipline which set out to be a history of education, science and the book, and which Reimmann himself applied systematically to a whole range of subjects and cultures. His oeuvre may be seen as typifying the tensions emerging between an inherited faith in providentially ordained history and a new skeptical/hypothetical scientific culture.

This is the first history of Mills & Boon, the British publishing phenomenon which has become a household name synonymous with romantic fiction. On the firm's 90th anniversary, Joseph McAleer's lively and entertaining account of the establishment and development of the company examines the intimate relationship between editorial policy, morality, and sales. McAleer examines the components of the Mills & Boon `formula' and demonstrates how these novels were tailored to ensure the highest sales, and greatest satisfaction for its cadre of loyal female readers throughout the world.

What is metadata? When do you need to archive digital content? How does electronic publication affect copyrights? How can XML and PDF improve your workflow and your publications? There is a digital dimension to virtually all publishing today. Beyond the obvious electronic media -- the music and movies we take for granted, the increasingly indispensable Web, the eBooks that most of us will take for granted in a few years -- almost everything we read, even on paper, was produced digitally. This new digital world offers a steadily increasing number of choices. It is this rich and rapidly changing publishing environment for which "The Columbia Guide to Digital Publishing" was created. Although there is a vast amount of information on a host of topics relevant to digital production and publishing available -- some in print, more on the Web -- there has been, until now, no single resource to which those involved in any dimension of publishing could turn for guidance. "The Columbia Guide to Digital Publishing" fills that need.

The Guide is definitive: written by experts in the broad array of subjects it covers, it provides reliable, authoritative, user-friendly information about a vast number of topics. Designed to be the first place to go to learn about any of the numerous interrelated issues that define the digital publishing landscape, it offers readers a multilevel approach, from a brief glossary definition of a technical term or acronym (sometimes all a user needs), to a concise discussion of a topic (comprehensible to the lay person, yet useful for the technical expert). It puts a subject in the context of other topics and broader issues, with real-world examples, liberal cross-references, and pointers to sources of further information in print or electronic form.

Gleichgultig, welche Unterschiede in Methode oder Weltsicht die Wissenschaft von den Medien auch trennen moegen, man darf mit Gewissheit behaupten, dass beide ebenso leidenschaft- lich fur Unabhangigkeit eintreten, wie sie wachsenden Einfluss auf Wandel und Werte der Gesellschaft ausuben. Obwohl aber beide Seiten ihre Unabhangigkeit verteidigen, noch dazu mit Inbrunst, lasst sich nicht bestreiten, dass jede Seite von der anderen abhangt: Die Wissenschaft verlasst sich auf die Medien als Informanten der OEffentlichkeit, die Medien stutzen sich auf die Wissenschaftler als Nachrichtenlieferanten. Soviel ist klar. Damit werden Krafte, Spannungen und Probleme in diesem entscheidend wichtigen Verhaltnis allerdings nicht annahernd erfasst. Die American Association for the Advancement of Science hat ein lebhaftes Interesse am Verstandnis der OEffentlichkeit fur Wissenschaft und Technik. Dieses Interesse reicht viel tiefer als ein Bestreben, Wissenschaft zu verkaufen oder zu . Es entsteht aus der Erkenntnis, dass die Macht der Wissenschaft staatlichen und privaten Angelegenheiten nicht neutral gegenubersteht, sondern fur die meisten kritischen Wahlmoeglichkeiten und Ergebnisse, die entweder durch zwanglose Entscheidung oder durch Untatigkeit zustande- kommen, von zentraler Bedeutung ist, und dass sie sehr viel Verstandnis braucht. Aus unserer Sicht folgt daraus, dass die Wissenschaft eine hohe Verantwortung dafur tragt, die Medien zu verstehen und ihren Bedurfnissen Rechnung zu tragen. Andererseits sind die Medien ebenso verantwortlich dafur, dass Methoden, Disziplin und Grenzen erkannt werden, die wissen- schaftliche Entdeckung, Vorstellung in der OEffentlichkeit und Anwendungsmoeglichkeiten begleiten.

The new edition of this textbook provides a comprehensive and up-to-date introduction to media linguistics. It presents basic terms in communication theory and describes the major linguistic phenomena in today's German-language mass media (press, radio, TV, and the "new media"), including recent examples.

Das Buch gibt einen Einblick in die neuen Erzahlweisen des digitalen Journalismus. Es untersucht die Auswirkungen der Digitalisierung auf die Medienbranche und den mit ihr verbundenen Wandel journalistischer Darstellungsformen. Dabei geht es auch um die Moglichkeiten des journalistischen Storytellings auf mobilen Endgeraten wie Tablet-Computern. Es wird eine neuartige Typologie von Darstellungsformen entwickelt, die u ber die klassischen Text-, Audio- und Fernsehformate hinaus digitales Storytelling ermoglicht.

A concise edition of the highly acclaimed Oxford Companion to the Book, this book features the 51 articles from the Companion plus 3 brand new chapters in one affordable volume. The 54 chapters introduce readers to the fascinating world of book history. Including 21 thematic studies on topics such as writing systems, the ancient and the medieval book, and the economics of print, as well as 33 regional and national histories of 'the book', offering a truly global survey of the book around the world, the Oxford History of the Book is the most comprehensive work of its kind. The three new articles, specially commissioned for this spin-off, cover censorship, copyright and intellectual property, and book history in the Caribbean and Bermuda. All essays are illustrated throughout with reproductions, diagrams, and examples of various typographical features. Beautifully produced and hugely informative, this is a must-have for anyone with an interest in book history and the written word.

The single universal bit of advice that working journalists give students is "learn to write well." Solid writing is the key to any successful and solid broadcast news operation. In "Writing and Producing Television News, Second Edition" author Eric Gormly uses contemporary news events as an engaging backdrop to teach students the fundamentals of writing news for television and cable.

Author Gormly draws on his extensive background as a television journalist to explain how real newsrooms work. The text reviews basic grammar, introduces students to industry-specific terminology and the particular rules for TV newswriting, appraises the basics of a television news story, and reveals how television writing differs from writing for other media. The core of the book develops various story formats, and gives step-by-step instruction on how to transform basic information into properly scripted, solid stories.

Included in this edition are the latest in script formatting; an in-depth look at new writing styles; interviews with and observations of working journalists from major television markets; an expanded chapter detailing the process of producing a television newscast; and up-to-date information about applying for jobs and internships in today's television marketplace.

Newly expanded, packed with student exercises for hands-on learning, and fully illustrated with photos, line drawings, and charts, "Writing and Producing Television News, Second Edition" prepares students to perform from the moment they hit the newsroom.

Der 1934 von Eugen Claassen und Henry Goverts gegrA1/4ndete H. Goverts Verlag konnte, anders als andere Verlage bA1/4rgerlich-liberaler Provenienz, bis zum Ende des Zweiten Weltkrieges fortbestehen und erhielt bereits im Oktober 1945 von der Britischen MilitArregierung die Lizenz zur Weiterarbeit. Die Studie zeigt verlagsinterne Entscheidungsprozesse auf und stellt dar, unter welchen Bedingungen und wie weit es einem Kleinverlag mAglich war, HandlungsspielrAume unter der nationalsozialistischen Diktatur zu nutzen.