In the winter 2020 issue, Masked by Covid: The underreported stories of 2020 that need to be heard, the Index on Censorship team delve into the most important stories that happened this year but were not given as much attention as they should due to a world and news cycle almost exclusively focused on the pandemic. We look at why people in Inner Mongolia are committing suicide, the election of leaders in Europe which spell trouble for our freedoms, a journalist killed in the Philippines with little outrage, an entire liberal arts university that was closed in Turkey - these stories and more from our award-winning journalists. Also an essay from John Gray, a call to action from British MP Tom Tugendhat, a debate on vaccine disinformation and an interview with Bianca Jagger.

The Frankfurt Book Fair is the leading global industry venue for rights sales, facilitating business-to-buzzness deals and international networks. In this Element, we pursue an Ullapoolist approach to excavate beneath the production of bestsellers at the Fair. Our investigation involved three consecutive years of fieldwork (2017-2019) including interviews and autoethnographic, arts-informed interventions. The Element argues that buzz at the Fair exists in two states: as market-ready media reports and partial, lived experiences linked to mood. The physical structures and absences of the Fair enact its power relations and direct the flow of books and buzz. Further, the Fair is not only a site for commercial exchange but a carnival of sorts, marked by disruptive historical events and problematic socio-political dynamics. Key themes emerging from the Element are the presence of excess, the pseudo(neo)liberal self-satisfaction of book culture, and the interplay of optimism and pessimism in contemporary publishing.

The radical weekly newspaper or pamphlet was the leading print organ of popular radical expression during what has been called the heroic age of popular Radicalism; the years of public agitation for parlimentary reform between 1815 and 1820. This work reprints the original runs of the rarest periodicals.

SHORTLISTED FOR THE BOOKS ARE MY BAG READERS AWARDS! We lead increasingly time-poor lifestyles, bombarded 24/7 by petrifying news bulletins, internet trolls and endless noises. Where has the joy and relaxation gone from our daily lives? Scribbles in the Margins offers a glorious antidote to that relentless modern-day information churn. It is here to remind you that books and bookshops can still sing to your heart. Warm, heartfelt and witty, here are fifty short essays of prose poetry dedicated to the simple joy to be found in reading and the rituals around it. These are not wallowing nostalgia; they are things that remain pleasurable and right, that warm our hearts and connect us to books, to reading and to other readers: smells of books, old or new; losing an afternoon organising bookshelves; libraries; watching a child learn to read; reading in bed; impromptu bookmarks; visiting someone's home and inspecting the bookshelves; stains and other reminders of where and when you read a book. An attempt to fondly weigh up what makes a book so much more than paper and ink - and reading so much more than a hobby, a way of passing time or a learning process - these declarations of love demonstrate what books and reading mean to us as individuals, and the cherished part they play in our lives, from the vivid greens and purples of childhood books to the dusty comfort novels we turn to in times of adult flux. Scribbles in the Margins is a love-letter to books and bookshops, rejoicing in the many universal and sometimes odd little ways that reading and the rituals around reading make us happy.

'Seeking a Christmas present for that bibliophilic relative who has seemingly read everything? It's right here' Financial Times 'An utter treat' Daily Mail 'Peculiarly hilarious!' - William Gibson 'Every page is a pleasure' - Lindsey FItzharris 'Utterly charming' - Tom Holland 'Laugh-out-loud' - Garth Nix 'A must read' - Fergus Butler-Gallie 'Brims with self-effacing charm' - Caitlin Doughty 'Unfortunately I have mislaid the book in question' - Neil Gaiman Welcome to Sotheran's, one of the oldest bookshops in the world, with its weird and wonderful clientele, suspicious cupboards, unlabelled keys, poisoned books and some things that aren't even books, presided over by one deeply eccentric apprentice. Some years ago, Oliver Darkshire stepped into the hushed interior of Henry Sotheran Ltd on Sackville Street (est. 1761) to interview for their bookselling apprenticeship, a decision which has bedevilled him ever since. He'd intended to stay for a year before launching into some less dusty, better remunerated career. Unfortunately for him, the alluring smell of old books and the temptation of a management-approved afternoon nap proved irresistible. Soon he was balancing teetering stacks of first editions, fending off nonagenarian widows with a ten-foot pole and trying not to upset the store's resident ghost (the late Mr Sotheran had unfinished business when he was hit by that tram). For while Sotheran's might be a treasure trove of literary delights, it sings a siren song to eccentrics. There are not only colleagues whose tastes in rare items range from the inspired to the mildly dangerous, but also zealous collectors seeking knowledge, curios, or simply someone with whom to hold a four hour conversation about books bound in human skin. By turns unhinged and earnestly dog-eared, Once Upon a Tome is the rather colourful story of life in one of the world's oldest bookshops and a love letter to the benign, unruly world of antiquarian bookselling, where to be uncommon or strange is the best possible compliment.

Focusing on the vastly understudied area of how women participated in the book trades, not just as authors, but also as patrons, copyists, illuminators, publishers, editors and readers, Women and the Book Trade in Sixteenth-Century France foregrounds contributions made by women during a period of profound transformation in the modes and understanding of publication. Broomhall asks whether women's experiences as authors changed when manuscript circulation gave way to the printed book as a standard form of publication. Innovatively, she broadens the concept of publication to include methods of scribal publication, through the circulation and presentation of manuscripts, and expands notions of authorship to incorporate a wide sample group of female writers and publishing experiences. She challenges the existing view that manuscript offered a "safe" means of semi-public exposure for female authors and explores its continuing presence after the introduction of print. The study introduces a wide and rich range of unexamined sources on early modern women, using an extensive range of manuscripts and the entire corpus of women's printed texts in sixteenth-century France. Most of the original texts, uncovered during the author's own extensive archival and bibliographical research, have never been re-published in modern French. Most of the citations from them are here translated into English for the first time. The work presents the only checklist of all known women's writings in printed texts, from prefaces and laudatory verse to editions of prose and poetry, between 1488 and 1599. Women and the Book Trade in Sixteenth-Century France constitutes the most comprehensive assessment of women's contribution to contemporary publishing yet available. Broomhall's innovative approach and her conclusions have relevance not only for book historians and French historians, but for a broad range of scholars who work with other European literatures and histories, as well as women's studies.

In the 25 years since the last edition of Thornton and Tully's Scientific Books, Libraries and Collectors was published, scientific publishing has mushroomed, developed new forms, and the academic discipline and popular appreciation of the history of science have grown apace. This fourth edition discusses these changes and ponders the implications of developments in publishing at the end of the twentieth century, while concentrating its gaze upon the dissemination of scientific ideas and knowledge from Antiquity to the industrial age. In this shift of focus it departs from previous editions, and for the first time a chapter on Islamic science is included. Recurrent themes in several of the ten essays in the present volume are the definition of 'science' itself, and its transmutation by publishing media and the social context. Two essays on the collecting of scientific books provide a counterpoint, and the book is grounded on a rigorous chapter on bibliographies. The timely publication of Scientific Books, Libraries and Collectors comes at the coincidence of the advent of electronic publishing and the millennium, a dramatic moment at which to take stock.

Die Farbe, insbesonder klare Verwendung der Begriffe, wird in vielen Bereichen immer wichtiger, das betrifft sowohl die Medien, als auch die Farbkontrolle. Bisher gab es keine Formel, die die Farbsättigung befriedigend beschrieb. Es wird gezeigt, dass die vorgeschlagene Formel die Farbsättigung, so wie der Mensch sie empfindet, beschriebt. Weiterhin wird auf Anwendungen bei der Farbabstandmessung, in Physiolgie und Gestaltung hingewiesen.

The modernist bookshop, best exemplified by Sylvia Beach's Shakespeare & Co. and Harold Monro's Poetry Bookshop, has received scant attention outside these more prominent examples. This writing will review how bookshops like David Archer's on Parton Street (London) in the 1930s were sites of distribution, publication, and networking. Parton Street, which also housed Lawrence & Wishart publishers and a briefly vibrant literary scene, will be approached from several contexts as a way of situating the modernist bookshop within both the book trade and the literary communities which it interacted with and made possible.

The true pioneers in electronic publishing put their bibliographic databases on tape and online in the 1960s. Nearly all of them had long experience with compiling information for distribution in printed form and a strong market connection. As a result of Soviet advances in science and space technology, American government support for information science and academic libraries flowed freely for a little over a decade, making possible tremendous advances in technology, in retrieval techniques and in sophisticated coverage. Advances in information technology and market conditions have encouraged many more participants to underwrite the development of databases that now extend into the arts, social sciences, business, and popular interests. These essays show how production statistics accompanied by statements of editorial coverage provide a fairly accurate reflection of output of many of the major disciplinary bibliographic databases. The urgent priority of information resources in the 1960s has encouraged comprehensive servicing of the formal research literature as published in journals and monographs. Authors have counted subject words, languages, origins, types of publication, and so on over several decades. This volume also includes articles on some databases that are not strictly bibliographic, such as the CMG database of college courses, which illuminates some of the changes in college textbook publishing. Information seekers will find the many tables of practical use, as guidance to what and how much may be found within each database. Analysts of publishing, of science policy, and of higher education will find information relevant to expenditures, human resources, and other indicators of education, research, and technology activity.

In the twentieth century, cumulative millions of readers received books by mail from clubs like the Book-of-the-Month Club, the Book Society or Bertelsmann Club. This Element offers an introduction to book clubs as a distribution channel and cultural phenomenon, and shows that book clubs and book commerce are linked inextricably. It argues that a global perspective is necessary to understand the cultural and economic impact of book clubs in the twentieth and into the twenty-first century. It also explores central reasons for book club membership, condensing them into four succinct categories: convenience, community, concession and, most importantly, curation. This title is also available as Open Access on Cambridge Core.

This text examines the publishing industry from an international perspective reflecting the growing interdependency of the publishing world.

Develop creative animation and multimedia using Adobe Animate Adobe Animate Classroom in a Book (2023 release) uses real-world, project-based learning to cover the basics and beyond, providing countless tips and techniques to help you become more productive with the program. For beginners and experienced users alike, you can follow the book from start to finish or choose only those lessons that interest you. Learn to: Harness controls for animation including puppet warping, layer parenting, and paint brush preferences and symbol options Use the revamped Asset Warp tool for a modern rigging approach to animating shapes and bitmap images Work with a more robust set of playback options for graphic symbols that provide total control over looping Quickly publish to social media channels with support for SVG, WebGL, HTML5, animated GIFs, and HD video Seamlessly collaborate through Adobe Creative Cloud Classroom in a Book (R), the best-selling series of hands-on software training workbooks, offers what no other book or training program does-an official training series from Adobe, developed with the support of Adobe product experts. Purchasing this book includes valuable online extras. Follow the instructions in the book's "Getting Started" section to unlock access to: Downloadable lesson files you need to work through the projects in the book Web Edition containing the complete text of the book, interactive quizzes, and videos that walk you through the lessons step by step What you need to use this book: Adobe Animate (2023 release) software, for either Windows or macOS. (Software not included.) Note: Classroom in a Book does not replace the documentation, support, updates, or any other benefits of being a registered owner of Adobe Animate software.

The first biography of the glamorous and scandalous Miriam Leslie-a titan of publishing and an unsung hero of women's suffrage-connecting Gilded Age opulence with present-day social justiceAmong the fabled tycoons of the Gilded Age-Carnegie, Rockefeller, Vanderbilt-is a forgotten figure: Mrs. Frank Leslie. For 20 years she ran the country's largest publishing company, Frank Leslie Enterprises, which chronicled the postbellum United States in dozens of weeklies and monthlies. A pioneer in an all-male industry, she made a fortune and became a national celebrity in the process. But Miriam Leslie was also a byword for scandal: She flouted feminine convention, took lovers, married four times, and harbored unsavory secrets which she concealed through a skein of lies and multiple personas. Both before and after her death, glimpses of the truth emerged, including an illegitimate birth and a checkered youth. At the end, Leslie, a staunch royalist and member of the ultra-elite, willed her multimillion-dollar estate to women's suffrage, providing enough funding to guarantee the passage of the 19th Amendment. A dazzling biography, Diamonds & Deadlines reveals the unknown, sensational life of the brilliant and brazen "Empress of Journalism" who presaged the feminist future and reflected, in bold relief, the Gilded Age, one of the most momentous, seismic, and vivid epochs in American history.

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'.

This is the first comprehensive survey of the history of the book in Britain from Roman through Anglo-Saxon to early Norman times. The expert contributions explore the physical form of books, including their codicology, script and decoration; examine the circulation and exchange of manuscripts and texts between England, Ireland, the Celtic realms and the Continent; discuss the production, presentation and use of different classes of texts, ranging from fine service books to functional schoolbooks; and evaluate the libraries that can be associated with particular individuals and institutions. The result is an authoritative account of the first millennium of the history of books, manuscript-making and literary culture in Britain which, intimately linked to its cultural contexts, sheds vital light on broader patterns of political, ecclesiastical and cultural history extending from the period of the Vindolanda writing tablets through the age of Bede and Alcuin to the time of the Domesday Book.

Scholars and professionals interested in the study and engagement with young people will find this project relevant to deepening their understanding of reading practices with comics and graphic novels. Comics reading has been an understudied experience despite its potential to enrich our exploration of reading in our currently saturated media landscape. This Element is based on seventeen in-depth interviews with teens and young adults who describe themselves as readers of comics for pleasure. These interviews provide insights about how comics reading evolves with the readers and what they consider a good or bad reading experience. Special attention is paid to the place of female readers in the comics community and material aspects of reading. From these readers, one begins to understand why comics reading is something that young people do not 'grow out of' but an experience that they 'grow with'.

A superbly crafted study of Hunter S. Thompson’s literary formation, achievement, and continuing relevance.    Savage Journey is a "supremely crafted" study of Hunter S. Thompson's literary formation and achievement. Focusing on Thompson's influences, development, and unique model of authorship, Savage Journey argues that his literary formation was largely a San Francisco story. During the 1960s, Thompson rode with the Hell's Angels, explored the San Francisco counterculture, and met talented editors who shared his dissatisfaction with mainstream journalism. Peter Richardson traces Thompson's transition during this time from New Journalist to cofounder of Gonzo journalism. He also endorses Thompson's later claim that he was one of the best writers using the English language as both a musical instrument and a political weapon. Although Thompson's political commentary was often hyperbolic, Richardson shows that much of it was also prophetic.   Fifty years after the publication of Fear and Loathing in Las Vegas, and more than a decade after his death, Thompson's celebrity continues to obscure his literary achievement. This book refocuses our understanding of that achievement by mapping Thompson's influences, probing the development of his signature style, and tracing the reception of his major works. It concludes that Thompson was not only a gifted journalist, satirist, and media critic, but also the most distinctive American voice in the second half of the twentieth century. 

In a brief historic moment, printing presses, publishing ventures, a periodical press, circulation networks, and a mass readership came into being all at once in the Middle East, where none had previously existed, with ramifications in every sphere of the community's life. Among other outcomes, this significant change facilitated the cultural and literary movement known as the Arab 'nahda' ('awakening'). Ayalon's book offers both students and scholars a critical inquiry into the formative phase of that shift in Arab societies. This comprehensive analysis explores the advent of printing and publishing; the formation of mass readership; and the creation of distribution channels, the vital and often overlooked nexus linking the former two processes. It considers questions of cultural and religious tradition, social norms and relations, and concepts of education, offering a unique presentation of the emerging print culture in the Middle East.

Thoroughly updated throughout, this classic, practical text on how to write and publish a scientific paper takes its own advice to be "as clear and simple as possible." "The purpose of scientific writing," according to Barbara Gastel and Robert A. Day, "is to communicate new scientific findings. Science is simply too important to be communicated in anything other than words of certain meaning." This clear, beautifully written, and often funny text is a must-have for anyone who needs to communicate scientific information, whether they're writing for a professor, other scientists, or the general public. The thoughtfully revised 9th edition retains the most important material-including preparing text and graphics, publishing papers and other types of writing, and plenty of information on writing style-while adding up-to-date advice on copyright, presenting online, identifying authors, creating visual abstracts, and writing in English as a non-native language. A set of valuable appendixes provide ready reference, including words and expressions to avoid, SI prefixes, a list of helpful websites, and a glossary. Students and working scientists will want to keep How to Write and Publish a Scientific Paper at their desks and refer to it at every stage of writing and publication. Provides practical, easy-to-read, and immediately applicable guidance on preparing each part of a scientific paper from the title and abstract to each section of the main text to acknowledgments and references Explains step-by-step how to decide to which journal to submit a paper, what happens to a paper after submission, and how to work effectively with a journal throughout the publication process Includes key advice on other communication important to success in scientific careers, such as giving presentations, writing proposals, and writing for a general audience Presents updated information throughout and new material on timely topics like copyright and presenting online

How is academia portrayed in children's literature? This Element ambitiously surveys fictional professors in texts marketed towards children. Professors are overwhelmingly white and male, tending to be elderly scientists who fall into three stereotypes: the vehicle to explain scientific facts, the baffled genius, and the evil madman. By the late twentieth century, the stereotype of the male, mad, muddlehead, called Professor SomethingDumb, is formed in humorous yet pejorative fashion. This Element provides a publishing history of the role of academics in children's literature, questioning the book culture which promotes the enforcement of stereotypes regarding intellectual expertise in children's media. The Element is also available, with additional material, as Open Access.

Selling Shakespeare tells a story of Shakespeare's life and career in print, a story centered on the people who created, bought, and sold books in the early modern period. The interests and investments of publishers and booksellers have defined our ideas of what is 'Shakespearean', and attending to their interests demonstrates how one version of Shakespearean authorship surpassed the rest. In this book, Adam G. Hooks identifies and examines four pivotal episodes in Shakespeare's life in print: the debut of his narrative poems, the appearance of a series of best-selling plays, the publication of collected editions of his works, and the cataloguing of those works. Hooks also offers a new kind of biographical investigation and historicist criticism, one based not on external life documents, nor on the texts of Shakespeare's works, but on the books that were printed, published, sold, circulated, collected, and catalogued under his name.

First Published in 1977. Routledge is an imprint of Taylor & Francis, an informa company.

What was a book in early modern England? By combining book history, bibliography and literary criticism, Material Texts in Early Modern England explores how sixteenth- and seventeenth-century books were stranger, richer things than scholars have imagined. Adam Smyth examines important aspects of bibliographical culture which have been under-examined by critics: the cutting up of books as a form of careful reading; book destruction and its relation to canon formation; the prevalence of printed errors and the literary richness of mistakes; and the recycling of older texts in the bodies of new books, as printed waste. How did authors, including Herbert, Jonson, Milton, Nashe and Cavendish, respond to this sense of the book as patched, transient, flawed, and palimpsestic? Material Texts in Early Modern England recovers these traits and practices, and so crucially revises our sense of what a book was, and what a book might be.