'Ouida,' the pseudonym of Louise Rame (1839-1908), was one of the most productive, widely-circulated and adapted of Victorian popular novelists, with a readership that ranged from Vernon Lee, Oscar Wilde and Ruskin to the nameless newspaper readers and subscribers to lending libraries. Examining the range and variety of Ouida's literary output, which includes journalism as well as fiction, reveals her to be both a literary seismometer, sensitive to the enormous shifts in taste and publication practices of the second half of the nineteenth century, and a fierce protector of her independent vision. This collection offers a radically new view of Ouida, helping us thereby to rethink our perceptions of popular women writers in general, theatrical adaptation of their fiction, and their engagements with imperialism, nationalism and cosmopolitanism. The volume's usefulness to scholars is enhanced by new bibliographies of Ouida's fiction and journalism as well as of British stage adaptations of her work.

'Ouida,' the pseudonym of Louise Rame (1839-1908), was one of the most productive, widely-circulated and adapted of Victorian popular novelists, with a readership that ranged from Vernon Lee, Oscar Wilde and Ruskin to the nameless newspaper readers and subscribers to lending libraries. Examining the range and variety of Ouida's literary output, which includes journalism as well as fiction, reveals her to be both a literary seismometer, sensitive to the enormous shifts in taste and publication practices of the second half of the nineteenth century, and a fierce protector of her independent vision. This collection offers a radically new view of Ouida, helping us thereby to rethink our perceptions of popular women writers in general, theatrical adaptation of their fiction, and their engagements with imperialism, nationalism and cosmopolitanism. The volume's usefulness to scholars is enhanced by new bibliographies of Ouida's fiction and journalism as well as of British stage adaptations of her work.

Nearly every major figure of his era, writes his biographer Adrian Frazier, worked with Moore, tangled with Moore, took his impression from, or left it on, George Moore. The Anglo-Irish novelist George Moore (1852 1933) espoused multiple identities. An agent provocateur whether as an art critic, novelist, short fiction writer or memoirist, always probing and provocative, often deliberately controversial, the personality at the core of this book invented himself as he reinvented his contemporary world. Moore s key role3/4as observer-participant and as satirist3/4within many literary and aesthetic movements at the end of the Victorian period and into the twentieth century owed considerably to the structures and manners of collaboration that he embraced. This book throws into relief the multiple ways in which Moore s work can serve as a counterbalance to established understandings of late nineteenth and early twentieth-century literary aesthetics both through innovative scholarly readings of Moore s work and through illustrative case studies of Moore s collaborative practice by making available, for the first time, two manuscript plays he co-authored with Pearl Craigie (John Oliver Hobbes) in 1894 and 1904 through 1906. It is this collaborative practice in conjunction with his cosmopolitan outlook that turned Moore into a key player in the fin-de-siecle formation of an international aesthetic community. This book explores the full range of Moore s collaborations and cultural encounters: from 1870s Paris art exhibitions to turn-of-the-century Dublin and London; from gossip to the culture of the barmaid; from the worship of Balzac to the fraught engagement with Yeats; from music to Celtic cultural translation. Moore s reputation as a collaborator with the most significant artistic individuals of his time in Britain, Ireland and France in particular, but also in Europe more widely, provides a rich exposition of modes of exchange and influence in the period, and a unique and distinctive perspective on Moore himself."

This five volume set deals in detail with Josephine Butler's campaign for the repeal of the Contagious Diseases Acts in Britain and the Colonies. At present, access to Butler's work is restricted as a number of relevant anthologies are out of print. The bulk of these can only be read in specialist libraries and the original copies are becoming increasingly fragile after a century of use. This edited collection makes her writing accessible once again, setting it in an appropriate historical context.
In addition to Butler's own work, the thematically ordered volumes include related texts which are important for understanding her campaign. This allows the reader to position Josephine Butler in relation to her opponents and to follow the response to her activities. All the texts are complete and reproduced in facsimile - there are pamphlets, books, media responses to Butler's activities, letters to The Times, articles from The Lancet, Pall Mall Gazette, The Shield and The Dawn as well as private letters both to and from Butler.
The set is introduced through a substantial essay by Jane Jordan, one of the leading international scholars on Butler's life and works, and each volume contains a short introduction by the editors which contextualises the selections.
Butler writes clearly and vividly, combining impeccable logic with passionate commitment. She does not soften her message to protect the sensibilities of her audience. She is uncompromising in her analysis, determined to 'set a floodlight on your doings' as she told a stunned royal commission in 1871. Josephine Butler and the Prostitution Campaigns demonstrates the great importance of this fascinating campaigner's work.

From the Japanese tsunami and the Egyptian revolution to the Haitian earthquake and the Australian floods, social media has proven its power to unite, coalesce, support, champion, and save lives. Presenting cutting-edge media communication solutions, The Four Stages of Highly Effective Crisis Management explains how to choose the appropriate language and media outlet to properly convey your message during and after a crisis. Unveiling the secrets of how to manage the media in a crisis, the book examines how rapidly evolving social media and Web 2.0 technologies have changed the crisis management landscape. It illustrates the four distinct stages of media reporting during a crisis and details the information that must be provided. The author provides readers with a wealth of helpful tips and tools-including guidelines, checklists, and case studies that illustrate best practices in crisis media management. Divided into five sections, the book: Examines how the kingdom of news has changed and considers the new hybrid model that is emerging Identifies the four distinct stages in which both old and new media report a crisis Addresses the use of spokespeople according to the four stages, as well as when to use the chief executive officer Discusses media interviews, including how to handle news conferences, bloggers, and the importance of media training Considers the communication aspects of crisis management-including how to harness the power of Facebook, Twitter, YouTube, Digg, Wikipedia, Flickr, and social media releases The book's resource-rich appendices include a checklist for briefing a spokesperson, sample media release, a step-by-step flowchart for creating a crisis communication plan, and social media policy guidelines. Complete with a detailed guide on what tools to use and when to use them, this book provides the techniques and understanding required to communicate effectively and avoid any potential bad press and embarrassment that could result from information mismanagement. Jane Jordan-Meier was interviewed about leadership in a crisis and the stages of a crisis in the wake of the Murdoch phone-hacking scandal. She also discusses crisis management planning in The Sydney Morning Herald and in Daily Ovation. She was interviewed in August 2011 by Globe and Mail. Discover more about the book, including a video of the author explaining how to turn media questions into gold and visit smallbusinessadvocate.com for a series of recent interviews. Jane Jordan-Meier appeared in a video interview with Crisis Manager Melissa Agnes on July 3, 2012.

"Nearly every major figure of his era," writes his biographer Adrian Frazier, "worked with Moore, tangled with Moore, took his impression from, or left it on, George Moore." The Anglo-Irish novelist George Moore (1852-1933) espoused multiple identities. An agent provocateur whether as an art critic, novelist, short fiction writer or memoirist, always probing and provocative, often deliberately controversial, the personality at the core of this book invented himself as he reinvented his contemporary world. Moore's key role-as observer-participant and as satirist-within many literary and aesthetic movements at the end of the Victorian period and into the twentieth century owed considerably to the structures and manners of collaboration that he embraced. This book throws into relief the multiple ways in which Moore's work can serve as a counterbalance to established understandings of late nineteenth and early twentieth-century literary aesthetics both through innovative scholarly readings of Moore's work and through illustrative case studies of Moore's collaborative practice by making available, for the first time, two manuscript plays he co-authored with Pearl Craigie (John Oliver Hobbes) in 1894. It is this collaborative practice in conjunction with his cosmopolitan outlook that turned Moore into a key player in the fin-de-siecle formation of an international aesthetic community. This book explores the full range of Moore's collaborations and cultural encounters: from 1870s Paris art exhibitions to turn-of-the-century Dublin and London; from gossip to the culture of the barmaid; from the worship of Balzac to the fraught engagement with Yeats; from music to Celtic cultural translation. Moore's reputation as a collaborator with the most significant artistic individuals of his time in Britain, Ireland and France in particular, but also in Europe more widely, provides a rich exposition of modes of exchange and influence in the period, and a unique and distinctive perspective on Moore himself.