This collection of essays brings together a wide range of Spanish and Portuguese academics and writers exploring the ways in which our encounters with literatures in English inform our assumptions about texts and identities (or texts as identities) and the way we read them. Mapping, examining, reading and re-reading, fashioning and self-fashioning and, especially, weaving appear as appropriate images that convey the complexity and the nature of creative writing. Such a metaphor has been fundamental for the history of world literature since the Roman poet Ovid had included a tale in his Metamorphoses in which weaving, narration, uncertain identities, and the risks of telling uncomfortable truths all figure prominently. As such, these essays trace the intertwined patterns that knit texts together, weaving identities as well as undoing them and, in the process, interrogating established and official truths.

Praise for the previous edition:

'Gives an excellent insight into the main issues of creating a website and offers a good foundation of knowledge.' ? i.net

Producing for Web 2.0 is a clear and practical guide to the planning, set up and management of a website in web 2.0. It gives readers an overview of the current technologies available for online communications and shows how to use them for maximum effect when planning a website.

Producing for Web 2.0 sets out the practical toolkit needed for web design and content management. It is supported by a regularly updated and comprehensive Companion Website at: www.producingforweb2.com where readers can see examples of programming and demonstrations of concepts discussed in the book, as well as trying things out themselves.

Producing for Web 2.0 includes:

• illustrated examples of good design and content
• advice on content, maintenance and how to use sites effectively
• tips on using multimedia, including video, audio, flash, and images
• a chapter on ethics and internet regulations for journalists and writers
• tutorials for the main applications used in website design
• step by step guides to difficult areas with screenshots
• guides to good practice for all those involved in publishing news online.

Very little is known about how African journalists are forging "new" ways to practise their profession on the web. Against this backdrop, this volume provides contextually rooted discussions of trends, practices, and emerging cultures of web-based journalism(s) across the continent, offering a comprehensive research tool that can both stand the test of time as well as offer researchers (particularly those in the economically developed Global North) models for cross-cultural comparative research. The essays here deploy either a wide range of evidence or adopt a case-study approach to engage with contemporary developments in African online journalism. This book thus makes up for the gap in cross-cultural studies that seek to understand online journalism in all its complexities.

William Blake's work demonstrates two tendencies that are central to social media: collaboration and participation. Not only does Blake cite and adapt the work of earlier authors and visual artists, but contemporary authors, musicians, and filmmakers feel compelled to use Blake in their own creative acts. This book identifies and examines Blake's work as a social and participatory network, a phenomenon described as zoamorphosis, which encourages - even demands - that others take up Blake's creative mission. The authors rexamine the history of the digital humanities in relation to the study and dissemination of Blake's work: from alternatives to traditional forms of archiving embodied by Blake's citation on Twitter and Blakean remixes on YouTube, smartmobs using Blake's name as an inspiration to protest the 2004 Republican National Convention, and students crowdsourcing reading and instruction in digital classrooms to better understand and participate in Blake's world. The book also includes a consideration of Blakean motifs that have created artistic networks in music, literature, and film in the twentieth and the twenty-first centuries, showing how Blake is an ideal exemplar for understanding creativity in the digital age.

Magazine Production presents a guide to the practical processes of taking a magazine from initial idea to final product. This second edition provides important revisions on these production processes by examining the technological and business advancements which have reshaped the magazine industry in the last decade. Brand new chapters document the rise of digital media and identify its impact on magazine creation. They also include new guidance on designing online, tablet and mobile editions, as well as for print. Magazine Production explains the business of magazines in the UK, Europe and North America, and the roles of marketing, publishing and advertising in establishing a successful title. This edition also addresses the move by publishers towards e-commerce, multimedia content and events to promote their brands and sell products. With information on professional bodies such as the Professional Publishers Association, an expert overview of magazine markets and a breakdown of roles within editorial and design departments, this book offers readers practical steps to achieving success in magazine publishing today. Magazine Production includes: * an introduction to the history, markets and audiences of magazines * explanations of the roles of publishers and advertising teams as part of the business of magazines * a comparison between print and new systems of digital circulation, with particular focus on mobile platforms; * guidance on setting up editorial teams, and best practice for producing feature, news and review copy * information on designing and laying out a title for print or digital distribution * legal and ethical issues affecting magazine editors and publishers * a consideration of the future of magazines.

Magazine Production presents a guide to the practical processes of taking a magazine from initial idea to final product. This second edition provides important revisions on these production processes by examining the technological and business advancements which have reshaped the magazine industry in the last decade. Brand new chapters document the rise of digital media and identify its impact on magazine creation. They also include new guidance on designing online, tablet and mobile editions, as well as for print. Magazine Production explains the business of magazines in the UK, Europe and North America, and the roles of marketing, publishing and advertising in establishing a successful title. This edition also addresses the move by publishers towards e-commerce, multimedia content and events to promote their brands and sell products. With information on professional bodies such as the Professional Publishers Association, an expert overview of magazine markets and a breakdown of roles within editorial and design departments, this book offers readers practical steps to achieving success in magazine publishing today. Magazine Production includes: * an introduction to the history, markets and audiences of magazines * explanations of the roles of publishers and advertising teams as part of the business of magazines * a comparison between print and new systems of digital circulation, with particular focus on mobile platforms; * guidance on setting up editorial teams, and best practice for producing feature, news and review copy * information on designing and laying out a title for print or digital distribution * legal and ethical issues affecting magazine editors and publishers * a consideration of the future of magazines.

Very little is known about how African journalists are forging "new" ways to practise their profession on the web. Against this backdrop, this volume provides contextually rooted discussions of trends, practices, and emerging cultures of web-based journalism(s) across the continent, offering a comprehensive research tool that can both stand the test of time as well as offer researchers (particularly those in the economically developed Global North) models for cross-cultural comparative research. The essays here deploy either a wide range of evidence or adopt a case-study approach to engage with contemporary developments in African online journalism. This book thus makes up for the gap in cross-cultural studies that seek to understand online journalism in all its complexities.

Blake said of his works, 'Tho' I call them Mine I know they are not Mine'. So who owns Blake? Blake has always been more than words on a page. This volume takes Blake 2.0 as an interactive concept, examining digital dissemination of his works and reinvention by artists, writers, musicians, and filmmakers across a variety of twentieth-century media.

William Blake's work demonstrates two tendencies that are central to social media: collaboration and participation. Not only does Blake cite and adapt the work of earlier authors and visual artists, but contemporary authors, musicians, and filmmakers feel compelled to use Blake in their own creative acts. This book identifies and examines Blake's work as a social and participatory network, a phenomenon described as zoamorphosis, which encourages - even demands - that others take up Blake's creative mission. The authors rexamine the history of the digital humanities in relation to the study and dissemination of Blake's work: from alternatives to traditional forms of archiving embodied by Blake's citation on Twitter and Blakean remixes on YouTube, smartmobs using Blake's name as an inspiration to protest the 2004 Republican National Convention, and students crowdsourcing reading and instruction in digital classrooms to better understand and participate in Blake's world. The book also includes a consideration of Blakean motifs that have created artistic networks in music, literature, and film in the twentieth and the twenty-first centuries, showing how Blake is an ideal exemplar for understanding creativity in the digital age.

Praise for the previous edition:

'Gives an excellent insight into the main issues of creating a website and offers a good foundation of knowledge.' i.net

Producing for Web 2.0 is a clear and practical guide to the planning, set up and management of a website in web 2.0. It gives readers an overview of the current technologies available for online communications and shows how to use them for maximum effect when planning a website.

Producing for Web 2.0 sets out the practical toolkit needed for web design and content management. It is supported by a regularly updated and comprehensive Companion Website at: www.producingforweb2.com where readers can see examples of programming and demonstrations of concepts discussed in the book, as well as trying things out themselves.

Producing for Web 2.0 includes:

• illustrated examples of good design and content
• advice on content, maintenance and how to use sites effectively
• tips on using multimedia, including video, audio, flash, and images
• a chapter on ethics and internet regulations for journalists and writers
• tutorials for the main applications used in website design
• step by step guides to difficult areas with screenshots
• guides to good practice for all those involved in publishing news online.

This edited collection delves into the industrial music genre, exploring the importance of music in (sub)cultural identity formation, and the impact of technology on the production of music. With its roots as early as the 1970s, industrial music emerged as a harsh, transgressive, and radically charged genre. The soundscape of the industrial is intense and powerful, adorned with taboo images, and thematically concerned with authority and control. Elemental to the genre is critical engagement with configurations of the body and related power. Adopting an interdisciplinary approach, this collection analyses the treatment of subjects like the Body (animal, human, machine), Noise (rhythmic, harsh) and Power (authority, institutions, law) in a variety of industrial music's elements. Throughout the collection, these three subjects are interrogated by examining lyrics, aesthetics, music videos, song writing, performance and audience reception. The chapters have been carefully selected to produce a diverse and intersectional perspective, including work on Black industrial musicians and Arabic and North African women's collaborations. Rather than providing historical context, the contributors interpret the finer elements of the aesthetics and discourses around physical bodies and power as expressed in the genre, expanding the 'industrial' boundary and broadening the focus beyond white European industrial music.

The stanzas beginning, 'And did those feet' are among the most famous works written by the Romantic poet and artist, William Blake. Set to music by Hubert Parry in 1916 and renamed, 'Jerusalem', this hymn has become an emblem of Englishness in the past century, and is regularly invoked at sporting events, public and private ceremonies, and, of course, as part of Last Night of the Proms. Yet when Blake first engraved his lines in his epic work, Milton a Poem, he had been tried for sedition. Likewise, although Parry was commissioned to compose his music as part of the war effort by the organization Fight for Right, he soon removed permission for that group to perform his hymn and instead gave the copyright to the women's suffrage movement. 'Jerusalem', then, is a much more contested vision of England's green and pleasant land than is often assumed. This book traces the history of the poem and the music from Blake's original verses, written in Felpham, via the turmoil of the First and Second World Wars, its recording history in the late twentieth century, and its use in political controversies such as the 2016 Brexit vote. An anthem for both the left and the right, Blake's own vision of what it meant to build Jerusalem in England is both strange and familiar to many who invoke it. As such, this book explores the deep complexities of what Englishness means into the twenty-first century.

Although relatively obscure during his lifetime, William Blake has become one of the most popular English artists and writers, through poems such as "The Tyger" and "Jerusalem," and images including The Ancient of Days. Less well-known is Blake's radical religious and political temperament and that his visionary art was created to express a personal mythology that sought to recreate an entirely new approach to philosophy and art. This book examines both Blake's visual and poetic work over his long career, from early engravings and poems to his final illustrations, to Dante and the Book of Job. Divine Images further explores Blake's immense popular appeal and influence after his death, offering an inspirational look at a pioneering figure.