MRI Atlas of Pituitary Imaging focuses on magnetic resonance imaging (MRI), the imaging modality of choice for the evaluation of pituitary disorders, since it provides a detailed anatomy of the pituitary gland and surrounding structures, particularly the soft tissues. A basic understanding and interpretation of MRI is important for many clinicians outside of the field of radiology, especially endocrinologists who may receive limited formal training in such areas. This concise Atlas includes a brief review of the principles of magnetic resonance imaging and then reinforces these principles by utilizing a case-based approach to review various pituitary pathologies. The Atlas serves as a strong clinical teaching aid for endocrinologists, radiologists, and neurosurgeons in training. It also serves as a great reference for physicians who are currently in practice.

Publishing, Editing, and Reception is a collection of twelve essays honoring Professor Donald H. Reiman, who moved to the University of Delaware in 1992. The essays, written by friends, students, and collaborators, reflect the scholarly interests that defined Reiman's long career. Mirroring the focus of Reiman's work during his years at Carl H. Pforzheimer Library in New York and as lead editor of Shelley and his Circle, 1773-1822 (Harvard University Press), the essays in this collection explore authors such as Mary Shelley, William Hazlitt, Lord Byron and Percy Bysshe Shelley; moreover, they confirm the continuing influence of Reiman's writings in the fields of editing and British Romanticism. Ranging from topics such as Byron's relationship with his publisher John Murray and the reading practices in the Shelley circle to Rudyard Kipling's response to Shelley's politics, these essays draw on a dazzling variety of published and manuscript sources while engaging directly with many of Reiman's most influential theories and arguments.

It's the founding myth of humanities computing and digital humanities: In 1949, the Italian Jesuit scholar, Roberto Busa, S.J., persuaded IBM to offer technical and financial support for the mechanized creation of a massive lemmatized concordance to the works of St. Thomas Aquinas. Using Busa's own papers, recently accessioned in Milan, as well as IBM archives and other sources, Jones illuminates this DH origin story. He examines relationships between the layers of hardware, software, human agents, culture, and history, and answers the question of how specific technologies afford and even constrain cultural practices, including in this case the academic research agendas of humanities computing and, later, digital humanities.

The past decade has seen a profound shift in our collective understanding of the digital network. What was once understood to be a transcendent virtual reality is now experienced as a ubiquitous grid of data that we move through and interact with every day, raising new questions about the social, locative, embodied, and object-oriented nature of our experience in the networked world. In The Emergence of the Digital Humanities, Steven E. Jones examines this shift in our relationship to digital technology and the ways that it has affected humanities scholarship and the academy more broadly. Based on the premise that the network is now everywhere rather than merely "out there," Jones links together seemingly disparate cultural events-the essential features of popular social media, the rise of motion-control gaming and mobile platforms, the controversy over the "gamification" of everyday life, the spatial turn, fabrication and 3D printing, and electronic publishing-and argues that cultural responses to changes in technology provide an essential context for understanding the emergence of the digital humanities as a new field of study in this millennium. The Open Access version of this book, available at https://doi.org/10.4324/9780203093085, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

The Meaning of Video Games takes a textual studies approach to an increasingly important form of expression in today's culture. It begins by assuming that video games are meaningful-not just as sociological or economic or cultural evidence, but in their own right, as cultural expressions worthy of scholarly attention. In this way, this book makes a contribution to the study of video games, but it also aims to enrich textual studies. Early video game studies scholars were quick to point out that a game should never be reduced to merely its "story" or narrative content and they rightly insist on the importance of studying games as games. But here Steven E. Jones demonstrates that textual studies-which grows historically out of ancient questions of textual recension, multiple versions, production, reproduction, and reception-can fruitfully be applied to the study of video games. Citing specific examples such as Myst and Lost, Katamari Damacy, Halo, Facade, Nintendo's Wii, and Will Wright's Spore, the book explores the ways in which textual studies concepts-authorial intention, textual variability and performance, the paratext, publishing history and the social text-can shed light on video games as more than formal systems. It treats video games as cultural forms of expression that are received as they are played, out in the world, where their meanings get made.

When the World Trade Center was attacked, George Gilder referred to the terrorists as "Osama Bin Luddites," suggesting that it was American technology that was under attack. Even--and especially in the digital age--the turn against technology is powerful, and the Luddite cause does not disappear.
This book addresses the question of what it might mean today to be a Luddite--that is, to take a stand against technology. Steven Jones here explains the history of the Luddites, British textile works who, from around 1811, proclaimed themselves followers of "Ned Ludd" and smashed machinery they saw as threatening trade.Against Technology is not a history of the Luddites, but a history of an idea: how the activities of a group of British workers in Yorkshire and Nottinghamshire came to stand for a global anti--technology philosophy, and how an anonymous collective movement came to be identified with an individualistic personal conviction. Angry textile workers in the early nineteenth century became symbols of a desire for a simple life--certainly not the goal of the actions for which they became famous. Against Technology is, in other words, a book about representations, about the image and the myth of the Luddites and how that myth was transformed over time into modern neo-Luddism.

When the World Trade Center was attacked, George Gilder referred to the terrorists as "Osama Bin Luddites," suggesting that it was American technology that was under attack. Even--and especially in the digital age--the turn against technology is powerful, and the Luddite cause does not disappear.
This book addresses the question of what it might mean today to be a Luddite--that is, to take a stand against technology. Steven Jones here explains the history of the Luddites, British textile works who, from around 1811, proclaimed themselves followers of "Ned Ludd" and smashed machinery they saw as threatening trade.Against Technology is not a history of the Luddites, but a history of an idea: how the activities of a group of British workers in Yorkshire and Nottinghamshire came to stand for a global anti--technology philosophy, and how an anonymous collective movement came to be identified with an individualistic personal conviction. Angry textile workers in the early nineteenth century became symbols of a desire for a simple life--certainly not the goal of the actions for which they became famous. Against Technology is, in other words, a book about representations, about the image and the myth of the Luddites and how that myth was transformed over time into modern neo-Luddism.

It's the founding myth of humanities computing and digital humanities: In 1949, the Italian Jesuit scholar, Roberto Busa, S.J., persuaded IBM to offer technical and financial support for the mechanized creation of a massive lemmatized concordance to the works of St. Thomas Aquinas. Using Busa's own papers, recently accessioned in Milan, as well as IBM archives and other sources, Jones illuminates this DH origin story. He examines relationships between the layers of hardware, software, human agents, culture, and history, and answers the question of how specific technologies afford and even constrain cultural practices, including in this case the academic research agendas of humanities computing and, later, digital humanities.

This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.

This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.

This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.

This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.

The past decade has seen a profound shift in our collective understanding of the digital network. What was once understood to be a transcendent virtual reality is now experienced as a ubiquitous grid of data that we move through and interact with every day, raising new questions about the social, locative, embodied, and object-oriented nature of our experience in the networked world. In The Emergence of the Digital Humanities, Steven E. Jones examines this shift in our relationship to digital technology and the ways that it has affected humanities scholarship and the academy more broadly. Based on the premise that the network is now everywhere rather than merely "out there," Jones links together seemingly disparate cultural events-the essential features of popular social media, the rise of motion-control gaming and mobile platforms, the controversy over the "gamification" of everyday life, the spatial turn, fabrication and 3D printing, and electronic publishing-and argues that cultural responses to changes in technology provide an essential context for understanding the emergence of the digital humanities as a new field of study in this millennium. The Open Access version of this book, available at https://doi.org/10.4324/9780203093085, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Cropping up everywhere, whether steel latticework or tapered monopoles, encrusted with fiberglass antennas, cell towers raise up high into the air the communications equipment that channels our calls, texts, and downloads. For security reasons, their locations are never advertised. But it's our romantic notions of connectivity that hide them in plain sight. We want the network to be invisible, ethereal, and ubiquitous. The cell tower stands as a challenge to these desires. Object Lessons is published in partnership with an essay series in The Atlantic.

The Meaning of Video Games takes a textual studies approach to an increasingly important form of expression in today's culture. It begins by assuming that video games are meaningful-not just as sociological or economic or cultural evidence, but in their own right, as cultural expressions worthy of scholarly attention. In this way, this book makes a contribution to the study of video games, but it also aims to enrich textual studies. Early video game studies scholars were quick to point out that a game should never be reduced to merely its "story" or narrative content and they rightly insist on the importance of studying games as games. But here Steven E. Jones demonstrates that textual studies-which grows historically out of ancient questions of textual recension, multiple versions, production, reproduction, and reception-can fruitfully be applied to the study of video games. Citing specific examples such as Myst and Lost, Katamari Damacy, Halo, Facade, Nintendo's Wii, and Will Wright's Spore, the book explores the ways in which textual studies concepts-authorial intention, textual variability and performance, the paratext, publishing history and the social text-can shed light on video games as more than formal systems. It treats video games as cultural forms of expression that are received as they are played, out in the world, where their meanings get made.