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Magazines Such As "Sassy," Which Theymaintain Are Not Sassy at All but Sexist and Oppressive in Theirideas About Who Women Should Be
DOCUMENT RESUME ED 376 510 CS 214 644 AUTHOR Livingston-Webber, Joan TITLE How Sassy Are Grrrl Zines? PUB DATE 17 Mar 94 NOTE 13p.; Paper presented at the AnnualMeeting of the Conference on College Composition andCommunication (45th, Nashville, TN, March 16-19, 1994). Project supported in part by a grant from theUniversity of Nebraska at Omaha Committee on Research. PUB TYPE Viewpoints (Opinion/Position Papers, Essays,etc.) (120) Speeches/Conference Papers (150) EDRS PRICE MFO1 /PCO1 Plus Postage. DESCRIPTORS Audience Awareness; *Creative Writing; Females; *Feminism; Higher Education; Language Role;*Literary Genres; *Periodicals; *Popular Culture;*Sex Role; Writing Instruction IDENTIFIERS Empowerment; *Zines ABSTRACT According to Lawrence Chua, "zines" are"xeroxed broadsides" which "make marginality theirstarting point, empowering voices excluded from the slickerjournals." According to "Ms," they are "downsized stapledrags...often defiantly tasteless." A subgenre of zines, "Grrrl zines" are thosewritten, produced, and distributed by young women, usually those of the20-something generation and younger. Swearing, obscenities,scandalous, provocative language are important elements in the arsenal the grrrlzines throw at the mainstream window from their fringe. Theirstatements of purpose say, in essence, that they exist to give young women avoice, to find others, to build community, to reassure andbe reassured. Exhorting women to "do something?"is an element of almost all the grrrlzines. Feminist in their orientation, zines are verycritical -
The Publishing Plan
NONFICTIONTHE BOOK PUBLISHING PLAN THE PROFESSIONAL GUIDE TO PROFITABLE SELF-PUBLISHING STEPHANIE CHANDLER KARL W. PALACHUK Copyright © 2018 by Stephanie Chandler and Karl W. Palachuk. All rights reserved. No part of this publication may be reproduced, stored in a retrieval sys- tem, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, without the prior written permission of the author. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representa- tions or warranties with respect to the accuracy or completeness of the con- tents of this book and specifically disclaim any implied warranties of mer- chantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional when appropriate. Neither the publisher nor the author shall be liable for any loss of profit or any other commer- cial damages, including but not limited to special, incidental, consequential, personal, or other damages. The Nonfiction Book Publishing Plan The Professional Guide to Profitable Self-Publishing By Stephanie Chandler and Karl W. Palachuk 1. LAN027000 2. LAN002000 3. REF026000 Print ISBN: 978-1-949642-00-1 Ebook ISBN: 978-1-949642-01-8 Printed in the United States of America Authority Publishing 11230 Gold Express Dr. #310-413 Gold River, CA 95670 800-877-1097 AuthorityPublishing.com CONTENTS Chapter 1: The Business of Self-Publishing Nonfiction Books . -
Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation
Intellectual Property Brief Volume 8 Issue 2 Article 1 2016 Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation Mynda Rae Krato George Washington University Follow this and additional works at: https://digitalcommons.wcl.american.edu/ipbrief Part of the Intellectual Property Law Commons Recommended Citation Krato, Mynda Rae (2016) "Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation," Intellectual Property Brief: Vol. 8 : Iss. 2 , Article 1. Available at: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Intellectual Property Brief by an authorized editor of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation This article is available in Intellectual Property Brief: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 FICTITIOUS FLATTERY: FAIR USE, FANFICTION, AND THE BUSINESS OF IMITATION Mynda Rae Krato INTRODUCTION ............. 92 L Background............................................................. 94 A. Foundational Statutory and Case Law..................................94 B. Fanfiction Case Law..............................................96 C. Popular Culture and the Power of Fandoms ............................. -
Ebook Market of The
Valitse kohde. - VALITSE KOHDE. VALITSE KOHDE. EBOOK MARKET OF THE USA Litnet case Author/s: Andrii Tytenko eSAVONIA UNIVERSITY OF APPLIED SCIENCES THESIS Abstract Field of Study Social Sciences, Business and Administration Degree Programme Degree Programme in International Business Author(s) Andrii Tytenko Title of Thesis eBook market of the USA: Litnet case Date 14.12.2019 Pages/Appendices 49 Supervisor(s) Virpi Oksanen, Ari Pitkänen Client Organisation /Partners Litnet Abstract The eBook market in the USA is the largest English-speaking eBook market. The purpose of the thesis was to do profound research on the eBook market in the USA for the case company Litnet. The importance of this research derives from the case company’s interest in the market. The research conducted for Litnet was made by utiliZing several marketing research frameworks such as PEST analysis, Porter’s Five Forces model, and SWOT analysis. Both qualitative and quantitative research methods were applied in the study. The research discovered that the overall attractiveness of the US market is high for Litnet. The research showed that the industry infrastructure is favourable. The market is characterized by a high level of rivalry and low en- trance barriers. There are different models of eBooks distribution, such as traditional per copy sales, subscription services, and pay per chapter services. The market may experience pressure from audiobooks and print books sales. Litnet may use the differentiation strategy to escape the direct competition in the market. The research gives an overview of the eBook market in the USA and analyses prerequisites for Litnet's possible market strate- gies. -
Representations and Reality: Defining the Ongoing Relationship Between Anime and Otaku Cultures By: Priscilla Pham
Representations and Reality: Defining the Ongoing Relationship between Anime and Otaku Cultures By: Priscilla Pham Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design, and New Media Art Histories Toronto, Ontario, Canada, April 2021 © Priscilla Pham, 2021 Abstract This major research paper investigates the ongoing relationship between anime and otaku culture through four case studies; each study considers a single situation that demonstrates how this relationship changes through different interactions with representation. The first case study considers the early transmedia interventions that began to engage fans. The second uses Takashi Murakami’s theory of Superflat to connect the origins of the otaku with the interactions otaku have with representation. The third examines the shifting role of the otaku from that of consumer to producer by means of engagement with the hierarchies of perception, multiple identities, and displays of sexualities in the production of fan-created works. The final case study reflects on the 2.5D phenomenon, through which 2D representations are brought to 3D environments. Together, these case studies reveal the drivers of the otaku evolution and that the anime–otaku relationship exists on a spectrum that teeters between reality and representation. i Acknowledgements I would like to express my deepest gratitude to my primary advisor, Ala Roushan, for her continued support and confidence in my writing throughout this paper’s development. Her constructive advice, constant guidance, and critical insights helped me form this paper. Thank you to Dr. David McIntosh, my secondary reader, for his knowledge on anime and the otaku world, which allowed me to change my perspective of a world that I am constantly lost in. -
Ipad Educational Apps This List of Apps Was Compiled by the Following Individuals on Behalf of Innovative Educator Consulting: Naomi Harm Jenna Linskens Tim Nielsen
iPad Educational Apps This list of apps was compiled by the following individuals on behalf of Innovative Educator Consulting: Naomi Harm Jenna Linskens Tim Nielsen INNOVATIVE 295 South Marina Drive Brownsville, MN 55919 Home: (507) 750-0506 Cell: (608) 386-2018 EDUCATOR Email: [email protected] Website: http://naomiharm.org CONSULTING Inspired Technology Leadership to Transform Teaching & Learning CONTENTS Art ............................................................................................................... 3 Creativity and Digital Production ................................................................. 5 eBook Applications .................................................................................... 13 Foreign Language ....................................................................................... 22 Music ........................................................................................................ 25 PE / Health ................................................................................................ 27 Special Needs ............................................................................................ 29 STEM - General .......................................................................................... 47 STEM - Science ........................................................................................... 48 STEM - Technology ..................................................................................... 51 STEM - Engineering ................................................................................... -
REQUEST for QUOTATION (RFQ) Translation Services
REQUEST FOR QUOTATION (RFQ) Translation Services UNDP Libya based at Tunis Immeuble SILAC, 6 rue des lacs mazuries, les Berges du DATE: December 9, 2016 Lac,1053 REFERENCE: UNDP/RFQ/12-Transaltion Services/2017 Dear Sir / Madam: We kindly request you to submit your quotation for Translation and interpretation Services, as detailed in Annex 1 of this RFQ. When preparing your quotation, please be guided by the form attached hereto as Annex 2. Quotations may be submitted on or before December 19, 2016and via ☒e-mail, ☒courier mail to the address below: United Nations Development Programme UNDP Libya based at Tunis Immeuble SILAC, 6 rue des lacs mazuries, les Berges du Lac,1053 Email: [email protected] Quotations submitted by email must be limited to a maximum of 04 MB, virus-free email transmissions. They must be free from any form of virus or corrupted contents, or the quotations shall be rejected. It shall remain your responsibility to ensure that your quotation will reach the address above on or before the deadline. Quotations that are received by UNDP after the deadline indicated above, for whatever reason, shall not be considered for evaluation. If you are submitting your quotation by email, kindly ensure that they are signed and in the .pdf format, and free from any virus or corrupted files. Please take note of the following requirements and conditions pertaining to the supply of the abovementioned required services; 1 Delivery Terms N/A [INCOTERMS 2010] Exact Address/es of Delivery N/A Location/s (identify all, if multiple) -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
No Bull Self-Promotion for Independent Authors No Bull Self-Promotion for Independent Authors
Digital Proofer No Bull Self-Promoti... Authored by Jennifer-Crystal J... 6.0" x 9.0" (15.24 x 22.86 cm) Black & White on White paper 130 pages ISBN-13: 9781544744773 No Bull Self-Publishing presents… ISBN-10: 1544744773 Please carefully review your Digital Proof download for formatting, grammar, and design issues that may need to be corrected. No Bull Self-Promotion We recommend that you review your book three times, with each time focusing on a different aspect. Check the format, including headers, footers, page 1 numbers, spacing, table of contents, and index. for Independent Authors 2 Review any images or graphics and captions if applicable. 3 Read the book for grammatical errors and typos. Jennifer-Crystal Johnson Once you are satisfied with your review, you can approve your proof and move forward to the next step in the publishing process. To print this proof we recommend that you scale the PDF to fit the size of your printer paper. www.NoBullSelfPublishing.com No Bull Self-Promotion for Independent Authors No Bull Self-Promotion for Independent Authors www.NoBullSelfPublishing.com www.NoBullSelfPublishing.com Copyright © 2015-2017 by Jennifer-Crystal Johnson Need to Learn the “How to” Part? All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including Before we get into the nitty-gritty of marketing your books, where photocopying, recording, or other electronic or mechanical are you in your publishing process? If you’re still writing your book, methods, without the prior written permission of the publisher, great! That’s the perfect place to be while you’re learning about except in the case of brief quotations embodied in critical reviews everything you should do once your book gets close to publication and certain other noncommercial uses permitted by copyright law. -
Stand-Up Comedy in Theory, Or, Abjection in America John Limon 6030 Limon / STAND up COMEDY / Sheet 1 of 160
Stand-up Comedy in Theory, or, Abjection in America John Limon Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 1 of 160 Stand-up Comedy in Theory, or, Abjection in America 6030 Limon / STAND UP COMEDY / sheet 2 of 160 New Americanists A series edited by Donald E. Pease Tseng 2000.4.3 18:27 Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 3 of 160 John Limon Duke University Press Stand-up Comedy in Theory, or, Abjection in America Durham and London 2000 6030 Limon / STAND UP COMEDY / sheet 4 of 160 The chapter ‘‘Analytic of the Ridiculous’’ is based on an essay that first appeared in Raritan: A Quarterly Review 14, no. 3 (winter 1997). The chapter ‘‘Journey to the End of the Night’’ is based on an essay that first appeared in Jx: A Journal in Culture and Criticism 1, no. 1 (autumn 1996). The chapter ‘‘Nectarines’’ is based on an essay that first appeared in the Yale Journal of Criticism 10, no. 1 (spring 1997). © 2000 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Typeset in Melior by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 5 of 160 Contents Introduction. Approximations, Apologies, Acknowledgments 1 1. Inrage: A Lenny Bruce Joke and the Topography of Stand-Up 11 2. Nectarines: Carl Reiner and Mel Brooks 28 3. -
Collaborative Production and the Transformation of Publishing: the Case of Wattpad Rosamund Davies University of Greenwich
CHAPTER FOUR Collaborative Production and the Transformation of Publishing: The Case of Wattpad Rosamund Davies University of Greenwich Collaborative production is another way to describe what Bauwens terms peer-to-peer (P2P) production, whereby P2P collaborators work together to construct a shared commons and use value (Bauwens, 2005). This approach to production has been enabled on a large scale by the widespread availabil- ity, low cost and connectivity of digital technologies (Bauwens, 2005, Benkler, 2006). Examples of such practices might include the open software movement, crowdsourcing and crowdfunding initiatives, MMOGs (massively multiplayer online games) and fandoms, among others. Although the core aims and val- ues of collaborative production and its products are generally understood to be non-market based, many of its manifestations are interdependent with the market-based economy (Bauwens, 2005, Benkler, 2006, Jenkins, 2013, Arvids- son, 2013), as we shall go on to examine. The social reading and writing platform, Wattpad, offers a fairly recent exam- ple of such collaborative production. Wattpad is a digital enterprise, founded in How to cite this book chapter: Davies, R. 2017. Collaborative Production and the Transformation of Publishing: The Case of Wattpad. In: Graham, J. and Gandini, A. (eds.). Collaborative Production in the Creative Industries. Pp. 51–67. London: University of Westminster Press. DOI: https://doi.org/10.16997/book4.d. License: CC-BY-NC- ND 4.0 52 Collaborative Production in the Creative Industries 2008 in Canada, but with a global user base of 40 million at the time of writing (Wattpad, 2016a). Around 80 per cent of this user base is 30 years old or under (around 40 per cent 13-17 and 40 per cent 18-30 year olds) (Wattpad, 2016f). -
Low a Loner’S Kit to Become Their Most Special Rank
PARTNERS Twist Fate This book was made possible through a partnership between the Connected Learning Alliance, Wattpad, DeviantArt, the National Writing Project, and the Young Adult Library Services Association. About the Partners Connected Learning Alliance The Connected Learning Alliance supports the expansion and influence of a network of educators, experts, and youth-serving organizations, mobilizing new technology in the service of equity, access, and opportunity for all young people. The Alliance is coordinated by the Digital Media and Learning Research Hub at UC Irvine. Learn more at clalliance.org. Wattpad Wattpad, the global multiplatform entertainment company for original stories, transforms how the world discovers, creates, and engages with stories. Since 2006, it has offered a completely social experience in which people everywhere can participate and collaborate on content through comments, messages, and multimedia. Today, Wattpad connects a community of more than 45 million people around the world through serialized stories about the things they love. As home to millions of fresh voices and fans who share culturally relevant stories based on local trends and current events, Wattpad has unique pop culture insights in virtually every market around the world. Wattpad Studios coproduces stories for film, television, digital, and print to radically transform the way the entertainment industry sources and produces content. Wattpad Brand Solutions offers new and integrated ways for brands to build deep engagement with consumers. The company is proudly based in Toronto, Canada. Learn more at wattpad.com/about. PARTNERS DeviantArt Founded in 2000, DeviantArt is an online social network for artists and art enthusiasts and a platform for emerging and established artists to exhibit, promote, and share their works with an enthusiastic, art-centric community.