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Marshall Mcluhan
Marshall McLuhan: Educational Implications* W.J. Gushue He received the Governor General's award for his work in literature, the Albert Schweitzer Chair at Fordham for his work in communications, and the Moison Award from the Canada Council as "explorer and interpreter of our age." He appeared on the covers of N eW8week, Saturday Review and Canada's largest weekend supplement. NBC made a one-hour docu mentary of his message and later repeated it, and the CBC gave him prime Sunday night viewing time on two occasions. He is one of the most publicized intellectuals of recent times. Ralph Thomas wrote in the Torfmto Star: "He has been explained, knocked and praised in just about every magazine in the EngIish, French, German and Italian languages." 1 As to newspaper coverage, which newspapers have not written about him? He has lectured city planners, advertising men, TV executives, university professors, students, and scientists; business men have sought his message from a yacht in the Aegean Sea, a hotel in the Laurentians, a former firehouse in San Francisco, and in the board rooms of IBM, General Electric, and Bell Telephone. Although "a torrent of criticism" has been heaped upon him by ':' Research for this paper was undertaken while Prof. Gushue was at the .ontario Institute for Studies in Education during the 1967-68 acad emic year. A slightly modified version was delivered at the C.A.P.E. conference in Calgary, June, 1968. - Ed. 3 4 Marshall McLuhan the old dogies of academe and the literary establishment, he has been eulogized in dozens of scholarly magazines and studied serious ly by thousands of intellectuals.2 The best indication of his worth is the fact that among his followers are to be found people (artists, really) who are part of what Susan Sontag calls "the new sensibility." 3 They are, to use Louis Kronenberger's phrase, "the symbol manipulators," the peo ple who are calling the shots - painters, sculptors, publishers, pub lic relations men, architects, film-makers, musicians, designers, consultants, editors, T.V. -
Guidelines for Authors and Editors
Guidelines for Authors and Editors For manuscripts and online resources These guidelines offer an introduction to the SAGE Publishing Editorial Production processes for both your manuscript and online resources. You will find an overview about file formatting, styles, artwork, references, copyright and permissions procedures, as well as information about the key phases of the production process: copyediting, design, typesetting, proofreading and indexing, and new editions. Please read through the guide and use it for reference as you develop and prepare your manuscript for final submission. Preparing and submitting your work General guidelines • Please keep to the word extent agreed included in their work. Please provide with your Commissioning Editor. proof of these cleared permissions when • Supply your manuscript as a Microsoft submitting. Word file. Contact your Commissioning • If you have specific technical questions, Editor if you are using software other than please contact your Commissioning Editor. Microsoft Word. • Use double spacing, 12pt. House style • All text should be unjustified. Do not indent SAGE does not have a rigid house style. the paragraphs but set them out in blocked We focus on consistency and accuracy. It style. Use double space to indicate a new is important that you use the same style paragraph. throughout your book. We will retain UK/US spelling, punctuation and reference style as • Do not use formatting – it will be stripped submitted (edited volumes will retain the styles out. as submitted for each chapter). • Do not use program facilities such as EndNotes. Terminology • All photographs, images, etc. should be • SAGE is committed to diversity, equity and sent as high res (300dpi) jpg, tiff or eps inclusion and to ensuring this is represented files (please see Artwork section for more in our publications. -
Roth Book Notes--Mcluhan.Pdf
Book Notes: Reading in the Time of Coronavirus By Jefferson Scholar-in-Residence Dr. Andrew Roth Mediated America Part Two: Who Was Marshall McLuhan & What Did He Say? McLuhan, Marshall. The Mechanical Bride: Folklore of Industrial Man. (New York: Vanguard Press, 1951). McLuhan, Marshall and Bruce R. Powers. The Global Village: Transformations in World Life and Media in the 21st Century. (New York: Oxford University Press, 1989). McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. (Toronto: University of Toronto Press, 1962). McLuhan, Marshall. Understanding Media: The Extensions of Man. (Cambridge, MA: MIT Press, 1994. Originally Published 1964). The Mechanical Bride: The Gutenberg Galaxy Understanding Media: The Folklore of Industrial Man by Marshall McLuhan Extensions of Man by Marshall by Marshall McLuhan McLuhan and Lewis H. Lapham Last week in Book Notes, we discussed Norman Mailer’s discovery in Superman Comes to the Supermarket of mediated America, that trifurcated world in which Americans live simultaneously in three realms, in three realities. One is based, more or less, in the physical world of nouns and verbs, which is to say people, other creatures, and things (objects) that either act or are acted upon. The second is a world of mental images lodged between people’s ears; and, third, and most importantly, the mediasphere. The mediascape is where the two worlds meet, filtering back and forth between each other sometimes in harmony but frequently in a dissonant clanging and clashing of competing images, of competing cultures, of competing realities. Two quick asides: First, it needs to be immediately said that Americans are not the first ever and certainly not the only 21st century denizens of multiple realities, as any glimpse of Japanese anime, Chinese Donghua, or British Cosplay Girls Facebook page will attest, but Americans first gave it full bloom with the “Hollywoodization,” the “Disneyfication” of just about anything, for when Mae West murmured, “Come up and see me some time,” she said more than she could have ever imagined. -
Proofreading Tips
Author: Dr. Sara Beam, RSU Writing Center Coordinator Proofreading Tips Definition: Proofreading is the very last step in the writing process. In the publishing world, proofreading takes place after a document, such as an advertisement or article, has been created and edited. The document goes to press, but before it is printed, “proofs” are created. The last check of the document before a full run is printed is therefore called “PROOFreading.” At this point, you are sick of the paper because you have (ideally) been working on it for days if not weeks. But you need to visit it with fresh eyes one last time or two. Here are some ways to take a new perspective (literally) on your work: 1. Pay attention to MS Word’s spellchecker and grammar checker. Though it does not catch everything, it’s often very helpful. 2. Read the paper aloud or have a friend read it aloud to you. 3. Read or listen to the paper several times, each time focusing on one particular issue, such as spelling, subject-verb agreement, capitalization, punctuation, consistent formatting, etc. 4. Check for typos by reading the paper one paragraph at a time, one sentence at a time, one word at a time BACKWARDS. 5. Create a checklist based on your teacher’s assignment sheet, and check the paper to make sure you’ve met all requirements. 6. Take a break. Take a nap. Sleep on it. Time away from the project will help clear your head. In fact, that’s one of the reasons teachers encourage you to begin papers weeks ahead of time. -
The Complexity of Richness: Media, Message, and Communication Outcomes
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of North Carolina at Greensboro The complexity of richness: Media, message, and communication outcomes By: Robert F. Otondo, James R. Van Scotter, David G. Allen, Prashant Palvia Otondo, R.F., Van Scotter, J.R., Allen, D.G., and Palvia, P. ―The Complexity of Richness: Media, Message, and Communication Outcomes.‖ Information & Management. Vol. 40, 2008, pp. 21-30. Made available courtesy of Elsevier: http://www.elsevier.com ***Reprinted with permission. No further reproduction is authorized without written permission from Elsevier. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document.*** Abstract: Dynamic web-based multimedia communication has been increasingly used in organizations, necessitating a better understanding of how it affects their outcomes. We investigated factor structures and relationships involving media and information richness and communication outcomes using an experimental design. We found that these multimedia contexts were best explained by models with multiple fine-grained constructs rather than those based on one- or two-dimensions. Also, media richness theory poorly predicted relationships involving these constructs. Keywords: Media richness theory; Information richness; Communication theory Article: 1. Introduction Investigation of relationships between the media and communication effectiveness has not provided consistent results. However, lack of understanding has not deterred organizations from investing heavily in new and dynamic forms of web-based multimedia for their marketing, public relations, training, and recruiting activities. Few studies have examined the effects of media channels and informational content on decision-making and other organizational outcomes. -
Working with Ranges and Wildcard
Using Ranges and Wildcards in Market Insight Text variables can be identified in the System Explorer because they have an ABC icon to the left of the variable name. When searching for a business by name Ranges and Wildcards will be helpful to identify unknown characters or spaces using the wildcards of: * and ?. It is important to use both the business and the tradestyle name when searching for a business. The reason is because the name you are searching for could be in either the business name or the tradestyle. We will use Adobe in our examples and the variables of: Business Name variable ( ) and Tradestyle Name ( ). 1. The following will match business names that are *exactly the same as [each character must be the same as] the search name criteria. Our match string would look as such: =”Adobe” This example will return only businesses with names having the exact same 5 characters will match – i.e. “Adobe”, but not “Adobe Ltd” 1 * Or you can use the Exact Match option in the same drop down and it will return the same results: 2. The asterisk symbol, *, is used to stand for any number of characters [zero or one or multiple]. If we use the root word of Adobe and then an asterik this will return names that *begin with Adobe. The string would as follows: =”Adobe*” 2 This example will match “Adobe” (in this case the * is matching zero characters) and “Adobe Ltd” (in this case the * is matching 4 characters, “ Ltd”) * Or you can use the Begins With option in the same drop down and it will return the same results: 3. -
Copy Editing and Proofreading Symbols
Copy Editing and Proofreading Symbols Symbol Meaning Example Delete Remove the end fitting. Close up The tolerances are with in the range. Delete and Close up Deltete and close up the gap. not Insert The box is inserted correctly. # # Space Theprocedure is incorrect. Transpose Remove the fitting end. / or lc Lower case The Engineer and manager agreed. Capitalize A representative of nasa was present. Capitalize first letter and GARRETT PRODUCTS are great. lower case remainder stet stet Let stand Remove the battery cables. ¶ New paragraph The box is full. The meeting will be on Thursday. no ¶ Remove paragraph break The meeting will be on Thursday. no All members must attend. Move to a new position All members attended who were new. Move left Remove the faulty part. Flush left Move left. Flush right Move right. Move right Remove the faulty part. Center Table 4-1 Raise 162 Lower 162 Superscript 162 Subscript 162 . Period Rewrite the procedure. Then complete the tasks. ‘ ‘ Apostrophe or single quote The companys policies were rewritten. ; Semicolon He left however, he returned later. ; Symbol Meaning Example Colon There were three items nuts, bolts, and screws. : : , Comma Apply pressure to the first second and third bolts. , , -| Hyphen A valuable byproduct was created. sp Spell out The info was incorrect. sp Abbreviate The part was twelve feet long. || or = Align Personnel Facilities Equipment __________ Underscore The part was listed under Electrical. Run in with previous line He rewrote the pages and went home. Em dash It was the beginning so I thought. En dash The value is 120 408. -
P. Diddy with Usher I Need a Girl Pablo Cruise Love Will
P Diddy Bad Boys For Life P Diddy feat Ginuwine I Need A Girl (Part 2) P. Diddy with Usher I Need A Girl Pablo Cruise Love Will Find A Way Paladins Going Down To Big Mary's Palmer Rissi No Air Paloma Faith Only Love Can Hurt Like This Pam Tillis After A Kiss Pam Tillis All The Good Ones Are Gone Pam Tillis Betty's Got A Bass Boat Pam Tillis Blue Rose Is Pam Tillis Cleopatra, Queen Of Denial Pam Tillis Don't Tell Me What To Do Pam Tillis Every Time Pam Tillis I Said A Prayer For You Pam Tillis I Was Blown Away Pam Tillis In Between Dances Pam Tillis Land Of The Living, The Pam Tillis Let That Pony Run Pam Tillis Maybe It Was Memphis Pam Tillis Mi Vida Loca Pam Tillis One Of Those Things Pam Tillis Please Pam Tillis River And The Highway, The Pam Tillis Shake The Sugar Tree Panic at the Disco High Hopes Panic at the Disco Say Amen Panic at the Disco Victorious Panic At The Disco Into The Unknown Panic! At The Disco Lying Is The Most Fun A Girl Can Have Panic! At The Disco Ready To Go Pantera Cemetery Gates Pantera Cowboys From Hell Pantera I'm Broken Pantera This Love Pantera Walk Paolo Nutini Jenny Don't Be Hasty Paolo Nutini Last Request Paolo Nutini New Shoes Paolo Nutini These Streets Papa Roach Broken Home Papa Roach Last Resort Papa Roach Scars Papa Roach She Loves Me Not Paper Kites Bloom Paper Lace Night Chicago Died, The Paramore Ain't It Fun Paramore Crush Crush Crush Paramore Misery Business Paramore Still Into You Paramore The Only Exception Paris Hilton Stars Are Bliind Paris Sisters I Love How You Love Me Parody (Doo Wop) That -
(1) Communication Process
Communication Process (1) The Communication Process Scholars have developed theories to Theories of how we explain how we communicate with each communicate: The other. Linear and Most of these theories are variations on Transactional two generally recognized models — the models Linear model and the Transactional model. Communication Process (2) Communication Process (3) This ancient cave First, let’s define what communication is. painting speaks to us across time through its Communication is symbolic human ability to symbolize. behavior systematized into written, In its representations of verbal, and nonverbal codes. the male figure, the bison, and the rhino, we Click here to learn more about this recognize a 40,000 ancient painting. year-old story of human experience — the hunt. 1 Communication Process (4) Communication Process (5) Symbols can tell us . When we systematize symbols, we create codes for communication. Here are different ways for symbolizing the letter “A.” . what to do. what not to do. where to get help. how to stay safe. Any person, place, thing, feeling, or idea can be symbolized. Communication Process (6) Communication Process (7) Now that you understand the symbolic nature Those who want to communicate must share the same symbol system. of communication, let’s return to the two models of communication mentioned earlier. A model is a representation used to show how individual parts work together to accomplish a specific purpose — in this case communication. 2 Linear Model of Linear Model of Communication (1) Communication (2) Linear model includes A source A message A channel Message Channel A receiver Views communication as a straight line, one The linear model is now way event, in which the process reverses Encodes regarded as being incomplete. -
Philosophy of Pop Culture Instructor: Claire Pickard
Philosophy of Pop Culture Instructor: Claire Pickard 1. Course Description This course examines the role of popular culture in our lives and its inherent connections to philosophy. By analytically engaging with topics such as social media, selfies, and reality TV, we have the opportunity to think carefully and critically about phenomena that saturate our world and are, perhaps, some of our most enjoyable escapes. This also has the potential to demonstrate the inextricability of philosophy from daily life. The course is structured to address one cultural phenomenon per week; we will start from our own experiences on the subjects and proceed from there. Since one of the major goals of this class is to foster dialogue about our own daily experiences, much of this class will consist of large-group and small-group discussions. Since there often will not be much time spent recapping the readings in lecture form, I expect everyone to come to class having read or watched the material assigned for the day. 2. Class Meetings Class will meet Monday-Thursday from 9:00 – 9:50 a.m. in 303 GER. 3. Office Hours and Contact Information My office hours are Tuesday, 10am – 11:50am in Susan Campbell Hall 232. If you are unavailable during that time, please email me at [email protected] and we can make other arrangements. 4. Course Requirements Final grades will be determined as follows: Participation/ Attendance 20 % Short Reflection Papers (3) 30% First Paper 25 % Second Paper 25 % Participation and Attendance: You are expected to participate actively in this class, which includes attending class, reading all assigned material prior to class, and participating productively and professionally in the discussion. -
AIX Globalization
AIX Version 7.1 AIX globalization IBM Note Before using this information and the product it supports, read the information in “Notices” on page 233 . This edition applies to AIX Version 7.1 and to all subsequent releases and modifications until otherwise indicated in new editions. © Copyright International Business Machines Corporation 2010, 2018. US Government Users Restricted Rights – Use, duplication or disclosure restricted by GSA ADP Schedule Contract with IBM Corp. Contents About this document............................................................................................vii Highlighting.................................................................................................................................................vii Case-sensitivity in AIX................................................................................................................................vii ISO 9000.....................................................................................................................................................vii AIX globalization...................................................................................................1 What's new...................................................................................................................................................1 Separation of messages from programs..................................................................................................... 1 Conversion between code sets............................................................................................................. -
Summer Guide 2019
SummerSummer GuideGuide 20192019 MOBILE PARKS AND RECREATION SUMMER WWW.CITYOFMOBILE.ORG/PARKS FACEBOOK.COM/MOBILEPARKS 2019 1 TABLE OF CONTENTS 4 SWIMMING AND WADING POOLS 8 AZALEA CITY GOLF COURSE — 1000 Gailard Drive 8 ART INSTRUCTIONAL CENTER — 200 West Parkway 10 JOSEPH C. DOTCH COMMUNITY CENTER — 3100 Bank Avenue 11 MICHAEL A. FIGURES COMMUNITY CENTER — 658 Donald Street 11 HARMON-THOMAS COMMUNITY CENTER — 1161 Belfast Street 12 HILLSDALE COMMUNITY CENTER — 556 East Felhorn 12 ROBERT HOPE COMMUNITY CENTER — 850 Edwards Street 13 LAUN PARK & NEIGHBORHOOD CENTER — 5401 Windmill 15 MITTERNIGHT PARK & NEIGHBORHOOD CENTER — 5310 Colonial Oaks Drive 16 NEWHOUSE PARK & NEIGHBORHOOD CENTER — 2960 Alston Drive 17 RICKARBY PARK & NEIGHBORHOOD CENTER — 550 Rickarby Street 18 JAMES SEALS COMMUNITY CENTER — 540 Texas Street 19 SPRINGHILL RECREATION CENTER — 1151 Springhill Avenue 20 STOTTS PARK & NEIGHBORHOOD CENTER — 2150 N. Demetropolis Road 21 THOMAS SULLIVAN COMMUNITY CENTER — 351 N. Catherine Street 22 COTTAGE HILL GYMNASTICS CENTER — 1711 Hillcrest Road 23 TENNIS CENTERS — 851 Gaillard Drive 25 THERAPEUTIC & SENIOR ACTIVITIES CENTER (T-SAC) — 261 Rickarby Street 26 MOBILE ADULT CENTER — 1301 Azalea Road 27 CONNIE HUDSON REGONAL SENIOR CENTER — 3201 Hillcrest Road 29 S.A.I.L PROGRAMS 30 YOUTH & ADULT LEAGUE SPORTS / ATHLETIC PROGRAM 31 CALENDAR OF CITY-WIDE EVENTS 32 HOW TO REGISTER 2 MOBILE PARKS AND RECREATION Mayor, City of Mobile William S. Stimpson Senior Director Parks and Recreation Shonnda R. Smith Assistant Director of Operations Parks & Recreation Gerard W. McCants Superintendent of Parks Dan Otto Superintendent of Recreation Shadrach Collins, Jr. Rentals and Permits Facilities are available to be rented for Special Events.