Publishers' Responses to the E-Book Phenomenon: Survey Results from Three 'Small Language' Markets
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PAPERS DELIVERED at SHARP CONFERENCES to DATE (Alphabetically by Author; Includes Meeting Year)
PAPERS DELIVERED AT SHARP CONFERENCES TO DATE (alphabetically by author; includes meeting year) Abel, Jonathan. Cutting, molding, covering: media-sensitive suppression in Japan. 2009 Abel, Trudi Johanna. The end of a genre: postal regulations and the dime novel's demise. 1994 ___________________. When the devil came to Washington: Congress, cheap literature, and the struggle to control reading. 1995 Abreu, Márcia Azevedo. Connected by fiction: the presence of the European novel In Brazil. 2013 Absillis, Kevin. Angele Manteau and the Indonesian connection: a remarkable story of Flemish book trade (1958-1962). 2006 ___________. The biggest scam in Flemish literature? On the question of linguistic gatekeeping In literary publishing. 2009 ___________. Pascale Casanova's The World Republic of Letters and the analysis of centre-periphery relations In literary book publishing. 2008 ___________. The printing press and utopia: why imaginary geographies really matter to book history. 2013 Acheson, Katherine O. The Renaissance author in his text. 1994 Acerra, Eleonora. See Louichon, Brigitte (2015) Acres, William. Objet de vertu: Euler's image and the circulation of genius in print, 1740-60. 2011 ____________. A "religious" model for history: John Strype's Reformation, 1660-1735. 2014 ____________, and David Bellhouse. Illustrating Innovation: mathematical books and their frontispieces, 1650-1750. 2009 Aebel, Ian J. Illustrating America: John Ogilby and the geographies of empire in Restoration England. 2013 Agten, Els. Vernacular Bible translation in the Netherlands in the seventeenth century: the debates between Roman Catholic faction and the Jansenists. 2014 Ahokas, Minna. Book history meets history of concepts: approaches to the books of the Enlightenment in eighteenth-century Finland. -
Illegal P2P File Sharing on College Campuses – What's the Solution? Antionette D
College of William & Mary Law School William & Mary Law School Scholarship Repository Student Award Winning Papers Student Publications and Awards 2008 Illegal P2P File Sharing on College Campuses – What's the Solution? Antionette D. Bishop Repository Citation Bishop, Antionette D., "Illegal P2P File Sharing on College Campuses – What's the Solution?" (2008). Student Award Winning Papers. 4. https://scholarship.law.wm.edu/awardwinning/4 Copyright c 2008 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/awardwinning Illegal P2P File Sharing on College Campuses—What’s the Solution? Antionette D. Bishop* TABLE OF CONTENTS I. THE MUSIC INDUSTRY’S RESPONSE TO ILLEGAL P2P FILE SHARING............................................................................. 517 II. COLLEGE–STUDENT RELATIONSHIP .......................................... 518 III. PUBLIC POLICY CONCERNS ........................................................ 519 A. Efficient Use of College Funds ............................................ 519 B. Academic Freedom............................................................... 520 IV. ALTERNATIVE PROPOSED SOLUTION: COLLECTIVE LICENSING .................................................................................. 521 V. CONCLUSION............................................................................... 522 Since the introduction of Napster in 1999, illegal peer-to-peer (P2P) file sharing1 has been a continuously growing problem for -
Anempiricaltestofrobertdarnton
Do Books Cause Revolutions? An Empirical Test of Robert Darnton’s The Forbidden Best-Sellers of Pre-Revolutionary France* Yu Sasaki† This version: March 22, 2020 Preliminary; comments welcome Abstract This article is the first empirical test of Robert Darnton (1995)’s thesis that illegal books clandes- tinely circulated contributed to the French Revolution. The provocative argument has spawned a vibrant industry in historical research but quantitative studies have not been offered. I do so by constructing a new data set that digitizes all 720 illegal works in Darnton’s published corpus. Using the number of émigrés and deaths sentences as my proxies for the Revolution, I show that the diffusion of illegal books has a positive and significant impact on nobles and clergy- men who fled from France but not those who received death sentences. My findings are robust to a host of covariates that could determine diffusion and the two revolutionary outcomes. My analysis implies that an information revolution in which technological progress allows for a fast and inexpensive transmission of information could facilitate a political revolution. *I thank Takayuki Kubouchi for his able research assistance. Financial support from the Joint Usage and Research Center Programs, Institute of Economic Research, Hitotsubashi University (IERPK1917) is gratefully acknowledged. All errors are mine. †Assistant Professor, Waseda Institute for Advanced Study, Waseda University. E-mail: [email protected]. See yusasaki.squarespace.com for the most updated version. Introduction In the spring of 2011, a wave of mass mobilization and regime change in the Middle East and North Africa has made scholars reconsider the causes of political revolution. -
ADBU Study of European Indicators
Study of European indicators The situation of French university libraries compared with other European countries ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ Prepared for ADBU by Eric Anjeaux - | STUDY OF EUROPEAN INDICATORS NEXT BACK TO 2 CHAPTER CONTENTS THE SITUATION OF FRENCH UNIVERSITY LIBRARIES COMPARED WITH OTHER EUROPEAN COUNTRIES Contents 1. Context and objectives of the study . 4 1.1. Context 4 1.2. Objectives 4 2. The initial scope of the study . 4 3. The final scope of the study . 4 3.1. The 13 countries 4 3.2. Notes on the collected data 5 4. Common data . 6 4.1. Constructing the corpus of common data 6 4.2. Common data 6 5. Common indicators . 8 5.1. Constructing the corpus of common indicators 8 5.2. Common indicators 8 5.2.1. Library target population 8 5.2.2. Resources and services: Library adequacy / availability 8 5.2.3. Resources and services: Library use 8 5.2.4. Resources and services: Library efficiency 8 5.2.5. Capacity for evolution and development 9 6. Study limitations . 9 6.1. Countries 9 6.2. Types of university libraries 9 6.3. Data coverage 10 6.4. Data consistency and comparability 10 6.5. Data quality 11 7. Benchmarking . 11 7.1. Students as libraries' target audience 12 7.1.1. A European population increasing slightly, as in France (D0. Population) 12 7.1.2. A growing student population, particularly in France (I0. Number of students (enrolled in the study institutions) / Country population (%)) 13 7.1.3. Changing numbers of academic complicates comparisons 14 7.2. -
WELLESLEY-In-AIX SPRING 2017
WELLESLEY-in-AIX GUIDE AIX-PARIS (G.A.P.) Photo by Hannah Stiles, Fall 2016 Photo by Nikki Hwa, 2016-17 SPRING 2017 Table of contents Bienvenue à WIA p.2 I. Pre-departure information & arrival in Paris p.3 1. Passport, visas and other documents p.3 2. Insurance p.3 3. Travel arrangements p.4 4. What to pack: some tips p.5 5. Paris pre-session p.6 6. Safety & security p.8 7. Group activities & museum visits p.9 8. Practical information – Paris p.10 II. Practical information - France 1. Calendar & holidays p.13 2. Telling time & making appointments p.13 3. Health matters p.13 4. Personal safety & well-being p.15 5. Drugs, alcohol & French laws p.16 6. Electrical outlets & miscellaneous p.16 7. French newspapers & magazines p.17 8. Tipping p.17 9. Work & internships p.17 10. Recommended reading p.19 11. FAQ p.19 III. Le savoir-vivre en France p.23 IV. Academics – General information p.26 2016-17 calendar p.26 Higher Education & cultural differences p.26 Vocabulary of higher education in France p.28 Aix-Marseille Université (AMU) p.29 French grading system & grade conversion scale p.33 Other academic information p.34 WIA courses p.34 Ensuring your academic success in Aix : advice p.35 Transfer credit and role of the dossier de cours p.36 Extracurricular activities & student life in Aix p.38 WIA &Sciences-Po Aix p.39 Libraries p.40 V. Aix-en-Provence p.41 1. Wellesley-in-Aix Center p.42 2. -
Stream-Ripping: Its Role in the UK Music Piracy Landscape Three Years On
Stream-ripping: Its role in the UK music piracy landscape three years on September 2020 PRS for Music Foreword Stream-ripping: its role in the UK music piracy landscape three years on builds on research we published with the Intellectual Property Office three years ago. The initial research, Stream-ripping: How it works and its role in the UK music piracy landscape, came at a time when little work had been done to understand the size of problem posed by stream-ripping. The previous report allowed us to map the landscape of online music piracy and to gain insight into the functioning and the business model of stream-ripping services. We found evidence to support our assumption that stream-ripping was on course to become the dominant mode of online infringement. This second wave of research shows that our expectation is now the reality: stream-ripping services account for more than 80% of the top 50 music specific piracy sites. We can see that the services are becoming more sophisticated, offering better quality downloads, evolving their revenue streams, and becoming more adept at operating beneath the radar, with many using the popular content delivery network Cloudflare to obfuscate the location of their servers. But what we can also see is that concerted efforts by the industry do work: a reduction of more than 50% of BitTorrent sites can be attributed to increased geo-blocking and enforcement efforts over the past three years. Since this research was conducted, the world has changed beyond what anyone could have imagined. Amidst the massive societal changes, the almost global lockdown caused by the COVID-19 pandemic has also accelerated the acculturation of digital services. -
You Are Not Welcome Among Us: Pirates and the State
International Journal of Communication 9(2015), 890–908 1932–8036/20150005 You Are Not Welcome Among Us: Pirates and the State JESSICA L. BEYER University of Washington, USA FENWICK MCKELVEY1 Concordia University, Canada In a historical review focused on digital piracy, we explore the relationship between hacker politics and the state. We distinguish between two core aspects of piracy—the challenge to property rights and the challenge to state power—and argue that digital piracy should be considered more broadly as a challenge to the authority of the state. We trace generations of peer-to-peer networking, showing that digital piracy is a key component in the development of a political platform that advocates for a set of ideals grounded in collaborative culture, nonhierarchical organization, and a reliance on the network. We assert that this politics expresses itself in a philosophy that was formed together with the development of the state-evading forms of communication that perpetuate unmanageable networks. Keywords: pirates, information politics, intellectual property, state networks Introduction Digital piracy is most frequently framed as a challenge to property rights or as theft. This framing is not incorrect, but it overemphasizes intellectual property regimes and, in doing so, underemphasizes the broader political challenge posed by digital pirates. In fact, digital pirates and broader “hacker culture” are part of a political challenge to the state, as well as a challenge to property rights regimes. This challenge is articulated in terms of contributory culture, in contrast to the commodification and enclosures of capitalist culture; as nonhierarchical, in contrast to the strict hierarchies of the modern state; and as faith in the potential of a seemingly uncontrollable communication technology that makes all of this possible, in contrast to a fear of the potential chaos that unsurveilled spaces can bring. -
Italian Books and French Medical Libraries in the Renaissance
Shanti Graheli (St Andrews), Italian Books and French Medical Libraries in the Renaissance This chapter is an analysis of French medical libraries in the Renaissance, and of the role played by Italian books within this social and cultural environment.1 There are a number of reasons for picking these two samples – the French physicians, and the Italian books – and interweaving them into a single discussion. The connections between Italy and France in the early modern period were particularly intense, due to political and cultural reasons. In particular, the unfolding of the Italian Wars (1494-1559) saw a series of campaigns led with the objective of conquering parts of the Italian peninsula that the French monarchs perceived as part of their own heritage, such as Naples and Milan. The result of these contacts was not merely political; the French returned home accompanied by Italian artists and intellectuals, as well as carrying numerous objects such as paintings, sculptures, and books.2 Italo-French exchanges are then added to the quite independent development of the medical discipline at the time. In the sixteenth century, medicine was reconsidering its authorities, its methodological approach and its place in society. Italian humanists played an important role within this development, inasmuch as they contributed new editions of the medical classics, first of all Galen. Concurrently, Italian universities were also highly regarded because of a number of innovative practices they introduced in the medical discipline. In order to undertake this study, all of these aspects had to be taken into account. The materiality of the book, as well as the spatiality of its circulation and the sociality of the exchanges are all indispensable to our understanding of this case study. -
Piracy Landscape Study
Piracy Landscape Study: Analysis of Existing and Emerging Research Relevant to Intellectual Property Rights (IPR) Enforcement of Commercial-Scale Piracy Prepared for the U.S. Patent and Trademark Office Solicitation Number: 1333BJ19Q00142004 Brett Danaher Michael D. Smith Rahul Telang Chapman University Carnegie Mellon University Carnegie Mellon University This Version: March 20, 2020 Table of Contents Executive Summary ...................................................................................................................... 3 1. The Piracy Ecosystem........................................................................................................... 4 1.1 Piracy of Physical Goods................................................................................................ 6 1.1.1 Manufacturing......................................................................................................... 7 1.1.2 Discovery ................................................................................................................ 7 1.1.3 Distribution ............................................................................................................. 8 1.1.4 Communication, Payment Processing and Fulfillment ......................................... 11 1.2 Piracy of Digital Goods ................................................................................................ 11 1.2.1 Sources.................................................................................................................. 12 1.2.2 -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
Steal These Policies: Strategies for Reducing Digital Piracy
THE INFORMAtiON TECHNOLOGY & INNOVAtiON FOUNDAtiON Steal These Policies: Strategies for Reducing Digital Piracy BY DANIEL CASTRO, RICHARD BENNETT AND SCOTT ANDES | DECEMBER 2009 We need to open a broad Executive Summary dialogue that engages all stakeholders, including he rise of broadband Internet access and cheap storage, along government, content with the growth of digital content, has enabled digital pi- owners, website racy to flourish around the world. Piracy enables the unau- operators, technolog y T thorized distribution of music, movies, television programs, software, developers, and ISPs video games, books, photos, and periodicals quickly and easily, to the and other intermediaries, detriment of creative artists and legitimate rights holders. These prac- on how to improve the global response to piracy. tices threaten not only the robust production of digital content in the future, but U.S. jobs in the present. Unfortunately, many advocates, believing that information should be free, would have government not only turn a blind eye to digital piracy, but actively tie the hands of companies who seek to limit digital piracy. This report makes the case that digital piracy is a serious problem with significant ramifica- tions for the U.S. economy, that a number of approaches, including technical solutions such as content identification, are needed to reduce piracy, and that governments should support legitimate industry ef- forts to reduce digital piracy, including those that focus on the revenue streams of those engaging in piracy. There is no “silver bullet” that will solve controls such as locks, closed-circuit the piracy problem—no single technical TV, and anti-theft packaging as well or legislative proposal will completely as a government-funded system of law solve such a complex issue—but there enforcement, digital piracy requires a are many “lead bullets” that can help coordinated approach. -
Music Piracy and the Audio Home Recording Act
MUSIC PIRACY AND THE AUDIO HOME RECORDING ACT In spite of the guidance provided by the Audio Home Recording Act1 (AHRA) of 1992, music companies are once again at odds with consumer electronics manufacturers. This time around, the dispute is over certain information technology products that enable consumers to copy digital music and transfer them to different formats, or exchange them over the Internet. This article will discuss anti-piracy measures being taken by digital content owners and the United States legislature to combat piracy and evaluate them in light of the AHRA. The Promulgation of Music Piracy Over the last two years, the music industry has fed the media stark statistics about “piracy,” the act of copying digital music content to a blank CD, or uploading or downloading it on the Internet. According to various newspaper articles, an estimated 3.6 billion songs are illegally downloaded each month in the United States.2 In 1999, the music industry estimated that one in four compact discs of new music was actually an unauthorized copy.3 By the end of 2001, it was estimated that as many CDs were burned and copied as were bought.4 In Europe, blank CDs are outselling recorded CDs (although these blank CDs might have also been purchased for legitimate reasons, such as to back-up personal computer files).5 And since 1999, ownership of CD burners has nearly tripled.6 This trend of consumers sharing their music rather than purchasing it may be attributable to many factors, including the slow economy. However, the music industry seems to believe that the most likely culprit in this trend is the rise of digital music,7 i.e., free online file sharing, and the growing popularity of CD burners.8 In an act of self-defense, the largest record companies are developing anti-piracy technology to protect their copyrighted music against the information technology industry’s 1 17 U.S.C.