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Are You What You Watch?
Are You What You Watch? Tracking the Political Divide Through TV Preferences By Johanna Blakley, PhD; Erica Watson-Currie, PhD; Hee-Sung Shin, PhD; Laurie Trotta Valenti, PhD; Camille Saucier, MA; and Heidi Boisvert, PhD About The Norman Lear Center is a nonpartisan research and public policy center that studies the social, political, economic and cultural impact of entertainment on the world. The Lear Center translates its findings into action through testimony, journalism, strategic research and innovative public outreach campaigns. Through scholarship and research; through its conferences, public events and publications; and in its attempts to illuminate and repair the world, the Lear Center works to be at the forefront of discussion and practice in the field. futurePerfect Lab is a creative services agency and think tank exclusively for non-profits, cultural and educational institutions. We harness the power of pop culture for social good. We work in creative partnership with non-profits to engineer their social messages for mass appeal. Using integrated media strategies informed by neuroscience, we design playful experiences and participatory tools that provoke audiences and amplify our clients’ vision for a better future. At the Lear Center’s Media Impact Project, we study the impact of news and entertainment on viewers. Our goal is to prove that media matters, and to improve the quality of media to serve the public good. We partner with media makers and funders to create and conduct program evaluation, develop and test research hypotheses, and publish and promote thought leadership on the role of media in social change. Are You What You Watch? is made possible in part by support from the Pop Culture Collaborative, a philanthropic resource that uses grantmaking, convening, narrative strategy, and research to transform the narrative landscape around people of color, immigrants, refugees, Muslims and Native people – especially those who are women, queer, transgender and/or disabled. -
The 2021 Guide to Manuscript Publishers
Publish Authors Emily Harstone Authors Publish The 2021 Guide to Manuscript Publishers 230 Traditional Publishers No Agent Required Emily Harstone This book is copyright 2021 Authors Publish Magazine. Do not distribute. Corrections, complaints, compliments, criticisms? Contact [email protected] More Books from Emily Harstone The Authors Publish Guide to Manuscript Submission Submit, Publish, Repeat: How to Publish Your Creative Writing in Literary Journals The Authors Publish Guide to Memoir Writing and Publishing The Authors Publish Guide to Children’s and Young Adult Publishing Courses & Workshops from Authors Publish Workshop: Manuscript Publishing for Novelists Workshop: Submit, Publish, Repeat The Novel Writing Workshop With Emily Harstone The Flash Fiction Workshop With Ella Peary Free Lectures from The Writers Workshop at Authors Publish The First Twenty Pages: How to Win Over Agents, Editors, and Readers in 20 Pages Taming the Wild Beast: Making Inspiration Work For You Writing from Dreams: Finding the Flashpoint for Compelling Poems and Stories Table of Contents Table of Contents .......................................................................................................... 5 Introduction ................................................................................................................. 13 Nonfiction Publishers.................................................................................................. 19 Arcade Publishing .................................................................................................. -
Discover Your Library St
St. Charles Public Library June – August 2017 Discover Your Library St. Charles Public Library News and Event Guide ST. CHARLES PUBLIC LIBRARY Interlibrary Loan: An Unrivaled Strength of Your Public Library When a St. Charles cardholder wants an item we don’t carry—perhaps it’s a winemaking book written in French, or a DVD of a 1950s TV show—we will pursue borrowing it from another facility, and have it delivered to our Library. It’s a service called Interlibrary Loan (ILL), and it’s one of the great strengths of a public library. No company or organization can duplicate our vast network of libraries, universities and museums willing to share valuable materials. While we borrow and lend almost 100,000 items per year through our local library consortium, some materials simply aren’t available from a nearby library. On any given day, we will also receive books, DVDs, CDs, sheet music and more from Peoria to Pittsburgh and Danville to Denver. Here in St. Charles, we are fortunate to have dedicated staff to fill these requests. “My favorite part of the job is the obscure items that requires digging,” said Interlibrary Loan Assistant, Holly Szpara. “Whether it’s their lifelong passion or a recent curiosity, we’re here to help our cardholders find what they need.” “Interlibrary Loan is an ideal solution for writers and researchers,” Szpara added. “It’s also great if you’re just feeling nostalgic to re-read your favorite book from when you were 16.” Interlibrary Loan requests regularly help a wide variety of our cardholders, from home schoolers and hobbyists to beekeepers and bloggers. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
Articles from 2016
Preview Shelf Articles for 2016 December 1, 2016 Discovering the Wild Heritage of the Nineteenth State By Dianne Combs It has been a wonderful year of celebration for the state of Indiana. Two hundred years of statehood! We have learned many things about our political and historical heritage, but I believe that Indiana still has many secrets that need to be learned. Here at the library we have some beautiful books that will help you explore the natural history of our great state. “The Natural Heritage of Indiana,” edited by Marion T. Jackson, takes us on a lively jaunt through the terrain of our great state. To my delight, the very first picture in Part One is of the “Honeycomb Rock” at Pine Hills Nature Preserve in the southwestern part of Montgomery County. Glaciation and its effects on our landscape are explained in detail, which helps me to understand all the rock formations I come across while exploring some of our nationally renowned state parks. Throughout this section, written by Henry Gray, we are taken on several tours of Indiana. He describes the terrain as if he were driving along highways and illustrates his discussion with appropriate topographical maps. Our soil and water, wetlands and caves — all these give our state its unique stamp on the map of our nation. Beautiful photographs of the flora and fauna of Indiana fill the pages of this coffee table book. I could spend hours just turning its pages, learning about the native plants and animals with which we share our land. We have recently acquired two copies of “A Place Called Turkey Run — A Celebration of Indiana’s Second State Park in Photographs and Words,” by Daniel P. -
Typography: Language Made Visible Annotated Bibliography
Typography: Language Made Visible Annotated Bibliography Subject Markers. (*) Praxis (†) History and Theory (‡) Philosophy Armstrong, Helen. Graphic Design Theory: Readings from the Field. New York: Princeton Architectural Press, . Paperback. Condition: good.† Baines, Phil. Penguin By Design: A Cover Story –. New York: Penguin, . Paperback. Condition: very good.*† Bertin, Jaques. Semiology of Graphics: Diagrams, Networks, Maps. Redlands, CA: Esri Press, . Hardcover. Condition: excellent.*† Purchased spring of from Amazon. I have mixed feelings about this volume. On one hand, I am incredibly happy to see a brilliant and foundational work affordably back in print. On the other, I am a bit disgusted by the quality of the edition. The original edition of the English translation is a beautifully designed volume. The reissued edition features a blindingly white coated paper, and a puzzling insistence by Esri on using comically oversized Times New Roman typeface. The illustrations, however, have been better reproduced (and in some cases enhanced) from the earlier version. Apart from dealing with symbols, colors, and other graphic conventions, Bertin also discusses the uses of letters, labels, and visual hierarchies. Bildi Grafiks. Tempus Fugit. Barcelona: Index Books, . Hardcover. Condition: good.*‡ I purchased this book in the spring of from Amazon. The book was part of a project to redesign the calendar for the campus student film society into something readable and typographically coherent. This volume represents essentially the only book I could find on the subject of calendar design after many days of searching. It deals with novel arrangements, a dash of history, and a few interesting essays on the nature of time and representation. -
Loaded with Netflix & Vudu TV & Movies
Library of Things: Roku Express Loaded with Netflix & Vudu TV & Movies WHAT'S INCLUDED When you open your Roku from the Library, you will find the following Roku components: PowerAdapter Roku Remote USB Power Cable Roku Express Streaming HDMI Cable Media Player SETUP: 1 First, to connect the Roku to your TV, plug the HDMI cable into the HDMI input on the back (or side) of your TV. The other end of the HDMI cable plugs into the back of the Roku Express streaming player. SETUP: 2 Next, connect the Roku to power. For the best experience, use the included USB power cable and adaptor to connect the Roku to a wall outlet. Or You can use the included USB power cable to connect to the USB port on your TV (if you have one). SETUP: 3 Position the Roku streaming player near your TV. Make sure that the front of your streaming player has direct line of sight with your remote control. Finally, power on your TV using the appropriate remote and select the HDMI input. Now the Roku is ready to be connected to your WiFi. CONNECT TO WIRELESS: 1 After you plugin your Roku, you will see a message “No Internet Connection”. Press the * button on the Roku remote to setup the Internet connection. Using the arrow keys on the Roku remote, choose “Network settings” and press the "Ok" button. CONNECT TO WIRELESS: 2 Press the “Ok” button on the remote to select “Wireless”. Using the arrow keys on the Roku remote, choose your wireless network from the list and press the “Ok” button. -
From Hardcover to Paperback
THE ORIGIN OF PAPERBACKS IN AMERICA Maria Bissonette GENERAL HISTORY INTRODUCTON CONCLUSION In the 1950’s, American publishers joined in on the growing popularity of paperback production. The purpose of this project is to discover and The shift in the making of books with hard discuss the development of American covers to paper backs reveals sociological shift in publishing, specifically the transition from both book and American culture of the time. hardcover books to paperback books. This While at first glance, then and now, the decision project will look specifically at the change for change might seem solely financially within the American publishing industry but motivated, the transition is actually based on… will also mirror the changes made in other countries way of publishing books, seeing as having both hardcover and paperback books is a global practice. Focusing on the modern shift of VISUAL DIFFERENCES the binding of books will also reveal the KEYWORDS HARDCOVER Hardcover – This describes the kind of binding WORKS CITED that is inherently rigid, as the term suggests. This kind of binding in more durable and sturdier “How Paperbacks Transformed the Way but is also more expensive to manufacture. The Americans Read.” Mental Floss, 19 Apr. 2014, spine of the book is flexible but the front and www.mentalfloss.com/article/12247/how- back covers are not, something paperbacks can paperbacks-transformed-way-americans-read. be. Hardcovers are usually made from cardboard or a form of heavy paperboard. Osnos, Peter. “How Book Publishing Has Changed Since 1984.” The Atlantic, Atlantic Paperback – Sometimes known as “softcover”, Media Company, 12 Apr. -
Glossary of Publishing Terms
Glossary of Publishing Terms Acknowledgements – An optional component in a book, which can be inserted at the beginning or end of the book, where the author writes words of thanks to those who helped with the book. This may include literary agent, editor(s), fellow authors, book contributors, interviewees, family, friends, etc. Advance – A payment by a traditional publisher to an author as part of a publishing agreement. Advances are often paid in installments. For example, one third paid upon contract execution, one third paid upon submission of the manuscript to publisher, and one third paid upon publication of the book. Appendix – Supplemental material inserted at the end of the book. ARC (Advanced Review Copy, AKA: “Galley”) – ARCs are often printed versions of a book that are made available to media ahead of the book’s release date. ARCs are often un-edited and used solely for the purposes of generating publicity of early reviews. When printing ARCs, the cover and interior should be stamped with a notice such as: “Advanced Review Copy – Not for Resale.” Back Matter – The materials included at the end of a book including an appendix, resources, end notes, etc. Back-of-the-Room Sales – The act of selling books after giving a speaking engagement. Backlist – Titles a publisher printed previously that are still actively selling through retail channels but are not newly released. Bar Code – A graphic representation of a unique ISBN that is placed on the back of a book (or other retail product) to help retailers with inventory and sales management. Beta Readers – People who are given pre-publication access to an author’s manuscript or book for purposes of providing feedback, reviews, and word-of-mouth marketing. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
The Chosen Episode 1 – “I Have Called You by Name”
The Chosen Episode 1 – “I Have Called You By Name” SCRIPTURE Isaiah 43: 1-4 But now, thus says the LORD, who created you, Jacob, and formed you, Israel: Do not fear, for I have redeemed you; I have called you by name: you are mine. When you pass through waters, I will be with you; through rivers, you shall not be swept away. When you walk through fire, you shall not be burned, nor will flames consume you. For I, the LORD, am your God, the Holy One of Israel, your savior. I give Egypt as ransom for you, Ethiopia and Seba in exchange for you. Because you are precious in my eyes and honored, and I love you, I give people in return for you and nations in exchange for your life. Luke 8:1-3 Afterward he journeyed from one town and village to another, preaching and proclaiming the good news of the kingdom of God. Accompanying him were the Twelve and some women who had been cured of evil spirits and infirmities, Mary, called Magdalene, from whom seven demons had gone out, Joanna, the wife of Herod’s steward Chuza, Susanna, and many others who provided for them out of their resources. John 20:1-18 On the first day of the week, Mary of Magdala came to the tomb early in the morning, while it was still dark, and saw the stone removed from the tomb. So she ran and went to Simon Peter and to the other disciple whom Jesus loved, and told them, “They have taken the Lord from the tomb, and we don’t know where they put him.” So Peter and the other disciple went out and came to the tomb. -
In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism.