Copy Editing and Proofreading Symbols
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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. -
Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06
Unicode Nearly Plain Text Encoding of Mathematics Unicode Nearly Plain-Text Encoding of Mathematics Murray Sargent III Office Authoring Services, Microsoft Corporation 4-Apr-06 1. Introduction ............................................................................................................ 2 2. Encoding Simple Math Expressions ...................................................................... 3 2.1 Fractions .......................................................................................................... 4 2.2 Subscripts and Superscripts........................................................................... 6 2.3 Use of the Blank (Space) Character ............................................................... 7 3. Encoding Other Math Expressions ........................................................................ 8 3.1 Delimiters ........................................................................................................ 8 3.2 Literal Operators ........................................................................................... 10 3.3 Prescripts and Above/Below Scripts........................................................... 11 3.4 n-ary Operators ............................................................................................. 11 3.5 Mathematical Functions ............................................................................... 12 3.6 Square Roots and Radicals ........................................................................... 13 3.7 Enclosures..................................................................................................... -
Desktop + Mobile Style Guide 06.22.15
DESKTOP + MOBILE STYLE GUIDE 06.22.15 SITE BASICS PRIMARY TYPEFACE PRIMARY COLORS SECONDARY COLORS Helvetica, Arial, sans-serif R0 G70 B127 R0 G24 B46 HEX# 00467F HEX# 00182E R255 G201 B57 R47 G107 B189 HEX# FFC939 HEX# 2F6BBD R77 G79 B83 HEX# 4D4F53 R0 G0 B0 HEX# 000000 2 UNIVERSAL ELEMENTS PRIMARY BUTTONS LINKS CARETS IDLE ROLLOVER IDLE ROLLOVER ON CLEAN BACKGROUND PRIMARY NAVIGATION ON BUSY BACKGROUND IDLE ROLLOVER 3 HEADINGS AND LISTS A Font Family Helvetica, Arial, sans-serif B Font Family Helvetica, Arial, sans-serif Font Size 40px/48px Font Size 30px A Font Weight Bold Color #ffffff Color #000000 B C C Font Family Helvetica, Arial, sans-serif D Font Family Helvetica, Arial, sans-serif Font Weight Bold Font Size 24px/34px D Font Size 24px/34px Color #000000 Color #2F6BBD E E Font Family Helvetica, Arial, sans-serif F Font Family Helvetica, Arial, sans-serif Font Size 24px/34px Font Size 24px/34px F Color #000000 Color #000000 Margin-bottom 34px Margin-bottom 17px G Font Family Helvetica, Arial, sans-serif Font Size 24px/34px Color #000000 Margin-bottom 17px G 4 DESKTOP TYPOGRAPHY B A A Font Family Helvetica, Arial, sans-serif B Font Family Helvetica, Arial, sans-serif C Font Size 16px Font Size 16px Font Weight Bold Color #ffffff Color #cccccc Hover Underline Hover Underline C Font Family Helvetica, Arial, sans-serif D Font Family Helvetica, Arial, sans-serif Font Weight Bold Font Size 24px/30px D Font Size 22px/24px Color #000000 E Color #ffffff F E Font Family Helvetica, Arial, sans-serif F Font Family Helvetica, Arial, sans-serif -
End-Of-Line Hyphenation of Chemical Names (IUPAC Provisional
Pure Appl. Chem. 2020; aop IUPAC Recommendations Albert J. Dijkstra*, Karl-Heinz Hellwich, Richard M. Hartshorn, Jan Reedijk and Erik Szabó End-of-line hyphenation of chemical names (IUPAC Provisional Recommendations) https://doi.org/10.1515/pac-2019-1005 Received October 16, 2019; accepted January 21, 2020 Abstract: Chemical names and in particular systematic chemical names can be so long that, when a manu- script is printed, they have to be hyphenated/divided at the end of a line. Many systematic names already contain hyphens, but sometimes not in a suitable division position. In some cases, using these hyphens as end-of-line divisions can lead to illogical divisions in print, as can also happen when hyphens are added arbi- trarily without considering the ‘chemical’ context. The present document provides recommendations and guidelines for authors of chemical manuscripts, their publishers and editors, on where to divide chemical names at the end of a line and instructions on how to avoid these names being divided at illogical places as often suggested by desk dictionaries. Instead, readability and chemical sense should prevail when authors insert optional hyphens. Accordingly, the software used to convert electronic manuscripts to print can now be programmed to avoid illogical end-of-line hyphenation and thereby save the author much time and annoy- ance when proofreading. The recommendations also allow readers of the printed article to determine which end-of-line hyphens are an integral part of the name and should not be deleted when ‘undividing’ the name. These recommendations may also prove useful in languages other than English. -
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. -
Drafting a Fair Book Publishing Contract
Drafting Fair Book Publishing Contracts 2010 A manual to accompany the online CLE seminar Presented by 1-800-874-8556 www.BarristersCLE.com Copyright © 2010 Barristers Educational Services Drafting a Fair Book Publishing Contract By William R. Newman The internet age has brought about the advent of major changes in the publishing world, including book and periodical publishing. “On demand” publishing has made it ostensibly easier for an author to self-publish, and individual authors can often market and sell their books in significant numbers through online retailers like Amazon. However, for the most widespread marketing and distribution of a book (particularly through retail book stores), it remains necessary to convince a major publisher to accept the manuscript. Like most other relationships between the artistic element on the one hand and the business/marketing element on the other, the book publishing contract negotiation usually amounts to a “David/Goliath” scenario. One will rarely find anything approaching equal bargaining strength between the two parties, and major publishers will frequently take a “take it or leave it” stance with authors. Of course, this problem is most pronounced with first-time authors. Established authors with a proven sales record, on the other hand, have a great deal more leverage in the process. In any event, attorneys for nascent writers should not obsequiously accept the form contracts offered by publishing houses. There are many provisions that can be added for the author‟s protection and benefit that publishers often will not resist. I. GENERAL PROVISIONS A. Parties. The obvious parties to the contract will be the publisher and the “author.” If the author wishes to use a pen name, this will need to be stated specifically at the outset of the document. -
Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim
Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim To cite this version: Dae Hwan Kim, Jin Hyung Kim. Ligature Modeling for Recognition of Characters Written in 3D Space. Tenth International Workshop on Frontiers in Handwriting Recognition, Université de Rennes 1, Oct 2006, La Baule (France). inria-00105116 HAL Id: inria-00105116 https://hal.inria.fr/inria-00105116 Submitted on 10 Oct 2006 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim Jin Hyung Kim Artificial Intelligence and Artificial Intelligence and Pattern Recognition Lab. Pattern Recognition Lab. KAIST, Daejeon, KAIST, Daejeon, South Korea South Korea [email protected] [email protected] Abstract defined shape of character while it showed high recognition performance. Moreover when a user writes In this work, we propose a 3D space handwriting multiple stroke character such as ‘4’, the user has to recognition system by combining 2D space handwriting write a new shape which is predefined in a uni-stroke models and 3D space ligature models based on that the and which he/she has never seen. -
Community College of Denver's Style Guide for Web and Print Publications
Community College of Denver’s Style Guide for Web and Print Publications CCD’s Style Guide supplies all CCD employees with one common goal: to create a functioning, active, and up-to-date publications with universal and consistent styling, grammar, and punctuation use. About the College-Wide Editorial Style Guide The following strategies are intended to enhance consistency and accuracy in the written communications of CCD, with particular attention to local peculiarities and frequently asked questions. For additional guidelines on the mechanics of written communication, see The AP Style Guide. If you have a question about this style guide, please contact the director of marketing and communication. Web Style Guide Page 1 of 10 Updated 2019 Contents About the College-Wide Editorial Style Guide ............................................... 1 One-Page Quick Style Guide ...................................................................... 4 Building Names ............................................................................................................. 4 Emails .......................................................................................................................... 4 Phone Numbers ............................................................................................................. 4 Academic Terms ............................................................................................................ 4 Times .......................................................................................................................... -
User Name Character Restrictions
User Name Character Restrictions • Feature Summary and Revision History, page 1 • Feature Changes, page 2 Feature Summary and Revision History Summary Data Applicable Product(s) or Functional All Area Applicable Platform(s) All Feature Default Enabled - Always-on Related Changes in This Release Not Applicable Related Documentation • System Administration Guide Revision History Note Revision history details are not provided for features introduced before releases 21.2 and N5.5. Revision Details Release User names can now only contain alphanumeric characters (a-z, A-Z, 0-9), hyphen, 21.3 underscore, and period. The hyphen character cannot be the first character. Release Change Reference, StarOS Release 21.3/Ultra Services Platform Release N5.5 1 User Name Character Restrictions Feature Changes Feature Changes Previous Behavior: User names previously could be made up of any string, including spaces within quotations. New Behavior: With this release, AAA user names and local user names can only use alphanumeric characters (a-z, A-Z, 0-9), hyphen, underscore, and period. The hyphen character cannot be the first character. If you attempt to create a user name that does not adhere to these standards, you will receive the following message: "Invalid character; legal characters are "0123456789.-_abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ". Impact on Customer: Existing customers with user names configured with special characters must re-configure those impacted users before upgrading to 21.3. Otherwise, those users will no longer be able to login after the upgade as their user name is invalid and is removed from the user database. Release Change Reference, StarOS Release 21.3/Ultra Services Platform Release N5.5 2. -
The News Flow and Copy Editing
Ganesh Kumar Ranjan Faculty, MJMC, MMHAPU,Patna The news flow and copy editing INTRODUCTION In media organizations, news stories flow through a channel from the reporter or a writer to the editor. The reporter who does the leg-work or a writer who contributes a piece of writing acts as the first gate-keeper. The manuscript Reporters or writers file is called copy. In the process, the copy passes through many media gate-keepers who make inputs so that the copy will conform to the organisational houses style, news value, ethics and legal standards. In doing that, both the reporter and others in the copy flow chain are guided by so many factors which could be personal, socio-economic, political and religious factors. The News Flow In newspapers and magazines, there are so many intermediary communicators between an event and the ultimate receiver (the readers). A magazine’s schedule allocates time for all the editorial tasks, from initial commissioning of news story to reporters, through picture research to sub- editing and layout. The nature of the information will determine the nature and number of the intermediaries. These intermediaries are the gate-keepers. For instance, a copy can flow from the reporter to the deputy political editor, to the political editor, deputy editor and then the editor. The sub editors have to enforce that schedule, ensuring that copy arrives and pages leave on time. The subs should have editors support in their struggle to enforce deadlines. They are also responsible for keeping control of copy-flow. Ensuring that the correct files come in and go out. -
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.