Hodder & Stoughton Spring 2021 Translation Rights Guide
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Exile and Acculturation: Refugee Historians Since the Second World War
ANTOON DE BAETS Exile and Acculturation: Refugee Historians since the Second World War two forms, intended and unin- tended. Within the domain of historical writing, both exist. A famous example of intended historiographical contact was the arrival B - of the German historian Ludwig Riess ( ), a student of Leopold von Ranke, in Japan. On the recommendation of the director of the bureau of historiography, Shigeno Yasutsugu, Riess began to lecture at the Im- perial University (renamed Tokyo Imperial University in ) in . He spoke about the Rankean method with its emphasis on facts and critical, document- and evidence-based history. At his suggestion, Shigeno founded the Historical Society of Japan and the Journal of Historical Scholarship. Riess influenced an entire generation of Japanese historians, including Shigeno himself and Kume Kunitake, then well known for their demystification of entire areas of Japanese history.1 However, this famous case of planned acculturation has less well-known aspects. First, Riess, who was a Jew and originally a specialist in English history, went to Japan, among other reasons, possibly on account of the anti-Semitism and Anglo- phobia characteristic of large parts of the German academy at the time. Only in did he return from Japan to become an associate professor at the University of Berlin.2 Second, Riess and other German historians (such as Ernst Bernheim, whose Lehrbuch der historischen Methode und der Geschichtsphilosophie, published in , was popular in Japan) were influ- ential only because Japanese historical methodology focused before their arrival on the explication of documents.3 Riess’s legacy had unexpected I am very grateful to Georg Iggers, Shula Marks, Natalie Nicora, Claire Boonzaaijer, and Anna Udo for their helpful criticism. -
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 .................................................................................................. -
An International Study of Over 1000 Digital Influencers Table of Contents
Long Live GIRL power! AN INTERNATIONAL STUDY OF OVER 1000 DIGITAL INFLUENCERS TABLE OF CONTENTS Celebrating International Women’s Day - a Brief History 3 Why Are Women so Important as Consumers and Influencers? 5 Influencer Survey Results 7 Noteworthy Campaigns 15 Noteworthy Social Media Trends 21 LONG LIVE GIRL POWER! 03 CELEBRATING INTERNATIONAL WOMEN’S DAY – a Brief History International Women’s Day, with its history deeply rooted in the movement for women’s rights, is celebrated annually on March 8th. The day originated in the United States, where the Socialist Party of America organised the first “National Woman’s Day” in 1909. The event then inspired European activists to establish an annual “Women’s Day” in 1910. International Women’s Day as we know it started in 1977 when the United Nations General Assembly invited member states to proclaim March 8th as the UN Day for women's rights and world peace. Since then, International Women’s Day has been widely adopted as a celebration of women in a very Photo: mission.org broad sense, transcending politics. Brands actively join the efforts to honour and inspire women and recognize their accomplishments. In recent years, women’s empower- ment has become an increasingly prominent theme year- round and @_janemay it continues to leave a notable mark on the advertising world. In this report, we want to give voice to women and hear them out. We asked 896 female influencers about their views on their careers, everyday lives, the image of women Long in advertising, and more. Alongside the analysis of our influencers’ LiveGIRL opinions, this study’s objective is to present notable case studies of campaigns celebrating women power! and examples of female influencers absolutely worth knowing. -
Jean-Yves Mollier
French publishing in World War Two: A habitus of submission? Jean-Yves Mollier The present article sets out to explore the situation of French publishing between June 1940 and August 1944. Before addressing the main argument, however, it is important to bear in mind that it is difficult to understand this key sector of French cultural life in the period immediately prior to the Nazi occupation without looking back at its development over the preceding decades and even centuries. Similarly, understanding the deeper meaning underlying the attitude of the leading publishers who occupied the higher echelons of the publishing union means bearing in mind their “centuries-old habitus of submission”1 to authority. Take for example the “voluntary delegation of notables representing Paris's industrial sector” led by the industrialists Emile Menier and Jean- François Cail and the printer Henri Plon to the Elysée Palace on December 19, 1851 to thank Louis- Napoléon Bonaparte for “guaranteeing the defence of order, family, and property” after seizing power in a coup seventeen days earlier.2 Though it is important not to overstate the importance of such an event in the contemporary context, it can be seen as symbolic of a craven attitude to power that remained largely unchanged in the summer of 1940. Napoleon I and his successors set up a system to police the book trade, with inspectors whose task it was to keep a close eye not only on ports and borders, but also printers, bookshops, pedlars, second-hand bookshops, and any other premises or itinerant points of sale where books could be acquired. -
Soziologie in Österreich Nach 1945 Fleck, Christian
www.ssoar.info Soziologie in Österreich nach 1945 Fleck, Christian Veröffentlichungsversion / Published Version Sammelwerksbeitrag / collection article Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: SSG Sozialwissenschaften, USB Köln Empfohlene Zitierung / Suggested Citation: Fleck, C. (1988). Soziologie in Österreich nach 1945. In C. Cobet (Hrsg.), Einführung in Fragen an die Soziologie in Deutschland nach Hitler 1945-1950 (S. 123-147). Frankfurt am Main: Cobet. https://nbn-resolving.org/urn:nbn:de:0168- ssoar-235170 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under Deposit Licence (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, non- Gewährt wird ein nicht exklusives, nicht übertragbares, transferable, individual and limited right to using this document. persönliches und beschränktes Recht auf Nutzung dieses This document is solely intended for your personal, non- Dokuments. Dieses Dokument ist ausschließlich für commercial use. All of the copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the above-stated vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder conditions of use. -
Pink Unicorn Program
M T H A E Y E OUT OF THE BOX 9 P I - S 2 C 5 THEATRICS O , P 2 A 0 L 1 A presents 9 C T O R A L I C E R I P L E Y in S ' G U I L D MUSIC & LYRICS BY STEPHEN SONDHEIM BOOK BY JAMES LAPINE BOOK E L I S E F O R I E R E D I E DIRECTION A M Y E . J O N E S @ootbtheatrics Opening Night: May 15, 2019 The Episcopal Actors' Guild 1 East 29th Street Elizabeth Flemming Ethan Paulini Producing Artistic Director Associate Artistic Director present Alice Ripley* in Out of the Box Theatrics' production of By Elise Forier Edie Technical Design Dialect Coach Costume Design Frank Hartley Rena Cook Hunter Dowell Board Operator Wardrobe Supervisor Joshua Christensen Carrie Greenberg Graphic Design General Management Asst. General Management Gabriella Garcia Maggie Snyder Cara Feuer Press Representative Production Stage Management Ron Lasko Theresa S. Carroll* Directed by AMY E. JONES+ * Actors' Equity OOTB is proud to hire members of + Stage Directors and Association Choreographers Society AUTHOR'S NOTE ELISE FORIER EDIE People often ask me “how much of this play is true?” The answer is, “All of it.” Also, “None of it.” All the events in this play happened to somebody. High school students across the country have been forbidden to start Gay and Straight Alliance clubs. The school picture event mentioned in this play really did happen to a child in Florida. Families across the country are being shunned, harassed and threatened by neighbors, and they suffer for allowing their transgender children to freely express their identities. -
2017 DGA Episodic Director Diversity Report (By STUDIO)
2017 DGA Episodic Director Diversity Report (by STUDIO) Combined # Episodes # Episodes # Episodes # Episodes Combined Total # of Female + Directed by Male Directed by Male Directed by Female Directed by Female Male Female Studio Title Female + Signatory Company Network Episodes Minority Male Caucasian % Male Minority % Female Caucasian % Female Minority % Unknown Unknown Minority % Episodes Caucasian Minority Caucasian Minority A+E Studios, LLC Knightfall 2 0 0% 2 100% 0 0% 0 0% 0 0% 0 0 Frank & Bob Films II, LLC History Channel A+E Studios, LLC Six 8 4 50% 4 50% 1 13% 3 38% 0 0% 0 0 Frank & Bob Films II, LLC History Channel A+E Studios, LLC UnReal 10 4 40% 6 60% 0 0% 2 20% 2 20% 0 0 Frank & Bob Films II, LLC Lifetime Alameda Productions, LLC Love 12 4 33% 8 67% 0 0% 4 33% 0 0% 0 0 Alameda Productions, LLC Netflix Alcon Television Group, Expanse, The 13 2 15% 11 85% 2 15% 0 0% 0 0% 0 0 Expanding Universe Syfy LLC Productions, LLC Amazon Hand of God 10 5 50% 5 50% 2 20% 3 30% 0 0% 0 0 Picrow, Inc. Amazon Prime Amazon I Love Dick 8 7 88% 1 13% 0 0% 7 88% 0 0% 0 0 Picrow Streaming Inc. Amazon Prime Amazon Just Add Magic 26 7 27% 19 73% 0 0% 4 15% 1 4% 0 2 Picrow, Inc. Amazon Prime Amazon Kicks, The 9 2 22% 7 78% 0 0% 0 0% 2 22% 0 0 Picrow, Inc. Amazon Prime Amazon Man in the High Castle, 9 1 11% 8 89% 0 0% 0 0% 1 11% 0 0 Reunion MITHC 2 Amazon Prime The Productions Inc. -
Publishing in the Nineteenth Century
1 Publishing in the Nineteenth Century Originally published as “Editer au XIXe siècle”, Revue d’histoire littéraire de la France, vol. 107, no. 4, 2007, pp. 771–90. Introduction When Roger Chartier and Henri-Jean Martin were preparing the introduction to the first volume of their monumental Histoire de l’Édition francaise (History of French publishing), which they entitled Le livre conquérant. Du Moyen Age au milieu du XVIIe siècle (The Conquering Book. From the Middle Ages to the mid-seventeenth century), they encountered a problem – one might even call it an aporia. They explained their twin debt both to Lucien Febvre, the initiator of research into the history of the book,1 and to Jean-Pierre Vivet, a journalist turned director of Promodis Publishing, who had expressed his desire to “see [the publisher] placed at the center of these four volumes,” which he had entrusted to them.2 This outspoken directive implied that the figure of the publisher long predated the invention of printing, and that he had been performing the role of broker or mediator without interruption from the thirteenth up to the twentieth century, as is the case today. The two editors were very well aware that sustaining such a notion could prove risky, and so they added this further comment, which partly contradicted what had gone before: The story we would like to tell is one in which the role of the publisher was gradually asserted and became more clearly defined; he was bold in the age of the conquering 1 Lucien Febvre and Henri-Jean Martin, L’apparition du livre (Paris: Albin Michel, 1958), translated into English as The Coming of the Book: The Impact of Printing, 1450-1800 (London: Verso, 1976). -
243 Mitteilungen DEZEMBER 2019 JOSEF VOGL: AUFBRUCH in DEN OSTEN Österreichische Migranten in Sowjetisch-Kasachstan
DÖW DOKUMENTATIONSARCHIV DES ÖSTERREICHISCHEN WIDERSTANDES FOLGE 243 Mitteilungen DEZEMBER 2019 JOSEF VOGL: AUFBRUCH IN DEN OSTEN Österreichische Migranten in Sowjetisch-Kasachstan Hintergründe und Akteure der organisierten Gruppenemigration in die Sowjetrepublik Kasachstan in den 1920er-Jahren sowie die spätere stalinistische Verfolgung von Österreichern und Österreicherinnen in Kasachstan stehen im Fokus der Publikation von Josef Vogl. Der vom Dokumentationsarchiv des österreichischen Widerstandes (DÖW) herausgegebene Band mit zahlreichen Kurzbiogra- fien ist im November 2019 im mandelbaum verlag erschienen. Grundlage war ein vom Zukunftsfonds der Republik Österreich geför- dertes Projekt, das Archivarbeiten in Kasachstan ermöglichte. Josef Vogl war 1982 bis 2006 Mitarbeiter des Österreichischen Ost- und Südosteuropa-Instituts und arbeitete anschließend bis zu sei- ner Pensionierung am DÖW. Gemeinsam mit dem Historiker Barry McLoughlin veröffentlichte er 2013 die ebenfalls vom DÖW her- ausgegebene Publikation „‚... Ein Paragraf wird sich finden‘. Gedenkbuch der österreichischen Stalin-Opfer (bis 1945)“. Im März 1926 gründete eine Gruppe von mehr als 200 österreichischen Auswande- rern eine Kolonie am Fluss Syrdar’ja in Josef Vogl der Nähe von Kzyl-Orda, der damaligen Aufbruch in Hauptstadt von Kasachstan. Armut und den Osten der Mangel an Arbeitsplätzen waren die ausschlaggebenden Motive für die Emig- Österreichische ration. Die Regierung in Österreich ge- Migranten in währte finanzielle Unterstützung, um Sowjetisch- Arbeitslose und lästige Demonstranten Kasachstan loszuwerden. Die sowjetische Seite war indessen an Devisen und Agrartechnik Herausgegeben interessiert. Trotz umfangreicher Kredite vom DÖW ging die Kolonie aufgrund des unfruchtba- ren Landes und innerer Streitigkeiten be- reits 1927 zugrunde. Wien–Berlin: Archivmaterialien aus Wien, Berlin, Mos- mandelbaum kau und kasachischen Archiven erlaubten verlag 2019 es, die traurigen Schicksale der wagemuti- gen Kolonisten und ihrer Familien nach- 296 Seiten, zuzeichnen. -
BC2019-Printproginccovers-High.Pdf
CONTENTS Welcome with Acknowledgements 1 Talk Abstracts (Alphabetically by Presenter) 3 Programme (Friday) 32–36 Programme (Saturday) 37–41 Programme (Sunday) 42–46 Installations 47–52 Film Festival 53–59 Entertainment 67–68 Workshops 69–77 Visionary Art 78 Invited Speaker & Committee Biographies 79–91 University Map 93 Area Map 94 King William Court – Ground Floor Map 95 King William Court – Third Floor Map 96 Dreadnought Building Map (Telesterion, Underworld, Etc.) 97 The Team 99 Safer Spaces Policy 101 General Information 107 BREAK TIMES - ALL DAYS 11:00 – 11:30 Break 13:00 – 14:30 Lunch 16:30 – 17:00 Break WELCOME & ACKNOWLEDGEMENTS WELCOME & ACKNOWLEDGEMENTS for curating the visionary art exhibition, you bring that extra special element to BC. Ashleigh Murphy-Beiner & Ali Beiner for your hard work, in your already busy lives, as our sponsorship team, which gives us more financial freedom to put on such a unique event. Paul Callahan for curating the Psychedelic Cinema, a fantastic line up this year, and thanks to Sam Oliver for stepping in last minute to help with this, great work! Andy Millns for stepping up in programming our installations, thank you! Darren Springer for your contribution to the academic programme, your perspective always brings new light. Andy Roberts for your help with merchandising, and your enlightening presence. Julian Vayne, another enlightening and uplifting presence, thank you for your contribution! To Rob Dickins for producing the 8 circuit booklet for the welcome packs, and organising the book stall, your expertise is always valuable. To Maria Papaspyrou for bringing the sacred feminine and TRIPPth. -
Las Drogas En Las Series a Través De La Postproducción”
UNIVERSIDAD POLITÈCNICA DE VALÈNCIA ESCUELA POLITÈCNICA SUPERIOR DE GANDIA Máster en Postproducción Digital “LAS DROGAS EN LAS SERIES A TRAVÉS DE LA POSTPRODUCCIÓN” TRABAJO FINAL DE MÁSTER Autora: Clara Lozano Evangelio Tutor: Héctor Julio Pérez GANDIA, Septiembre de 2017 1 ÍNDICE RESUMEN. ..................................................................................................................... 3 ABSTRACT ..................................................................................................................... 3 1. Introducción. ............................................................................................................... 3 1.1. Justificación e interés del tema. ........................................................................... 4 1.2. Objetivos. ............................................................................................................. 4 1.3. Hipótesis de la investigación. ............................................................................... 5 1.4. Estructura de la investigación. ............................................................................. 5 2. Contextualización. ...................................................................................................... 6 2.1. Evolución del concepto postproducción. .............................................................. 6 2.2. Evolución de las drogas en el audiovisual. .......................................................... 8 3. Montaje, ritmo y efectos. ............................................................................................ -
Report by Show Title
2017 DGA Episodic Director Diversity Report (by SHOW TITLE) Combined # Episodes # Episodes # Episodes # Episodes Combined TotAl # of FemAle + Directed by Male Directed by Male Directed by FemAle Directed by FemAle Male FemAle Title FemAle + Studio Network Episodes Minority Male CaucasiAn % Male Minority % FemAle CaucasiAn % FemAle Minority % Unknown Unknown Minority % Episodes CaucasiAn Minority CaucasiAn Minority 100, The 12 4 33% 8 67% 2 17% 2 17% 0 0% 0 0 Warner Bros Companies CW 12 Monkeys 8 6 75% 2 25% 5 63% 1 13% 0 0% 0 0 NBC Universal Syfy 13 Reasons Why 13 11 85% 2 15% 7 54% 2 15% 2 15% 0 0 Paramount Pictures Corporation Netflix 24: Legacy 11 2 18% 9 82% 0 0% 2 18% 0 0% 0 0 Twentieth Century Fox FOX A.P.B. 11 4 36% 7 64% 2 18% 1 9% 1 9% 0 0 Twentieth Century Fox FOX Affair, The 10 1 10% 9 90% 0 0% 1 10% 0 0% 0 0 Showtime Pictures Development Showtime Company Altered Carbon 10 3 30% 7 70% 1 10% 2 20% 0 0% 0 0 Skydance Pictures, LLC Netflix American Crime 8 6 75% 2 25% 0 0% 2 25% 4 50% 0 0 Disney/ABC Companies ABC American Gods 9 2 22% 7 78% 1 11% 1 11% 0 0% 0 0 Fremantle Productions, Inc. Starz! American Gothic 13 7 54% 6 46% 3 23% 2 15% 2 15% 0 0 CBS Companies CBS American Horror Story 10 8 80% 2 20% 2 20% 5 50% 1 10% 0 0 Twentieth Century Fox FX American Housewife 22 8 36% 13 59% 2 9% 5 23% 1 5% 1 0 Disney/ABC Companies ABC Americans, The 13 6 46% 7 54% 2 15% 3 23% 1 8% 0 0 Twentieth Century Fox FX Andi Mack 13 3 23% 10 77% 2 15% 0 0% 0 0% 0 1 Disney/ABC Companies Disney Channel Angie Tribeca 10 3 30% 7 70% 1 10% 1 10% 1 10% 0 0 Turner Films, Inc.