Il rosso e il nero, la vittoria e la sconfitta, la gloria e l'oblio. Sono le regole del gioco, non ci si sottrae. Vanno imparate a memoria, tatuate sul corpo, scandite con regolarita'; come un diagramma per misurare la resistenza di corpi plasmati alla lotta. Con avversari come compagni di strada, in un confronto leale e solenne tra colori e simboli. Cercare l'equilibrio tra il rosso e il nero; un continuo giocare col fuoco, l'unica condizione per essere il Club piu' titolato al mondo.

As media environments and communication practices evolve over time, so do theoretical concepts. This book analyzes some of the most well-known and fiercely discussed concepts of the digital age from a historical perspective, showing how many of them have pre-digital roots and how they have changed and still are constantly changing in the digital era. Written by leading authors in media and communication studies, the chapters historicize 16 concepts that have become central in the digital media literature, focusing on three main areas. The first part, Technologies and Connections, historicises concepts like network, media convergence, multimedia, interactivity and artificial intelligence. The second one is related to Agency and Politics and explores global governance, datafication, fake news, echo chambers, digital media activism. The last one, Users and Practices, is finally devoted to telepresence, digital loneliness, amateurism, user generated content, fandom and authenticity. The book aims to shed light on how concepts emerge and are co-shaped, circulated, used and reappropriated in different contexts. It argues for the need for a conceptual media and communication history that will reveal new developments without concealing continuities and it demonstrates how the analogue/digital dichotomy is often a misleading one.

Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.

This is the story of the work of the original NASA space pioneers; men and women who were suddenly organized in 1958 from the then National Advisory Committee on Aeronautics (NACA) into the Space Task Group. A relatively small group, they developed the initial mission concept plans and procedures for the U. S. space program. Then they boldly built hardware and facilities to accomplish those missions. The group existed only three years before they were transferred to the Manned Spacecraft Center in Houston, Texas, in 1962, but their organization left a large mark on what would follow.Von Ehrenfried's personal experience with the STG at Langley uniquely positions him to describe the way the group was structured and how it reacted to the new demands of a post-Sputnik era. He artfully analyzes how the growing space program was managed and what techniques enabled it to develop so quickly from an operations perspective. The result is a fascinating window into history, amply backed up by first person documentation and interviews.

This original and engaging textbook is concerned with stylistic choices, and the textual analysis which can illuminate the choices that a text producer has made. It combines the strengths of two approaches – critical discourse analysis and stylistics – to uncover the deep-seated ideologies of everyday texts. In so doing, it introduces a comprehensive set of tools which will help readers to explain and analyse the power of written texts. Each chapter focuses on a particular linguistic feature – such as naming and describing, prioritizing, negating, and hypothesizing – gives an overview of its argument and then explains the technical aspects of the feature along with a wealth of examples. This book will be ideal reading for students on a wide range of courses, including stylistics, discourse analysis, critical discourse analysis, English functional grammar and advanced composition.

What can and can't be copied is a matter of law, but also of aesthetics, culture, and economics. The act of copying, and the creation and transaction of rights relating to it, evokes fundamental notions of communication and censorship, of authorship and ownership - of privilege and property. This volume conceives a new history of copyright law that has its roots in a wide range of norms and practices. The essays reach back to the very material world of craftsmanship and mechanical inventions of Renaissance Italy where, in 1469, the German master printer Johannes of Speyer obtained a five-year exclusive privilege to print in Venice and its dominions. Along the intellectual journey that follows, we encounter John Milton who, in his 1644 Areopagitica speech 'For the Liberty of Unlicensed Printing', accuses the English parliament of having been deceived by the 'fraud of some old patentees and monopolizers in the trade of bookselling' (i.e. the London Stationers' Company). Later revisionary essays investigate the regulation of the printing press in the North American colonies as a provincial and somewhat crude version of European precedents, and how, in the revolutionary France of 1789, the subtle balance that the royal decrees had established between the interests of the author, the bookseller, and the public, was shattered by the abolition of the privilege system. Contributions also address the specific evolution of rights associated with the visual and performing arts. These essays provide essential reading for anybody interested in copyright, intellectual history and current public policy choices in intellectual property. The volume is a companion to the digital archive Primary Sources on Copyright (1450-1900), funded by the UK Arts and Humanities Research Council (AHRC): www.copyrighthistory.org.

A Comparative History of Literatures in the Iberian Peninsula is the second comparative history of a new subseries with a regional focus, published by the Coordinating Committee of the International Comparative Literature Association. As its predecessor for East-Central Europe, this two-volume history distances itself from traditional histories built around periods and movements, and explores, from a comparative viewpoint, a space considered to be a powerful symbol of inter-literary relations. Both the geographical pertinence and its symbolic condition are obviously discussed, when not even contested. Written by an international team of researchers who are specialists in the field, this history is the first attempt at applying a comparative approach to the plurilingual and multicultural literatures in the Iberian Peninsula. The aim of comprehensiveness is abandoned in favor of a diverse and extensive array of key issues for a comparative agenda. A Comparative History of Literatures in the Iberian Peninsula undermines the primacy claimed for national and linguistic boundaries, and provides a geo-cultural account of literary inter-systems which cannot otherwise be explained.