It would be essential to publicly serialise the contents of these ancient books.
|
|
If you're wise enough you can see that websites like TMZ granulate – serialise – everything because it creates entertainment product for them to carry it.
|
|
I consciously decided to break from my previous format of writing, and serialise the story with images that didn't necessarily illustrate what I was writing.
|
|
The pair are particularly excited about the chance to serialise new fiction à la Charles Dickens, reintroducing readers to the long-forgotten art of the cliffhanger.
|
|
No doubt Buckingham Palace will study ways to try to prevent its publication, but if the book is published the Mail on Sunday must ditch their plans to serialise it.
|
|
The Daily Mail is understood to have paid at least £130,000 for the rights to serialise Damian McBride's memoir chronicling the smearing and media manipulation during Tony Blair and Gordon Brown's Labour administrations.
|
|
Owen Rutter used the Balkan News to serialise (under the pseudonym ‘Klip-Klip’) his epic poem ‘Tiadatha’,Rutter, Owen (‘Klip-Klip’). 1920. The Song of Tiadatha. Serialised in The Balkan News, 1917. First impression in book form, Salonica, 1919.
|
|
If a user agent cannot serialise the parameter, then the parameter should be ignored. Firefox 3.0.x and previous versions will however throw an exception if `send` is called without an argument.Test-Driven JavaScript Development, Christian Johansen, ADDISON-WESLEY, 2010, p.
|
|
However, an offer of £100 from the Morning Post for the right to serialise the book left Churchill no time for amendments, and it was published as it stood.Churchill/Gilbert Vol.I p. 437-438 The book was reviewed by the newspaper The Star, which was modestly impressed.
|
|
After the cancellation of Bacchus, Campbell published two issues of Eddie Campbell's Egomania magazine, in which he began to serialise another work, The History of Humour. Facing an increasingly indifferent market for his work, and the collapse of his US distributor, Campbell ended his publishing imprint in 2003 after releasing the second issue of Egomania.
|
|
Retrieved 16 July 2020. who was able to serialise his book L'Humanisphère, Utopie anarchique (The Humanisphere: Anarchic Utopia) in his periodical Le Libertaire, Journal du Mouvement Social (Libertarian: Journal of Social Movement), published in 27 issues from 9 June 1858 to 4 February 1861 while living in New York.Woodcock, George (1962). Anarchism: A History of Libertarian Ideas and Movements.
|
|
Fanny Moore died in 1863, but Moore still did not return to Western Australia. In about 1878, the editor of The West Australian, Sir Thomas Cockburn Campbell, sought and was granted permission to serialise Moore's letters. The letters appeared in the West Australian in 1881 and 1882. On seeing them in print, Moore decided to republish them in book form.
|
|
56 My Man Jeeves, 1920 edition Wodehouse experimented with different genres of fiction in these years; Psmith, Journalist, mixing comedy with social comment on slum landlords and racketeers, was published in 1915.McCrum, p. 91 In the same year The Saturday Evening Post paid $3,500 to serialise Something New, the first of what became a series of novels set at Blandings Castle.Wodehouse and Ratcliffe, p.
|
|
After Creatures, Apex began work on the sequel Creatures II: Torture Trouble, still developing on the Commodore 64. In a startling coup—since Thalamus were associated with a rival magazine publisher in Newsfield, the home of ZZAP!64 — Commodore Format (Future Publishing) secured the rights to serialise the development of the game, which again proved very popular. Creatures II was received favorably by the critics.
|
|
Her literary efforts were initially guided by Thomas Fairman Ordish, the son of her husband's sister, a literary-minded civil servant who became a notable Shakespearian scholar. Mann published her first novel, The Parish of Hilby (1883) at her own expense, probably on commission. and it was well received by the critics. Man refused an offer of £12 from the Family Herald to serialise the book.
|
|
Eça finished the first draft of this novel in 1875. He sent it to some friends who ran a literary magazine, with the request that they return the proofs so he could edit them. However, they began to serialise the story without allowing him to see the proofs. He subsequently revised the novel and submitted it to a publisher in 1876 but it was barely noticed by the public.
|
|
In that year, he met Eugene and Maria Jolas who offered to serialise the book in their magazine transition. For the next few years, Joyce worked rapidly on the new book, but in the 1930s, progress slowed considerably. This was due to a number of factors, including the death of his father in 1931, concern over the mental health of his daughter Lucia, and his own health problems, including failing eyesight.
|
|
Another popular technique is to serialise the data from each controller. Since the NES and Super NES both use a serial bus for standard controllers, creating a multitap is simply a case of increasing the amount of serial data available to the console. In that way, an almost unlimited number of extra controllers can be connected. Later systems used more complex buses, such as the Nintendo 64 serial bus, the Dreamcast Maple Bus or USB.
|
|
Within two weeks forensic scientist Julius Grant demonstrated that the diaries were a forgery. The debacle gave Trevor-Roper's enemies the opportunity to criticise him openly. Trevor-Roper's initial endorsement of the diaries raised questions about his integrity. The Sunday Times, a newspaper to which he regularly contributed book reviews and of which he was an independent director, had already paid a considerable sum for the right to serialise the diaries if and only if they were genuine.
|
|
The Hon. Mr. Baron Pigott - The Illustrated London News (1863) Pigott launched his legal career in 1836 when he entered the Middle Temple, and three years later he was called to the bar and entered the Oxford circuit. There, he worked with H Rodwell to serialise reports of appeals from revising barristers between 1844 and 1846. In 1854, he was made counsel to the Inland Revenue and in 1856, he became serjeant, receiving a patent of precedence the following year.
|
|
Because of the erratic schedule, Hamilton only serialised one novel: Wisdom of the Gods, by Ken Bulmer, which appeared in four parts, starting in the July 1958 issue. Hamilton was planning to serialise a novel by Robert Heinlein when the magazine ceased publication.Clute, Science Fiction: The Illustrated Encyclopedia, p. 103. Cover art came from artists such as Gerard Quinn, and included some of Eddie Jones' earliest work.Richard Dalby & Mike Ashley, "Gerard Quinn", in Weinberg, Biographical Dictionary of Science Fiction and Fantasy Artists, pp. 224–225.
|
|
Returning to New York he was able to serialise his book in his periodical Le Libertaire, Journal du Mouvement social. Published in 27 issues from June 9, 1858 to February 4, 1861, Le Libertaire was the first anarcho-communist journal published in America. This was the first anarchist journal to use the term "libertarian". An uncompromising anarchist, Joseph Déjacque rejected any system of political representation or delegation that would lead the individual to abdicate his will by letting another express himself in his place.
|
|
A distinctive part of every issue from number 29 (July/August 1971) until the end was the "Business Section" by "Jude the Obscure", a free-ranging look at culture high and low, Irish, French and American. The "Business Section" was also used to serialise Jude the Obscure's novella "Farset and Gomorrah" and other prose pieces. Another notable contributor was John Morrow, whose comic prose pieces developed into satirical novels and short-story collections. Another aspect was literature in translation, particularly from Russian, Spanish, French and Chinese.
|
|
Shortly after his resignation, The Observer began to serialise Ponting's book The Right to Know: The Inside Story of the Belgrano Affair. The Conservative government reacted by amending the secrets legislation and by introducing the Official Secrets Act 1989. Before the trial, a jury could take the view that if an action could be seen to be in the public interest, the right of the individual to take that action might be justified. As a result of the 1989 modification, that defence was removed.
|
|
The aim of the ODRL Information Model is to support flexible Policy expressions by allowing the author to include as much, or as little, expressive detail about the terms and conditions for Asset usage, the Parties involved, and obligations. : The W3C ODRL Vocabulary & Expression describes the potential terms used in ODRL Policy expressions and how to serialise them. The terms form part of the ODRL Ontology and formalise the semantics. The wide set of terms in the vocabulary provides the support for communities to use ODRL as the primary language to express common use cases.
|
|
Unlike Proudhon, Déjacque argued that "it is not the product of his or her labour that the worker has a right to, but to the satisfaction of his or her needs, whatever may be their nature". Déjacque was also a critic of Proudhon's mutualist theory and anti-feminist views. Returning to New York, he was able to serialise his book in his periodical Le Libertaire, Journal du Mouvement social. The French anarchist movement, though self-described as "mutualists", started gaining pace during 1860s as workers' associations began to form.
|
|
During 1907, Edgar travelled to the Congo Free State, to report on atrocities committed against the Congolese under King Leopold II of Belgium and the Belgian rubber companies, in which up to 15 million Congolese were killed. Isabel Thorne, of the Weekly Tale-Teller penny magazine, invited Wallace to serialise stories inspired by his experiences. These were published as his first collection Sanders of the River (1911), a best seller, and in 1935 it was adapted into an eponymous film, starring Paul Robeson. Wallace went on to publish 11 more similar collections (102 stories).
|
|
The emergence of the World Wide Web prompted some authors to revise a serial format. Stephen King experimented with The Plant (2000), and Michel Faber allowed The Guardian to serialise his novel The Crimson Petal and the White. In 2005, Orson Scott Card serialized his out-of-print novel Hot Sleep in the first issue of his online magazine, InterGalactic Medicine Show. In 2008 McCall Smith wrote a serialized online novel Corduroy Mansions, with the audio edition read by Andrew Sachs made available at the same pace as the daily publication.
|
|
This was the start of many journals to follow and many novelists began to serialise their stories in these journal. The humour magazine Ananda Vikatan started by S.S. Vasan in 1929 was to help create some of the greatest Tamil novelists. Kalki Krishnamurthy (1899–1954) serialised his short stories and novels in Ananda Vikatan and eventually started his own weekly Kalki for which he wrote the enduringly popular novels Parthiban Kanavu, Sivagamiyin Sabadham and Ponniyin Selvan. Pudhumaipithan (1906–1948) was a great writer of short stories and provided the inspiration for a number of authors who followed him.
|
|
Operating systems use lock managers to organise and serialise the access to resources. A distributed lock manager (DLM) runs in every machine in a cluster, with an identical copy of a cluster-wide lock database. In this way a DLM provides software applications which are distributed across a cluster on multiple machines with a means to synchronize their accesses to shared resources. DLMs have been used as the foundation for several successful clustered file systems, in which the machines in a cluster can use each other's storage via a unified file system, with significant advantages for performance and availability.
|
|
The review aggregation website Rotten Tomatoes gives the series a score of 100 percent, with a weighted average of 9.04 out of 10. Reviewing the first half, Dave Golder of SFX praised the change in direction Moffat had taken with the show, calling it "more visually impressive and more narratively rewarding than anything we've had before". The Guardian Dan Martin was positive towards the first six episodes, despite calling "The Curse of the Black Spot" a "wasted opportunity" and noting that it would be a risk to serialise the story too much. He particularly praised the way Amy, Rory, and the Doctor had developed since the last series.
|
|
The book also saw publication in English under two titles: "Gaku Stories", published in 1991 as part of Kodansha's English language collection, and "My Boy: A Father's Memories", published in 1992 by Kodansha International. The various sections of the novel were serialised between November 1983 and April 1985 in Seishun no Dokusho, a literary magazine published by Shueisha. Initially, there was no plan to serialise Gakumonogatari, but instead to have Shiina pen a thirty-page short story each issue. However, Shiina's first submission for this project - a story called "Fragrant Olive" which starred his son and was the author's first I Novel - received positive feedback from the editor.
|
|
Unlike other British children's comics, such as The Beano and The Dandy, the comic does not exclusively feature humour strips. It also features serialise adventure stories such as "The Lost Boy" and "Pirates of Pangaea", as well as humour strips such as "Star Cat", "Evil Emperor Penguin", "Looshkin" and "Bunny vs Monkey". The comic has also featured text stories (such as extracts from books like "Charlie Small" and "Julius Zebra") and puzzles (which are also present in both the modern Beano and Dandy). This makes the comic more similar to the older Beano and Dandy than the modern ones as they once had a mixture of adventure and humour strips as well as text stories.
|
|
By the late 1940s, after the end of the Second World War, Hergé was continuing to produce new instalments of The Adventures of Tintin for the Belgian magazine Tintin, of which he was the artistic director. After completing serialisation of Prisoners of the Sun in April 1949, he ordered his staff to re-serialise one of his old stories, Popol and Virginia, while he took a three-month break. At this point, Hergé was depressed and suffering from a range of physical ailments, including boils and eczema on his hands. Although fed up with The Adventures of Tintin, he felt great pressure on him to continue producing the series for Tintin magazine.
|
|
Under its new owner, The Sunday Times notched up several firsts: a wood engraving it published of the coronation of Queen Victoria in 1838 was the largest illustration to have appeared in a British newspaper; in 1841, it became one of the first papers to serialise a novel: William Harrison Ainsworth's Old St Paul's. The paper was bought in 1887 by Alice Anne Cornwell who had made a fortune in mining in Australia and floating the Midas Mine Company of the London Stock Exchange. She bought the paper to promote her new company, The British and Australasian Mining Investment Company, and as a gift to her lover Frederick Stannard (‘Phil’) Robinson. Robinson was installed as editor and she married him in 1894.
|
|
Early on in development the team decided to serialise the game rather than release it in all at once, an idea inspired by the work of Charles Dickens and Philip Francis Nowlan as it forces the writers to incorporate cliffhangers and aided them keeping the costs down. In June 1996, it was announced that EPG Multimedia was in the process of developing the eight episode interactive novel in an early version of Macromedia Director, with four of the episodes ready for initial release. The episodes were distributed on "Launch," a bimonthly entertainment CD-ROM. The creators noted that the magazine content ate up most of the CD-ROM space which meant their content could only take up 15 MB per episode, which required them to tell an expansive narrative while remaining concise.
|
|
Leblanc arranged a meeting with Hergé, understood his dilemma, and saw an opportunity. Leblanc offered to clear Hergé's name and, that settled, offered him a new publishing venue for The Adventures of Tintin: the opportunity to continue to serialise his title in Leblanc's new weekly 12-page, comics journal, ' (Tintin magazine), the first project of Le Lombard. Hergé accepted, and in 1946, Belgian comics fans were treated, not only to the return of Tintin, but to the debut of many new Franco-Belgian comics on a weekly basis, some appearing in Hergé's signature style. The years 1954 and 1956 saw Leblanc launching two other creative ventures: the advertising agency PubliArt, a publicity division of Le Lombard using comics characters in its projects, and Belvision Studios, which produced short and full-length animated films for television and cinema.
|
|
After a few fiery speeches on the floor, he quickly becomes a superstar, and then begins raking it in by doing testimonials on the House floor and selling product tie-ins featuring himself to his legions of fans. He even becomes a permanent member of the panel on a popular game show and, despite alienating the host and the other guests with his insult comedy, becomes a ratings success. His new-found fame backfires, however, as he learns that Sarah has sold her life story to a national tabloid, which plans to serialise the entire sordid story, exposing all of his darkest secrets. Racing to 10 Downing Street, he implores Margaret Thatcher to intervene and stop the publication, but she refuses, saying that she ordered Sarah to write the memoir to cut him down to size.
|
|