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About Laurie N. Taylor
Laurie N. Taylor is the Senior Director for Library Technology and Digital Strategies and Chair of Digital Partnerships & Strategies in UF's Libraries. She provides leadership for library technology services, IT, and digital partnerships between the UF Libraries and partners across the university, regionally, nationally, and internationally. She works closely with library colleagues to create and sustain supports for collaborations for building collections, community, and capacity, including for the Digital Library of the Caribbean (dLOC) and LibraryPress@UF. Her work is geared towards enabling a culture of radical collaboration that values and supports diversity, equity, and inclusion. Her website includes current contact information, blog postings, and more: http://www.laurientaylor.org
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Part One of the book discusses the fears, lawsuits, legislative proposals, and other public reactions to Grand Theft Auto, detailing the conflict between the developers of adult oriented games and various new forms of censorship. Depictions of race and violence, the pleasure of the carnivalistic gameplay, and the significance of sociopolitical satire in the series are all important elements in this controversy. It is argued that the general perception of digital changed fundamentally following the release of Grand Theft Auto III. The second section of the book approaches the games as they might be studied absent of the controversy. These essays study why and how players meaningfully play Grand Theft Auto games, reflecting on the elements of daily life that are represented in the games. They discuss the connection between game space and real space and the many ways that players mediate the symbols in a game with their minds, computers, and controllers.
The first section is comprised of essays placing Barrie's in its own time period, and tackles issues such as the relationship between Hook and Peter in terms of child hatred, the similarities between Peter and Oscar Wilde, Peter Pan's position as an exemplar of the Cult of the Boy Child is challenged, and the influence of pirate lore and fairy lore are also examined. Part two features an essay on Derrida's concept of the grapheme, and uses it to argue that Barrie is attempting to undermine racial stereotypes. The third section explores Peter Pan's timelessness and timeliness in essays that examine the binary of print literacy and orality; Peter Pan's modular structure and how it is ideally suited to video game narratives; the indeterminacy of gender that was common to Victorian audiences, but also threatening and progressive; Philip Pullman and J.K. Rowling, who publicly claim to dislike Peter Pan and the concept of never growing up, but who are nevertheless indebted to Barrie; and a Lacanian reading of Peter Pan arguing that Peter acts as "the maternal phallus" in his pre-Symbolic state. The final section looks at the various roles of the female in Peter Pan, whether against the backdrop of British colonialism or Victorian England. Students and enthusiasts of children's literature will find their understanding of Peter Pan immensely broadened after reading this volume.
From creepy picture books to Harry Potter, Lemony Snicket, the Spiderwick Chronicles, and countless vampire series for young adult readers, fear has become a dominant mode of entertainment for young readers. The last two decades have seen an enormous growth in the critical study of two very different genres, the Gothic and children’s literature.
The Gothic, concerned with the perverse and the forbidden, with adult sexuality and religious or metaphysical doubts and heresies, seems to represent everything that children’s literature, as a genre, was designed to keep out. Indeed, this does seem to be very much the way that children’s literature was marketed in the late eighteenth century, at exactly the same time that the Gothic was really taking off, written by the same women novelists who were responsible for the promotion of a safe and segregated children’s literature.
This collection examines the early intersection of the Gothic and children’s literature and the contemporary manifestations of the gothic impulse, revealing that Gothic elements can, in fact, be traced in children’s literature for as long as children have been reading.
All of these efforts require funding and chapters are included that address this need: finding funding outside of the university for support of the library is now a necessary and vital part of academic libraries: guidelines and steps for how to write a grant and be successful at obtaining outside funds. A second chapter deals with the problem of developing a grant-seeking culture in the library, what some of the barriers are to the grant-writing process and how to create a reward system for a grant-writing culture.
The volume concludes with two case studies related to implementing research data management services at two liberal arts colleges. They demonstrate that the integration of data management services for undergraduate and faculty research in liberal arts colleges is just as important as it is for the large research universities, and that new service models should be incorporated so that all librarians and library staff participate in this integration in their duties and responsibilities.
It is hoped that this volume, and the series in general, will be a valuable and exciting addition to the discussions and planning surrounding the future directions, services, and careers in the twenty-first-century academic library.
The Video Game Theory Reader 2 picks up where the first Video Game Theory Reader (Routledge, 2003) left off, with a group of leading scholars turning their attention to next-generation platforms-the Nintendo Wii, the PlayStation 3, the Xbox 360-and to new issues in the rapidly expanding field of video games studies. The contributors are some of the most renowned scholars working on video games today including Henry Jenkins, Jesper Juul, Eric Zimmerman, and Mia Consalvo. While the first volume had a strong focus on early video games, this volume also addresses more contemporary issues such as convergence and MMORPGs. The volume concludes with an appendix of nearly 40 ideas and concepts from a variety of theories and disciplines that have been usefully and insightfully applied to the study of video games.
Together, the contributions position videogame art as an interdisciplinary mix of digital technologies and the traditional art forms. Of particular interest in this volume are machinima, game console artwork, politically oriented videogame art, and the production of digital art. This new and revised edition features an extended critical introduction from the editors and updated interviews with the foremost artists in the field. Rounding out the book is a critique of the commercial videogame industry comprising essays on the current quality and originality of videogames.
"Each chapter contains recommendations for legislators, policy makers, researchers, and families. This book should be on the desk, and minds, of legislators, attorneys, social workers and other mental health professionals who encounter and wish to ameliorate the effects of violence in the lives of their young constituents, clients, and patients."
—JOURNAL OF CHILD AND FAMILY STUDIES
Questions relating to violence and children surround us in the media: should V-chips be placed in every television set? How can we prevent another Columbine school shooting from occurring? How should pornography on the internet be regulated? The Handbook of Children, Culture and Violence addresses these questions and more, providing a comprehensive, interdisciplinary examination of childhood violence that considers children as both consumers and perpetrators of violence, as well as victims of it.
The Handbook offers much-needed empirical evidence that will help inform debate about these important policy decisions. Moreover, it is the first single volume to consider situations when children are responsible for violence, rather than focusing exclusively on occasions when they are victimized. Providing the first comprehensive overview of current research in the field, the editors have brought together the work of a group of prominent scholars whose work is united by a common concern for the impact of violence on the lives of children.
The Handbook of Children, Culture and Violence is poised to become the ultimate resource and reference work on children and violence for researchers, teachers, and students of psychology, human development and family studies, law, communications, education, sociology, and political science/ public policy. It will also appeal to policymakers, media professionals, and special interest groups concerned with reducing violence in children′s lives. Law firms specializing in family law, as well as think tanks, will also be interested in the Handbook.