As technology changes rapidly, new words and phrases are being introduced into our vocabulary, many with Net or Web affixed to them. The convergence of the media industries often brings with it a clash of professional vocabularies. Over time, some terms remain stable while others seem to disappear or transform their meaning. Multimedia and the Web from A-Z is a comprehensive dictionary aimed at stabilizing and clearly defining the language of multimedia. This second edition has been completely revised and expanded and contains 1,500 entries, including 500 new terms or phrases, all clearly and concisely defined.Extensive cross-referencing, an annotated bibliography, and an acronym table are other useful additions to this dictionary.
In 1898, documentary footage of a yacht race was shot by Robert A. Mitchell, making him the first Irishman to shoot a film within Ireland. Despite early exposure to the filmmaking process, Ireland did not develop a regular film industry until the late 1910s when James Mark Sullivan established the Film Company of Ireland. Since that time, Ireland has played host to many famous films about the country_Man of Aran, The Quiet Man, The Crying Game, My Left Foot, and Bloody Sunday_as well as others not about the country_Braveheart and Saving Private Ryan. It has also produced great directors such as Neil Jordan and Jim Sheridan, as well as throngs of exceptional actors and actresses: Colin Farrel, Colm Meaney, Cillian Murphy, Liam Neeson, Maureen O'Hara, and Peter O'Toole. The Historical Dictionary of Irish Cinema provides essential facts on the history of Irish cinema through a list of acronyms and abbreviation; a chronology; an introduction; a bibliography; and hundreds of cross-referenced dictionary entries on the pioneers and current leaders in the industry, the actors, directors, distributors, exhibitors, schools, arts centers, the government bodies and some of the legislation they passed, and the films.
Founded on the premise that zoos are ‘bilingual’—that the zoo, in the shape of its staff and exhibits, and its visitors speak distinct languages—this enlightening analysis of the informal learning that occurs in zoos examines the ‘speech’ of exhibits and staff as well as the discourse of visitors beginning in the earliest years. Using real-life conversations among visitors as a basis for discussion, the authors interrogate children’s responses to the exhibits and by doing so develop an ‘informal learning model’ and a ‘zoo knowledge model’ that prompts suggestions for activities that classroom educators can use before, during, and after a zoo visit. Their analysis of the ‘visitor voice’ informs creative suggestions for how to enhance the educational experiences of young patrons. By assessing visitors’ entry knowledge and their interpretations of the exhibits, the authors establish a baseline for zoos that helps them to refine their communication with visitors, for example in expanding knowledge of issues concerning biodiversity and biological conservation. The book includes practical advice for zoo and classroom educators about positive ways to prepare for zoo visits, engaging activities during visits, and follow-up work that maximizes the pedagogical benefits. It also reflects on the interplay between the developing role of zoos as facilitators of learning, and the ways in which zoos help visitors assimilate the knowledge on offer. In addition to being essential reading for educators in zoos and in the classroom, this volume is full of insights with much broader contextual relevance for getting the most out of museum visits and field trips in general.
In the Middle Ages Ireland's extensive and now famous literature was unknown outside the Gaelic-speaking world of Ireland, Scotland, and the Isle of Man - with Wales an important exception. Irish emigrants had settled in Wales from the fifth century onwards, Irish scholars worked in Wales in the ninth century, and throughout the Middle Ages there were ecclesiastical, mercantile, and military contacts across the Irish Sea. From this standpoint, it is not surprising that the names of Irish heroes such as Cú Roí, Cú Chulainn, Finn, and Deirdre became known to Welsh poets, and that Irish narratives influenced the authors of the Welsh Mabinogion. Yet the Welsh and Irish languages were not mutually comprehensible, the degree to which the two countries still shared a common Celtic inheritance is contested, and Latin provided a convenient lingua franca. Could some of the similarities between the Irish and Welsh literatures be due to independent influences or even to coincidence? Patrick Sims-Williams provides a new approach to these controversial questions, situating them in the context of the rest of medieval literature and international folklore. The result is the first comprehensive estimation of the extent to which Irish literature influenced medieval Welsh literature. This book will be of interest not only to medievalists but to all those concerned with the problem of how to recognize and evaluate literary influence.
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