This is a study of the forms and institutions of print - newspapers, books, scholarly editions, publishing, libraries - as they relate to and are changed by emergent digital forms and institutions. In the early 1990s hypertext was briefly hailed as a liberating writing tool for non-linear creation. Fast forward no more than a decade, and we are reading old books from screens. It is, however, the newspaper, for around two hundred years print's most powerful mass vehicle, whose economy persuasively shapes its electronic remediation through huge digitization initiatives, dominated by a handful of centralizing service providers, funded and wrapped round by online advertising. The error is to assume a culture of total replacement. The Internet is just another information space, sharing characteristics that have always defined such spaces - wonderfully effective and unstable, loaded with valuable resources and misinformation; that is, both good and bad. This is why it is important that writers, critics, publishers and librarians - in modern parlance, the knowledge providers - be critically engaged in shaping and regulating cyberspace, and not merely the passive instruments or unreflecting users of the digital tools in our hands.

1. Everyday legal ontology as a challenge to normative solipsism 1.1. Normative solipsism – 1.2. Three open questions of Petrażycki’s legal theory – 1.3. The subject-matter of this book – 1.4. The major ontological kinds and the way they are mirrored in naïve language 2. Ethical illusions produced by projective processes 2.1. Introduction – 2.2. What can projections explain? – 2.3. Petrażycki’s projective process – 2.4. The degree of stability of projective qualities and its linguistic consequences – 2.5. Two constituents of the stability of projective qualities – 2.6. The connection of subjective stability and intersubjective diffusion with the psychological development of realism 3. Illusions produced by the features of the super-ego 3.1. The limits of Petrażycki’s projective hypothesis – 3.2. The differentiae specificae of ethical emotions – 3.3. Why the explanation here proposed to the illusions of imperatives and prohibitions is different from Petrażycki’s – 3.4. The illusions of norms and the role of the concept of norm as a basic theoretical concept – 3.5. Ethical emotions, aggressiveness and ethical sadism – 3.6. Shame, guilt, pride, anger and indignation – 3.7. Is the hypothesis of a super-ego falsifiable in Popper’s sense? 4. Illusions produced by the features of legal emotions 4.1. Naïve legal entities – 4.2. Moral vs. legal experience – 4.3. Features associated to moral vs. legal experiences, respectively – 4.4. Kinds of legal relationships – 4.4.1. facere-accipere (obligatedness/obligatoriness) – 4.4.2. nonfacere-nonpati (prohibitedness) – 4.4.3. pati-facere (permittedness) – 4.4.4. pati-nonfacere (omissibility) – 4.4.5. Absence-of-ethical-phenomena and ethical indifference – 4.5. Pure attributive phenomena – 4.6. The degree of cognitive salience of the different kinds of legal relationship and the factors conducive to the detachment of debts – 4.6.1. Bilaterality – 4.6.2. Transferability – 4.6.3. Transitoriness – 4.6.4. Fungibility – 4.6.5. Transformability – 4.7. Duties – 4.8. Rights vs. powers? – 4.9. The factors conducive to the detachment of permittednesses/authoritativenesses into illusions of free-standing entities – 4.9.1. Bilaterality – 4.9.2. Transferability – 4.9.3. Transitoriness – 4.9.4-5. Fungibility and transformability – 4.10. Statutes, commands and the wishes of an autocrat – 4.11. The illusions of the amendment of a command/statute – 4.12. A case of undetachment: ownership Appendix: Moneyness as a naïve non-legal phenomenon References Index of names

'Jane Austen practising' Virginia Woolf Three notebooks of Jane Austen's teenage writings survive. The earliest pieces probably date from 1786 or 1787, around the time that Jane, aged 11 or 12, and her older sister and collaborator Cassandra left school. By this point Austen was already an indiscriminate and precocious reader, devouring pulp fiction and classic literature alike; what she read, she soon began to imitate and parody. Unlike many teenage writings then and now, these are not secret or agonized confessions entrusted to a private journal and for the writer's eyes alone. Rather, they are stories to be shared and admired by a named audience of family and friends. Devices and themes which appear subtly in Austen's later fiction run riot openly and exuberantly across the teenage page. Drunkenness, brawling, sexual misdemeanour, theft, and even murder prevail.

One of Jane Austen's final uncompleted novels, started in the January the year she died. Perhaps Austen's most original work, stepping away from the mystique of the country estates. This edition includes an introduction, notes and bibliography.

With a revised Introduction and with all chapters revised to bring them completely up-to date, this new edition remains the leading guide to research methods for final-year undergraduates, postgraduates taking Masters degrees and PhDs students of 19th- and 20th-century Literary Studies.

This book is open access under a CC-BY licence. Part of the AHRC/British Library Academic Book of the Future Project, this book interrogates current and emerging contexts of academic books from the perspectives of thirteen expert voices from the connected communities of publishing, academia, libraries, and bookselling.

How can we use digital media to understand reading, editing, and writing as literary processes? How can we design the digital medium in a way that goes beyond the printed codex? This book is an attempt to answer those fundamental questions by bringing together a new theory of literary studies with a highly dynamic digital environment. Using the digital archive of the modernist masterpiece Book of Disquiet, by the Portuguese writer Fernando Pessoa (1888-1935), as case study and site for simulation and practical experiment, Literary Simulation and the Digital Humanities demonstrates how computational approaches to texts can fully engage with the complexities of contemporary literary theory. Manuel Portela marshals a unique combination of theoretical speculation, literary analysis, and human imagination in what amounts to a significant critical intervention and a key advance in the use of digital methods to rethink the processes of reading and writing literature. The foregrounding of the foundational practices of reading, editing, and writing will be relevant for several fields, including literary studies, scholarly editing, software studies, and digital humanities.

Traditional critical editing, defined by the paper and print limitations of the book, is now considered by many to be inadequate for the expression and interpretation of complex works of literature. At the same time, digital developments are permitting us to extend the range of text objects we can reproduce and investigate critically - not just books, but newspapers, draft manuscripts and inscriptions on stone. Some exponents of the benefits of new information technologies argue that in future all editions should be produced in digital or online form. By contrast, others point to the fact that print, after more than five hundred years of development, continues to set the agenda for how we think about text, even in its non-print forms. This important book brings together leading textual critics, scholarly editors, technical specialists and publishers to discuss whether and how existing paradigms for developing and using critical editions are changing to reflect the increased commitment to and assumed significance of digital tools and methodologies.

The iPhone has revolutionized not only how people communicate but also how we consume and produce culture. Combining traditional and social media with mobile connectivity, smartphones have redefined and expanded the dimensions of everyday life, allowing individuals to personalize media as they move and process constant flows of data. Today, millions of consumers love and live by their iPhones, but what are the implications of its special technology on society, media, and culture? Featuring an eclectic mix of original essays, Moving Data explores the iPhone as technological prototype, lifestyle gadget, and platform for media creativity. Media experts, cultural critics, and scholars consider the device's newness and usability--even its "lickability"--and its "biographical" story. The book illuminates patterns of consumption; the fate of solitude against smartphone ubiquity; the economy of the App Store and its perceived "crisis of choice"; and the distance between the accessibility of digital information and the protocols governing its use. Alternating between critical and conceptual analyses, essays link the design of participatory media to the iPhone's technological features and sharing routines, and they follow the extent to which the pleasures of gesture-based interfaces are redefining media use and sensory experience. They also consider how user-led innovations, collaborative mapping, and creative empowerment are understood and reconciled through changes in mobile surveillance, personal rights, and prescriptive social software. Presenting a range of perspectives and arguments, this book reorients the practice and study of media critique.

Set against the backdrop of the Jacobite Rebellion of 1745, 'Waverley' tells the story of Edward Waverley, an idealistic daydreamer whose loyalty to his regiment is threatened when they are sent to the Scottish Highlands where he is drawn to Fergus Mac-Ivor and his beautiful sister, both loyal to Charles Stuart.