"In South Africa, the professional status of editors remains largely undefined. In certain industries, such as the publishing industry, editing is regarded as a professional activity, requiring well-defined, high-level skills linked to particular qualifications and experience. In other sectors, edit
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ing is regarded as an activity that can be done by anyone with an aptitude for languages. At present, editors in South Africa do not need to obtain any form of professional accreditation in order to practice legally. The South African Translators' Institute (SATI) does offer the option of accreditation in editing, but this is in no way enforceable. This article addresses issues surrounding the professionalization of editing in South Africa. In particular, it reports on an attitudinal survey done among editors, which aimed to gauge editors' perceptions and feelings about matters relating to skills, training, professionalization and accreditation. The article also considers the professionalization and accreditation processes for editors in Australia and Canada, and makes some suggestions for possible approaches to the professionalzsation of the editing professions in South Africa." (Hans M. Zell, Publishing, Books & Reading in Sub-Saharan Africa, 3d ed. 2008, nr. 2558)
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"Planning, monitoring and evaluation (PME) remains a challenge for many development organisations in spite of countless PME workshops, experts and manuals. Yet, we believe that effective PME is essential for organisational survival (and therefore for sustainable development) and that this can be nur
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tured through careful and sensitive PME training and facilitation. We do not propose here a PME manual: our aim in these pages is rather to share some of our real-life experiences as PME facilitators and to offer suggestions to support PME processes, with a focus on civil society organisations. As a group of facilitators who have worked on PME issues in different contexts, we realised that we confronted three common challenges: 1. First, a perception of PME as imposed, ‘technical’ and expensive [...] 2. Second, in terms of PME contents, there is a frequent focus on a particular project, or programme, rather than on the wider organisation, its reason for existence and the broader context in which it operates [...] 3. Third, we see PME support processes that emphasise training workshops which, however well delivered, seldom lead to successful PME application, let alone sustained use. This refl ects the limits of a one-shot method, as opposed to a more process-oriented approach, where PME is about day-to-day activities and attitudes, rather than ‘PME events’. So why this book? While we work in various countries, for different organisations and in different roles, we propose to share experiences that refl ect these common challenges and help to: 1. Embrace a ‘total organisation’ approach to PME, not only rooted in programmes, or projects, but with a wider perspective: that of the ‘total organisation’, with its financial dimension, its environment, its collaborators and competitors, in a context informed by local and national cultures [...] 2. Enhance custom-made PME. We have found that PME support is rarely effective if it is not customised to a particular organisation and its stakeholders [...] 3. Bring PME into daily learning practice so that it becomes part of mental processes within a partner organisation, changing mindsets and attitudes, while refl ecting contexts and capacities." (Pages 3-5)
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"Die Filmindustrie »ist nur religiös, wenn sie einen Markt dafür sieht. Die produziert nur die Kekse, die auch gegessen werden« (Regisseur Paul Verhoeven). Auch Gott und Religion sind solche »Kekse«! Offenkundig handelt es sich bei Unterhaltungsfilmen mit religiösen Motiven um Produkte, die d
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as große Publikum interessieren. Sie haben den unschätzbaren Vorteil, dass Gott und die Fragen nach dem »greater mystery out there« (Star Wars-Regisseur George Lucas) auf unterhaltsame und verständliche Weise präsentiert werden. Dies macht sich der vorliegende Band zu nutze, indem er die Filme zum Ausgangspunkt nimmt, um zentrale theologische Inhalte aufzubereiten. In der erweiterten und aktualisierten Auflage werden auch neue Filme wie etwa »Illuminati« und »Avatar« theologisch aufgearbeitet." (Verlagsbeschreibung)
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"A reporter for the Los Angeles Times once noted that “I Love Lucy is said to be on the air somewhere in the world 24 hours a day.” That Lucy’s madcap antics can be watched anywhere at any time is thanks to television syndication, a booming global marketplace that imports and exports TV shows.
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Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies. In Global TV, Denise D. Bielb and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led to explore the cultural significance of this global trade, and to ask how it is so remarkably successful despite the inherent cultural differences between shows and local audiences. How do culture-specific genres like American soap operas and Latin telenovelas so easily cross borders and adapt to new cultural surroundings? Why is The Nanny, whose gum-chewing star is from Queens, New York, a smash in Italy? Importantly, Bielby and Harrington also ask which kinds of shows fail. What is lost in translation? Considering such factors as censorship and other such state-specific policies, what are the inevitable constraints of crossing over? Highly experienced in the field, Bielby and Harrington provide a unique and richly textured look at global television through a cultural lens, one that has an undeniable and complex effect on what shows succeed and which do not on an international scale." (Publisher description)
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"This guide has been written for people in the UK public sector delivering online digital services who wish to research their audiences. Although it is focused on online digital services, it will also be useful for researching audiences reached via other channels. It is primarily aimed at non-expert
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s who do not have market research skills themselves, and who do not have access to dedicated market research teams. It is therefore likely to be most useful for people in small organisations / services, or those conducting small projects in larger organisations. It may also be useful for people procuring services who want to know what guidelines to provide, and for those setting policies." (Introduction, page 6)
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"What are the effects of television, and of role models portrayed in TV programs, on individual behavior? We focus on fertility choices in Brazil, a country where soap operas (novelas) portray families that are much smaller than in reality. We exploit differences in the timing of entry into differen
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t markets of Rede Globo, the network that has an effective monopoly on novelas production in this country. Using Census data for the period 1970-1991, we find that women living in areas covered by the Globo signal have significantly lower fertility. The effect is strongest for women of lower socioeconomic status and for women in the central and late phases of their fertility cycle, consistent with stopping behavior. The result is robust to placebo treatments and does not appear to be driven by selection in Globo entry. Finally, we provide suggestive evidence that novelas, and not just television, affected individual choices. First, people living in areas covered by the signal were more likely to name their children after novela characters. Second, entry of a network that relied on imported shows did not have a significant impact on fertility. Third, the impact of Globo presence was strongest for women close in age to the main novela characters." (Abstract)
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