Non-display uses of digital works: Google Books and beyond

With the advent of mass digitization projects, such as the Google Book Search, a peculiar shift has occurred in the way that copyright works are dealt with. Contrary to what has so far been the case, works are turned into machine-readable data to be automatically processed for various purposes without the expression of works being displayed to the public. In the Google Book Settlement Agreement, this new kind of usage is referred to as ‘non-display uses’ of digital works. The legitimacy of these uses has not yet been tested by Courts and does not comfortably fit in the current copyright doctrine, plainly because the works are not used as works but as something else, namely as data. Since non-display uses may prove to be a very lucrative market in the near future, with the potential to affect the way people use copyright works, we examine non-display uses under the prism of copyright principles to determine the boundaries of their legitimacy. Through this examination, we provide a categorization of the activities carried out under the heading of ‘non-display uses’, we examine their lawfulness under the current copyright doctrine and approach the phenomenon from the spectrum of data protection law that could apply, by analogy, to the use of copyright works as processable data.

Typography for children with reading difficulties: preferences for type in reading books

For children with developmental dyslexia the already challenging task of learning to read is made harder by difficulties with phonological processing and perceptual distortions. As a result, these children may be less motivated to practise their literacy skills. This is problematic in that literacy can only be gained through constant and continued exposure to reading scenarios, and children who are unmotivated to practise are unlikely to develop into fluent readers. Children are active in choosing the books they read and it is therefore important to understand how the typography in those books influences their choice. Research with typically developing children has shown that they have clear opinions about the typography in their reading materials and that these opinions are likely to influence their motivation to read particular books. However, it cannot be assumed that children with reading difficulties read and respond to texts in the same way as children who do not struggle. Through case-studies of three children with reading difficulties, preferences for the typography in their reading books is examined. Looking at elements of typesetting such as spacing and size shows that this group of children is aware of differences in typography and that they have preferences for how their reading books are typeset. These children showed a preference for books that resembled those that their peers are reading rather than those that would, by typographic convention, be considered easier to read. This study is part of ongoing research into the development of alternative materials for teaching literacy skills to children with dyslexia.

Let’s look at leeks! Picture books increase toddlers’ willingness to look at, taste and consume unfamiliar vegetables

Repeatedly looking at picture books about fruits and vegetables with parents enhances young children’s visual preferences towards the foods in the book (Houston-Price et al, 2009) and influences their willingness to taste these foods (Houston-Price, Butler & Shiba, 2009). This article explores whether the effects of picture book exposure are affected by infants' initial familiarity with and liking for the foods presented. In two experiments parents of 19- to 26-month-old toddlers were asked to read a picture book about a liked, disliked or unfamiliar fruit or vegetable with their child every day for two weeks. The impact of the intervention on both infants’ visual preferences and their eating behaviour was determined by the initial status of the target food, with the strongest effects for foods that were initially unfamiliar. Most strikingly, toddlers consumed more of the unfamiliar vegetable they had seen in their picture book than of a matched control vegetable. Results confirm the potential for picture books to play a positive role in encouraging healthy eating in your children.

Life before ‘The New Biography’: Modernist biographical methods in the Hogarth Press ‘Books on Tolstoi’ 1920-24

In the early 1920s, before Virginia Woolf wrote her now well-known essays “The New Biography” and “The Art of Biography,” the Hogarth Press published four biographies of Tolstoy. Each of these English translations of Russian works takes a different approach to biographical composition, and as a group they offer multiple and contradictory perspectives on Tolstoy’s character and on the genre of biography in the early twentieth century. These works show that Leonard and Virginia Woolf’s Hogarth Press took a multi-perspectival, modernist approach to publishing literary lives.

The reception of T. S. Bayer’s 'Historia Regni Graecorum Bactriani' (1738)

Theophilus (Gottlieb) Siegfried Bayer (1694-1738) is usually credited as the first person in modern times to address the history of the Greeks in Bactria in a serious way. Bayer’s Historia Regni Graecorum Bactriani, brings together numismatic and historical research. He describes two Graeco-Bactrian coins which he was able to examine first hand, and collects and comments upon the Classical historical sources on the Greek kingdoms of Bactria and India. It was published in St. Petersburg in 1738, where Bayer, a German, held an academic position. In this short article, I am interested in two questions surrounding the Historia Regni Graecorum Bactriani. First (and relatively briefly), how Bayer conducted his research without first hand access to source material and without himself travelling in Bactria – or indeed further east than St. Petersburg. Secondly, the way in which Bayer’s scholarship was received by some of his contemporaries and by later writers, outside the field of Bactrian studies.

Girls talk: authorship and authenticity in the reception of Lena Dunham's Girls

By examining the discourse around Lena Dunham's HBO comedy Girls (2012– present), this article argues that the programme served as a space to think through female authorship, televisual representations and cultural tensions surrounding young womanhood. Central to this discourse was the narrative asserting Girls' and Dunham's 'authenticity', originality and universality, which sought to legitimate her gendered authorship and interest in the comedy of female intimacy within HBO' s masculine prestige channel identity. Charting three cycles of discourse surrounding the programme's debut, this article explores the paratextual framing by promotional concerns, television critics and women' s websites. It highlights how journalists and critics furthered HBO's paratextual framing of Dunham, which was later countered by the networked spaces of niche online media, which used the programme as a space to productively work through industrial and cultural tensions; particularly those surrounding female comic authorship, autobiography and intersectionality.