The basic set of this work consists of 1851-1974, v. 1-22. Supplements will periodically update information.

Hailed as one of the "most significant books of the twentieth century" by Journalism and Mass Communication Quarterly, Mediating the Message has long been an essential text for media effects scholars and students of media sociology. This new edition of the classic media sociology textbook now offers students a comprehensive, theoretical approach to media content in the twenty-first century, with an added focus on entertainment media and the Internet.

The basic set of this work consists of 1851-1974, v. 1-22. Supplements will periodically update information.

Drawing from a rich corpus of art works, including sarcophagi, tomb paintings, and floor mosaics, Patrick R. Crowley investigates how something as insubstantial as a ghost could be made visible through the material grit of stone and paint. In this fresh and wide-ranging study, he uses the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. Tracing the shifting practices and debates in antiquity about the nature of vision and representation, Crowley shows how images of ghosts make visible structures of beholding and strategies of depiction. Yet the figure of the ghost simultaneously contributes to a broader conceptual history that accounts for how modalities of belief emerged and developed in antiquity. Neither illustrations of ancient beliefs in ghosts nor depictions of afterlife, these images show us something about the visual event of seeing itself. The Phantom Image offers essential insight into ancient art, visual culture, and the history of the image.

Below the level of the musical note lies the realm of microsound, of sound particles lasting less than one-tenth of a second. Recent technological advances allow us to probe and manipulate these pinpoints of sound, dissolving the traditional building blocks of music—notes and their intervals—into a more fluid and supple medium. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as particle density increases. Sounds coalesce, evaporate, and mutate into other sounds. Composers have used theories of microsound in computer music since the 1950s. Distinguished practitioners include Karlheinz Stockhausen and Iannis Xenakis. Today, with the increased interest in computer and electronic music, many young composers and software synthesis developers are exploring its advantages. Covering all aspects of composition with sound particles, Microsound offers composition theory, historical accounts, technical overviews, acoustical experiments, descriptions of musical works, and aesthetic reflections.

In spite of all the papers that others have written about the manuscript, there is no complete survey of all the approaches, ideas, background information and analytic studies that have accumulated over the nearly fifty-five years since the manuscript was discovered by Wilfrid M. Voynich in 1912. This report pulls together all the information the author could obtain from all the sources she has examined, and to present it in an orderly fashion. The resulting survey will provide a firm basis upon which other students may build their work, whether they seek to decipher the text or simply to learn more about the problem.

The basic set of this work consists of 1851-1974, v. 1-22. Supplements will periodically update information.