Individuals (University Paperbacks; Up)


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If you read nothing else on strategy, read these 10 articles. The best leaders know how to communicate clearly and persuasively. How do you stack up? If you read nothing else on communicating effectively, read these 10 articles. If you read nothing else on managing people, read these 10 articles. Change is the one constant in business, and we must adapt or face obsolescence.

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Yet certain challenges never go away. Most teams underperform. Yours can beat the odds. If you read nothing else on building better teams, read these 10 articles. Stop pushing products—and start cultivating relationships with the right customers. If you read nothing else on marketing that delivers competitive advantage, read these 10 articles. To innovate profitably, you need more than just creativity. An open paperback presents a reader with two clearly defined domains—the left and right pages—and a total of eight corners with which to orient oneself.

A reader can focus on a single page of a paper book without losing sight of the whole text: one can see where the book begins and ends and where one page is in relation to those borders. One can even feel the thickness of the pages read in one hand and pages to be read in the other. Turning the pages of a paper book is like leaving one footprint after another on the trail—there's a rhythm to it and a visible record of how far one has traveled. All these features not only make text in a paper book easily navigable, they also make it easier to form a coherent mental map of the text.

In contrast, most screens, e-readers, smartphones and tablets interfere with intuitive navigation of a text and inhibit people from mapping the journey in their minds. A reader of digital text might scroll through a seamless stream of words, tap forward one page at a time or use the search function to immediately locate a particular phrase—but it is difficult to see any one passage in the context of the entire text. As an analogy, imagine if Google Maps allowed people to navigate street by individual street, as well as to teleport to any specific address, but prevented them from zooming out to see a neighborhood, state or country.

Although e-readers like the Kindle and tablets like the iPad re-create pagination—sometimes complete with page numbers, headers and illustrations—the screen only displays a single virtual page: it is there and then it is gone. Instead of hiking the trail yourself, the trees, rocks and moss move past you in flashes with no trace of what came before and no way to see what lies ahead. I don't think e-book manufacturers have thought enough about how you might visualize where you are in a book. In a study published in January Anne Mangen of the University of Stavanger in Norway and her colleagues asked 72 10th-grade students of similar reading ability to study one narrative and one expository text, each about 1, words in length.

Half the students read the texts on paper and half read them in pdf files on computers with inch liquid-crystal display LCD monitors. Afterward, students completed reading-comprehension tests consisting of multiple-choice and short-answer questions, during which they had access to the texts. Students who read the texts on computers performed a little worse than students who read on paper.

Based on observations during the study, Mangen thinks that students reading pdf files had a more difficult time finding particular information when referencing the texts. Volunteers on computers could only scroll or click through the pdfs one section at a time, whereas students reading on paper could hold the text in its entirety in their hands and quickly switch between different pages. Because of their easy navigability, paper books and documents may be better suited to absorption in a text.

Supporting this research, surveys indicate that screens and e-readers interfere with two other important aspects of navigating texts: serendipity and a sense of control. People report that they enjoy flipping to a previous section of a paper book when a sentence surfaces a memory of something they read earlier, for example, or quickly scanning ahead on a whim.

People also like to have as much control over a text as possible—to highlight with chemical ink, easily write notes to themselves in the margins as well as deform the paper however they choose. Because of these preferences—and because getting away from multipurpose screens improves concentration—people consistently say that when they really want to dive into a text, they read it on paper.

In a survey of graduate students at National Taiwan University, the majority reported browsing a few paragraphs online before printing out the whole text for more in-depth reading. A survey of millennials people born between and the early s at Salve Regina University in Rhode Island concluded that, "when it comes to reading a book, even they prefer good, old-fashioned print".

And in a study conducted at the National Autonomous University of Mexico, nearly 80 percent of surveyed students preferred to read text on paper as opposed to on a screen in order to "understand it with clarity". Surveys and consumer reports also suggest that the sensory experiences typically associated with reading—especially tactile experiences—matter to people more than one might assume. Text on a computer, an e-reader and—somewhat ironically—on any touch-screen device is far more intangible than text on paper.

Whereas a paper book is made from pages of printed letters fixed in a particular arrangement, the text that appears on a screen is not part of the device's hardware—it is an ephemeral image. When reading a paper book, one can feel the paper and ink and smooth or fold a page with one's fingers; the pages make a distinctive sound when turned; and underlining or highlighting a sentence with ink permanently alters the paper's chemistry.

So far, digital texts have not satisfyingly replicated this kind of tactility although some companies are innovating, at least with keyboards. Paper books also have an immediately discernible size, shape and weight. We might refer to a hardcover edition of War and Peace as a hefty tome or a paperback Heart of Darkness as a slim volume. In contrast, although a digital text has a length—which is sometimes represented with a scroll or progress bar—it has no obvious shape or thickness.

An e-reader always weighs the same, regardless of whether you are reading Proust's magnum opus or one of Hemingway's short stories. Some researchers have found that these discrepancies create enough " haptic dissonance " to dissuade some people from using e-readers.

People expect books to look, feel and even smell a certain way; when they do not, reading sometimes becomes less enjoyable or even unpleasant. For others, the convenience of a slim portable e-reader outweighs any attachment they might have to the feel of paper books. Exhaustive reading Although many old and recent studies conclude that people understand what they read on paper more thoroughly than what they read on screens, the differences are often small. Some experiments, however, suggest that researchers should look not just at immediate reading comprehension, but also at long-term memory.

In a study Kate Garland of the University of Leicester and her colleagues asked 50 British college students to read study material from an introductory economics course either on a computer monitor or in a spiral-bound booklet. After 20 minutes of reading Garland and her colleagues quizzed the students with multiple-choice questions.

Students scored equally well regardless of the medium, but differed in how they remembered the information. Psychologists distinguish between remembering something—which is to recall a piece of information along with contextual details, such as where, when and how one learned it—and knowing something, which is feeling that something is true without remembering how one learned the information.

Generally, remembering is a weaker form of memory that is likely to fade unless it is converted into more stable, long-term memory that is "known" from then on. When taking the quiz, volunteers who had read study material on a monitor relied much more on remembering than on knowing, whereas students who read on paper depended equally on remembering and knowing. Garland and her colleagues think that students who read on paper learned the study material more thoroughly more quickly; they did not have to spend a lot of time searching their minds for information from the text, trying to trigger the right memory—they often just knew the answers.

Other researchers have suggested that people comprehend less when they read on a screen because screen-based reading is more physically and mentally taxing than reading on paper. E-ink is easy on the eyes because it reflects ambient light just like a paper book, but computer screens, smartphones and tablets like the iPad shine light directly into people's faces. Depending on the model of the device, glare, pixilation and flickers can also tire the eyes.

Bohun Beet, and in Canada and Australia there were small, functional depots in the cities and an army of educational representatives penetrating the rural fastnesses to sell the Press's stock as well as books published by firms whose agencies were held by the Press, very often including fiction and light reading. In India, the Branch depots in Bombay, Madras, and Calcutta were imposing establishments with sizable stock inventories, for the Presidencies themselves were large markets, and the educational representatives there dealt mostly with upcountry trade.

The Depression of dried profits from the Americas to a trickle, and India became 'the one bright spot' in an otherwise dismal picture. Bombay was the nodal point for distribution to the Africas and onward sale to Australasia, and people who trained at the three major depots moved later on to pioneer branches in Africa and South East Asia. The London blitz this time was much more intense and the London Business was shifted temporarily to Oxford. Milford, now extremely unwell and reeling under a series of personal bereavements, was prevailed upon to stay till the end of the war and keep the business going.

As before, everything was in short supply, but the U-boat threat made shipping doubly uncertain, and the letterbooks are full of doleful records of consignments lost at sea. Occasionally an author, too, would be reported missing or dead, as well as staff who were now scattered over the battlefields of the globe. DORA, the Defence of the Realm Act , required the surrender of all nonessential metal for the manufacture of armaments, and many valuable electrotype plates were melted down by government order.

With the end of the war Milford's place was taken by Geoffrey Cumberlege. This period saw consolidation in the face of the breakup of the Empire and the post-war reorganization of the Commonwealth. In tandem with institutions like the British Council , OUP began to reposition itself in the education market. Subsequently, it took over marketing of all books of its parent from Macmillan.

The North American branch grew in sales between and , eventually becoming one of the leading university presses in the United States. It is focused on scholarly and reference books, Bibles, and college and medical textbooks. In the s, this office moved from Madison Avenue a building it shared with Putnam Publishing to Madison Avenue, which was the former B.

Altman and Company headquarters. In December Cobb returned and rendered his accounts for his Asia trip that year. Cobb then proposed to Milford that the Press join a combination of firms to send commercial travellers around South America, to which Milford in principle agreed. Cobb obtained the services of a man called Steer first name unknown to travel through Argentina, Brazil, Uruguay, Chile and possibly other countries as well, with Cobb to be responsible for Steer.

Steer's trip was a disaster, and Milford remarked gloomily that it 'bid fair to be the most costly and least productive on record' of all traveller's trips. The Press was obliged to disburse 80 percent of the value of the books he had carried as 'incidental expenses', so even if they had got substantial orders they would still have made a loss. Few orders did in fact come out of the trip, and when Steer's box of samples returned, the London office found that they had not been opened further down than the second layer.

While actual purchase of this series was beyond the means of most Indians, libraries usually had a set, generously provided by the government of India, available on open reference shelves, and the books had been widely discussed in the Indian press. It was there to serve the vast educational market created by the rapidly expanding school and college network in British India.

In spite of disruptions caused by war, it won a crucial contract to print textbooks for the Central Provinces in and this helped to stabilize its fortunes in this difficult phase. Rieu could not longer delay his callup and was drafted in , the management then being under his wife Nellie Rieu, a former editor for the Athenaeum 'with the assistance of her two British babies. At one point non-governmental composition at Oxford was reduced to 32 pages a week.

By , Rieu was very ill and had to be brought home. He was replaced by Geoffrey Cumberlege and Noel Carrington. Noel was the brother of Dora Carrington , the artist, and even got her to illustrate his Stories Retold edition of Don Quixote for the Indian market. Their father Charles Carrington had been a railway engineer in India in the nineteenth century. By there were makeshift depots at Madras and Calcutta. In , Noel Carrington went to Calcutta to set up a proper branch. There he became friendly with Edward Thompson who involved him in the abortive scheme to produce the 'Oxford Book of Bengali Verse'.

OUP's interaction with this area was part of their mission to India, since many of their travellers took in East and South East Asia on their way out to or back from India. Graydon on his first trip in had travelled the 'Straits Settlements' largely the Federated Malay States and Singapore , China, and Japan, but was not able to do much. In , A. Cobb visited teachers and booksellers in Shanghai, and found that the main competition there was cheap books from America, often straight reprints of British books.

To secure copyright in both territories publishers had to arrange for simultaneous publication, an endless logistical headache in this age of steamships. Prior publication in any one territory forfeited copyright protection in the other. They also traded with Edward Evans, another Shanghai bookseller. Milford observed, 'we ought to do much more in China than we are doing' and authorized Cobb in to find a replacement for Henzell as their representative to the educational authorities. Verne McNeely, a redoubtable lady who was a member of the Society for the Propagation of Christian Knowledge , and also ran a bookshop.

She looked after the affairs of the Press very capably and occasionally sent Milford boxes of complimentary cigars.

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Bibles were the major item of trade in China, unlike India where educational books topped the lists, even if Oxford's lavishly produced and expensive Bible editions were not very competitive beside cheap American ones. In the s, once the Indian Branch was up and running, it became the custom for staff members going out or returning to take a tour of East and South East Asia. Milford's nephew R. Christopher Bradby went out in He returned to Britain just in time, for on 18 October , the Japanese invaded Manchuria.

Miss M. Verne McNeely wrote a letter of protest to the League of Nations and one of despair to Milford, who tried to comfort her. The Maruzen company was by far the largest customer, and had a special arrangement regarding terms. Other business was routed through H. Griffiths, a professional publishers' representative based in Sannomiya , Kobe.

Griffiths travelled for the Press to major Japanese schools and bookshops and took a 10 percent commission. Edmund Blunden had been briefly at the University of Tokyo and put the Press in touch with the university booksellers, Fukumoto Stroin. One important acquisition did come from Japan, however: A. Hornby 's Advanced Learner's Dictionary. It also publishes textbooks for the primary and secondary education curriculum in Hong Kong. Some trade with East Africa passed through Bombay. Its territory includes Botswana , Lesotho , Swaziland and Namibia , as well as South Africa , the biggest market of the five.

OUP Southern Africa is now one of the three biggest educational publishers in South Africa, and focuses its attention on publishing textbooks, dictionaries, atlases and supplementary material for schools, and textbooks for universities.

Its author base is overwhelmingly local, and in it entered into a partnership with the university to support scholarships for South Africans studying postgraduate degrees. Prior to the twentieth century, the Press at Oxford had occasionally printed a piece of music or a book relating to musicology.

It had also published the Yattendon Hymnal in and, more significantly, the first edition of The English Hymnal in , under the editorship of Percy Dearmer and the then largely unknown Ralph Vaughan Williams. Such musical publishing enterprises, however, were rare: "In nineteenth-century Oxford the idea that music might in any sense be educational would not have been entertained", [72] and few of the Delegates or former Publishers were themselves musical or had extensive music backgrounds. In the London office, however, Milford had musical taste, and had connections particularly with the world of church and cathedral musicians.

In , Milford hired Hubert J. Foss , originally as an assistant to Educational Manager V.

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In that work, Foss showed energy and imagination. However, as Sutcliffe says, Foss, a modest composer and gifted pianist, "was not particularly interested in education; he was passionately interested in music. There is no clear record of the thought process whereby the Press would enter into the publishing of music for performance.

Foss's presence, and his knowledge, ability, enthusiasm, and imagination may well have been the catalyst bringing hitherto unconnected activities together in Milford's mind, as another new venture similar to the establishment of the overseas branches. Milford may not have fully understood what he was undertaking.

A fiftieth anniversary pamphlet published by the Music Department in says that OUP had "no knowledge of the music trade, no representative to sell to music shops, and—it seems—no awareness that sheet music was in any way a different commodity from books. He bought the Anglo-French Music Company and all its facilities, connections, and resources. He hired Norman Peterkin, a moderately well-known musician, as full-time sales manager for music.

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And in he established as a separate division the Music Department, with its own offices in Amen House and with Foss as first Musical Editor. Then, other than general support, Milford left Foss largely to his own devices. Foss responded with incredible energy. He worked to establish "the largest possible list in the shortest possible time", [76] adding titles at the rate of over a year; eight years later there were titles in the catalogue. In the year of the department's establishment, Foss began a series of inexpensive but well edited and printed choral pieces under the series title "Oxford Choral Songs".

This series, under the general editorship of W. Whittaker, was OUP's first commitment to the publishing of music for performance, rather than in book form or for study. The series plan was expanded by adding the similarly inexpensive but high-quality "Oxford Church Music" and "Tudor Church Music" taken over from the Carnegie UK Trust ; all these series continue today.

The scheme of contributed essays Foss had originally brought to Milford appeared in as the Heritage of Music two more volumes would appear over the next thirty years. Percy Scholes 's Listener's Guide to Music originally published in was similarly brought into the new department as the first of a series of books on music appreciation for the listening public. Perhaps most importantly, Foss seemed to have a knack for finding new composers of what he regarded as distinctively English music , which had broad appeal to the public.

This concentration provided OUP two mutually reinforcing benefits: a niche in music publishing unoccupied by potential competitors, and a branch of music performance and composition that the English themselves had largely neglected. Hinnells proposes that the early Music Department's "mixture of scholarship and cultural nationalism" in an area of music with largely unknown commercial prospects was driven by its sense of cultural philanthropy given the Press's academic background and a desire to promote "national music outside the German mainstream.

In what the Press called "the most durable gentleman's agreement in the history of modern music," [76] Foss guaranteed the publication of any music that Vaughan Williams would care to offer them. In addition, Foss worked to secure OUP's rights not only to music publication and live performance, but the "mechanical" rights to recording and broadcast. It was not at all clear at the time how significant these would become.

Indeed, Foss, OUP, and a number of composers at first declined to join or support the Performing Right Society , fearing that its fees would discourage performance in the new media. Later years would show that, to the contrary, these forms of music would prove more lucrative than the traditional venues of music publishing.

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Whatever the Music Department's growth in quantity, breadth of musical offering, and reputation amongst both musicians and the general public, the whole question of financial return came to a head in the s. Milford as London publisher had fully supported the Music Department during its years of formation and growth. However, he came under increasing pressure from the Delegates in Oxford concerning the continued flow of expenditures from what seemed to them an unprofitable venture. In their mind, the operations at Amen House were supposed to be both academically respectable and financially remunerative.

The London office "existed to make money for the Clarendon Press to spend on the promotion of learning. In contrast, the Music Department's emphasis on music for performance was comparatively long-term and continuing, particularly as income from recurring broadcasts or recordings came in, and as it continued to build its relationships with new and upcoming musicians.

The Delegates were not comfortable with Foss's viewpoint: "I still think this word 'loss' is a misnomer: is it not really capital invested?

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