The breadth of the pharmaceutical medicine can be daunting, but this book is designed to navigate a path through the speciality. Providing a broad overview of all topics relevant to the discipline of pharmaceutical medicine, it gives you the facts fast, in a user-friendly format, without having to dive through page upon page of dense text. With 136 chapters spread across 8 sections, the text offers a thorough grounding in issues ranging from medicines regulation to clinical trial design and data management. This makes it a useful revision aid for exams as well as giving you a taster of areas of pharmaceutical medicine adjacent to your current role. For healthcare professionals already working in the field, this book offers a guiding hand in difficult situations as well as supplying rapid access to the latest recommendations and guidelines. Written by authors with experience in the industry and drug regulation, this comprehensive and authoritative guide provides a shoulder to lean on throughout your pharmaceutical career.
Using examples of good as well as flawed research studies, this text explains how to decide whether the conclusions reported in an article are justified on the basis of the design and analysis of the experiment.
A trusted editor turns his attention to the most important part of writing: revision. So you’ve just finished writing something? Congratulations! Now revise it. Because revision is about getting from good to better, and it’s only finished when you decide to stop. But where to begin? In On Revision, William Germano shows authors how to take on the most critical stage of writing anything: rewriting it. For more than twenty years, thousands of writers have turned to Germano for his insider’s take on navigating the world of publishing. A professor, author, and veteran of the book industry, Germano knows what editors want and what writers need to know: Revising is not just correcting typos. Revising is about listening and seeing again. Revising is a rethinking of the principles from the ground up to understand why the writer is doing something, why they’re going somewhere, and why they’re taking the reader along with them. On Revision steps back to take in the big picture, showing authors how to hear their own writing voice and how to reread their work as if they didn’t write it. On Revision will show you how to know when your writing is actually done—and, until it is, what you need to do to get it there.
Libraries are places of learning and knowledge creation. Over the last two decades, digital technology—and the changes that came with it—have accelerated this transformation to a point where evolution starts to become a revolution. The wider Open Science movement, and Open Access in particular, is one of these changes and is already having a profound impact. Under the subscription model, the role of libraries was to buy or license content on behalf of their users and then act as gatekeepers to regulate access on behalf of rights holders. In a world where all research is open, the role of the library is shifting from licensing and disseminating to facilitating and supporting the publishing process itself. This requires a fundamental shift in terms of structures, tasks, and skills. It also changes the idea of a library’s collection. Under the subscription model, contemporary collections largely equal content bought from publishers. Under an open model, the collection is more likely to be the content created by the users of the library (researchers, staff, students, etc.), content that is now curated by the library. Instead of selecting external content, libraries have to understand the content created by their own users and help them to make it publicly available—be it through a local repository, payment of article processing charges, or through advice and guidance. Arguably, this is an overly simplified model that leaves aside special collections and other areas. Even so, it highlights the changes that research libraries are undergoing, changes that are likely to accelerate as a result of initiatives such as Plan S. This Special Issue investigates some of the changes in today’s library services that relate to open access.
How to transform a thesis into a publishable work that can engage audiences beyond the academic committee. When a dissertation crosses my desk, I usually want to grab it by its metaphorical lapels and give it a good shake. “You know something!” I would say if it could hear me. “Now tell it to us in language we can understand!” Since its publication in 2005, From Dissertation to Book has helped thousands of young academic authors get their books beyond the thesis committee and into the hands of interested publishers and general readers. Now revised and updated to reflect the evolution of scholarly publishing, this edition includes a new chapter arguing that the future of academic writing is in the hands of young scholars who must create work that meets the broader expectations of readers rather than the narrow requirements of academic committees. At the heart of From Dissertation to Book is the idea that revising the dissertation is fundamentally a process of shifting its focus from the concerns of a narrow audience—a committee or advisors—to those of a broader scholarly audience that wants writing to be both informative and engaging. William Germano offers clear guidance on how to do this, with advice on such topics as rethinking the table of contents, taming runaway footnotes, shaping chapter length, and confronting the limitations of jargon, alongside helpful timetables for light or heavy revision. Germano draws on his years of experience in both academia and publishing to show writers how to turn a dissertation into a book that an audience will actually enjoy, whether reading on a page or a screen. He also acknowledges that not all dissertations can or even should become books and explores other, often overlooked, options, such as turning them into journal articles or chapters in an edited work. With clear directions, engaging examples, and an eye for the idiosyncrasies of academic writing, he reveals to recent PhDs the secrets of careful and thoughtful revision—a skill that will be truly invaluable as they add “author” to their curriculum vitae.
If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, on a white—not a high—horse, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years. Organized as a series of “takes” that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain. Filled with anecdotes, asides, and real courage, Permissions, A Survival Guide is a unique handbook that anyone working in the visual arts will find invaluable, if not indispensable.
The pressure on graduate students and new PhDs to publish their work continues to grow with writing and publishing considered an important measure of career success within the academy. There is, however, more to the process of getting published than those who are new to the process initially realize. The aim of this guide is to clarify the process and offer advice. Getting Published in Academic Journals is written for graduate students and newly graduated PhDs who want to publish their research in peer-reviewed academic journals. Getting Published in Academic Journals draws on the experiences of the authors as editors of peer-reviewed journals, as teachers of writing-for-publication courses and workshops, as researchers of the scholarly publication process, as reviewers of hundreds of articles, and as published authors. The book is written to be used in courses and workshops on publishing, as a supplement to the books in the revised and updated English in Today's Research World (Swales & Feak) series, and as a stand-alone guide for academic writers working independently. Book jacket.
The essays collected in Tattooed Bodies draw on a range of theoretical paradigms and empirical knowledge to investigate tattoos, tattooing, and our complex relations with marks on skin. Engaging with diverse disciplinary perspectives in art history, continental philosophy, media studies, psychoanalysis, critical theory, literary studies, biopolitics, and cultural anthropology, the volume reflects the sheer diversity of meanings attributed to tattoos throughout history and across cultures. Essays explore conceptualizations of tattoos and tattooing in Derrida, Deleuze and Guattari, Lacan, Agamben, and Jean-Luc Nancy, while utilizing theoretical perspectives to interpret tattoos in literary works by Melville, Beckett, Kafka, Genet, and Jeff VanderMeer, among others. Tattooed Bodies prompts readers to explore a few significant questions: Are tattoos unique phenomena or an art medium in need of special theoretical exploration? If so, what conceptual paradigms and theories might best shape our understanding of tattoos and their complex ubiquity in world cultures and histories?
Higher Education is in a state of ferment. People are seriously discussing whether the medieval ideal of the university as being excellent in all areas makes sense today, given the number of universities that we have in the world. Student fees are changing the orientation of students to the system. The high rate of non repayment of fees in the UK is provoking difficult questions about whether the current system of funding makes sense. There are disputes about the ratio of research to teaching, and further discussions about the international delivery of courses.