Category Archives: Publishing

A Literary Guide to KwaZulu-Natal

For several years I was involved in a research project at the University of KwaZulu-Natal, researching authors, their books and places connected to them. We produced a number of author profiles and literary trails over the years (in collaboration with a number of co-researchers), which we published online. Working with UKZN Press, we have taken that research and compiled a literary guide, which was recently published.

Book details
KwaZulu-Natal is culturally rich, offering a wide range of writers – writing mainly in English and Zulu – who are linked through their lives and their writing to this province of South Africa. The writers include, to name just a few, Alan Paton, Roy Campbell, Lewis Nkosi, Ronnie Govender, Wilbur Smith, Daphne Rooke, Credo Mutwa and Gcina Mhlophe. And how better to understand a writer than to know about the places they are linked to? For example, who, after reading the lyrical opening sentences of Paton’s famous book Cry, the Beloved Country (1948) has not wanted to see this scene in reality?

There is a lovely road that runs from Ixopo into the hills. These hills are grass-covered and rolling, and they are lovely beyond any singing of it.

A Literary Guide to KwaZulu-Natal introduces you to the regions and writers through word and image, leading you imaginatively through this beautiful province.

This could include following the route a fictional character charts in a novel, visiting particular settings from a story or tracking down the places linked to a writer, whether a birthplace, home, burial site or significant setting. Literary tourists are interested in how places have influenced writing and at the same time how writing has created place.

  • A Literary Guide to KwaZulu-Natal by Niall McNulty, Lindy Stiebel
    ISBN: 978 1 86914 357 2
  • Read a few pages here …

 

Why curation could be the future of publishing

If you’re an educator, the need to create educational content can sometimes take away time from other educational and organisational roles. Curating content, rather than creating it, has become a viable way to produce engaging, stimulating educational materials that present learners with clear information pathways. What exactly do we mean, however, when we talk about ‘curating’ educational content?

Curating is selecting and arranging to add value

In Michael Bhaskar’s Curation: The Book, the author talks about ‘the power of selection in a world of excess.’ In a world where there is so much high-value content freely available online (content that is available for re-licensing), creating new material isn’t always necessary. Digital technology has resulted in information overload, too. There is so much content available that it is harder than ever to digest all the information available for a given topic.

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The changing role of the publisher in the age of plenty

By way of some background, I am currently the digital publishing manager at the African branch of Cambridge University Press (CUP), the publishing business of the University of Cambridge. Prior to joining CUP, I worked as a consultant conceptualising and implementing innovative digital solutions for academic and local government initiatives in South Africa. During this period I launched The Ulwazi Programme with colleagues from the eThekwini Municipality. This collaborative digital library project collated user-generated, local-language, indigenous knowledge content and published it openly under a Creative Commons license. Based on this experience, as well as my desire to explore how a traditional publishing business could engage with with the open movement and the plethora of freely-available content online, I applied to attend the Institute of Open Leadership (IOL) workshops. The week-long sessions were intense; a bootcamp in open licensing and open education. More importantly, the workshop brought together some of the top minds currently working on open ideas. In formal and informal discussions, these mentors shared their thinking with me on open business models, providing examples of successful and sustainable open initiatives. Continue reading

Pioneering home-language learning of mathematics in a digital environment in South Africa

Learning mathematics in a second language has been identified as a major barrier to understanding mathematical concepts and terms for South African learners. The Cambridge Maths Dictionary App (English and isiXhosa) is an easy to use, helpful mobile reference tool for South African learners aged between 10 and 15 years old (Grades 4 to 9). Written in a language that is easily accessible to non-­mother tongue speakers of English, the app  contains over 900 Maths terms and definitions in both English and isiXhosa. Words are explained using examples relevant to the South African context and entries are supported with compelling visual content  to further enhance the explanations and to reinforce the concepts.

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Copyright vs Creative Commons – what’s the difference?

These days everyone who spends time online is a producer of content. This content could be the blog posts you write, photographs you take, research articles you publish, videos you upload – the list goes! As the producer of the content, you get to decide how to license it. You can retain copyright (current standard and in most cases automatically assigned); you can decide to use a Creative Commons license and retain some rights; or you can release the content into the public domain, relinquishing all rights. The issue of copyright is an equally important consideration when developing and managing any online project, including an education project where you can decide whether to openly license your content or product as an Open Education Resource. Some organisations feel it is important to retain full rights to their content in order to commercially exploit them, however there is growing evidence that open business models (where some or all content rights are ‘opened’) can be successful in the ‘new economy’. I’ll write more on open business models in future posts. Deciding how to deal with copyright during the conceptual phase of a project is important and ensures that the project does not run into problems later, during the execution phases. With this in mind, I’ll attempt first to introduce the concept of copyright and then cover appropriate policies for digital education projects, including a discussion on Creative Commons.

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