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RBmedia, the largest audiobook publisher in the world, today announced record-breaking 2022 performance. The company entered new strategic partnerships, expanded into key international markets, published more titles than ever before, and produced audiobooks for numerous New York Times bestsellers and literary award winners.

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RBmedia, the largest audiobook publisher in the world, today announced the acquisition of Ukemi Audiobooks and Dharma Audiobooks. Through this acquisition, the company will acquire both audiobook publishing businesses and their full catalog of titles.

A book or other type of monograph on CD-ROM, DVD, or disk is cited in a way similarto such books appearing in print, with these exceptions: Because special equipment is needed to view thesematerials, the type of medium (CD-ROM, DVD, disk) is placed in squarebrackets after the title.Ifthe CD-ROM, DVD, or disk has been updated or revised since the initialdate of publication, the date of update/revision is added in squarebrackets after the date of publication.Extent (pagination) is given in terms of the number and typeof physical pieces, such as 1 DVD or 2CD-ROMs.Physical description suchas color and size may be added after theextent.System requirements such asthe names and versions of any required software may be included as anote.

While all books have elements in common for citation purposes (such as author, title,publisher information, and date), specific types of monographs have additionalelements. For example, technical report citations should include report and contractnumbers and bibliography citations should include the time period covered and thenumber of references included. Citation examples for such specific types of booksare included below, but refer to the chapters covering these publications for moredetail.

This chapter includes citation rules for entire books on CD-ROM, DVD, or disk. Forciting parts or contributions to these books, combine the guidelines presented inthis chapter with those in Chapter 2B Individual Volumes of Books (Chapter 2B(1) Volumes With a Separate Title butWithout Separate Authors/Editors or Chapter 2B(2) Volumes With a Separate Title and SeparateAuthors/Editors), Chapter 2C Parts ofBooks, and Chapter 2D Contributions toBooks. See also examples44-45 below.

As when citing parts and contributions to print books, provide the length of the partor contribution to a book on CD-ROM, DVD, or disk whenever possible. If traditionalpage numbers are not present, calculate the extent of the part or contribution usingthe best means possible, i.e., number of paragraphs, screens, pages if printed out,or minutes if an oral presentation. Since screen size and print fonts vary, precedethe estimated number of screens and pages with the word about and place extentinformation in square brackets, such as [about 3 screens]. For parts andcontributions that contain hyperlinks, however, such as the last sample citation inexample 44, it will not be possible toprovide the length.

Giardino AP. Child maltreatment: training modules and slide sets [CD-ROM]. St.Louis (MO): G.W. Medical Pub.; c2000. 1 CD-ROM: 4 3/4 in. Accompanied by: 3 vol. of instructional modules and3 vol. of workbooks.

In the UK and certain countries in Europe, you can buy directly from Usborne or from an Independent Usborne Partner. In the USA you can buy books via links to Usborne Books & More, the website of our US distributors.

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Some of us still have CD players and listed to great audiobooks with our chlldren, in the car, making dinner or just relaxing at the end of the day. Here's a selection of great audiobooks for everyday listening.

The initial motivation behind the series came from a childhood fantasy of Mark Schlichting's to enter into the picture book world of Dr. Seuss's Horton Hears a Who!; to visit the houses of Whoville and interact with the "weird and fantastical instruments and contraptions".[4][5][6] As a boy he was enamoured by the fantasy worlds of children's picture books through Dr. Seuss and the magic of animation through Disney.[7][6] Further inspiration came out of his concern as a father to video gaming boys.[8] By 1986 Schlichting had "Nintendo guilt", observing how his sons were engaged with Nintendo titles for hours, working cooperatively and diligently, but unable to focus on their homework.[4] Their focus was on level mastery, but they couldn't find any titles both educational and fun enough to hold their interest.[6] Schlichting wanted this same level of cognitive involvement with something more substantive,[8] matching the attention-grabbing play aspects of popular games with meaningful content.[6] He devised a concept of "highly interactive animated picture books for children" that would "delight and engage kids but that also had real learning content as well",[4] which would evolve into Living Books.[6]

The then-unknown designer[13] began pitching the CD-ROM-based Living Books around the company[8] "to anyone who would listen"[4] and presented his prototype to demonstrate the concept.[4] Schlichting argued that the "driving force" to make these storybooks interactive was due to the "natural draw and deep interest" that children experience with technological interaction like games; he therefore wanted to offer the ability to "explore and learn through discovery at their own pace".[5] He pitched, "I wanted to harness some of that natural draw that computers have for kids...You know how flowers follow the sun? That's called heliotropism. Well, kids have a 'computertropism'".[13] He "lobbied his bosses" to allow him start a CD-ROM division that would "add a new dimension to children's books",[14] pitching to increasingly senior staff from his superior Michele Bushneff, to her boss Vice President of Broderbund John Baker, and eventually reaching Broderbund co-founder and CEO Doug Carlston, all of whom offered encouragement in different ways.[4] Baker felt that the idea of talking computer books was "obvious and simple" and that it was difficult to imagine them holding the interest of a child; he also thought that animated parents could create the same amount of "involvement and character identification" as an onscreen book through their real-life storytelling.[15] However, he conceded that the medium offered an opportunity to "charm" the user through its design.[15]

Living Books included the printed versions of the paperback books with the software to ensure there would be continuity where kids could play between the two and to encourage non-digital reading.[17][64] Additionally, children were able to follow along in the physical book as the program read the story, and parents had the option of reading to the child the "old-fashioned way".[48]

Originally designed for children in preschool and early elementary aged three to eight,[77][8] the storybooks found audiences ranging as young as two and some programs reached kids nine and older,[13][8] Schlichting noted that while younger players would click the words in sequence to "map the story", older players will click the words out-of-order to build their own silly sentences,[46] allowing for "greater language play".[88] In Harry and the Haunted House, older players found amusement in creating the sentence "the zombie has a stinky but[t]".[11] This was a serendipitous form of play Schlichting never intended or expected.[11] The user was provided two options to engage, a passive 'read to me' mode and the interactive 'play along' mode.[53] By offering different play patterns depending on the user's level of reading fluency[17] players felt able to "own" the story by "playing with the individual pieces".[17] Users learn to read new words and also discover how words are constructed into sentences.[48] Arthur's Computer Adventure contains 401 words of interactive text estimated to be at grade 3 readability level.[49] The series included moral lessons, for instance Berenstain Bears Get into a Fight was released to help children with conflict resolution.[89]

Lucinda Ray, Education Product Manager at Brøderbund, developed the concept for, edited, and produced the Living Books School Edition.[90] These School Editions were developed with the aid of classroom teachers, reading specialists, and curriculum experts,[90] with an integrated language arts approach.[90] School Editions contain: the CD-ROM, a print version of the title book, Lesson Plans, a thematic unit with activities, an annotated bibliography of relevant literature, printable worksheets, and bonus books or audio cassettes.[90] They were designed specifically for teachers who are using the programs in a classroom, and included tech tips like shortcuts and special key commands to help guide the lesson.[91] In 1994, Broderbund produced a supplementary set for teachers called the Living Books Framework, featuring integrated teaching material for each of the first four Living Books titles for $489.95 including the Living Books CD-ROMs; presented in a three-ring binder, they featured the original picture storybooks, several other books, and a tape of Jack Prelusky reading his 'The New Kid on the Block' poems.[92] The kits also contained 'A Book Lover Approaches the Computer' articles that addressed key concerns of parents and teachers, technical tips, a curriculum matrix, a thematic unit, and classroom activities.[92] 041b061a72


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