My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

Flexographic printing is a common printing method in the packaging field. The printing method is characterized primarily by the flexible printing plate and the low viscosity inks which make it suitable for use on almost any substrate. The object of this study was to obtain further knowledge of the some important mechanisms of flexographic printing and how they influence the print quality. The thesis deals with printing primarily on board and liner but also on newsprint with water-borne ink using a full-scale flexographic central impression (CI) printing press. Several printing trials have been performed with a focus on the chemical interaction between the ink and substrate and the physical contact between the ink-covered printing plate and the substrate. Multicolour printing exposes the substrate to water from the water-containing ink. The emphasis was to investigate the relation between print quality and water-uptake of the paper surface with heat and water. Printing trials was carried out on substrates possessing a hydrophobic, and also a rather hydrophilic surface using a regular commercial water-borne ink. The favorable effect which water or surfactant solution had on the hydrophobic substrate with regard to print mottle could depend on its surface compressibility in combination with the hydrophobic nature of its surface that could affect the wetting properties. Conventional printing involves physical contact between plate and ink and between ink and substrate. A method for measuring the dynamic nip pressure using thin load cells is presented. Print quality was influenced by the plate material. A correction procedure taking into account the size of the sensor was developed in order to estimate the maximum dynamic pressure in the printing nip. An attempt was made to identify essential mechanical and chemical parameters, and also geometrical properties of the plate that affected print quality. Laboratory printing trials were carried out and a multivariate analysis was applied for evaluation of print quality data. The impact of the plate properties on print quality was evident. The essential properties of the plate that influence print quality were the small-scale roughness and long-scale roughness.

To ensure that photovoltaics contributes significantly to future world energy production, the cost per watt of producing solar cells needs to be drastically reduced. The use of n-type silicon wafers in conjunction with industrial print technology has the potential to lower the cost per watt of solar cells. The use of n-type silicon is expected to allow the use of cheaper Cz substrates, without a corresponding loss in device efficiency. Printed metallisation is well utilised by the PV industry due to its low cost, yet there are few examples of its application to n-type solar cells. This thesis explores the use of n-type Cz silicon with printed metallisation and diffusion from printed sources in creating industrially applicable solar cell structures. The thesis begins with an overview of existing n-type solar cell structures, previous printed thick film metallisation research and previous research into printed dopant sources. A study of printed thick-film metallisation for n-type solar cells is then presented, which details the fabrication of boron doped p-type emitters followed by a survey of thick film Ag, Al, and Ag/Al inks for making contact to a p-emitter layer. Drawbacks of the various inks include high contact resistance, low metal conductivity or both. A cofire regime for front and rear contacts is established and an optimal emitter selected. A study of printed dopant pastes is presented, with an objective to achieve selective, heavily doped regions under metal contacts without significantly compromising minority carrier lifetime in solar cells. It is found that heavily doped regions are achievable with both boron and phosphorus, but that only phosphorus paste was capable of post-processing lifetime compatible with good efficiencies. The effect of belt furnace processing on n-type silicon wafers is explored, with large losses in implied voltage observed due to contamination of Si wafers from transition metals present in the belt furnace. Due to exposure to chromium in the belt furnace, no significant advantage in using n-type wafers instead of p-type is observed during the belt furnace processing step. Finally, working solar cells with efficiencies up to 16.1% are fabricated utilising knowledge acquired in the earlier chapters. The solar cells are characterised using several new photoluminescence techniques, including photoluminescence with current extraction to measure the quality of metal contacts. The work in this thesis indicates that n-type printed silicon solar cell technology shows potential for good performance at low cost.

Square open loop resonator (SOLR) bandpass filters fabricated with additive manufacturing techniques are presented and studied. One filter contains novel 3D capacitive plates used to enhance resonator coupling. The filters are centered at 2.45 GHz and loaded with capacitors for miniaturization as low as 21% that of a conventional SOLR bandpass filter. The pass-band insertion loss of the filters ranges from 3.8 dB to 5.5 dB and the 3 dB bandwidth ranges from 180 MHz to 250 MHz. Also, degradation in the effective conductivity of printed ink as a function of substrate roughness is analyzed. Finally, a study of dielectric and metallic 3D printing processes that are candidates for digital manufacturing of integrated mobile phone client antennas is presented.

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: In the recent past, the large-scale production and marketing of e-reading devices, such as Amazon’s Kindle, and tablet computers, such as Apple’s iPad, have allowed literary works to be presented in a digital reading space, both in the form of standard e-books and, more recently, as enhanced or “amplified” e-books. Much of the position-taking on the matter is polarised: technologists continue to imagine the myriad possibilities of multimodal online “stories”, focusing on opportunities for interactive engagement, while the guardians of literary tradition fear the digital reading space might well cause fluency disruptions and break the hermeneutic immersion necessary for strong reading, irrevocably altering a traditional, paper-based reading experience known to promote a state of deep attention and imaginatively engaged reading. This thesis looks realistically at the current literary climate in which the so-called “digital native” operates, scrutinises the “print” versus “electronic” debate, paying careful attention to how an online environment may well prevent hermeneutic immersion, and then discusses recent enhanced literary products, such as the transmedia fiction title, Chopsticks (Penguin Group USA 2012), and the nonfiction titles released by online publisher Atavist. Then, in an attempt to bridge the gap between the technologists and the print-book purists, and based on what might be considered to be literature’s original value, the thesis proposes a digital reading product in which a formalised set of conventions and a strategic instructional design, or interface, attempts to protect the qualities of traditional, paper-based reading, while at the same time taking advantage of on-screen, online environments to reconnect digital natives with the relevance of past literatures. More specifically, the product presented herein is an attempt to demonstrate 1) how a new aesthetic of literary presentation might stimulate renewed interest in the humanities and liberal arts; 2) how fiction might be reinstated as one of the central components in the education process; 3) how works of fiction that have become increasingly obscure over time or inaccessible to young people might be re-energised; and 4) how what one might call “local” literatures might be “de-parochialised” within an increasingly globalised reading environment. / AFRIKAANSE OPSOMMING: Die produksie en bemarking op groot skaal van e-lesers soos Amazon se Kindle en tabletvormige rekenaars soos Apple se iPad het dit moontlik gemaak om letterkunde in ’n digitale ruimte aan te bied, hetsy in die vorm van e-boeke, of (meer onlangs) in versterkte en “aangevulde” e-boek vorm. Meningsvorming rondom die letterkundige toepaslikheid van e-boeke is sterk gepolariseerd: tegnoloë sien net die magdom moontlikhede raak wat multi-modale aanlyn stories en interaktiewe betrokkenheid inhou, terwyl tradisionele literêre kurators vrese koester oor hoe die digitale leesruimte inbreuk sal maak op die vloei en hermeneutiese onderdompeling nodig vir ’n grondige leeservaring; dit, meen hulle, sal dan ook lei tot die onherroeplike verlies van diep en verbeeldingryke aandag, eienskappe wat lees op papier veronderstel is om mee te bring. Hierdie proefskrif werp ’n realistiese blik op die huidige literêre klimaat, veral die omstandighede waarin die sogenaamde “digital native” deesdae funksioneer. Die debat rondom gedrukte teenoor elektroniese boeke word noukeurig ondersoek, veral met betrekking tot die mate waarin aanlyn lees dalk wel hermeneutiese onderdompeling onderdruk. Verder word versterkte literêre produkte soos die transmedia fiksie titel, Chopsticks (Penguin Group USA 2012), en nie-fiksie titels deur aanlyn-uitgewer Atavist, noukeurig bekyk. Voorts, in ’n poging om die gaping tussen tegnoloë en gedrukte-boek puriste te oorbrug, en op grond van wat mens die oer-waarde van letterkunde dalk kan noem, stel hierdie proefskrif ’n digitale leesproduk voor met ’n geformaliseerde stel konvensies en ’n strategiese instruksionele ontwerp, of koppelvlak (‘interface’). Dit word gedoen in ’n poging om die eienskappe van tradisionele, ‘papier’ lees te behou, maar terselfdetyd voordeel te trek uit die aanlyn-omgewing, en om sodoende die ‘digitale inboorling’ te herenig met die relevansie van vervloë letterkunde. Hierdie voorgestelde produk, dan, is meer spesifiek ’n poging om te wys 1) hoe ’n nuwe literêr-digitale aanbiedingsestetika hernieude belangstelling in die geesteswetenskappe en liberale kunste kan werk; 2) hoe fiksie weer ingestel kan word as kern-komponent in die opvoedingsproses; 3) hoe nuwe energie verleen kan word aan fiksie wat toenemend onbekend of ontoeganklik vir jongmense word; en 4) hoe die Suid-Afrikaanse letterkunde opgehef kan word binne die opset van ’n toenemend-globale leesomgewing.

The necessity of economic growth is a conventional wisdom of our time, assumed to lead to more prosperity and be a panacea for any societal problem. However, infinite economic growth is hard to reconcile with a finite planet, and there is a growing body of evidence that suggests that growth is no panacea nor inherently linked to prosperity. With the starting point that news media is of ideological importance, this study investigates how the hegemony of growth (as it has been called by Schmelzer [2016]) is perpetuated in news. Through a narrative analysis of articles from 2017, from Dagens Nyheter (DN) and Times of India (TOI) it analyses how news describes benefits of GDP growth, constructs stakeholders in relation to it, and discusses the ideological implications of these portrayals. The results show that the basic narratives are similar in both newspapers and primarily describe economic growth as desirable, without any references to contested status of the ability of growth to lead to prosperity – perpetuating the hegemony of growth. Many position the state as responsible for generating growth, others describe corporate growth as something good in and of itself, and the narratives create a ‘we’ in relation to ‘the economy’. These are narratives with implications for how societies negotiate between economic growth and competing goals, e.g. keeping within the planetary boundaries. Further, as growth cannot be assumed to automatically lead to ‘better’, this has implications for how journalistic autonomy should be perceived in relation to economic reporting.

Basing on the Discourse Analysis by Pêcheux, this study aimed to unveil directions of journalistic speeches of Magazines Veja and CartaCapital about the June 2013 protests. In order to do it, I resorted to some studies in the field of Pêcheux Works (1990, 1999 2009, 2011, 2013), Courtine (2003, 2006, 2009), Eni Orlandi (1983, 1993, 1996, 2005, 2011), Zandwais (2009), Zoppi-Fontana (2003), among many others. Our corpus were the reports of these two magazines about the protests from June to December 2013. According to the analysis, the research revealed that the designations given to the protests and protesters by the RV diverge according to their interests, however in general, they pointed to the negative appreciation of the terms when it came to protests and protesters who rebelled against capitalism in the streets of big cities. The Carta Capital magazine, on the other hand, presented a heterogeneous discourse in relation to the RV discourse, as it revealed a position in favor of the protests and protesters. / Fundamentando-se na Análise de Discurso pecheuxtiana, este trabalho teve como objetivo desvelar os sentidos dos discursos jornalísticos das revistas Veja e CartaCapital sobre os protestos de junho de 2013. Para isso, recorremos a alguns estudos da área nas obras de Pêcheux (1990, 1999, 2009, 2011, 2013), Courtine (2003, 2006, 2009), Eni Orlandi (1983, 1993, 1996, 2005, 2011), Zandwais (2009), Zoppi-Fontana (2003), entre muitos outros. Nosso corpus foram as reportagens destas duas revistas sobre os protestos no período de junho a dezembro de 2013. De acordo com a análise realizada, a pesquisa revelou que as designações dadas a protestos e manifestantes por parte da RV variaram, de acordo com os seus interesses, mas de maneira geral, elas apontaram para a valorização negativa dos termos, quando se tratava de protestos e manifestantes que se insurgiam contra o capitalismo nas ruas das grandes cidades. Já a revista CartaCapital apresentou um discurso heterogêneo com relação ao discurso da RV, pois revelou uma posição sujeito a favor dos protestos e dos manifestantes.

Avec la montée en puissance de la Chine sur la scène internationale depuis une dizaine d’années, l’image du pays dans les médias français oscille constamment d’un pôle à l’autre, entre tradition et modernité, menace et opportunité, partenariat et rivalité. Les représentations médiatiques de la Chine en France résultent d’une combinaison de facteurs d’ordre politique, économique, culturel et communicationnel. Dans le travail de recherche que nous proposons, ces représentations sont envisagées comme processus de co-construction impliquant de multiples acteurs sociaux, français comme chinois, et soumis à des contraintes avant tout socio-économiques des médias en tant qu’industries culturelles. La recherche tente ainsi de saisir les logiques présidant au fonctionnement des industries du contenu, sur fond de profondes mutations, et de comprendre dans quelle mesure la structuration des entreprises médiatiques est de nature à peser sur la production de l’information internationale ayant trait à la Chine. Cette étude s’appuie sur l’analyse des mécanismes de construction de l’image de la Chine dans trois titres de presse d’information générale et politique française, chacun représentatif d’un type de journal, distinctif par sa fréquence, sa zone de diffusion et ses modalités organisationnelles. Il s’agit d’examiner les transformations économiques, technologiques, gestionnaires et éditoriales de ces médias ainsi que leurs conséquences sur les conditions et leur mode de production et de faire ressortir les convergences et les divergences de modalités de traitement de la Chine entre les différentes familles de presse. Par ailleurs, comme les représentations médiatiques de la Chine en France dépassent largement les enjeux internes liés au seul champ des médias et embrassent des intérêts géopolitiques et, de plus en plus, économiques, nous prenons également en considération l’ensemble de ces paramètres afin d’appréhender l’image de la Chine dans toute sa complexité. / With the rise of China on the global stage over the past decade, the image of the country in the French media is constantly oscillating between tradition and modernity, threat and opportunity, partnership and rivalry. Media representations of China in France result from a combination of political, economic, cultural and communication factors. In this research, these representations are considered as a process of co-construction that involves multiple social actors, French as well as Chinese, and subject to socioeconomic constraints of the media as cultural industries. This study attempts to understand the operational logics of the content industries, against a backdrop of profound changes, and to apprehend how the functioning of media organizations is likely to affect the production of international news related to China. This research is based on the analysis of the construction of China's image in three French newspapers of the general and political information press, each representative of a type of newspaper, distinctive in terms of frequency, dissemination area and organization. The goal is to examine the economic, technological, managerial and editorial transformations of these media and their consequences on the conditions and their mode of production and to point out the convergences and divergences of media coverage of China between the different categories of press. Furthermore, as media representations of China in France extend far beyond the stakes related to the only media field and embrace geopolitical and, increasingly, economic interests, we also take into consideration all these parameters in order to understand the image of China in all its complexity.

Le fragment du corps moulé, le corps qui s’effondre, réduit à une dépouille, la figure qui tend à s’effacer, se regardent comme les bribes d’une mémoire où coexiste un double mouvement : le contact et la séparation, la présence et l’écart. L’empreinte du corps en creux, signale que rien ne sera plus jamais comme avant. Le moulage dit ce qui est. Il dit le « mort » par son empreinte vivante : ce que j’ai moulé, photographié cet « incomparable air de vie » a disparu. Irrémédiablement. Pièces à conviction qui calment la perte, les fragments, le travail parfois sériel conspirent contre l’oubli, attestent d’un passage et d’une présence dont je refuse qu’ils passent, s’effacent. La séparation définitive est insupportable. C’est dans la présence de la figure déposée, devenu fragment de mémoire et dans son absence que se dialectise alors l’inacceptable et devient possible son acceptation. L’impossibilité de ralentir le cycle du temps impose toujours le sentiment d’une urgence. Mon travail est résistance. Il pose un regard mélancolique sur les choses qui changent, passent, nous échappent. Rien ne s’arrête, rien n’est défini de façon satisfaisante. C’est une réalité qui se fait à travers celle qui se défait. Une avancée se noue sur ce qui s’use ou se troue. Faire contrepoids à cette ombre omniprésente. Choisir dans les différentes ouvertures possibles, à travers le cortège des images, des figures, des choses obsédantes et trouver, provisoire, fragile et lacunaire, une réponse. / The fragment of a moulded body, the body which collapses, is reduced to a corpse,the figure which tends to disappear, can be seen like pieces of a memory in which a double movement co-exists : the contact and the separation, the presence and the gap. The print of the body in hollow shows that nothing will never be like before anymore. The moulding says what exists. It says « the dead » by its living print : what I have moulded, photographed, this « incomparable air of life » disappeared. Irredeemably. Exhibits which calm the loss, the fragments, the work in series conspire against oblivion, prove the passage and a presence I refuse them to disappear. The definitive separation is unbearable. It is in the presence of the figure that I exhibit, which has become « fragment of memory » and in its absence that dialectises then in the unacceptable and its acceptance has become possible. The impossibility to slow down the cycle of time always imposes the feeling of urgency. My work is resistance. It poses a melancholic look on the things that change, pass away and that aren’t under control. Nothing stops, nothing is defined in a satisfactory way. It is a reality which is made through the one that unties. An advance ties on what is worn up or what bores a hole. Counterbalancing.this omnipresent shadow. Choosing in the different possible openings throughout a cortege of images, figures, obsessive things and finding a provisional, fragile, incomplete answer.

Made available in DSpace on 2016-08-03T12:29:27Z (GMT). No. of bitstreams: 1 ROBERTO MALACRIDA.pdf: 3191529 bytes, checksum: a0d2ee348dc223eb6de05619a3cc8632 (MD5) Previous issue date: 2011-12-07 / The connection established between the advertisements in the print magazine and the youth of so-called Generation Y is the main focus of this work. These young people, born between 1980 and mid-90s, in the twentieth century, developed together with the new communication technologies have grown up with a computer connected to the Internet world with your mobile phone and interactive games, but still being harassed by magazines. In order to better understand this connection, how Gen Y behaves in the face of advertising and see if there is a pattern of use among these young people were conducted exploratory research in primary and secondary sources supplemented by a descriptive study conclusive. After a review of the literature dealing with the concepts of generation to the profile of Generation Y, and a historical analysis of the media magazine, conducting applied research in the form of focus groups and a descriptive study allowed us to conclude that there is a survival for the print magazine, and for a long time. Aspects such as tangibility, portability and tradition are the pillars that ensure solid reliability at a magazine for young people of Generation Y, overlapping with the electronic media, volatile and unreliable for them. / A conexão que se estabelece entre a publicidade veiculada na mídia impressa revista e os jovens da chamada Geração Y é o principal foco deste trabalho. Estes jovens, nascidos entre 1980 e meados da década de 90, no século XX, se desenvolveram juntamente com as novas tecnologias da comunicação, cresceram com um computador ligado ao mundo pela internet, com o telefone celular e jogos interativos, mas continuam sendo assediados pelas revistas. Com o objetivo de conhecer melhor esta conexão, saber como a Geração Y se comporta diante das mensagens publicitárias e verificar se existe um padrão de consumo entre estes jovens foram realizadas investigações exploratórias em fontes primárias e secundárias complementada por um estudo conclusivo descritivo. Depois de uma revisão da literatura que trata dos conceitos de geração até o perfil da Geração Y, e de uma análise histórica da mídia revista, a realização de pesquisas aplicadas em forma de grupos focais e de um estudo descritivo, nos permitiu concluir que existe uma sobrevida para a mídia impressa revista, e ainda por muito tempo. Aspectos como a tangibilidade, portabilidade e a tradição são os pilares que garantem às revistas uma sólida confiabilidade por parte dos jovens da Geração Y, sobrepondo-se à mídia eletrônica, volátil e pouco confiável para eles.