Book series are large and dynamic structures that allow us to reflect on concepts such as systems, rewriting, agency and materiality, while offering rich data to advance the history of translation. This research focuses on an emblematic Mexican paperback series called Sepan Cuantos… (SC, hereafter), initiated in 1959 and still ongoing. My overarching aim was to understand the transformation of translation practices in the series throughout time in view of the context in which it was developed and the agents that were involved in it. The development of SC goes hand in hand with the development of the publishing industry in Mexico. Throughout its lifespan, national book production has greatly expanded, affecting the demands of the market where this series has circulated. Additionally, SC’s history is inscribed in the broader dynamics of the Hispanic publishing industry, where Spain has maintained hegemony over the production of translations, and the language and ideology represented in them. In order to understand how SC related to this context, archaeological work was required. The questions What was translated? By whom? and How were translations presented? guided the analysis. My findings reveal a wide spectrum of approaches to translation in SC. On one side of the spectrum there is the series as a commercial endeavour, unconcerned with producing terse, ad hoc rewritings of foreign literature for a Mexican audience by favouring the repurposing of pre-existing Spanish translations and paratexts. This is translation in the age of mass production. On the other side of the spectrum, there are the sporadic cases of assumed agency, where the limits of the repertoire are challenged and where the opportunity to produce original translations and prefaces is highly exploited. There is no overarching translation policy in SC, and this gives rise to a basic tension between the homogeneity expressed by the series’ format and the heterogeneity of the translation and prefatory practices observed in the volumes. Focused on the disorder hidden behind the uniformity of these books' covers, this thesis explores the transgressive bodies in which translations can reach their readers. Translation in 20th and 21st century Mexico has been thus far studied from the angle of its most dignified and ideologically coherent products and translators. However, the less terse translation practices in SC, a highly heterogeneous product that embodies a lot of discoursive tensions, cannot be overlooked. SC’s impossible combinations reflect how the hybridity that is characteristic of Latin American culture has touched translation too.

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One common request at a library’s information desk is for a sequel of a book title or where to begin reading a roman-fleuve such as "Harry Potter". Experienced librarians might know the answers to the most famous titles, but there is not much evidence that they can retrieve such information from the library’s catalogue. This study investigates inter-work relationships in seven Online Public Access Catalogues (OPACs) and looks at the phenomenon with an empirical, exploratory approach. Based on previous empirical studies about cataloguing praxis, this study seeks to add up to those efforts by analysing catalogue records to determine the effects of past and current standards in cataloguing sequences of novels. Some records have such information coded in several fields. As a maximum, it appears six times, although it is uncommon to occur more than three times. On the other hand, as should be expected, the Machine-readable cataloguing (MARC) fields for the information about the position of a novel within the roman-fleuve match the cases where the title of the roman-fleuve is given. Cataloguing practices have evolved from paper format, which posed challenges in physical space, into machine-readable and relational databases. OPACs are still debuting in a new era with linked data. Swedish OPACs still do not deliver much information regarding roman-fleuve and its parts. The data shows, however, that a fair amount of records offer the possibility for conveying such information to the users if the OPACs look in the proper fields of the catalogue record.

The diploma thesis Rewievs of French Literature in the Book Series Světová četba (World Reading) between years 1948 and 1999 analyses the forewords of one of the most important Czech book series of the 20th century. The main aim of the thesis is to find out to what extent the contemporary culture policy influenced the content of the respective texts that were published together with the translations of francophonic literature. The author has chosen the method of qualitative analysis, which has provided the basis for the subsequent quantitative analysis. She tries to describe the way in which the slant in the forewords can present itself and to find out if it truly presented itself in the Světová četba book series. As there is not enough processed materials available concerning the book series and the policy of the Odeon publishing house (formerly SNKLU or SNKLHU), the thesis also covers an extensive historiographic background research based on archive materials and controlled conversations with witnesses.

Les Albums de la Pléiade sont une collection visant à promouvoir la prestigieuse Bibliothèque de la Pléiade, publiée par Gallimard. Les Albums arborent une apparence identique à leur collection-mère, mais, plutôt que de proposer des textes canoniques, ils contiennent des recueils d’iconographie portant sur les vies d’écrivains, accompagnés de courts récits biographiques. Les Albums sont offerts aux lecteurs par les libraires à l’achat de trois volumes de la Bibliothèque à l’occasion de la Quinzaine de la Pléiade. Leur rareté et leur impossibilité d’achat en font des objets convoités par les collectionneurs. Cette analyse vise à observer les configurations génériques des Albums, qui s’articulent entre elles en vertu de la structure médiatique de ces livres qui emprunte la scénographie de l’album photo familial, afin de déterminer quelle image d’auteurs et de la littérature est mise sur pied par cette collection. Alors que les auteurs des Albums prétendent donner à voir des écrivains dans une lumière intime et « jamais vue », l’image d’auteurs résultant de ces représentations les montre réellement en tant que « génies » dont la vie est inséparable de la création littéraire. Ces représentations contribuent à une fétichisation des figures d’écrivains. Enfin, cette étude se penche sur la façon dont ces images d’auteurs sont utilisées comme produits d’appel de la campagne publicitaire qui constitue la fonction première des Albums. A travers cette thèse, nous cherchons à montrer comment, parallèlement à son rôle publicitaire, cette collection opère une fonction patrimonialisante par le biais de pratiques relativement inhabituelles au sein du champ littéraire. / The Albums de la Pléiade are a French series of books born to promote the prestigious Bibliothèque de la Pléiade, published by Gallimard. The Albums display an identical appearance to the main series, but instead of containing canonical literature, they offer rich iconographic collections relating to writers, accompanied by short biographies. The Albums are given by booksellers as a gift for the purchase of three volumes from the Bibliothèque series during a specific two-week event occurring every year in bookstores in the francophone world, the Quinzaine de la Pléiade. Their rarity and the fact they cannot be bought separately make those books sought-after collection items. The aim of this analysis is to observe the generic makeup of the Albums de la Pléiade, which deploys itself by means of a mediatic structure that borrows from the family album, in order to establish what kind of image of authors and literature is projected by the series and its specific means of representation. Indeed, while the Albums’ authors claim to portray writers in a “never before seen” workaday light, the authors’ image construed by these books actually shows them as “geniuses” whose lives are inseparable from their literary creation. This representation contributes to the fetishization of the authors’ figures. Finally, this study will examine the way those writers’ images are being used as an advertising quality, seeing that the main function of these books is to advertise for the Bibliothèque de la Pléiade. Throughout this analysis, we hope to show how literary heritage is constructed in the francophone world by means of practices that seem rather unusual within the literary field.

Целью работы является исследование концептуальных особенностей книжной серии ИД «Коммерсантъ» как редакторского продукта и инструмента продвижения издательского дома в Екатеринбурге. Объектом исследования в данной работе является серия книг издательского дома «Коммерсантъ» об истории Екатеринбурга. Предметом – концептуальные особенности серии книг ИД «Коммерсантъ». Магистерская диссертация «Концептуальные особенности книжной серии ИД "Коммерсантъ" об истории Екатеринбурга» состоит из введения, двух глав, заключения, приложения и библиографического списка, включающего 74 наименования. В первой главе исследования изучены различные точки зрения на определение серийного издания, книжная серия охарактеризована как вид издания, рассмотрены особенности редакторской подготовки, выявлены основные концептуальные особенности книжной серии, а также проанализированы маркетинговые понятия издательского имиджа и бренда. На основе проведенной исследовательской работы был составлен план анализа серийных изданий. Во второй главе диссертации на основе разработанного плана проведен практический анализ эмпирического материала – книжной серии об истории Екатеринбурга издательского дома «Коммерсантъ-Урал» (далее – ИД «Коммерсантъ»). В результате практического анализа выявлены концептуальные особенности книжной серии ИД «Коммерсантъ», позволяющие выделить данную серию в особый вид серийного издания, который имеет определенные содержательные, структурные, композиционно-художественные и маркетинговые характеристики. Было выявлено, что серия книг как редакторский продукт может выступать инструментом формирования издательского бренда и создавать определенный имидж издательского дома. Результаты исследования могут быть использованы другими издательствами для продвижения собственного издательского бренда или разработки эксклюзивной книжной серии, а также в процессе обучения студентов бакалавриата и магистратуры по специальности «Издательское дело». / The aim of the work is to study the conceptual features of the book series of Kommersant Publishing House as an editorial product and a tool for promoting a publishing house in Yekaterinburg. The object of research in this work is a series of books by the Kommersant publishing house on the history of Yekaterinburg. The subject is the conceptual features of a series of books by Kommersant Publishing House. The master's thesis "Conceptual features of the Kommersant Publishing House book series on the history of Yekaterinburg" consists of an introduction, two chapters, a conclusion, an appendix, and a bibliographic list that includes 74 titles. In the first chapter of the study, various points of view on the definition of a serial publication are studied, the book series is characterized as a type of publication, the features of editorial training are examined, the main conceptual features of the book series are identified, and the marketing concepts of the publishing image and brand are analyzed. Based on the research work, a plan for the analysis of serial publications was compiled. In the second chapter of the dissertation, on the basis of the developed plan, a practical analysis of empirical material is carried out - a book series on the history of Yekaterinburg of the Kommersant-Ural publishing house (hereinafter - Kommersant Publishing House). As a result of practical analysis, the conceptual features of the Kommersant Publishing House book series have been identified, which make it possible to distinguish this series in a special type of serial publication, which has certain substantial, structural, compositional, artistic and marketing characteristics. It was revealed that a series of books as an editorial product can act as a tool for forming a publishing brand and create a certain image of a publishing house. The results of the study can be used by other publishers to promote their own publishing brand or to develop an exclusive book series, as well as in the process of training undergraduate and graduate students in the specialty of Publishing.

Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.

Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.