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This paper positions American libraries within a global ecology of resource consumption and waste. With regard to environmental sustainability, the provision of information in print and electronic formats represents a drain on natural resources, and this paper explores various ways of measuring it. Using a mixed methods approach, the author calculates an Ecological Footprint of an average American public library, synthesizes primary and secondary sources to describe key areas of the American library’s global supply chain, and reviews available resources, which can assist librarians and information professionals in addressing their institutions’ environmental sustainability. This exploratory study finds that although the goods and services provided by libraries and information centers do carry environmental impacts, there are a growing number of options for institutions to eliminate wastes at their source, recycle, and practice socially responsible purchasing.

DAISY book production at the ONCE, with the digitization and subsequent reformatting of our stacks to the DAISY standard, has pursued two key objectives: to digitize our collection as quickly and efficiently as possible and to lower the production costs of digital talking books in DAISY format. This discussion describes the highlights of that process.

Thesis (MPhil)--Stellenbsoch University, 2012

The aim of the dissertation is to examine the production of children’s books for the Latvian-speaking population in Latvia and attempt to illustrate how the post-Soviet transformation has affected the conditions surrounding its development. To this end, the study investigates how the economic, political, and cultural aspects of the transformation are perceived and dealt with by actors active in children’s book production. The concept of the field of the production of children’s books as a subset of the broader field of cultural production is based on the term “literary system” as defined in the sociology of literature and the term “field” as defined in Pierre Bourdieu’s sociology of cultural production. The fundamental theoretical standpoint of the study is based on social constructivist theory. The study also investigates the phenomena in the field from the aspect of sociopsychologist Michael Billig’s concept of “banal nationalism” and sociologist Daina Stukuls Eglitis’ model of “narratives of normality.” The material is based primarily on interviews conducted between 2003 and 2005 in Riga with the actors involved with the production of children’s books in Latvia, but also on data gathered from other sources. The results indicate that the role of the state and the commercial market are perceived and dealt with differently amongst the actors in the studied field, where opposing attitudes towards mass-market products indicate that children’s books can be seen as cultural products by some and as commercial products by others. The material further implies that the opinions of the interviewees about the role of children’s books in post-Soviet Latvia are closely related to their personal visions for the future of this newly-reborn independent nation. It is the various survival strategies adopted by the key actors in the field as a response to the changing conditions in the new era that ultimately constitute the transformation of the field.

DAISY book production at the ONCE, with the digitization and subsequent reformatting of our stacks to the DAISY standard, has pursued two key objectives: to digitize our collection as quickly and efficiently as possible and to lower the production costs of digital talking books in DAISY format. This discussion describes the highlights of that process.

Containing portraiture and biography as well as protest text and affirmative text, African- American Illustrated biographical dictionaries made from 1876 to 1917 present Social Gospel ideology and are examples of Afro-Protestantism. They are similar to the first American illustrated biographical dictionaries of the 1810s in that they formed social identity after national conflict while contesting concepts of social inferiority. The production of these books occurred during the early years of Jim Crow, a period of momentous change to the legal and social fabric of the United States, and because of momentous changes in modern American print industries. While portraits within the books simultaneously form, blur, and stabilize identity, biographies convey themes of perseverance, social equity, and social struggle. More specifically, text formed an imagined community in the African-American middle class imaginary. It worked together with image to help create a proto-Civil Rights social movement identity during the beginning of racial apartheid.

This thesis explores the Turkish book publishing industry within the framework of historical development of book publishing since Ottoman practice onwards and current structure of the Turkish book market. The aim of the thesis is to understand recent trends, developments, and problems in the Turkish book market, within its specific historical conditions and in a comparative method to the current structure of book publishing industry in developed countries where book publishing is a global business and highly integrated to other sectors of cultural commodity production. The hypothesis is that although there have been profound changes in the Turkish book publishing sector on the way towards industrialization during recent decade, especially after 2000s / book publishing in Turkey remained an &quot / infant industry&quot / and Turkish book publishing market is still unsaturated as a result of serious problems continuing in different cycles of circulating capital in the Turkish book market and in preconditions of profit-maximization and capital accumulation processes / impediments on the creation of a large mass of readers and new genres / lack of an industrial organization of book production and business, and belated developments in regulative-legal framework in copyright regime.

This thesis examines the transmission and reception of images in Le Roman de la rose manuscripts and printed editions of the late fifteenth and early sixteenth centuries. Through in-depth case studies, I analyse how illustrators, editors, and readers used printed imagery in Rose books ca. 1481-1538, during the period of Rose printed edition production, exploring wider cross-disciplinary issues concerning the history of the book, the relationship between word and image, and readership practices following the advent of French printing. I argue that the mobility of printed imagery, which was facilitated in part by the wider dissemination of woodcuts in workshops, influenced the form and function of images in books. In addition, I problematize the 'transition' from manuscript to print in the later Middle Ages, through an investigation of artisans' personal and professional collaborations and evidence of image sharing between hand-illustrated and printed books. Bookmakers and readers used printed imagery in fascinating ways in books, appropriating and modifying woodcuts in order to engage with certain subjects and motifs. Readers' visual responses to books are under-examined, and I assess how readers' drawings add insight into their understanding of printed editions and those editions' visual iconography. French books contain a large body of evidence pertaining to image production and reception, but printed imagery is often overlooked, despite its potential to shed light on the practices of illustrators, editors, and readers. I provide new strategies for examining patterns of printed image production, circulation, and reception in the visual presentations of manuscripts and printed editions of this period. I also deepen understanding of the Rose and its consumption in the later Middle Ages and Renaissance, probing the role of images in books.