Thesis (M.A.)--Zheng zhi da xue. / Reproduced from typescript. eContent provider-neutral record in process. Description based on print version record. Bibliography: p. 229-259.

Thesis (A.M.L.S.)--University of Michigan, 1940. Cf. Library literature, 1940-1042, p. 406. / Includes bibliographical references (leaves 26-27, v. l).

Thesis (A.M.L.S.)--University of Michigan, 1940. Cf. Library literature, 1940-1042, p. 406. / Includes bibliographical references (leaves 26-27, v. l).

Thesis (Ph.D.)--Universiṭat Bar-Ilan, 2002. / Title from PDF title page (Penn Libraries ScholarlyCommons, viewed on August 24, 2009). Electronic version does not include Part 2. Nispaḥim u-reshimah bibliyografit (p. 261-352). Includes bibliographical references (p. 353-396)

"A Master's paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science." / Title from PDF title page (viewed on May 3, 2005). Includes bibliographical references (p. 37-39).

Auf dem deutschsprachigen Buchmarkt ist sehr häufig die Bildung von Imprints zu beobachten, welche für Verlage einige Vorteile erfüllen können. Die große Anzahl an Imprints wird jedoch oft von Buchhändlern aufgrund einer nicht vorhandenen Differenzierung von bereits bestehenden Programmen sowie einer fehlenden Orientierungsleistung kritisiert. Zudem wurden in den vergangenen Jahren einige von Verlagen gegründete Imprints eingestellt. Das Ziel dieser Bachelorarbeit ist es zu beantworten, welche Eigenschaften Imprints besitzen sollten, um zu marketingstrategisch wirksamen Instrumenten etabliert zu werden. Dazu wird die folgende Forschungsfrage gestellt: Was sind die Erfolgsfaktoren marktwirksamer Imprints? Neben der Beschäftigung mit Imprints und ihrem Zusammenhang mit der Entstehung von Marken, ihrer Relevanz im Geschäftsmodell von Verlagen sowie einer Marktbeobachtung von Imprints im deutschsprachigen Buchmarkt im theoretischen Teil werden im empirischen Teil der Arbeit drei marktwirksame Imprints in ihrer Vorgehensweise in der Programmplanung, Produktgestaltung und Kommunikation untersucht. Sechs Experteninterviews mit Verlagsmitarbeitern, einer Buchhändlerin sowie einer Buchbloggerin stellen mit der Darstellung unterschiedlicher Sichtweisen auf Imprints einen Bezug zur Praxis her. Abschließend werden Handlungsempfehlungen dafür entwickelt, über welche Eigenschaften marktwirksame Imprints verfügen sollten.:1. Einführung 1.1 Problemstellung und Zielsetzung 1.2 Vorgehen 2. Aktuelle Herausforderungen für Verlage 3. Imprintbildung als Instrument des Verlagsmarketings 3.1 Begriffsbestimmung 3.2 Markenführung 3.2.1 Markenbegriff, Markenstrategien und Funktionen von Marken 3.2.2 Besonderheiten der Markenbildung in Verlagen 3.3 Die Relevanz von Imprints im Geschäftsmodell von Verlagen 3.3.1 Die Bedeutung von Imprints in der Mehrfachverwertung von Inhalten 3.3.2 Vorteile und Risiken bei der Etablierung von Imprints 3.3.3 Bedarfsträger von Imprints 3.4 Imprintstrukturen auf dem deutschsprachigen Buchmarkt 3.4.1 Allgemeine Marktbeobachtung 3.4.2 Beispiele eingestellter Imprints 4. Fallbeispiele marktwirksamer Imprints 4.1 Auswahl der Fallbeispiele und Untersuchungskriterien 4.2 MALIK 4.3 LYX 4.4 Knaur Balance 4.5 Zwischenfazit 5. Experteninterviews 5.1 Methodisches Vorgehen 5.2 Auswertung der Interviews 5.2.1 Funktionen von Imprints 5.2.2 Wahrnehmung von Imprints 5.2.3 Eigenschaften marktwirksamer Imprints 6. Handlungsempfehlungen 7. Reflexion der Ergebnisse und Fazit Bibliographie Anhang Eidesstattliche Versicherung

Apart from the introduction in the first chapter and the conclusion in the last chapter, this thesis consists of two parts. The first part comprises of Chapters Two and Three which deal with the history of the LiangYou Printing & Publishing Company and its pictorial magazine The Young Companion, putting mainly the progress of the Company and its magazine in the order of their establishment, development and extinction, and analyzing the Company's publications in order to show a full view of the magazine to the readers. The second part mainly explores the age and milieu as depicted in The Young Companion. This part is primarily a textual study, discussing the magazines views of China and the world through its news reports, special columns and serial features. / The Young Companion, after its virgin publication in 1926 in Shanghai, China, rapidly became an influential and authoritative large-scale pictorial in the 1930s and 1940s on account of its correctness in widening knowledge, enriching common sense and exploring field of vision. The long period of its existence and the numerous issues published earned its uniqueness in China. As a large-scale pictorial magazine, The Young Companion created a new idea for magazine publication. The research done on the magazine will help us understand how a new cultural trend is formed in society. / This thesis focuses on the uniqueness of the coming and going of The Young Companion as a cultural pipeline facing the public in Shanghai which is a place of cosmopolitan population and a meeting point of China and the West; it also focuses on how the magazine regulated its position in the socio-cultural context of China as a new medium and cultural product. / 王若梅. / 論文(哲學博士)--香港中文大學, 2007. / 參考文獻(p. 274-287). / Adviser: Yuen Sang Leung. / Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 0339. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (p. 274-287). / Wang Ruomei.

At least 65 of the books, pamphlets or broadsides printed in England in foreign vernaculars during the period covered by the Short Title Catalogue share a common characteristic: there is no clear indication anywhere on their title-pages, or within their colophons or texts, that they were printed in England and by English printers. Often the purpose of these ommissions was not so much to conceal the fact that the books were printed in England as to create a false impression that they were printed abroad. This thesis tries to resolve the various problems set by this class of book. As many as possible of the works have been identified, and bibliographical descriptions and photographs are given of all title-pages ornaments and capital initials contained in them. Although in the main printers have been identified through the presence of ornaments and initials to be found in other books which contain their full and clear imprint, occasionally supporting evidence of a different nature has been discovered and presented. The problems raised by these books are complex, and an Introduction of six chapters examines the background and origin of each individual item and attempts at the same time to trace the historical development of this distinctive branch of printing. Copies have been located in every major library in England and on the continent with the aim of discovering the trends and patterns of their sale and distribution, and it has been possible to distinguish sub-categories of these books which share a surprising number of characteristics. Thus in the period of nearly 90 years between the first of these publications, in 1552-3, and the delimiting date of 1640, there are three clear stages of evolution, each occupying approximately 30 years. The first, from 1553 to early 1584, is marked by the casual ommission of imprints. No fictitious imprints are found, and the motives of the various printers do not go beyond an implied intention to conceal the truth. The second stage begings in late 1584 and ends wwith the death of Sir Robert Cecil, Earl of Salisbury, in 1612. It was inaugurated by John Wolfe, a London printer who travelled and practised his craft in Italy and Germany before settin up shop in his own country. The privilege of printing certain profitable books was monopolised in late Elizabethan London by a small group of established printers, and newcomers often had difficulty in finding sufficient profitable material to keep their presses occupied. John Wolfe was one of these newcomers and in the course of his efforts to keep his presses busy he hit upon the idea of reprinting, in the original Italian, editions of well-known works by Machiavelli and Pietro Arentino which could no longer be produced in Italy after they had been placed on the recently-established Index Liborum Prohibitorum. There was no law of international copyright at that time, and in using fictitious impints in most of his early books in foreign vernaculars Wolfe was guided entirely by commercial considerations. English books printed in foriegn languages had a bad reputation in both foreign and domestic markets, since the insular English printer seldom had access to compositors with a reasonable grasp of foreign languages, and the occasional attempts to print in foreign vernaculars had usually resulted in inaccurate or even garbled texts. A statement made by John Charlewood to Giordano Bruno confirms this interpretation of Wolfe's motives; and it should be emphasised that at no time during this period did the English Government or the Stationers' Company express disapproval of the printing of any of these works. Wolfe naturally had his imitators. Charlewood in London and Joseph Barnes in Oxford both tried this expedient for increasing their sales of books in foreign vernaculars. Neither of them persevered, but the growing threat of Spanish invasion introduced a new motive for the use of fictitious imprints. The urgency of the times compelled Lord Burghley to write and get published a pamphlet called 'The Copie of a Letter ... to Don Bernadin de Mendoza'. This appeared in September, 1588, just after the news had been received of the English victory over the Spanish Armada. Its translation into Italian, specifically entered to John Wolfe, was produced with a fictitious imprint and it was the first piece of political propaganda to be surreptitiously printed in England in a foreign vernacular. Wolfe continued to produce books with misleading imprints for another three years, but in 1591 he virtually ceased to do his own printing and his place in this particular branch of the trade was taken by Richard Field. Field's first productions of this sort were his editions of the French translation of Burghley's pamphlet. These were followed by a group of books and pamphlets which are all but one characterised by bearing only the date, with occasionally a non-committal imprint such as "Nouvellement Imprimé". The exception, the Pedaços de Historia by Antonio Péres, bears the imprint: 'Impressoo in Leon'; but this was the only occasion that Field ever used a completely fictitious imprint. His later publications in this category consist of the books written by his Italian proof-reader, Petruccio Ubaldini, which appeared without any imprint at all, except for the date; and the books written, translated or edited by his Spanish proof-reader, Cipriano de Valera. The works produced by de Valera bear only Field's name translated into Spanish (Ricardo del Campo), and they have no geographical location. This imprint was designed to be misleading as most of these books were printed with the intention that some copies should be clandestinely exported to Spain. Thus during this second stage the motives of the authors and printers developed into a conscious aim of suggesting a false origin for their wares. The third stage extends from 1612 to the delimiting date, 164O. Salisbury does not seem to have been responsible for any surreptitiously printed political propaganda. After the death of his father he was by far the most powerful man in the English Government, and possibly it was because he did not use these tactics that no one else seems to have dared or cared to use them either. Three trends emerge in this final stage, and one of them may be noted in a pamphlet that was surreptitiously printed at the time of Salisbury's death. The surreptitiousness is only incidental, consisting of the omission of the imprint; and, as in the first stage, the imprint was left out rather because the edition was produced for a private order than because the printer had any intention to mislead or deceive. The second trend, concerned with the production of propaganda directed against particular groups of foreigners, was a continuation of the methods discovered by Wolfe and pioneered by Burghley. This had become a well-known and accepted strategem, and it was used on various occasions for definite purposes. The third trend, the production of illegal political propaganda directed against the home Government, was inaugurated in 1632 with Harper's edition of The Prince. It is hoped that this thesis will fill a gap in English bibliography. Books in English can be hard enough to identify when they contain authentic imprints. The problem becomes much more complicated when the books, although in English, were printed abroad with fictitious imprints, or when they were printed in England in foreign vernaculars but bore a fictitious imprint or no imprint at all. Messrs. Allison and Rogers have studied the problems of books printed abroad, and the present thesis tries to clear up some of the difficulties surrounding the books surreptitiously printed in England. Sixty-five titles are discussed, of which some two-thirds are not in STC.

Orientador: Lygia Arcuri Eluf / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T14:37:33Z (GMT). No. of bitstreams: 1 Miranda_ZandraCoelhode_D.pdf: 36434955 bytes, checksum: 5496afec0b399dc5b21acf7e770e8599 (MD5) Previous issue date: 2008 / Resumo: Este trabalho de pesquisa em Arte surge a partir da experiência da gravura, seu pensamento construtivo e seus processos; somando-se a este fazer o repertório visual, material e técnico da cerâmica. A moldagem através da impressão de placas de argila e do despejo de barbotina permite a criação de séries de módulos múltiplos que uma vez entintados revelam a imagem impressa em relevo. A submissão da terra à múltiplos processos de queima aponta para uma dimensão ritualística e intrínsecamente metafísica, a qual, tradicionalmente, acompanha a transfiguração do barro em matéria cerâmica. A temática de todas as séries apresentadas é a paisagem local, tendo o ateliê como ponto de partida - e através de fragmentos vegetais e minerais esta paisagem é poeticamente reconstruída. / Abstract: This Art research work has roots in the experience of printmaking, its processes and constructive thinking, adding to it ceramics' visual references, techniques and materials. Molding through slip casting and imprints in clay slabs allows to create series of multiple modular shapes that once tinted with pigments reveal the image in relief. Clay's submission to multiple processes of firing points towards an intrinsec, ritualistic and metaphysical dimension wich traditionally follows the transformation of clay matter into ceramics. The subject of all series presented is the local landscape, having the art studio as starting point - and trough vegetal and mineral fragments this landscape is poetically reconstructed. / Doutorado / Doutor em Artes

Thesis (Ph. D.)--University of Pittsburgh, 1992. / Includes bibliographical references (leaves 221-229).