This thesis draws critically on approaches to globalisation, translation and advertising to analyse current translation practices using multimodal advertising texts. The purpose of this study is both to show evidence of the need to approach advertising translation from an interdisciplinary and intersemiotic perspective, and to remark on the need to incorporate such an approach into translation training and practice. It is developed in the broader context of globalisation and its impacts on socio-economic changes and cultural interaction worldwide. The intensification of global communications together with technological advances enhance the steady flow of knowledge and information, whilst at the same time there is a tendency to accentuate commonalities between cultures, clearly illustrated by standardised strategies used in global advertising campaigns. However, one key obstacle in the spread of standardised messages is language diversity, something that has caused translation to gain an active role in global advertising since it facilitates dialogue between global companies and international consumers; thus, translation has not only become an activity that overcomes linguistic and cultural barriers but also a commercial tool. This thesis focuses on the translation of advertisements as an intentional communication act that involves a team process into which translation may be integrated. Translation encompasses concepts that go beyond linguistic matters such as contextual issues and extralinguistic communication sign systems. The translation of advertisements is a growing area of study, with current research mainly limited to the study of linguistic matters. Consequently, in order to improve the accuracy and effectiveness of multimodal translations (text and images in this study) in a professional context, this research incorporates concepts and knowledge from visual analysis and advertising. This thesis suggests a multimodal method of analysis consisting of different phases integrating visual analysis as a part of the translation process. The 2 proposed methodology is illustrated by a corpus of Spanish-English pairs of standardised print advertisements from the beauty and cosmetics sector. The conclusion is that it is vital to consider the extralinguistic aspects surrounding a multimodal text from both a descriptive and critical perspective in order to read connotative information from words, images and the text-image unit. Translation training might also benefit from including this multimodal approach and further collaborative work must be done between translators and marketers to better understand and consolidate the role of translation in this area.

Previous studies of Bank Note forgery in England during the Bank Restriction Period have adopted a highly institutional focus. Thus, much is known about the role played by both the Bank of England and the workings of the criminal justice system in combating both forgers and forged note utterers. The question of how the new system of small denomination Bank Notes impacted upon the day to day lives and understandings of the people that used them has received far less attention. The actual means by which Bank Notes were themselves forged has also been overlooked. This has led to a somewhat two-dimensional view of these notes as material objects. This thesis will engage with common mentalities and perceptions, seeking to write a 'new history from below' of both Bank Notes and their forgery in this period. Its primary aims will be to explore the question of why the English people were so easily imposed upon by forged Bank Notes; the various means by which forged notes could be constructed; and what an analysis of both of these points can tell us about economic and social understandings of non-elite people at this time. It will be argued that by studying instances in which small denomination Bank Notes were routinely exchanged, we can highlight a significant dichotomy of understanding in a society that was starting to engage with a new culture of promise based fiduciary paper money, yet was still deeply rooted in early-modern notions of paper instruments as objects of personal credit and debt. The thesis will show that heavy exposure to Bank Notes at this time clearly equipped some contemporaries with their own personalised sets of aesthetic and material "standards", against which the "goodness" of any monetary instrument with which they were presented would be compared. Others continued to examine the material aspect of Bank Notes via a direct comparison or consultation with others. Neither approach was always successful and indeed whatever method was adopted, the common occurrence of the materials and technologies required to construct a credible imitation of a Bank Note meant that it was not just illiterate persons that were susceptible to being deceived. Even a reading of the Bank Note's literate text failed to provide sufficient defence against the activities of the forger.

This work explores the techniques of printing and preparation, in combination with technical mistakes. It aims to show how to use technical mistakes in different printing and preparation techniques as a design method to find accidental aesthetic expressions using the stripe as a tool to enhance and clarify the methods modification. The method confronts today’s textile industry by showing how these mistakes could develop into new expressions within textile design when fast -fashion is no longer an obligation. The stripe is a common shape, and is explored to clarify the method ans show how different techniques can change the stripes in various ways. This resulted in to three pieces each representing a technique; one transfer printed, one digital printed and one with the starting point in screen print. They present examples of how more time for developing mistakes in textile design can lead to development of the common shape of a stripe, broaden the technical limitations, and give a value to mistakes in the textile industry. By taking the method further more mistakes could be developed, and how to produce the developed designs in the industry could be investigated.

Wall-Couture is a project within the textile design field, which aims to explore methods for surface design in digitally printed wallpaper. Through a practice based working method, textile after-treatment techniques have been used to manipulate digitally printed wallpaper with hand-painted motives. Practices borrowed from haute couture have influenced the working method. The result is a range of design examples displaying various expressions of the techniques. The project shows that several surface materials could be applied in ways that enhance tactility and visual depth to digitally printed wallpaper, and also that methods from craftsmanship could be use to design contemporary wallpaper. The combination of techniques increases the designer’s opportunities to design wallpaper by using alternative approaches to material and surfaces. The work also strives to higher the value of handicraft, decoration and ornamentation in the design field. Another value is to strengthen the position of digital printing in the textile industry; the work encourages technical progress for creating digital print in combination with surface treatments.

"Spirited Media" analyzes distributed structures of authorship in the reform literature of the nineteenth-century United States. The literature that emerged out of reform movements like abolitionism often was a product of complex negotiations between speech and print, involving multiple people working across media in relationships that were sometimes collaborative, sometimes cooperative, and sometimes antagonistic. The cultural authority of print and individual authorship, often unquestioned in studies that focus on major or canonical figures of the nineteenth century, has tended to obscure some of this complexity. Moving from phonography, to Josiah Henson and Uncle Tom’s Cabin, to spiritualism, to Sojourner Truth and Walt Whitman, I consider four cases in which reporters, amanuenses, spirit mediums, and poets revived and remediated the voices of abolitionists, fugitive slaves, and figures from American history. By separating publication into events—speech, inscription, revision, and print—I show that "authorship" consisted of a series of interactions over time and across media, but that in the case of reform, the stakes for proving that authorship was a clear and indisputable characteristic of print were high. For abolitionist, African American, and spiritualist speakers and writers, authority depended on authorship, which in turn depended on the transparency of the print or the medium, or the perception of a direct relationship between speaker and reader. Like authorship, this transparency was constructed by a variety of social actors for whom the author was a key site of empowerment. It was authorized by appeals to revelation and race, two constructs often sidelined in media histories, yet central to discussions of society and politics in nineteenth-century America. Thinking of authorship as a distributed phenomenon disrupts models of the unitary subject and original genius, calling attention instead to uncanny acts of reading and writing in nineteenth-century literature. This dissertation argues that we should think about the transformative power of U.S. literature as located in revelation, not just creation, and in congregating people, not just representing them. / text

學術傳播是各學門領域研究人員傳遞學術資訊與研究成果的過程，藉由此過程的不斷循環、創新，人類知識也隨之逐步往前推進。傳統以正式學術出版為主的學術傳播體系，近年來由於期刊價格高漲與市場壟斷等問題，引發所謂學術傳播危機，因應而生的開放取用運動，則憑藉著電腦與網路科技發展，期待為學術傳播帶來新的發展面向，而其中電子預印本開放取用亦成為學術資訊傳播交流的重要選項之一。 電子預印本典藏庫收集學術論文作者主動上傳的電子預印本，以提供檢索與全文取用，形成電子環境下一種自由、開放的學術傳播模式。透過電子預印本典藏庫的運作，研究人員得以快速、廣泛地傳遞最新的資訊與研究結果。國外研究顯示電子預印本在網路時代學術傳播轉型中扮演著新的角色與功能，並因不同學門學術傳播的差異性，而有發展與利用程度的不同。物理學門則為其中的先驅與翹楚，因此本研究乃以物理學門為例，一方面從開放取用角度探討電子預印本在學術傳播轉變中的角色與功能，另一方面則藉由調查國內物理學門研究人員對電子預印本的認知與利用情形，以作為學術傳播相關研究、其他學門電子預印本或開放取用相關議題研究之參考。 研究結果顯示我國物理研究人員利用電子預印本典藏庫的歷史甚久、利用情形甚為普遍，發表、引用電子預印本的人數與篇數呈逐年穩定成長的情況，而在不同主題領域間亦有利用程度上的差異。電子預印本典藏庫增進學術傳播的速度與範圍，是一項革命性的發展，對我國物理研究人員的學術資訊傳播而言，具有相當程度的重要性。多數受訪者認為使用電子預印本典藏庫確實影響其使用正式出版期刊的情形，並有高達九成的受訪者同意使用電子預印本典藏庫確實改善其學術傳播方式。而電子預印本典藏庫對學術傳播的影響，不在於與傳統正式出版期刊的取代或消長，而在於促進學術資訊流通的速度與廣度、有助於弭平學術資訊落差以及平等、開放取用概念的充份落實。 / Scholarly communication is a process for researchers in different subject areas to spread research information and results. With continuous circulation of the information and innovation of the process, human knowledge then keeps progress. Recently, scholarly communication has been in serious crisis due to the highly increasing price of the periodical and the problem of market monopolization. Open Access is then developed and expected to bring constructive development for scholarly communication by taking advantage of computer and network technology. E-print archive also gives an important option for circulation and communication of academic information. E-print archive provides the function of search and full-text access and forms a free and open mode of scholarly communication under electronic environment. Researchers can transmit newest research results rapidly and broadly. Several research results show that e-print archive plays a new role in evolution of scholarly communication. In addition, there is difference in development of e-print archives between different subject areas. The first and most popular e-print archive is constructed and used by physicists, and therefore physics is chose as an example in this research. The role and function of e-print, the recognition and utilization to e-print archives for physicists in Taiwan are investigated. Research result shows that physicists in Taiwan have used e-print archive for a long time and in widespread. The number of e-print published and cited is steadily increasing year by year. However, there is difference in the utilization amount between different subject areas. E-print archive improves the speed and the scope of the scholarly communication and is a revolutionary development. Most interviewees agree that e-print archive really impacts the using rate of formal published journals. In addition, more than 90% interviewees agree that the e-print archive really improve the way of communication.

<p>This dissertation examines Mexico City’s material politics of print—the central actors engaged in making print, their activities and relationships, and the legal, business, and social dimensions of production—across the nineteenth century. Inside urban printshops, a socially diverse group of men ranging from manual laborers to educated editors collaborated to make the printed items that fueled political debates and partisan struggles in the new republic. By investigating how print was produced, regulated, and consumed, this dissertation argues that printers shaped some of the most pressing conflicts that marked Mexico’s first formative century: over freedom of expression, the role of religion in government, and the emergence of liberalism. Printers shaped debates not only because they issued texts that fueled elite politics but precisely because they operated at the nexus where new liberal guarantees like freedom of the press and intellectual property intersected with politics and patronage, the regulatory efforts of the emerging state, and the harsh realities of a post-colonial economy.</p><p>Historians of Mexico have typically approached print as a vehicle for texts written by elites, which they argue contributed to the development of a national public sphere or print culture in spite of low literacy levels. By shifting the focus to print’s production, my work instead reveals that a range of urban residents—from prominent printshop owners to government ministers to street vendors—produced, engaged, and deployed printed items in contests unfolding in the urban environment. As print increasingly functioned as a political weapon in the decades after independence, print production itself became an arena in struggles over the emerging contours of politics and state formation, even as printing technologies remained relatively unchanged over time.</p><p>This work examines previously unexplored archival documents, including official correspondence, legal cases, business transactions, and printshop labor records, to shed new light on Mexico City printers’ interactions with the emerging national government, and reveal the degree to which heated ideological debates emerged intertwined with the most basic concerns over the tangible practices of print. By delving into the rich social and cultural world of printing—described by intellectuals and workers alike in memoirs, fiction, caricatures and periodicals— it also considers how printers’ particular status straddling elite and working worlds led them to challenge boundaries drawn by elites that separated manual and intellectual labors. Finally, this study engages the full range of printed documents made in Mexico City printshops not just as texts but also as objects with particular visual and material qualities whose uses and meanings were shaped not only by emergent republicanism but also by powerful colonial legacies that generated ambivalent attitudes towards print’s transformative power.</p> / Dissertation

Concentration levels of PM2.5 and PM10 paper dust were measured in a book production facility using a quantitative single subject study. Dust concentration data was collected in three processes of a book manufacturing facility; paper recycling, the digital pressroom and the digital bindery. Data was collected using the DustTrak DRX 8533 Aerosol Monitor, focusing on particulate sizes of PM2.5 and PM10. The data was used to determine if paper dust in the book production industry reached concentration levels that could have negative respiratory health effects on surrounding employees and to determine which process within the studied facility had the highest concentrations of paper dust. The study revealed that the paper recycling warehouse had the highest concentrations of paper dust. It was also determined that the paper recycling warehouse could cause negative respiratory health effects on surrounding employees. Further research is needed to determine the extent of those effects and potential remediation.

This bachelor degree work explores textile print with illusionary qualities, and aims to challenge the viewers visual perception and ideas of reality. With focus on creating three-dimensional illusionary prints the motive is to question how we evaluate design in relation to society and expected imagery. By working with the techniques of weaving, digitally developed print and transfer printing techniques this work strives to create an opportunity for the viewer to expand their idea of reality.

In recent years a number of important studies have emerged that focus on the lives of the human agents who operated in the early-modern book trade. This marks a scholarly shift away from the technologies of book production towards the figures who operated, profited from, and helped to shape, print technologies and their related products. In this critical movement the identities of printers, publishers, and booksellers have come to matter, both in terms of our understanding of what constitutes ‘print culture,’ and in efforts to narrativise the history of the book. However, although scholars have become increasingly familiar with a critical vocabulary that links early-modern print with textual transience, and the archive with paradigms associated with absence, disputation, and authenticity, biographies related to the lives of book-trade professionals have tended to privilege the representational stability of the documentary evidence we use to reconstruct past lives. This thesis aims to address this critical vacuum by analysing the life and career of one highly controversial, although critically neglected, 17th-century printer, Henry Hills (c. 1625-1688/9). By drawing together methodologies associated with bibliography, the history of the book, and the study of literatures, the thesis seeks to self-reflexively respond to the absences, doublings, missing or fabricated texts, revisions, accretions, and amendments that seem to mark, and have come to shape, the story of Hills’ life. Theories and approaches associated with the materiality of early-modern lives, critical biography, and the archive are used to fully explore the way Hills functioned both in his own time and after as a metonymic figure who has been actively written and rewritten with different historically specific agendas in mind. Ideas of elusiveness, how his contemporaries struggled to represent Hills, and the problem of locating him in the documentary evidence, are also investigated. In the process this thesis casts new light not only on Hills but on the 17th-century printing trade and the printer as a cultural emblem, 17th-century history and culture, and the way we research lives in the early modern period. Each of the chapters of this thesis discusses archival sources that critical biography and bibliography have traditionally looked to for biographical details of Hills’ life. These include a Particular Baptist confession-cum-conversion account entitled The Prodigal Returned, said to have been composed by Hills in 1651 while he served a prison sentence in the Fleet for adultery. I also discuss three accounts of Hills’ high-profile conversion to Catholicism in the mid-1680s, which were authored between 1684 and 1733. The thesis provides a detailed analysis of a conspiracy story, first published in 1697, which posthumously cast Hills as a key player in a bibliographical scandal that is said to have taken place in 1649. I also pay close attention to Hills’ last will and testament, a document that spawned a number of very public legal contestations amongst members of the Hills family. Through a close, historicised reading of these materials, this thesis adds new discussions of the way in which Hills was read and contested by his contemporaries, later historians, and bibliographers, and throughout I retain a sense of the highly mediated nature of the evidence we use to reconstruct Hills biographically, while stressing his importance in the cultural imagination of the period.