Made available in DSpace on 2016-04-26T18:17:12Z (GMT). No. of bitstreams: 1 Claudia Trevisan Fraga.pdf: 3207854 bytes, checksum: ddb5b6391341700d2dbda12f4a618996 (MD5) Previous issue date: 2008-05-19 / This research intends to study the Brazilian publishers identity construction based on its books front cover. Our proposition searched to recognize the common and distinctive procedures used specifically on its first front covers. Considering the great number of publishers present in the Brazilian market we have chosen an initial clipping, which caused the selection of two among the seven biggest publishers in expansion. It refers to Record, considered the oldest and Cosac Naify, the newest. In a second moment, we considered these two publishers actuation during 2007, and we selected for analysis the fiction segment according to the ranking of the five best sellers. From a corpus of five fiction front covers, we elected randomly three first front cover a for each publisher as a sample of its suitable operation. In this investigation the first front cover is taken not only as a package but also as both the book and the publisher identitary face. For the designers that create it, it is developed and treated like an advertisement which sells products based on the first contact between the book and the consumer. Calling into question this kind of interaction as meaning production and publishers identity construction, we examine what is the articulation among verbal, visual and spacial systems expression function in the first front cover, and how these kind of articulation edify the identity´s expression. Approaching the distinctive kinds of visibility that the two publishers sincretic articulation create on its first front covers we conclude that, beyond the strategy of an enunciator/publisher that makes the enunciatary/reader makes sense of the book, it also infers that the publishers use the making feel thought through a combination of sensitive attributes of the first front cover constituent elements as a whole sense. These two designator s ways of doing have been approached in the E. Landowski sociossemiotic as two kinds of interaction: manipulation and adjustment. The discursive semiotic and its model of meaning analysis based on content plane developed around A.J.Greimas, as well as the visual semiotic with the contributions of J.M. Floch based the procedures of description and analysis of the visual texts. For the sensible and intelligible experiences that these texts produce, our approach founded its basis in E. Landowski to develop them as persuasive strategies and as lived experiences, both occurring in distincts kinds of interaction between communication actants. In the first case, processing the ready made signification of the front cover. In the second one, processing the meaning in act. These two interactive procedures led us also to conclude about the two kinds of specification that define the readers, which oriented us to understand the publishers identity construction. Alongside A. C. de Oliveira we concluded that, besides the content plane arrangement, the expressive articulation procedures adopted by the publishers are also the basis of the two distinctive procedures of identity construction: by quantity and by qualification / Esta pesquisa objetiva estudar a construção da identidade das editoras brasileiras a partir de suas capas de livros. Nossa proposta buscou reconhecer os procedimentos comuns e os distintivos utilizados especificamente nas 1ªs capas. Diante da grande quantidade de editoras presentes no mercado, optamos por um primeiro recorte, do qual selecionamos duas dentre as sete maiores editoras em expansão. Trata-se da Record, considerada a mais antiga, e da Cosac Naify, a mais recente. Num segundo momento, levamos em conta a atuação dessas duas editoras no ano de 2007, selecionando para análise o segmento de ficção de acordo com o ranking dos cinco títulos mais vendidos. Do corpus de cinco capas de ficção, elegemos aleatoriamente três 1ªs capas de cada editora como uma amostragem pertinente do seu fazer. A 1ª capa é tomada nessa investigação não só como a embalagem do miolo, mas também como a face identitária tanto do livro quanto da editora. Para os designers que a concebem, ela é desenvolvida e tratada à maneira de um anúncio publicitário para a venda do produto a partir do primeiro contato entre o livro e o consumidor. Problematizando esse tipo de interação, como produção da significação e da construção da identidade editorial, examinamos qual o papel da articulação entre os sistemas da expressão verbal, visual e espacial da 1ª capa, e como esses tipos de articulação edificam a expressão da identidade. Abordando os distintos modos de visibilidade que a articulação sincrética das duas editoras criam nas 1ªs capas, chegamos que, além de uma estratégia do enunciador/editora para fazer o enunciatário/leitor fazer o sentido do livro, depreende-se, ainda, que as editoras empregam um fazer sentir por meio de um arranjo das qualidades sensíveis dos elementos constituintes da 1ª capa como um todo de sentido. Esses dois modos de fazer do destinador, a sociossemiótica de E. Landowski postula como dois modos de interação, a saber: manipulação e ajustamento. A semiótica discursiva e o seu modelo de análise da significação pelo plano do conteúdo desenvolvida em torno de A. J. Greimas, assim, como a semiótica visual com as contribuições de J.-M. Floch embasaram os procedimentos de descrição e análise dos textos visuais. Enquanto experiências sensíveis e inteligíveis que esses textos produzem, nossa abordagem encontrou fundamentamos em E. Landowski para desenvolvê-las tanto enquanto estratégias de persuasão quanto experiências vividas que se processam ambas nos distintos tipos de interação entre os sujeitos da comunicação. No primeiro caso, no processar da significação já pronta na capa, no segundo, no processar do sentido em ato. Esses dois procedimentos interativos nos levaram a concluir também os dois tipos de especificidade definidores dos leitores, que nos orientou na depreensão da construção da identidade das editoras. Concluímos como A.C. de Oliveira que, ao lado do arranjo do plano do conteúdo, são também os procedimentos de articulação expressiva, selecionados pelas editoras, os sustentáculos de dois distintos procedimentos de construção identitária: por quantidade e por qualificação

Distributed event processing systems suffer from poor scalability and inefficient resource usage caused by load distributions typical in real-world applications. The results of these shortcomings are availability issues, poor system performance, and high operating costs. This thesis proposes three remedies to solve these limitations in content-based publish/subscribe, which is a practical realization of an event processing system. First, we present a load balancing algorithm that relocates subscribers to distribute load and avoid overloads. Second, we propose publisher relocation algorithms that reduces both the load imposed onto brokers and delivery delay experienced by subscribers. Third, we present ``green" resource allocation algorithms that allocate as few brokers as possible while maximizing their resource usage efficiency by reconfiguring the publishers, subscribers, and the broker topology. We implemented and evaluated all of our approaches on an open source content-based publish/subscribe system called PADRES and evaluated them on SciNet, PlanetLab, a cluster testbed, and in simulations to prove the effectiveness of our solutions. Our evaluation findings are summarized as follows. One, the proposed load balancing algorithm is effective in distributing and balancing load originating from a single server to all available servers in the network. Two, our publisher relocation algorithm reduces the average input load of the system by up to 68%, average broker message rate by up to 85%, and average delivery delay by up to 68%. Three, our resource allocation algorithm reduces the average broker message rate even further by up to 92% and the number of allocated brokers by up to 91%.

Distributed event processing systems suffer from poor scalability and inefficient resource usage caused by load distributions typical in real-world applications. The results of these shortcomings are availability issues, poor system performance, and high operating costs. This thesis proposes three remedies to solve these limitations in content-based publish/subscribe, which is a practical realization of an event processing system. First, we present a load balancing algorithm that relocates subscribers to distribute load and avoid overloads. Second, we propose publisher relocation algorithms that reduces both the load imposed onto brokers and delivery delay experienced by subscribers. Third, we present ``green" resource allocation algorithms that allocate as few brokers as possible while maximizing their resource usage efficiency by reconfiguring the publishers, subscribers, and the broker topology. We implemented and evaluated all of our approaches on an open source content-based publish/subscribe system called PADRES and evaluated them on SciNet, PlanetLab, a cluster testbed, and in simulations to prove the effectiveness of our solutions. Our evaluation findings are summarized as follows. One, the proposed load balancing algorithm is effective in distributing and balancing load originating from a single server to all available servers in the network. Two, our publisher relocation algorithm reduces the average input load of the system by up to 68%, average broker message rate by up to 85%, and average delivery delay by up to 68%. Three, our resource allocation algorithm reduces the average broker message rate even further by up to 92% and the number of allocated brokers by up to 91%.

Sedan 1700-talet har läsarnas medverkan varit en väsentlig del i tidningarnas produktion. Utan deras deltagande har det inte heller blivit någon tidning. En förändring på området skedde när professionaliseringen av publicistrollen blev ett faktum och läsarnas medverkan ifrågasattes. Samhällsförändringar och tekniska utvecklingar har sedan lett fram till det vi har idag: ett samhälle där medieorganisationerna är i allt större behov av att läsarna återigen deltar i olika former. Syftet med studien är därför att undersöka hur journalister och ledning på tre olika lokaltidningar resonerar kring och förhåller sig till användargenererat material, samt vilka möjligheter användarna har att delta. Genom semistrukturerade intervjuer med lokaltidningarnas ansvariga utgivare och två journalister på respektive redaktion har vi fått fram att tidningarna generellt har ett positivt förhållningssätt till användargenererat material. De anser att teknikens utveckling både har hämmat och främjat relationen till läsarna i takt med att olika plattformer har utökat tidningarnas grundläggande publiceringskanal, det vill säga papperstidningen. Informanterna tror på ett ökat samarbete mellan yrkesverksamma journalister och användare i framtiden. De hävdar samtidigt att användarnas material inte får ta allt för stor plats och på så sätt konkurrera ut redaktionsmaterialet. Vidare menar de att yrkesprofessionen och de kunskaper som den omfattar är en av grundpelarna i tidningens funktion och så bör det förbli. I diskussionen använder vi oss av begrepp som offentlighet och deltagande samt resonemang kring det förändrade mediesammanhanget och den journalistiska yrkesprofessionen. / Since the eighteenth century user contribution has been a crucial part of newspaper production. Without the participation from the public there hasn’t been a newspaper at all. The professionalization of the publicist role became the starting point who changed how people valued user contribution. Societal change and the technical development has then led to the society we have today – a place where media organizations find themselves in a greater need for user participation to survive. The purpose of this study is therefore to examine how three local news papers reason about and react to user generated content and also to find out what possibilities the users have to participate. Thru semi structured interviews with the legally responsible publisher for each news paper and two journalists from each editorial staff our result shows that the news papers have a positive attitude towards user generated content in general. The informants say that the technological development have been both an improvement and inhibitory in the relationship to the readers. They believe in an increased cooperation in the future but at the same time emphasize the fact that user generated content can’t be allowed to take too much place and become a rival to the journalistic material. The informants also say that the knowledge they posses thru their journalistic education is the main core in their work as well as in the idea and function of the news paper. That is the way it should remain. We use terms and theories about the public sphere, participation, media convergence and the journalistic profession in our discussion.

Geza Kon wurde am 2. August 1873 als Sohn eines Rabbiners im ungarischen Csongrad geboren. Er entstammte einer bekannten askenasischen Familie. Diese siedelte bald nach seiner Geburt nach Zemun (bei Belgrad) über. Seine erste Anstellung bekam Geza Kon 1889 bei dem bekannten serbischen Buchhändler Friedrich Breslauer in Belgrad. Ab 1894 wurde er für sieben Jahre der Geschäftsführer bei dem ebenfalls berühmten Buchhändler Arsa Pajevic in Novi Sad.

Am 20. März 2011 hat die Universitätsbibliothek Leipzig der serbischen Nationalbibliothek im Krieg geraubte Bücher des Belgrader Verlags Geza Kon übergeben. Zur Unterzeichnung der Übergabe-Vereinbarung in der Bibliotheca Albertina waren der Botschafter Serbiens in Deutschland, Ivo Viskovic, sowie der Direktor der serbischen Nationalbibliothek, Sreten Ugricic, anwesend. Beide sprachen eine Einladung an den Direktor der UB, Ulrich Johannes Schneider aus, am 6. April 2011 an den Feierlichkeiten zum 70. Jahrestag des Angriffs der Deutschen auf Belgrad in der serbischen Nationalbibliothek teilzunehmen und die Übergabe zu besiegeln.

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No. of bitstreams: 2 VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) Previous issue date: 2015-09-30 / The following work addresses the editorial policies of Jorge Zahar, specifically from 2001 to 2014, discussing the challenges faced by this publishing house that has built the brand through the ideal of publishing books that remain on the market over time. The study presents its history, since the foundation as 'Zahar Editores', in the 1950s, describing the editorial proposals on the context of specific social and marketing situations. Some critical moments were highlighted, when both the editorial policies and the company's management structure were reassessed, resized, establishing a period of major changes. That said, this work aims to analyze different Zahar’s catalogs: one of the 1985 period - when the publisher house started to be managed by Jorge Zahar and his children - and the ones from 2001 to 2014, noticing the aspects of changes and similarities between all the catalogs and the editorial fund. The categories 'independent' and 'classical books' have been identified as strategic elements in the self-conception and external identification of the publishing house, pointing its perception of books as cultural assets, as well as the role of the editor as a cultural agent. The performance of Zahar has been challenging two types of diagnostics in the common sense and even in the academic literature. The first is that publishers need to invest in books that quickly reach high sales levels, even if they don’t last too long, in order to ensure profitability and presence in the market. The second is that, in general, small and medium publishing houses, still autonomous, tend to sell their copyrights to the largest and most capitalized companies, once they have to face the aggressive marketing policies of these organizations. The research findings suggest that Zahar has insisted on maintaining their self-identification as a publishing house of classical books, directing their editorial policies to the publication of materials that last longer, demonstrating that it is possible to follow their own path in terms of emphasizing the unique role the editor, marked by independence in choosing what, how, when and how many publications - and retaining its place in the market. / O presente trabalho versa sobre as políticas editoriais da Jorge Zahar Editor, em especial de 2001 a 2014, discutindo os desafios enfrentados por uma editora que construiu sua marca através do ideal de publicar livros que se mantivessem no mercado editorial ao longo do tempo. Foi apresentado um histórico da editora, desde sua fundação, como Zahar Editores, nos anos 1950, descrevendo as propostas editoriais situadas em conjunturas sociais e mercadológicas específicas. Detectaram-se alguns momentos críticos, em que tanto as políticas editoriais quanto a estrutura de gestão da empresa foram reavaliados, redimensionados e sofreram mudanças importantes. Analisaram-se diferentes catálogos da Zahar: o de 1985, período em que a editora passou a ser gerida por Jorge Zahar e filhos, e os de 2001 a 2014, observando o que neles permaneceu dos anos 1980 e também as transformações e permanências do fundo editorial entre os anos 2001 e 2014. As categorias 'independência' e 'livros clássicos' foram identificadas como elementos discursivos estratégicos na auto-concepção e identificação pública da editora, apontando sua percepção dos livros como bens culturais, bem como da função do editor como agente cultural. A performance da Zahar tem desafiado dois tipos de diagnósticos difundidos no senso comum e mesmo na literatura acadêmica. O primeiro é que as editoras precisam publicar livros que alcançam alta vendagem rapidamente, mesmo que eles tenham uma sobrevivência efêmera, como forma de garantir sua lucratividade e sobrevivência no mercado. O segundo é que as editoras, em geral, pequenas e médias, ainda autônomas, tendem a precisar vender seus direitos para empresas maiores e mais capitalizadas, pois não terão como enfrentar as políticas mercadológicas agressivas dessas organizações. As conclusões da pesquisa sugerem que a Zahar tem insistido na manutenção de sua auto-identificação como editora de clássicos, direcionando suas políticas editoriais para a publicação de livros que tenham longa duração, demonstrando que é possível seguir um caminho próprio, em termos de exercício da função própria do editor, marcada pela independência na escolha do que, como, quando e quanto publicar – e conservar seu espaço no mercado.

La traduction pragmatique n’est pas le domaine réservé des traducteurs travaillant dans les secteurs économiques en dehors de l’édition. De nombreux traducteurs d’édition sont aussi des traducteurs pragmatiques. Dans ce domaine, leur spécialisation ne se confond pas avec le domaine dans lequel ils travaillent. Leur métier est méconnu et il n’existe aucune formation pour préparer les aspirants traducteurs à cette spécialisation. Cette recherche s’efforce de combler cette lacune. Elle commence par décrire les ouvrages pragmatiques afin de montrer que dans ce secteur, la réflexion traductive porte sur le texte dans sa mise en page. L’unité de traduction s’hybride, puisqu’elle est composée de rubriques textuelles aux fonctions communicatives précises et d’éléments visuels. Il s’ensuit que la réflexion traductive demande une approche multisémiotique qui s’appuie sur une connaissance approfondie du livre pris comme un espace signifiant dont le texte n’est qu’une composante parmi d’autres. La connaissance du livre est au cœur de la spécialisation des traducteurs pragmatiques actifs dans l’édition. Le milieu de l’édition attend des auteurs et traducteurs un travail de rédacteurs. Les tapuscrits fournis sont relus et corrigés, voire partiellement réécrits pour les améliorer, par les correcteurs. Il n’y a plus un auteur mais une fonction auteur qui réunit les différents intervenants de la chaîne du livre. L’apprentissage du métier doit donc comporter une part de socialisation seconde, intégrée aux exercices de traduction proposés, pour préparer les aspirants traducteurs à s’insérer dans cette équipe. Tout en se perfectionnant en traduction, les jeunes traducteurs doivent se muer en collaborateurs fiables capables de prendre part au processus de fabrication du livre en agissant en tant que médiateur culturel. Leur action s’exprime principalement par l‘écriture de la traduction mais aussi par leurs commentaires sur la fabrication du livre. / Pragmatic translation is thought as the area of specialized translators working for clients outside of the publishing industry, which is deemed to contract literary translators. This is true to some extend. However a large sector of the publishing industry is not concerned with literature but with pragmatic books dealing with all sorts of topics. Many pragmatic translators working for the publishing industry are in fact specialized in translating pragmatic books, not texts. They have to understand the way pragmatic books, made of visual and linguistic messages, convey information to their readers to translate them. This aspect of translation is little known and, outside the study of translation for advertising, research investigating the interaction of texts and iconography is scarce. There is even less on translator training. This thesis endeavours to contribute the observations of a professional translator turned translator trainer. It begins by describing the layout of pragmatic books and showing how the translator must take in the text and the iconography to make sense of the message. The double page is a visual unit splitting the information between text and images. As a result, a translation unit is a mix of texts and images. It follows that translators have to approach the translation of books as a multisemiotic activity. Therefore, when translating pragmatic books, translators have to consider them as signifying space in which textual units are no longer the only source of information. The core of the specialisation of pragmatic translators working in the publishing industry is a profound understanding of how books communicate meaning. Publishers expect both authors and translators to be able to write following style specifications for a given book series. Tapuscrits are proofread and sometimes partially rewritten to be put in agreement with the social communicative norms. At the end of the process leading to the publication of a book, the published text is a collective product and no longer the text originally provided by its “author”. To translate in this context, trainees must learn how to work in a team, albeit working from home. Translation training, at this point, aims at turning students into independent professional able to rewrite and adapt texts, taking into account the visual around, to accommodate readers’ expectations as defined by publishers. As they strive to improve their translation techniques, soon to be translators also need to learn to become cultural mediator and to criticize the books they are translating so as to improve them if need be. Invisible to readers, their contribution to the making of a book, appears in the writing of the translation and in comments on the book itself; and it is very visible to publishers they work for.

The thesis offers a translation of a part of the novel Ce cœur changeant (2015) by Agnès Desarthe, a contemporary French author. The historical-psychological novel is set in early twentieth-century Paris. The next part situates the novel in the context of French literature, introduces its thematic and stylistic characteristics and describes the main translation problems, their solutions and the chosen method of translation. The last part gives an overview of a French work of literature's journey to Czech audience and records an attempt to have the novel published in the Czech Republic.

[pt] Este trabalho analisa a produção da Coleção Primeiros Passos, publicada pela editora Brasiliense no período da abertura democrática, no Brasil, entre os anos 1979 e 1985. Com a produção dessa Coleção a Brasiliense não só conquistou uma nova posição no campo editorial como criou um espaço de participação política relevante no processo democrático em construção. Destaca-se para a análise histórica o projeto político editorial de esquerda construído pela Brasiliense nesse momento. / [en] This work analyzes the production of Primeiros Passos, the book collection, edited by Brasiliense during the period of the Brazilian democratic opening process, from 1979 to 1985. With it, Brasiliense reached a new and important position on the publishing field and furthered an extremely relevant space for political discussion and participation alongside with the democratic process under construction by civil society. The leftist political publishing project built by Brasiliense is focused on here from a historical perspective.