During the first half of the twentieth century there was a flourishing of publishers in the United States that specialized in books with content targeted for regional audiences. One of the largest regional publishers west of the Mississippi was the Binfords & Mort publishing company of Portland, Oregon. In 1930, Binfords & Mort began publishing works of fiction, history, poetry, children's literature, and natural history by Pacific Northwest authors with content focused on the Pacific Northwest. Between 1930 and 1984, when the Binford family sold the publishing company, Binfords & Mort published around one thousand titles, and became a one of the leading influences on the Oregon literary scene. Although Binfords & Mort did not publish books that received widespread critical praise from national literary critics, its books sold well to Oregon readers. This thesis examines the economic and cultural contexts for Binfords & Mort, and its larger cultural impacts. The thesis also challenges the standard claim that Oregon literature underwent a major shift toward modernism after the publication of H.L. Davis's and James Stevens's critique of Oregon writing, Status Rerum in 1927. Instead, the thesis proposes that by looking at the output of Oregon's most popular publisher, Binfords & Mort, one finds that an older style of writing focused on the pioneer period continued to be popular well into the twentieth century. These publications had a widespread impact on Oregon's cultural development.

Eighteenth-century Scottish bibliography is a vast subject still awaiting exploration. There are, however, some landmarks to look for and guides to employ. I am thinking particularly, in the context of my own interests, of the writings of Philip Gaskell, and a work that should open up new sources, Robert H. Carnie’s awaited dictionary of the Scottish Book trade. The national Library of Scotland is in the early stages of compliling a catalogue of its eighteenth-century Scottish books which, no matter what form it takes, will provide scholars with a major tool. The description of books has been and doubtless will continue to be a controvertial subject, but those students who have much to identify can take encouragement, I believe from David Foxon’s ‘Thoughts on the History and future of Bibliographical Description’. In this work I map some particular and general areas of Scottish publishing history by examining the partnership of Gavin Hamilton and John Balfour, and the association they formed with the printer Patrick Neill. I study the partners in their own right as booksellers, publishers and printers, but I am concerned also with the larger bibliographical background. Hamilton and Balfour were strong-willed individuals who bought the force of their personal and private interests to bear on their professional lives; Hamilton, especially, in the period under consideration, saw little difference between his duty as a Scottish gentleman and his activities as a Scottish publisher. He and Balfour were far-sighted and adventurous, and deserve to be thought of as central figures in the story of the Edinburgh book trade.

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this dissertation two relatively under-researched areas within the scope of translation studies are investigated: the production process of translations and the sociological and cognitive aspects involved in this production process (as opposed to only studying the translation product). Process and sociological studies are currently on the forefront of research in translation studies and this dissertation attempts to contribute to these fields. The current study investigates the role of the various agents (among others the publisher, reviser and editor) involved in the production process of translations to illustrate how this process involves more agents than only the translator. Translation is proven to be a process involving a network of agents who work together to produce the final product, i.e. the target text. In this dissertation this interaction between agents is examined by making use of Latour's Actor-Network-Theory (ANT), a sociological theory that focuses on the network and links between agents within a production process. The production processes of literary translations that are analysed in this dissertation are Niggie – To hell with Cronjé (Ingrid Winterbach), Vaselinetjie – My name is Vaselinetjie (Anoeschka von Meck) and a selection of the "Stoffel tales" – In bushveld and dessert: A game ranger's life (Christiaan Bakkes). These texts were all translated by the literary translator Elsa Silke and published by NB Publishers in 2007, 2009 and 2008, respectively. The versions of the texts analysed are the source text, the concept translation, any other preliminary versions (manuscripts) and the completed published target text. These texts are analysed along with all available correspondence between agents to reconstruct the production processes in order to determine how translations are produced by means of interaction between different agents. This study is therefore greatly exploratory by nature and aimed at revealing the "invisible" of the production process of literary translations in order to contribute to and promote research within this under-researched field of translation studies. The main focus of this study is to analyse how each agent's inputs have a sociological impact on other agents and the production processes, as well as how their interaction and decisions impact the target text. The results are predominantly presented descriptively (within the framework of Descriptive Translation Studies [DTS]) and concepts of Nord's Functionalism, Even-Zohar's Polysystem Theory, Bourdieu's theory on the field of cultural production, Sharpe and Gunther's editing principles and Mossop's theory on editing and revision of translated texts are used to analyse and discuss the production processes of the three literary translations mentioned above. In conclusion a model is presented, based on these analyses, depicting a possible optimal production process for literary translations. A possible chronology of steps in the production process and means of interaction between agents are depicted by this model. With this proposed model this dissertation contributes to theory development within the field of translation studies and editing and revision theory. This model can be applied to production processes of literary translations to test if it is viable to apply in practice to ensure a more effective production process as well as a successful product (target text). If this model proves to be effective, it can eventually serve as a guideline for literary translation practice. / AFRIKAANSE OPSOMMING: In hierdie proefskrif word twee studieterreine ondersoek wat in die verlede min binne die vertaalwetenskap nagevors is: die bestudering van die produksieproses van vertalings en die bestudering van die sosiologiese en kognitiewe aspekte betrokke by hierdie produksieproses (teenoor slegs die vertaalproduk). Die ondersoek van hierdie terreine is op die oomblik op die voorgrond in die vertaalwetenskap en hierdie proefskrif dra daartoe by om hierdie studieveld te verbreed. In hierdie proefskrif word daar gekyk na die rol van die verskillende agente, onder andere die uitgewers, redigeerders en reviseurs in die produksieproses van drie literêre vertalings om te illustreer dat die produksieproses van literêre vertalings nie slegs die insette van een agent, naamlik die vertaler, behels nie, maar dat dit 'n proses is wat uit 'n netwerk van agente bestaan wat saamwerk om die eindproduk (naamlik die doelteks) te produseer. Hierdie netwerk van verhoudings tussen agente in die produksieproses word ondersoek na aanleiding van Latour se sosiologiese Actor-Network-Theory (ANT) wat op die netwerk en skakels tussen agente binne 'n produksieproses fokus. Die produksieprosesse van literêre vertalings wat in hierdie proefskrif ontleed word, is Niggie – To hell with Cronjé (Ingrid Winterbach), Vaselinetjie – My name is Vaselinetjie (Anoeschka von Meck) en 'n keur uit die Stoffel-verhale – In bushveld and desert: A game ranger's life (Afgekort as In bushveld and desert) (Christiaan Bakkes) – almal tekste wat onderskeidelik in 2007, 2009 en 2008 by NB-Uitgewers verskyn het en deur die literêre vertaler Elsa Silke vertaal is. Die bronteks, die konsepvertaling, enige ander voorlopige weergawes (manuskripte) en die uiteindelike gepubliseerde doelteks word telkens saam met die beskikbare korrespondensie tussen die onderskeie agente bestudeer om die produksieprosesse te rekonstrueer en te bepaal hoe die vertaalprodukte deur middel van wisselwerking tussen onderskeie agente tot stand gekom het. Hierdie studie is dus grootliks verkennend van aard en het dit ten doel gestel om die "onsigbare" van die produksieproses van literêre vertalings bloot te lê ten einde verdere navorsing in hierdie onderontwikkelde been van die vertaalwetenskap te bevorder. Daar word hoofsaaklik gekyk na die wyse waarop elke agent se insette 'n sosiologiese impak op die ander agente sowel as die produksieprosesse en/of 'n tekstuele impak op die doelteks gehad het. Die resultate word hoofsaaklik deskriptief (vergelyk deskriptiewe vertaalstudies, DTS) aangebied en bespreek en daar word van konsepte uit Nord se funksionalisme, Even-Zohar se polisisteemteorie, Bourdieu se veldteorie, Sharpe en Gunther se redigeerbeginsels en Mossop se teorie oor redigering en revisie van vertalings gebruik gemaak om die analises uiteen te sit en te bespreek. Na aanleiding van dié analises word 'n model in die laaste hoofstuk aangebied wat 'n moontlike optimale produksieproses vir literêre vertalings voorstel. Die aanbevole chronologie van stappe in die produksieproses en die wisselwerking tussen agente word deur hierdie model voorgestel. Met die daarstelling van dié model dra die proefskrif dus tot teorieontwikkeling in die vertaalwetenskap en op die gebied van redigeer- en revisieteorie by. Hierdie model kan op die produksieprosesse van literêre vertalings toegepas word om te toets of dit wel in die praktyk werk om 'n effektiewe produksieproses te bewerkstellig en 'n geslaagde vertaalproduk te produseer. Indien wel, kan dit uiteindelik as 'n riglyn vir die literêre vertaalpraktyk dien.

University press publishing was introduced in sub-Sahara Africa around the mid 1950s as the new independent countries strived to accelerate the pace of education and training of their peoples with the sole purpose of the rapid socio-economic development of their countries. Just like their universities, African university presses were modeled after their American and European counterparts. Like all genres of publishing, scholarly publishing in Africa has not been cushioned from the challenges imposed by economic factors. In fact publishing in Africa enjoyed a short boom in the early 1970s, but due to the serious socio-economic downturns in most of these countries, starting from the early 1980s, these gains have been halted and in some cases reversed. This study examines the policies and practices of six sub-Saharan Africa university presses. It is a multi-site case study to establish how far the presses have adopted and/or adapted their policies to suit the environment and circumstances of Africa. The study investigates the extent to which constraints facing them affect their publishing efforts, their coping strategies, and the possible avenues of reducing the effect of these constraints. Several data collection methods were employed including on-site visits, interviews, and observations at three of the presses, and a mail survey of all six presses. There is a serious absence of competition and cooperation between the presses surveyed. There are no aggressive fund raising strategies, yet the survey showed financial constraint as the most crucial factor that impedes the development of their publishing activities. The presses do not have press publishing areas or press lists, which define the subject areas in which each of them concentrates its publishing. None of the presses has a formal written policy on manuscript acquisition. The study confirms that university presses publish mainly in the humanities and social sciences. Views on a unique African model of a university press are divided. The issue of author-publisher relationship is high on the presses agenda, especially as African scholars seek publishing avenues with African presses. Opinion on publishing non-scholarly materials was divided but swayed towards getting the needed profits to support non-profitable but essential publishing by the university press. For the majority of the presses, the most important publishing category is undergraduate textbook, and direct sales is the most popular means of marketing their works. The presses have succeeded at selling between 25-65% of their output. The study concludes that the coping strategies adopted by the presses in the face of harsh environmental conditions include the introduction of ICTs, changes in the treatment of authors, editorial policy on publishing non-scholarly materials, staff levels and use of outsourcing, and different approaches to sources of funding. It recommends a consortium of African university presses based at the micro level on Specialization, Cooperation, and the adoption of ICTs especially print-on-demand technologies. Each press must operate as a Trust in order to enjoy autonomy as a private company, but be registered as a non-profit organization. At the macro level funding must be vigorously sourced through donor agencies including The African Development Bank. Governments should prioritize book publishing, the development and stocking of libraries, encourage reading, set up regional university presses, and introduce book and publishing components into research project funds. The study recommends further research into the effect of technological developments on university press publishing in Africa, a follow up study in 10 years to see how university presses in Africa are surviving, and a detailed study of university press consortia and the implications for tertiary education in Africa.

This graduation thesis is aimed to identify the current situation of the newspapers Mladá fronta DNES and the internet portal iDNES.cz in the Czech media market. The print market, as well as the Internet market is undergoing some changes mainly caused by technological progress and society development. Both products are under control from the Mafra Media Group, which has to respond to the ongoing development of the Internet, as a dynamically growing media type at the expense of newspapers. The success is the close cooperation between both journal channels and frequent use of the possibilities of promotion in other media under the Mafra Media Group.

Thesis (M.A.)--University of the Witwatersrand, Faculty of Humanities, African Literature, 2014. / The purpose of this research project was to investigate the role of the publishing industry in supporting and promoting isiZulu fiction in South Africa. The research first highlighted the contribution made by the missionaries in the 19th century in publishing literature in indigenous languages in general and in isiZulu fiction in particular. This aspect followed by a discussion of the impact of apartheid’s publishing policies on literature in indigenous African languages. This section then followed by the discussion of the strategies and initiatives that have been introduced in order to preserve and promote this literary tradition in the post-apartheid period. This research assessed OUPSA’s book chain process in order to investigate how the book industry contributes to the post-1994 initiatives of promoting creative writing in indigenous languages. It argued that book publishing is not the end of the book provision process, instead marketing and distribution chain, selection of fiction in schools and libraries, lack of experience of librarians, shortage of African languages fiction and financial resources in libraries as well as inconclusiveness of government policies play a huge role in the distribution process of isiZulu fiction which is pivotal to the sustainable existence of a publishing industry. In this research project, different aspects of the book chain process were investigated, such as: publishing and distribution, schools and public libraries, schools and education and literacy level to find out the link between publishing and libraries and schools. It is hoped that the findings of the investigation identified the significant inhibiting factors which may prevent the provision of isiZulu fiction books to libraries and schools that may have been caused by the methods in which books were commissioned, marketing strategies and implementation of the language policy, especially as to how it affects the promotion and rejuvenation of literatures in African languages.

Submitted to the Faculty of Humanities in partial fulfillment of the requirements for the degree of M.A (Publishing Studies) University of the Witwatersrand, South Africa, 2017 / Gérard Genette famously noted that paratexts are ‘those liminal devices’, elements, both within and outside the book, that form part of the complex relationship between book, author, publisher, and reader. He determined that titles, forewords, epigraphs, and publishers’ jacket copy are part of a book’s ‘private and public history’. By considering each of these liminal devices in the larger context of marketing strategies, this research report addresses the question of how paratexts are altered to appeal to different markets in different countries – specifically South Africa and Germany – and how this is done in relation to five translated novels: Stadt des Goldes by Norman Ohler; Portrait with Keys by Ivan Vladislavić; Township Blues and Themba by Lutz van Dijk; and Fiela se Kind by Dalene Matthee. The research report argues that the relationship between paratext and reader is of vital importance when it comes to understanding how cultures are perceived by foreign readers. With each comparison between the paratexts of the original and their translated novels, the research report demonstrates that paratextual alterations are predominantly influenced by alterations in time and geography; use or dismissal of clichés and stereotypes; educational value; and either techniques which familiarise or defamiliarise the reader. By uncovering the way novels are marketed to a foreign readership, it becomes possible to uncover why translations occur and how the source-culture is perceived. / XL2018

Nas últimas décadas, produtores simbólicos ditos independentes têm ampliado sua presença no espaço público. Esse adjetivo passou a funcionar como critério distintivo, condensando modos de intervenção intelectual e política que descrevem e prescrevem estilos de presença na produção cultural. Esta tese tem por objetos o desenvolvimento de um debate sobre editores, editoras, livros e publicações independentes em escala transnacional e seu enraizamento no Brasil e na Argentina. Estudam-se os materiais intelectuais, os agenciamentos coletivos e as políticas setoriais e públicas referentes a esse universo. Discute-se a (re)emergência da noção de editor(a) independente e a inscrição sócio-institucional dos agentes engajados em defini-la, difundi-la, adotá-la ou recusá-la. O objetivo foi compreender que sentidos essa categoria classificatória assume; a que posturas ideológicas, estéticas e políticas ela remete em cada caso; e a que condicionantes sociais podem ser atribuídas as diferenças e semelhanças entre os casos estudados. / In recent decades, the so-called \"independent\" symbolic producers have increased their presence in the public space. This adjective began to function as a criterion of distinction, summarizing ways of intellectual and political intervention that describe and prescribe certain styles of cultural production. This thesis addresses the development of a debate on \"independent\" publishers, publishing houses, books and publications on a transnational scale, as well as its specificities in Brazil and Argentina. The intellectual materials, collective bodies and sectoral and public policies on this universe were studied. The public appearance of the notion of \"independent\" publishing is discussed, as well as the social and institutional position of the agents engaged in its definition, diffusion, adoption or rejection. The purpose was to understand which meanings this classification category assumes, to which ideological, aesthetic and political positions it refers in each case, and to which social conditions the differences and similarities among the cases studied can be attributed.

Nas últimas décadas, produtores simbólicos ditos independentes têm ampliado sua presença no espaço público. Esse adjetivo passou a funcionar como critério distintivo, condensando modos de intervenção intelectual e política que descrevem e prescrevem estilos de presença na produção cultural. Esta tese tem por objetos o desenvolvimento de um debate sobre editores, editoras, livros e publicações independentes em escala transnacional e seu enraizamento no Brasil e na Argentina. Estudam-se os materiais intelectuais, os agenciamentos coletivos e as políticas setoriais e públicas referentes a esse universo. Discute-se a (re)emergência da noção de editor(a) independente e a inscrição sócio-institucional dos agentes engajados em defini-la, difundi-la, adotá-la ou recusá-la. O objetivo foi compreender que sentidos essa categoria classificatória assume; a que posturas ideológicas, estéticas e políticas ela remete em cada caso; e a que condicionantes sociais podem ser atribuídas as diferenças e semelhanças entre os casos estudados. / In recent decades, the so-called \"independent\" symbolic producers have increased their presence in the public space. This adjective began to function as a criterion of distinction, summarizing ways of intellectual and political intervention that describe and prescribe certain styles of cultural production. This thesis addresses the development of a debate on \"independent\" publishers, publishing houses, books and publications on a transnational scale, as well as its specificities in Brazil and Argentina. The intellectual materials, collective bodies and sectoral and public policies on this universe were studied. The public appearance of the notion of \"independent\" publishing is discussed, as well as the social and institutional position of the agents engaged in its definition, diffusion, adoption or rejection. The purpose was to understand which meanings this classification category assumes, to which ideological, aesthetic and political positions it refers in each case, and to which social conditions the differences and similarities among the cases studied can be attributed.

No description available.