The master thesis František Šimáček (1834-1885), the Journalist and Publisher tries to introduce an important person of the Czech nationalistic movement of the 1850's-1880's from different aspects, i. e. concerning his activity in the fields of journalism, publishing, national movement, national economy and his family life. General research method used in the thesis is biographically focused analysis of the primary sources, mainly private correspondence and other documents from collections of the Literary Archive of the Museum of Czech Literature, the National Museum Library and the Náprstek Museum of Asian, African and American Cultures. Based on the method, the chronological construction of history of Šimáček's life, his public and professional activities was outlined. Sufficient literature concerning the topic which would analyse in detail scope of activities of František Šimáček in the context of the Czech intellectual milieu in the 19th century is unfortunately lacking in the meantime. Fragmentarily preserved archival documents do not allow us to follow Šimáček's public contacts with all important actors of the Czech cultural and political life in the 19th century. Therefore, a deeper relationship with Božena Němcová was chosen as an example of Šimáček's steadier and lasting friendships with...

Esta pesquisa, circunscrita à área da história da educação brasileira, tem como objeto de estudo o educador e escritor de literatura infantil Thales Castanho de Andrade (1890-1977). O trabalho tem como objetivo tratar de elementos relativos ao autor, à sua produção literária e atuação no magistério vistos na perspectiva da análise dos principais aspectos que envolveram a sua trajetória, a qual é acompanhada desde o período de sua formação nos anos de 1910, a divulgação de sua obra mais conhecida, o livro Saudade, publicado em 1919, até os anos de 1930, quando ao final da década percebe-se um arrefecimento de suas publicações. Assim, primeiramente, situamos o lugar de sua formação, a cidade de Piracicaba, e observamos determinados tópicos da história das instituições de ensino a que ele esteve relacionado, o Grupo Escolar, a Escola Complementar e a Escola Prática Agrícola de Piracicaba. O evento do Primeiro Congresso de Ensino Agrícola, ocorrido em 1911 em São Paulo é outro dos temas tratados. Agregamos à análise, como fundamentação teórica, as proposições de Nicolau Sevcenko e Ângela de Castro Gomes, que ao trabalharem com a história dos intelectuais, examinando para tanto o material literário e o da imprensa na análise do pensamento e do contexto histórico, apropriaram-se dos instrumentos teóricos da história social, a mesma a opção desta pesquisa. As noções de \"rede de sociabilidade\" e de \"microclimas\" referidas por Ângela de Castro Gomes são aplicadas neste trabalho para explicar o surgimento do \"bloomsbury caipira\", um agrupamento de intelectuais e artistas local, do qual fazia parte Thales de Andrade, que contribuiu para a sua inserção no campo literário e educacionais dos anos vinte e trinta. A contextualização da produção literária e a apresentação do conjunto dessas obras publicadas são outros pontos abordados. Também averiguamos a discussão a respeito da concepção de literatura, promovida pelo autor, bem como a confrontação de sua produção com a de Monteiro Lobato. Finalmente, procuramos observar os aspectos referentes à construção de perfis do autor realizada pela imprensa piracicabana. O material privilegiado para este momento da análise é a coleção de recortes da hemeroteca da Biblioteca Municipal de Piracicaba. Apresentamos como resultados e conclusões do trabalho o exame da produção literária, realizada no âmbito da educação. Dessa maneira, a análise procura responder em que medida seus livros foram elaborados e postos ao serviço da escola. É preciso levar em conta que o autor, ao fazer a sua literatura, tinha como horizonte a realização da vida no campo como principal objetivo de sua produção, tornando-se por isso, uma referência ao ruralismo. Entretanto, aliado a esse ideal, Thales se identificava às tendências da educação em desenvolvimento na época, unindo, dessa maneira, seu projeto literário ao educativo, o qual contemplava a modernização da instrução pública contextualizada ao ambiente rural. Nesse sentido é possível perceber na produção andradeana certo grau de aproximação entre a sua literatura e as sugestões propostas pelos movimentos educacionais dos anos vinte e trinta. / This research is circumscribed to the brazilian education history. Its aim is to study the educator and writer of infantile literature Thales Castanho de Andrade (1890-1977). It deals with elements related to the author, his literary works, and mastery seen under the perspective of analyzing the main aspects which involved his trajectory since his formative period in the 1910 decade, the divulging of his best known book Saudade, published in 1919, till the late years of the 30 decade, when a slackening of his work is noticed. So, to begin with, we firstly located Piracicaba City, his background place, and detected some topics of the teaching establishments to which he was related such as the \"Grupo Escolar\", \"Escola Complementar\" and \"Escola Prática Agrícola de Piracicaba\". The \"Primeiro Congresso de Ensino Agrícola\" (First Congress of Agricultural Teaching), which happened in 1911 in São Paulo City is also one the themes dealt with. As a theoretical basis, we have aggregated to the analysis the propositions by Nicolau Sevcenko and Angela de Castro Gomes, who, on working about the history of intellectuals examined the literary and the press materials to analyze thinking and the historical context. They used the theoretical instruments of social history, the same option of this research. The notions of \"sociability net\" (rede de sociabilidade) and \"microclimates\" (microclimas) which Angela de Castro Gomes refers to are mentioned in this work to explain the arising of \"Bloomsbury caipira\" (countryman Bloomsbury), a local gathering together of artists and intellectuals in which Thales de Andrade took place, contributed to his entering the literary and educational fields in the 20 and 30 decades. The context of the literary production and the presentation of the published works are also subjects approached. We also inquired about the discussion on literature concept by the author, as well as about the comparison of his works with Monteiro Lobato\'s. Finally we searched about the aspects referring to the building of the author\'s profiles by the \"Piracicaba\" press. The material chosen for this research is a clipping collection of \"Biblioteca Municipal de Piracicaba\". We can present as a result and conclusion of the research, the examination of the literary production in the education field. This way the analysis is expected to answer to what extent his books were elaborated and put at the disposal of education. It is necessary, however, to take on account that the author, on doing his literary works, had as his landmark the reality of rural life as the chief purpose of his works, becoming so, a reference to ruralism. Meanwhile, searching for ideal, Thales identified himself, with the tendencies of the developing education of the time, so linking his literary project to the educational on which looked at the modernization of public education in the context of rural environment. In this sense, it is possible to get from the \"andradeana\" production a certain degree of approach between his literature and proposals by the education movements in the 20 an 30 decades.

Cette thèse retrace les parcours croisés de deux éditeurs de presse : Lucien Vogel (1886-1954) et de Michel de Brunhoff (1892-1958). Après La Gazette du bon ton en 1912, les deux beaux-frères lancent Vogue français et le Jardin des modes en 1920. Ces revues, qui accordent une place majeure à l'illustration, contribuent à moderniser radicalement la presse féminine. Le parcours éditorial de Vogel et de Brunhoff, centré autour de la presse féminine. La presse d'art (Feuillets d'Art, Arts et métiers graphiques) et la mode, est semblable jusqu'à la fin des années 1920 avant de diverger en 1928 lorsque Vogel fonde le magazine photographique Vu. À partir de cette période, alors que Brunhoff reste attaché à la réalisation de magazines de mode, Vogel s'engage sur la voie de la politique, défendant avec Le Petit Journal, Marianne et Messidor, des idées de gauche et un antifascisme prononcé. Afin d'appréhender l'itinéraire général de Lucien Vogel et de Michel de Brunhoff tout en en saisissant les singularités - leur rôle dans le renouvellement de la presse féminine, leur intérêt pour les questions techniques liées à l'illustration ainsi que les choix opérés par Vogel en 1930 -, c'est une étude chronologique et comparée que cette thèse a entreprise. En grande partie biographique, afin de mettre en lumière la personnalité et le parcours de Vogel et de Brunhoff de leurs débuts professionnels à leur fin de carrière, cette réflexion se veut aussi une contribution plus générale à l’histoire culturelle, à l'histoire de la presse illustrée, et celle de la presse féminine du début du XXe siècle dans laquelle ces éditeurs ont laissé l'image d'innovateurs de presse et d'éditeurs esthètes. / This thesis recounts the crossed career paths of two publishers : Lucien Vogel (1886-1954) and Michel de Brunhoff (1892-1958). After La Gazette du bon ton launched in 1912, the two brothers-in-law published French Vogue and Le Jardin des modes in 1920. These three journals, which give a major role to the illustration, contribute to radically modernize women's magazines. The editorial career of Vogel and de Brunhoff, centered around women's magazines, art press (Feuillets d'Art, Arts et métiers graphiques) and fashion is similar to the late 1920s before diverging in 1928 when Vogel founded the photography magazine Vu. From this period, while Brunhoff remains committed to achieving fashion magazines, Vogel is committed towards politics, defending with Le Petit Journal, Marianne and Messidor, leftist ideas and a pronounced anti-fascism. To understand the general career of Lucien Vogel and Michel de Brunhoff while understanding its singularities - their role in the renewal of women's magazines, their interest in technical issues related to the illustration and the choices made by Vogel in 1930 - this thesis study is based on a chronological and compared work. Largely biographical, to highlight the personality and career of Vogel and de Brunhoff from their profession al beginnings to the end of their career, this reflection has also to be taken as a more general contribution to cultural history, to illustrated press history, and to the history of women's magazines of beginning of the twentieth century in which both publishers have left an image of groundbreaking and aesthetes publishers.

This study deals with the four-composer Polish musical association, Young Polish Composers' Publishing Company, which became commonly known as the group Poland in Music. Young Poland in Music is considered by Polish and non-Polish music historians to be the signal inaugurator of modernism in Polish music. However, despite this most important attribution, the past eighty-odd years have witnessed considerable confusion over the perceptions of: 1) exactly who constituted the publishing company, 2) why it was founded, 3) what the intentions of its members were, and 4) the general reception its members' music received. This paper addresses and resolves this multiple confusion. Chapter I presents an introductory survey of the political, socio/cultural, and musical developments of Poland between 1772 and c1900, the period of the Polish Partitions through the beginnings of the "Young Poland" era. Chapter II presents a discussion of the facts surrounding the founding of the publishing company, as well as a discussion of the eighty-odd years of historical misinterpretations that have developed about the composers' company and its relationship to "Young Poland in Music." Chapter III discusses the interpersonal relationships of the composers and other persons directly involved with them and their company, and the impact that these relationships had on the publishing company. Additionally, the chapter brings into focus the specific relationships between the musicologist, Adolf Chybiński, the company, and its individual members. The chapter concludes with a discussion of the actual publishing activities of the company. Chapter IV examines the three concerts sponsored by the company and their critical receptions in Warsaw and Berlin through the surviving reviews and comments of leading contemporary music critics, the concert participants, the composers' close colleagues, and the composers themselves. Finally, Chapter V contains a brief discussion of the music presented on the three concerts, characterizing the works within the context of their initial critical reception.

Made available in DSpace on 2016-04-26T18:14:06Z (GMT). No. of bitstreams: 1 Ana Cristina d Angelo Braga.pdf: 3853797 bytes, checksum: 00423128af631735d6392f016a488c5f (MD5) Previous issue date: 2014-05-26 / This research chooses creative actions from artistic collective Dulcineia Catadora and tracks the poetic path chosen by the group in its activist art practical. The actions of this collective as activist art are developed over time from the aesthetics of conviviality: instant and temporary memberships form and transform the sensible route of the group through collaborative actions that favor the encounter above the possible final work. The research also makes references to the origin of the Argentine Cartonero model and the scattering of this practice in Latin America and other continents. The research aims to develop theoretical framework for understanding the collective and networked practices, clarifying their communicational characteristics, taking into account reflections and the reconfiguration of the tripod art/work/policy. For theoretical reflection on choices and actions of the group the criticism of process method was used, with emphasis on the pursuit of connections established by the poetic project through its tracks and actions. Thinking creation as network directs the reading of signs and communicational procedures of the artistic collective and establishes genuine questions to deal with the moving process. Especially in a poetic project with hybrid languages the theory of creation is adopted as semiotic process (trend, material rewards, fallibility, chance, input of new ideas, lack of hierarchy , infinite regression and progression and communication) to establish the sensible and intellectual route. The following traces of actions were selected from the creative and poetic journey of Dulcinea Catadora established over the last five years: Records in the collective blog (Dulcinea Catadora), videos (Dulcinea and Paul Bruscky and the video that records the creating process of the books to the Art Museum of Rio), book releases, participation in events and the routine of cartonero books manufacturing workshops in São Paulo, Rio de Janeiro and Buenos Aires / Esta pesquisa elege ações criativas do coletivo artístico Dulcineia Catadora e acompanha o trajeto poético escolhido pelo grupo em sua prática arte ativista. As ações deste coletivo enquanto práticas arte ativistas se desenvolvem ao longo do tempo a partir da estética do convívio: adesões instantâneas e temporárias formam e transformam o percurso sensível do grupo através de ações colaborativas que privilegiam o encontro acima da possível obra final. A pesquisa também faz referências sobre a origem do modelo cartonero argentino e o espalhamento da prática na América Latina e outros continentes. A pesquisa busca desenvolver embasamento teórico para a compreensão das práticas coletivas e em rede, explicitando suas características comunicacionais, levando-se em conta reflexões e a reconfiguração do tripé arte/trabalho/política. Para a reflexão teórica sobre escolhas e ações do grupo foi utilizado o método da crítica de processo, com ênfase na busca das conexões estabelecidas pelo projeto poético através de seus rastros e ações. Pensar a criação como rede orienta a leitura dos signos e procedimentos comunicacionais do coletivo artístico e estabelece dúvidas genuínas para se tratar do processo em movimento. Especialmente em um projeto poético com linguagens híbridas é adotada a teoria da criação como processo semiótico (tendência, recompensas materiais, falibilismo, acaso, entrada de ideias novas, ausência de hierarquia, regressão e progressão infinitas e comunicação) para se estabelecer o percurso sensível e intelectual.Do percurso criativo e poético do Dulcineia Catadora foram selecionados os seguintes rastros das ações estabelecidas ao longo dos últimos cinco anos: registros no blog do coletivo ( Dulcineia Catadora), vídeos (Dulcineia e Paulo Bruscky e o vídeo que registra o processo de criação dos livros para o Museu de Arte do Rio), lançamentos de livros, participação em eventos e a rotina das oficinas de fabricação dos livros cartoneros em São Paulo, Rio de Janeiro e Buenos Aires

Legal deposit and its sustainability is a major problem that cannot be ignored in South Africa. The value of preserving and making accessible information is of primary importance for legal deposit collections. The concept of legal deposit is evolving from decade to decade as many factors continue to influence it. Among the challenges facing legal deposit libraries is the problem of publishers failing to comply with legal deposit requirements. This study investigated the problems and constraints experienced by publishers in KwaZulu- Natal concerning legal deposit. Thirty five publishers were surveyed by means of a selfadministered questionnaire which utilized both open and closed questions. The results of the study reveal that while the vast majority of publishers in KwaZulu-Natal are compliant with legal deposit requirements, they do experience a number of problems while doing so. These problems include financial costs and time constraints while a lack of knowledge about certain aspects of legal deposit on the part of the publishers was evident. Recommendations, which would require participation from all the stakeholders, to address the problems identified were made. The study concluded with suggestions for further research. / Thesis (M.I.S.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

Darbe nagrinėjami ryšių su visuomene (RSV) ypatumai knygų leidybos srityje, patiekiama RSV programa Lietuvos rašytojų sąjungos leidyklai. / There are opportunities of Public Relations (PR) in the book publishing companies highlighted and a program of PR for Lithuanian Writer's Union publishers created in the master thesis.

Cette thèse porte sur l’émergence sur la scène chilienne d’un nouvel acteur dans la production du livre, acteur qui s’organise à la fin des années 1990 en se définissant lui-même en tant qu’éditeur indépendant et qui, au cours des premières années du XXIe siècle, élargit cette définition pour inclure le phénomène de l’édition autonome et le domaine de l’édition universitaire. Le point de ralliement de ces acteurs, organisés autour de l’association Editores de Chile, est la reprise et l’affirmation d’un rôle moderne des éditeurs de livres, au sens des Lumières. On peut constater l’articulation entre les revendications spécifiques du secteur et ses positions politiques sur la valeur symbolique de la production culturelle, sur son rôle en tant que facteur de construction identitaire et démocratique car l’accès aux livres ne peut pas être restreint par l’action sans contrepoids du marché. L’angle théorique que nous proposons est celui des théories des industries culturelles tout en intégrant aussi les contributions des études culturelles. En nous situant dans une perspective de l’économie politique des industries culturelles, nous chercherons à redéfinir le concept d’indépendance par le biais d’une analyse des stratégies d’unités économiques (les maisons d’édition) et des rapports entre ces unités et leurs contextes géographiques, politiques et culturels spécifiques. Nous tenons aussi en considération des éléments macrostructurels, mais en considérant que leur capacité d’influence est toujours relative et, en conséquence, doit faire l’objet d’une réévaluation en fonction des rapports de forces et des conjonctures politiques, économiques et sociales spécifiques. Nous pensons que l’indépendance n’est pas un phénomène qui n’est pas exclusif au monde de l’édition. Nous avons fait le constat qu’il existe aussi au sein des industries de l’enregistrement sonore, de l’audiovisuel et des médias comme la presse, la radio et, en moindre proportion, la télévision. En termes méthodologiques, nous proposons une approche qui combine des méthodes et des instruments quantitatifs et qualitatifs, c’est-à-dire, l’analyse des statistiques de l’édition au Chili (fréquences des titres, genres et auteurs), des entrevues semi-structurées et une analyse documentaire. Avant d’aborder la description et l’analyse de la production de livres au Chili et du sens que les éditeurs donnent à l’indépendance et à leurs prises de position dans le champ culturel, nous proposons une description historique et industrielle de l’édition du livre chilien. Cette description permet de comprendre la naissance et le développement du secteur en regard des processus politiques, économiques et sociaux du Chili et de l’Amérique latine, ainsi que sa situation actuelle en regard des nouvelles conditions politiques et économiques qui résultent du processus de globalisation et des transformations néolibérales locales et internationales. La recherche examine ensuite le caractère de la production de livres publiés au Chili entre les années 2000 et 2005 en considérant les titres produits, les auteurs et les genres. Cette analyse permet aussi d’établir des différences entre ces maisons d’édition et celles qui relèvent des grands conglomérats transnationaux de l’édition de livres. Cette analyse comparative nous permet d’établir de manière concluante des différences quant au nombre et á la diversité et l’intérêt culturel des livres publiés entre les éditeurs transnationaux et les éditeurs indépendants regroupés sous le nom de Editores de Chile. Cette analyse permet aussi d’établir des liens précis entre la production des éditeurs indépendants et leurs objectifs culturels et politiques explicites. Nous faisons ensuite état, par le biais de l’exposition et de l’analyse des entrevues réalisées avec les éditeurs, des trajectoires de ces organisations en tenant compte des périodes historiques spécifiques qui ont servi de contexte à leur création et à leur développement. Nous mettons ici en rapport ces trajectoires des éditeurs, les définitions de leurs missions et les stratégies mobilisées. Nous tenons aussi compte des dimensions internationales de ces définitions qui s’expriment dans leur participation au sein d’organisations internationales telle que l’Alliance internationale d’éditeurs indépendants (Gijón 2000 et Dakar 2003) et, spécifiquement, leur expression dans la coopération avec des maisons d’édition latino-américaines. Les entrevues et l’analyse documentaire nous permettent d‘entrevoir les tensions entre la politique culturelle de l’État chilien, en contraste avec des définitions, des objectifs et des actions politiques de Editores de Chile. Nous relions donc dans l’analyse, l’émergence de l’édition indépendante et les résistances qu’engendrent la globalisation des marchés culturels et les mouvements de concentration de la propriété, ainsi que les effets et réponses aux transformations néolibérales au plan des politiques culturelles publiques. Nous concluons alors à la nécessité d’une économie politique critique des industries culturelles qui puisse se pencher sur ces phénomènes et rendre compte non seulement de rapports entre conglomérats et indépendants et du développement des filières de la production culturelle, mais aussi du déploiement des logiques culturelles et politiques sous-jacentes, voire des projets historiques, qui se confrontent dans le champ des industries culturelles. / This thesis discusses the emergence of a new actor in the production of books in Chile. This actor arises in the late nineties as a group of independent publishers, and in the first few years of this decade, expands to include university publishing. The point of coincidence and action of these actors, organized in the association Editors of Chile, is the recuperation and assertion of a modern role for the figure of editor, in the sense of the Age of Enlightenment. We can confirm the articulation between the specific demands of publishers and the political position adopted on the symbolic value of cultural production and its role as an element of identity- and democracy-building, under the assumption that access to books should not be restricted to the rules of the market. The theoretical focus we suggest is that of the theory of cultural industries, including contributions from cultural studies. From the perspective of the political economy of cultural industries, we seek to redefine the concept of independence through an analysis of the strategies used by economic units (publishers) and the relationship between these units and their geographical, political and cultural context. We also take into account the macro-structural factors, but with the understanding that their influence is always relative and, in consequence, should be subject to re-evaluation in terms of the relationships of power and specific political, economic and social scenarios. We believe this is a phenomenon that is not exclusive to the field of books. We have corroborated that this also takes place in the field of music, audio-visual productions and the media, such as radio, and to a lesser extent, television. In terms of methodology, we suggest a mixed focus, one that combines quantitative and qualitative methods and instruments. These are the statistical analysis of the production of Chilean publishers (frequency of titles, genres and authors), semi-structured interviews and documents analysis. Before discussing the description and analysis of the production of books in Chile and the significance publishers give to independence along with their positions in the field of culture, we set forth a historical and industrial description of Chilean books. This description allows us to comprehend its creation and development in the political, economic and social context in Chile and Latin America, within the new conditions arising from the globalization process and local and international neoliberal transformations. This investigation then examines the nature of publishing in Chile from 2000-2005, taking into account titles, authors and genres. This analysis allows us to establish differences between organized independent publishers and the big transnational publishing houses. These differences are evident in terms of the number, diversity and cultural interest of the publications. In addition, this analysis allows us to establish specific ties between the production of Editors of Chile and the cultural and political objectives of their discourse. scenarios. We believe this is a phenomenon that is not exclusive to the field of books. We have corroborated that this also takes place in the field of music, audio-visual productions and the media, such as radio, and to a lesser extent, television. In terms of methodology, we suggest a mixed focus, one that combines quantitative and qualitative methods and instruments. These are the statistical analysis of the production of Chilean publishers (frequency of titles, genres and authors), semi-structured interviews and documents analysis. Before discussing the description and analysis of the production of books in Chile and the significance publishers give to independence along with their positions in the field of culture, we set forth a historical and industrial description of Chilean books. This description allows us to comprehend its creation and development in the political, economic and social context in Chile and Latin America, within the new conditions arising from the globalization process and local and international neoliberal transformations. This investigation then examines the nature of publishing in Chile from 2000-2005, taking into account titles, authors and genres. This analysis allows us to establish differences between organized independent publishers and the big transnational publishing houses. These differences are evident in terms of the number, diversity and cultural interest of the publications. In addition, this analysis allows us to establish specific ties between the production of Editors of Chile and the cultural and political objectives of their discourse. / La presente tesis aborda la emergencia en el escenario chileno de un nuevo actor en la producción del libro. Este actor se organiza a fines de los años 1990, definiéndose como independiente y, en el curso de los primeros años del siglo XXI, amplía esta definición para incluir los campos de la edición autónoma y universitaria. El punto de encuentro y de acción de estos actores, organizados en la asociación Editores de Chile, es la recuperación y afirmación de un rol moderno de la figura del editor, en el sentido de la ilustración. Podemos constatar la articulación entre las reivindicaciones específicas del sector y la toma de posiciones políticas acerca del valor simbólico de la producción cultural, sobre su rol como factor de construcción identitaria y democrática, bajo el supuesto que el acceso al libro no puede constreñirse por la acción sin contrapeso del mercado. El enfoque teórico propuesto es el de la teoría de las industrias culturales, integrando desde allí contribuciones de los estudios culturales. Al situarnos en una perspectiva de la economía política de las industrias culturales, buscamos redefinir el concepto de la independencia por medio de un análisis de las estrategias desplegadas por unidades económicas (las editoriales) y las relaciones entre estas unidades y su contexto geográfico, político y cultural. Tomamos también en consideración elementos macro estructurales, pero considerando siempre que su capacidad de influencia es siempre relativa y, en consecuencia, debe ser objeto de una reevaluación en función de las relaciones de fuerzas y las coyunturas políticas, económicas y sociales específicas. Pensamos que se trata de un fenómeno que no es exclusivo del campo de libro. Hemos constatado que este fenómeno se manifiesta también en el campo de los sectores de la música, del audiovisual y de los medios, como la prensa, la radio y, en menor proporción, la televisión. En términos metodológicos, proponemos un enfoque mixto, es decir que combina métodos e instrumentos cuantitativos y cualitativos. Estos son el análisis estadístico de la producción editorial chilena (frecuencias de títulos, géneros y autores), entrevistas semiestructuradas y un análisis documental. Antes de abordar la descripción y el análisis de la producción de libros en Chile y el sentido que los editores le dan a la independencia junto con sus tomas de posición en el campo cultural, proponemos una descripción histórica e industrial del libro chileno. Esta descripción permite comprender el nacimiento y desarrollo del sector en el contexto de procesos políticos, económicos y sociales en Chile y América Latina y situarlo en relación a las nuevas condiciones que resultan del proceso de globalización y de las transformaciones neoliberales locales e internacionales. La investigación examina luego el carácter de la producción de libros en Chile entre los años 2000 et 2005, considerando los títulos producidos, los autores y los géneros. Este análisis permite establecer diferencias entre los editores independientes organizados y los grandes conglomerados transnacionales. Estas diferencias son visibles en términos del número, de la diversidad y del interés cultural de las publicaciones. Asimismo, el análisis permite establecer lazos precisos entre la producción de Editores de Chile y los objetivos culturales y políticos expresados en sus discursos. Establecemos luego, mediante la exposición y el análisis de las entrevistas realizadas con 10 editores miembros de la organización, las trayectorias de las editoriales en relación a los contextos históricos de su creación y desarrollo. Relacionamos dichas trayectorias con las definiciones de su misión y las estrategias movilizadas. Tomamos también en cuenta las dimensiones internacionales de estas definiciones, que se expresan en su participación en el seno de organizaciones internacionales como la Alianza de Editores Independientes (Gijón 2000 et Dakar 2003) y, específicamente, la expresión de esta cooperación en iniciativas conjuntas con editoriales latino-americanas y una editorial basca. Las entrevistas y el análisis documental nos permiten observar las tensiones entre un tipo de política cultural de parte del Estado, en contraste con las definiciones, los objetivos y las acciones políticas de Editores de Chile. En el análisis, vinculamos la emergencia de la edición independiente y las resistencias que la globalización de los mercados culturales y los movimientos de concentración de la propiedad engendran, así como los efectos y las respuestas a las transformaciones neoliberales en el plano de las políticas culturales públicas. Concluimos con la necesidad de una economía política crítica de las industrias culturales capaz de observar estos fenómenos y dar cuenta no solamente de las relaciones entre grandes conglomerados y editores independientes en el desarrollo de las cadenas de la producción cultural, sino también del despliegue de lógicas culturales y políticas que subyacen bajo estas relaciones, incluso proyectos históricos que se confrontan en el campo de las industrias culturales.

The primacy of the print novel as the main mode for knowledge dissemination and communication is being challenged today by the vast influx and pervasiveness of digital media. Print literature, then, is at potential risk for obsolescence, as digital technology creates new modes of narrative distribution. The novel, therefore, is in the midst of a metamorphosis, having to adapt in order to properly situate itself within the new media ecology. Somewhat paradoxically, the same digital technology that challenges print literature’s primacy is responsible for the novel’s adaption. The changing face of the page creates new novels that reflect the digital in print, through changes in typography, layout, and design. These changes illuminate the need for a material-specific methodology in literary theory, and brings about the death of postmodernism in the new, digital environment. iv / vi, 91 leaves ; 29 cm

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