Syftet med den här uppsatsen är att introducera boktrailern som fenomen och marknadsföringsmetod. Likheter mellan boktrailern, bokomslaget och filmtrailern undersöks för att ge en bild av hur en "typisk" boktrailer ser ut och vilka funktioner den kan tänkas ha. Uppsatsen utforskar även boktrailerns möjligheter att nå ut till olika målgrupper i olika åldrar, samt pekar på svårigheter med att definiera en målgrupp. Ungdomslitteratur och fantasygenren kopplas samman med boktrailern och exempel ges på hur författare och förlag kan skapa relationer till läsare via Internet. Generella riktlinjer ges för vad som bör tänkas på för att tilltala flest potentiella läsare när en boktrailer används eller utformas. Boktrailerns förmåga att nå ut till unga, motvilliga läsare, som slutat läsa till fördel för bildbaserade berättarformer såsom filmer och datorspel, utforskas. Slutsatsen framhåller fördelarna med att marknadsföra böcker med ljud och bild. / The purpose of this paper is to introduce the book trailer as a phenomenon and method of marketing. Similarities between the book trailer, the book cover and the movie trailer are examined to show how a "typical" book trailer looks and what functions it possibly has. The paper also explores the book trailer’s prospects of reaching different audiences in different age groups. It also points to difficulties in defining an audience. Young adult literature and the fantasy genre are linked to the book trailer and examples are given on how authors and publishers can establish relationships with readers through the Internet. General guidelines are given for what should be considered to appeal to as many potential readers as possible when a book trailer is being used or designed. The book trailer's ability to reach young, reluctant readers, who have given up on reading to the benefit of image based storytelling like movies and computer games, are explored. The conclusion highlights the advantages of promoting books with audio and video.

Etiqueté péjorativement « roman à l’eau de rose », le roman sentimental, critiqué et plutôt méconnu, est pourtant un genre paralittéraire à succès. Bien qu’inspirant mépris et indifférence, cette production et son lectorat francophone méritent dès lors qu’on s’y attarde. Produit emblématique de la culture médiatique, le roman sentimental représente en effet un indicateur de mutations culturelles d’importance. Articulée en deux temps, notre analyse se centre, d’une part, sur les spécificités de cette production et, d’autre part, sur son lectorat francophone. L’examen du roman sentimental sous l’angle textuel, éditorial et auctorial est donc couplé à une enquête qualitative basée sur un ensemble d’entretiens semi-directifs visant à circonscrire les pratiques du lectorat, à éclaircir les motifs à la base de la lecture sentimentale et à déterminer sa fonction principale. / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

This thesis examines the publishing history of Algernon Charles Swinburne during his lifetime (1837-1909). The first chapter presents a detailed narrative from his first book in 1860 to the mid 18705: it includes the scandal of Poems and Ballads in 1866; his subsequent relations with the somewhat dubious John Camden Hotten; and then his search to find another publisher who was to be Andrew Chatto, with whom Swinburne published for the rest of his life. It is followed by a chapter which looks at the tidal wave of criticism generated by Poems and Ballads but which continued long after, and shows how Swinburne responded. The third and central chapter turns to consider the periodical press, important throughout his career not just for reviewing but also as a very significant medium for publishing poetry. Chapter 4 on marketing looks closely at the business of producing and of selling Swinburne's output. Finally Chapter 5 deals with some aspects of his career after the move to Putney, and shows that while Theodore Watts, his friend and in effect his agent, was making conscious efforts to reshape the poet, some of Swinburne's interests were moving with the tide of public taste; how this was demonstrated in particular by his volume of Selections and how his poetic oeuvre was finally consolidated in the Collected Edition at the end of his life. The thesis shows that popular interest was mainly on his earlier poetry, and suggests his high contemporary reputation (which was not fully reflected in sales) was maintained by the periodical press.

This master thesis is dedicated to the press publishers’ right introduced by Article 15 of the Directive (EU) 2019/790 on copyright and related rights in the Digital Single Market. The article became one of the most debated provisions in the whole directive. On the one hand, the discussion was driven by EU press publishers because of thecommercial crisis in the traditional press publishing and news mediasectors. Press representatives began to express concerns about the free riding of press publications by content aggregators and search engines who usually reuse such contents for profit. On the other hand, service providers argued that press publishers would lose traffic to their websites, affecting the quality of the press and constrainingfundamental rights. This conflict pushed the press publishers to bringing these issues before courts, legislators and competition authorities. Since these complaints were not resolved completely, the only way to resolve the conflict seemed to be the introduction of the EU-wide related right.

Literary Dependents focuses on diverse discourses on childhood that informed and impacted Japanese literature and society in the modern era. Through an analysis of magazines, literary works, and related media, this dissertation traces the ways childhood has been constructed and utilized in literary, social, political, and cultural discourse from the late nineteenth century to the present. As Japan strove to establish itself as a modern nation in the late nineteenth century, children and youth became a focal point of development as future citizens and leaders of the nation. Hence, images of children in print media were directly tied to Japan’s national identity in the modern world. The development did not stop in the twentieth century, and the concept of childhood underwent many shifts and changes. Taishō Democracy, the Second World War, the Allied Occupation, and the economic boom all brought about changes in the meaning and value of childhood to society, and in each period, new depictions of childhood abounded in print media. By exploring these developments, Literary Dependents seeks to understand how modern Japanese society has represented and utilized childhood as a way of shaping its visions and ideals regarding gender, family, life, art, and the future. The materials covered in Literary Dependents are publications that were intended for both children and adults, in which complex relationships between children and adults played out. The first chapter analyzes the Meiji period (1868-1912) women’s magazine Jogaku zasshi (Women’s Education Magazine, 1885-1904), showing how notions of the wise mother, hardworking wife, as well as a model language for women were constructed through its reading material for children. Chapter 2 centers around the translation of the American children’s novel Little Lord Fauntleroy (1885-1886) by Wakamatsu Shizuko, serialized from 1890 to 1892 in Jogaku zasshi, which provided an idealized image of the child, mother, and family, and was meant to show young women, rather than children, how to be mothers and how to create an ideal family. Chapter 3 discusses the literary space shared by children and adults in the children’s magazine Akai tori (Red Bird, 1918-1936), in which about one fifth of the pages were allotted to writings in prose and verse by children from across the empire. This chapter discusses the unique kind of authorship that arose from the collaboration between adults and children as the child writers themselves strove to fit the standards established by Akai tori. Chapter 4 further explores the issue of child authorship through the example of Toyoda Masako (1922-2010), whose elementary school compositions were repeatedly published in Akai tori, and in 1937, were published in a book titled Tsuzurikata kyōshitsu (Composition Class). This chapter rereads Toyoda’s writing in Tsuzurikata kyōshitsu intertextually, juxtaposing her own expressions with the critique and interpretations by educators and literary writers, as well as referencing her autobiographical writings from the postwar period. The juxtaposition elucidates the arbitrariness of the ideals that were attributed to children’s writing in 1920s and 30s Japan. Chapter 5 deals with the depiction of children with disabilities during the Second World War through an analysis of Kawabata Yasunari’s Utsukushii tabi (A Beautiful Journey), serialized in Shōjo no tomo (Girls’ Friend, 1908-1955) from 1939 to 1942. The serialization took place during a time of significant political change, which impacted the contents of Shōjo no tomo and the novel. The difficulty of continuing to write about a deaf-blind girl at such a time is evident in the abrupt turns in direction that the novel took during this time, moving away from depicting the disabled child and ultimately expressing colonialist and nationalist ideals. The sixth and last chapter explores the role of children in systems of distribution and consumption. In the immediate post-WWII period, reading material for children were scarce, not only because it was a general time of lack even for food, but also because strong nationalist/militarist sentiments found in wartime publications needed to be eliminated, or at least repackaged to fit the new environment. Yoshino Genzaburō’s Kimitachi wa dō ikiru ka (How Will You Guys Live?, 1937) was one text that underwent multiple “repackagings” in the postwar period. This chapter examines the different ways an “ethics” book was promoted under the changing historical conditions of post-WWII Japan. Although the materials covered in Literary Dependents center around those published in Japan, they are inextricably tied to other cultures and traverse national boundaries, not only through translation and adaptation, but also through intercultural interaction, collaboration, or travel. Furthermore, the dissertation connects childhood to other identities of gender, sexuality, disability, race, and class. Publications for children are often a coalescence of society’s myriad of networks as well as its most pressing issues, packaged and issued to an imagined child reader, which is itself an idealized image of the members of that society. The child and all of the ways it is imagined in print media can provide a unique window onto society and history. Hence, this dissertation explores the topic of the child in publishing culture, not to arrive at some definition of the child, but to better understand history through it. As much as children are dependent on adults and encounter publications through the mediation of adults, many aspects of the publishing industry are also dependent on children as readers, writers, consumers, images in marketing, or ideological figures. Literary Dependents is an investigation of mutual dependencies between the child and adult, publishing and literature, and print media and society.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Cette thèse retrace l'histoire de l'édition musicale, depuis la création artistique jusqu'à sa consommation, en passant par toutes les étapes de sa confection et de sa distribution. Une époque :la première moitié du XIXe siècle. Un lieu :Bruxelles. Des acteurs, les éditeurs eux-mêmes, mais aussi l’ensemble de leurs collaborateurs, à commencer par les compositeurs, mais aussi les graveurs et lithographes, les imprimeurs, les commissionnaires et autres marchands de musique qui ont participé à ce commerce spécifique. Un support physique enfin :la partition imprimée devenue un nouveau produit commercialisable et consommable. <p>Seuls les éditeurs de musique les plus importants de cette période ont été envisagés ici. Ils sont au nombre sept dont un domine largement les six autres. Il s’agit de la maison Schott frères. Tous ces éditeurs ont été traités avec le même soin et de la même manière, autour de trois axes de recherche :la production, la diffusion et la consommation de la musique. <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

In this case study four non-fiction books are being accompanied on their way from the Netherlands to the public in Sweden, that is from one peripheral language into another. Where did the initiative come from? Were there any subsidies and did that matter? What kind of publishers were involved and were there also other agents involved? Who were the most important cultural mediators? How were the books framed in order to be noticed in the new country? How does all this fit in with the sociological theory of transnational cultural transfer? It turned out that these books more or less followed the expected path with a few exceptions: Two of the books were published by large-scale publishers in Sweden although they had not proved to be successful in the Netherlands. And there were no signs of regular co-operation between the involved publishers. Obviously the translated Dutch books in Sweden are such a marginal business for these publishers that they do not influence their network of foreign publishers.  Even if all four books belong to the same genre, they are very differently framed to be noticed in their new country.

The aim of the submitted dissertation is to offer a complete bibliographical list of the documented Hebrew and Yiddish production of Prague Jewish printing houses between 1512 and 1672. The list is based on an original and detailed description of the identified editions, including paratexts, types and decorative elements. The introductory synthetic study examines the published production from the viewpoint of its language, contents and genres and the identity of its intended recipients; the motivations of its publishers, as well as their possible orientation towards specific types of texts; the standards, methods and goals of editorial work; the function of rabbinical approbations, protection of publishers rights and control of the published matter by Jewish authorities, and the measure in which the printed body of texts reflects the spiritual and intellectual interests of the readers. The typological and typographical analysis of types and decorative elements serves to attribute the undated and anonymous imprints to specific printing houses and printers, whose complete production is listed and whose activities, social position or economic possibilities are also briefly characterized. An appendix sums up the findings relating to non-Jewish censorship documented in the books themselves. Thanks to...

Literaturpreise sind ein Phänomen des 20. Jahrhunderts. Ihre Zahl ist im deutschsprachigen Raum in den letzten Jahrzehnten deutlich gestiegen. Die im Rahmen dieser Arbeit über mehrere Jahre erfolgte Forschung hat gezeigt, dass für ein umfassendes Verständnis dieser Art Preise zwingend weitere Akteure in den Blick zu nehmen sind. Neben den Vertretern Preise vergebender Organisationen, den Autoren und Geldgebern sind das die Juroren, die Repräsentanten der Verlage einschließlich weiterer Literatur vermarktender Unternehmen sowie die ›reinen‹ Leser. In der Dissertation werden literarische Auszeichnungen zunächst innerhalb der literaturwissenschaftlichen Forschung verortet. Dafür werden sie aus drei verschiedenen Blickwinkeln vorgestellt: einem historischen, einem kontextuellen und einem begrifflichen. Anschließend wird die bisherige Forschung zu Literaturpreisen vorgestellt und das Potential des bisher einzigen Modells deutschsprachiger Literaturpreise gewürdigt. Der neue Ansatz besteht aus drei Komponenten: erstens einer theoretischen Modellierung der genannten sechs Arten von Akteuren. Diese werden als über bestimmte Möglichkeiten verfügende ›Konkurrenten‹ betrachtet, die sich um für sie spezifische ›Konkurrenzobjekte‹ bemühen. Die zweite Komponente ist die diachrone und asynchrone Beschreibung literarischer Auszeichnungen. So können mehrere, zeitlich einander folgende Verleihungen einer Auszeichnung genauso wie gleichzeitig stattfindende Vergaben verschiedener Preise sowie die dabei erfolgenden Handlungen der einzelnen Akteure theoriegeleitet zueinander in Beziehung gesetzt und analysiert werden. Die dritte Komponente ist Bourdieus ›literarisches Feld‹. Es wird als für diese Akteure zentraler Bereich vorausgesetzt. Die Vorzüge der diachronen Betrachtung werden unter anderem mit zwei für die Geschichte des Bremer Literaturpreises wichtigen Konflikten der Jahre 1959/60 und 1979/80 belegt. Auch der Streit um die Verwendung des Namens ›Thomas Mann‹ für zwei verschiedene literarische Auszeichnungen in den Jahren 2008 und 2009 zeigt deutlich: Das für Literaturpreise relevante Geschehen spielt sich keineswegs nur jeweils zwischen den Vertretern einer einen Preis vergebenden Organisation und einem oder mehreren Autoren ab. Darum müssen auch Konflikte zwischen den Mitgliedern mehrerer Preise vergebender Organisationen theoretisch modellierbar sein. Weiter werden mit dem Modell Erklärungen dafür angeboten, warum nicht immer alle Auszeichnungen die von den Gründern gewünschten Wirkungen erzielen. Schließlich gilt der Finanzierbarkeit von Literaturpreisen ein besonderes Augenmerk. Bei der Forschung für die vorliegende Arbeit wurden fast ausschließlich Quellen zu Preise verleihenden Organisationen benutzt. Nach deren systematischer Auswertung ist klar geworden, welche Objekte und Mittel für die Vertreter der einzelnen Konkurrentengruppen überhaupt in Frage kommen. Die Kenntnisse über die verschiedenen Arten Konkurrenten sind möglicherweise noch deutlich erweiterbar, wenn darüber hinausreichende Quellen zu Autoren, Juroren und Verlagsrepräsentanten sowie die anderer Literatur vermarktender Unternehmen hinzu gezogen würden. Dafür werden am Ende der Arbeit Vorschläge unterbreitet.