This thesis provides an account of the events of the first ten years of Printed Matter, Inc., a distribution center for artists’ books established in New York City in 1976. Included are descriptions of the individuals who formed Printed Matter’s first board, their objectives, books published by Printed Matter, and the windows installation program. This thesis also describes challenges the board members faced, including lack of organization, difficulty cultivating a broad public audience, and inadequate income. In addition, it recounts the gradual streamlining of business practices, and the realignment of goals and expectations for the genre as board members accepted the fact of a limited audience for artists’ books. The conclusion offers a brief summary and a look at Printed Matter, Inc.’s current operations.

My research is centered upon my ongoing project GenderFail, a publishing and programming initiative featuring the perspectives of queer and trans people and people of color. GenderFail: The Queer Ethics of Dissemination is a collection of writings on queer collaboration, archiving as a collective act, and publishing as a site of queer community. The following text also illustrates the importance of creating and maintaining an intersectional platform as a non-binary white queer subject. I examine and define the role of “queer identity” in my own work while mapping the history of failure by white queers, including myself, in the of articulation of intersectionality. By understanding how intersectionality is important in a queer-focused collaborative practice, I seek to emphasize the messiness of citation, collaboration, and community in relation to my discursive uses of printed matter.

<p><strong><strong>Uppsatsens titel:</strong></strong></p><p>Lättläst – för alla?</p><p><strong>Key words: </strong></p><p>Easy-to-Read (Lättläst)<em>, </em>Printed matter (Trycksak)<em>, </em>Readability (Läsbarhet)<em>, </em>Legibility (Läslighet), Reading value (Läsvärde).</p><p><strong>Syfte: </strong></p><p>Vårt syfte med examensarbetet var att med text och layout framställa ett lättläst material, i tryckt form, anpassat till målgruppen.</p><p><strong>Frågeställningar:</strong></p><p>Går det att framställa ett lättläst och tydligt informationsmaterial som fungerar för alla?</p><p>Om det inte går att framställa ett informationsmaterial som fungerar för alla, behövs i stället olika versioner för att alla ska förstå? I så fall hur många versioner?</p><p>Hur ska materialet anpassas till målgruppen när det gäller språkutformning och layout?</p><p><strong>Teori:</strong></p><p> </p><p>Vårt arbetssätt följde den hermeneutiska spiralen. Vi gick från förförståelse och tolkning genom litteratursökning, tidigare forskning och analysering av material och målgrupp, till erfarenheter genom utprovningar. Därefter reviderade vi materialet och vidgade förståelsen genom nya utprovningar och fick återigen ny erfarenhet. Vi fick på så sätt påtaglig kunskap om målgruppens krav och behov.</p><p><strong>Metod:</strong><strong> </strong></p><p>Vi valde att arbeta både kvantitativt och kvalitativt, genom att utföra enkätundersökning samt intervju. Vi använde oss av båda tillvägagångssätten eftersom de kompletterade varandra. De metoder som vi använde oss av var litteratursökning, analysering av material samt målgruppsanalys (intervju- och enkätmetodik). Vi arbetade efter en iterativ metod, det vill säga fortlöpande utprovningar. Under utprovningarna använde vi "tänka högt"-metoden, prestationstest samt synpunkter från experter.</p><p><strong><strong>Slutsats:</strong></strong></p><p>Vår slutsats var att det gick att framställa ett lättläst och tydligt informationsmaterial som fungerade för alla i vår målgrupp, oavsett ålder, kön och bakgrund. Genom utprovningarna framkom det att samtliga av testpersonerna föredrog vår lättlästa version och ingen ansåg att texten var för lätt. Tvärtom var alla positiva till förändringarna i materialet eftersom de förstod informationen och tyckte att innehållet var relevant. Vi skapade ett lättläst material genom att till exempel använda konkreta ord, korta meningar utan bisatser, ordförklaringar, luftig layout samt överskådligt innehåll med tydliga och kortfattade rubriker.</p><p> </p>

Uppsatsens titel: Lättläst – för alla? Key words: Easy-to-Read (Lättläst), Printed matter (Trycksak), Readability (Läsbarhet), Legibility (Läslighet), Reading value (Läsvärde). Syfte: Vårt syfte med examensarbetet var att med text och layout framställa ett lättläst material, i tryckt form, anpassat till målgruppen. Frågeställningar: Går det att framställa ett lättläst och tydligt informationsmaterial som fungerar för alla? Om det inte går att framställa ett informationsmaterial som fungerar för alla, behövs i stället olika versioner för att alla ska förstå? I så fall hur många versioner? Hur ska materialet anpassas till målgruppen när det gäller språkutformning och layout? Teori:   Vårt arbetssätt följde den hermeneutiska spiralen. Vi gick från förförståelse och tolkning genom litteratursökning, tidigare forskning och analysering av material och målgrupp, till erfarenheter genom utprovningar. Därefter reviderade vi materialet och vidgade förståelsen genom nya utprovningar och fick återigen ny erfarenhet. Vi fick på så sätt påtaglig kunskap om målgruppens krav och behov. Metod: Vi valde att arbeta både kvantitativt och kvalitativt, genom att utföra enkätundersökning samt intervju. Vi använde oss av båda tillvägagångssätten eftersom de kompletterade varandra. De metoder som vi använde oss av var litteratursökning, analysering av material samt målgruppsanalys (intervju- och enkätmetodik). Vi arbetade efter en iterativ metod, det vill säga fortlöpande utprovningar. Under utprovningarna använde vi "tänka högt"-metoden, prestationstest samt synpunkter från experter. Slutsats: Vår slutsats var att det gick att framställa ett lättläst och tydligt informationsmaterial som fungerade för alla i vår målgrupp, oavsett ålder, kön och bakgrund. Genom utprovningarna framkom det att samtliga av testpersonerna föredrog vår lättlästa version och ingen ansåg att texten var för lätt. Tvärtom var alla positiva till förändringarna i materialet eftersom de förstod informationen och tyckte att innehållet var relevant. Vi skapade ett lättläst material genom att till exempel använda konkreta ord, korta meningar utan bisatser, ordförklaringar, luftig layout samt överskådligt innehåll med tydliga och kortfattade rubriker.

Through qualitative interviews and secondary research, the emotional and ecological layers to a forest have been explored. Several studies and sources of data speak against Swedish forestry being sustainable, and the industry often views the forest through anthropocentric ethics with focus on economic value. The aim is to inform and inspire small-scale private forest owners in their decision making in forestry to consider more environmentally sustainable cultivation methods. There is a gap in communication between facts on forestry and small-scale private forest owners which the project aims to fill. The project looks at the forest holistically, through biocentric ethics and the Swedish folk art Kurbits, and covers ecological and cultural sustainability. This takes the shape of a booklet which uncovers a forest’s layers in both text and visuals.

Made available in DSpace on 2014-06-11T19:24:03Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-08-07Bitstream added on 2014-06-13T20:48:17Z : No. of bitstreams: 1 piovesan_gc_me_bauru.pdf: 482040 bytes, checksum: da78f1b092415c1216209c2985d48987 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Trabalho sobre os cadernos de turismo da Folha de S. Paulo e do Jornal da Cidade de Bauru, sob a ótica da análise da prática discursiva empregada pelos dois periódicos, fundamentada no estudo da interdiscursividade entre jornalismo e publicidade no meio impresso. A problemática é constituída a partir de análises de textos e fotografias, com a finalidade de evidenciar as marcas e os vestígios da publicidade na composição dos periódicos e, sobretudo, as formas de construir os sentidos de acordo com seus interesses e dos anunciantes, rompendo com os ideais de imparcialidade e independência, tão proclamados pelos veículos de comunicação analisados. / Not available

Submitted by Lucas de Castro Marques null (lucascas.mar@gmail.com) on 2018-03-22T22:31:38Z No. of bitstreams: 1 Dissertação_Lucas_Marques_Biblioteca.pdf: 5262913 bytes, checksum: 2e6d4e161d07dc14dce16b94b5d6e0e0 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-03-23T17:59:56Z (GMT) No. of bitstreams: 1 marques_lc_me_sjrp.pdf: 5262913 bytes, checksum: 2e6d4e161d07dc14dce16b94b5d6e0e0 (MD5) / Made available in DSpace on 2018-03-23T17:59:56Z (GMT). No. of bitstreams: 1 marques_lc_me_sjrp.pdf: 5262913 bytes, checksum: 2e6d4e161d07dc14dce16b94b5d6e0e0 (MD5) Previous issue date: 2018-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem como objetivo mapear e analisar a circulação e a recepção crítica dos romances de James Fenimore Cooper no Brasil do século XIX, sobretudo considerando o movimento dos livros no Rio de Janeiro, com extensão para São Paulo. Com o propósito de entender o fenômeno da circulação de suas obras entre o público leitor daquela época, apresentaremos os dados relativos ao fluxo dos livros, utilizando, como fontes primárias, os catálogos de livrarias e os periódicos de São Paulo e Rio de Janeiro, e também os catálogos de bibliotecas e gabinetes de leitura da Corte Imperial. Faremos uma reflexão sobre a recepção crítica das obras de Cooper a partir de resenhas que acompanham os anúncios de venda de livros e de textos críticos que, naquela época, citam a obra do escritor de maneira comparada a obra de José de Alencar. Consideramos que foi possível compreender como se deu a circulação e recepção crítica de Cooper, além de entender, com mais detalhes, aspectos sobre o gosto pela leitura de seus romances no século XIX. / This work aims to map and analyze both circulation and critical reception of James Fenimore Cooper’s novels in Brazil in the 19th century, especially considering the movement of books in Rio de Janeiro, extending to São Paulo. In order to understand the phenomenon of the circulation of his works among the readership of that time, we will present data related to the flow of books and feuilletons, using, as primary sources, catalogs of bookstores and periodicals from São Paulo and Rio de Janeiro, as well as the catalogs of libraries and reading rooms of the Imperial Court. We will reflect on the critical reception of Cooper's works based on reviews that where attached to the book sale advertisements, as well as on the critical texts that, at that time, cite the work of the writer in a way compared to the work of José de Alencar. We considered that it was possible to understand how Cooper's circulation and critical reception occurred, in addition to understanding, in more detail, aspects about the taste for reading of his novels in the 19th century.

Submitted by Lilian Tigre Lima null (liliandelima17@hotmail.com) on 2018-03-21T13:55:00Z No. of bitstreams: 1 Dissertação Lilian Tigre Lima.pdf: 8614979 bytes, checksum: 7e299634d2d10b9b445fb50e81fb8fff (MD5) / Rejected by Elza Mitiko Sato null (elzasato@ibilce.unesp.br), reason: Solicitamos que realize correções na submissão seguindo as orientações abaixo: Problema 01) Corrija na folha de aprovação a data(dia, mês e ano) da defesa, no seu arquivo está somente o ano. Na página da Seção de pós-graduação, em Instruções para Qualificação e Defesas de Dissertação e Tese, você pode acessar o modelo das páginas pré-textuais. Lembramos que o arquivo depositado no repositório deve ser igual ao impresso. Agradecemos a compreensão. on 2018-03-22T14:26:00Z (GMT) / Submitted by Lilian Tigre Lima null (liliandelima17@hotmail.com) on 2018-03-27T15:10:26Z No. of bitstreams: 1 Dissertação Lilian_Tigre_Lima.pdf: 8615154 bytes, checksum: 1a1256660e6bede5a419e2a8554ecbec (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-03-27T18:27:07Z (GMT) No. of bitstreams: 1 lima_lt_me_sjrp.pdf: 8589024 bytes, checksum: 8397cc725518b82303947d92a6d8a53b (MD5) / Made available in DSpace on 2018-03-27T18:27:07Z (GMT). No. of bitstreams: 1 lima_lt_me_sjrp.pdf: 8589024 bytes, checksum: 8397cc725518b82303947d92a6d8a53b (MD5) Previous issue date: 2018-02-21 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O presente trabalho de Mestrado propõe um novo olhar para a relação de José de Alencar com o seu leitor. Em termos mais específicos, o objetivo deste trabalho foi debater em que medida a leitura de Honoré de Balzac no Brasil, um dos modelos do Alencar urbano, antecede a leitura de José de Alencar, como se tem pensado, e, em que medida, o romancista brasileiro, ao se apropriar dessa literatura ainda desconhecida pelo público de língua portuguesa por aqui, contribui para a criação e educação do “gosto” dessa parcela do público leitor de romances. Para se chegar à confirmação dessa hipótese inicial, a pesquisa tem se debruçado sobre dois eixos de investigação. No primeiro deles, centrado nos aspectos literários propriamente ditos, analisa-se, a partir dos romances Eugénie Grandet (1833), de Balzac, e Senhora (1875), de Alencar, os esforços do escritor brasileiro por extrapolar a técnica do mestre francês no que diz respeito ao tratamento dos dramas humanos, bem como o empenho do romancista no que diz respeito à compreensão e ficcionalização do quadro social brasileiro oitocentista. No segundo e principal eixo deste trabalho, por sua vez, as atenções são voltadas para as fontes primárias, tais quais primeiras edições, cuja análise abre novos caminhos para o conhecimento dos modos de produção, divulgação e recepção da literatura no período, e, consequentemente, para uma compreensão mais diversificada da História Cultural brasileira desse mesmo período. Colocando em cheque o conceito de fonte e de influência, a dicotomia entre periferia e centro, bem como a ideia convencional de atraso, este trabalho, ao posicionar José de Alencar no centro da formação de um público, convida a se repensar o papel do escritor também na formação de um sistema literário no Brasil, mostrando que muito se ganha ao tornar prismática a ideia de que o contato do leitor brasileiro com os romances europeus preexistiu à leitura dos romances nacionais. / This Master’s work proposes a new look at the relationship of José de Alencar with his reader. In more specific terms, the objective of this work was to discuss the extent to which the reading of Honoré de Balzac in Brazil, one of the models of the urban Alencar, precedes the reading of José de Alencar, as has been thought, and, to what extent, the Brazilian novelist, by appropriating this literature still unknown by the Portuguese-speaking public here, contributes to the creation and education of the taste of this part of the reading public of novels. In order to arrive at the confirmation of this initial hypothesis, the research has focused on two axes of investigation. In the first one, centered on the literary aspects, from the novels Eugénie Grandet (1833), by Balzac, and Senhora (1875), by Alencar, it is analyzed the efforts of the Brazilian writer to extrapolate the technique of the French master with regard to the treatment of the human dramas, as well as the novelist’s commitment to the understanding and fictionalization of the nineteenth century Brazilian social context. In the second and main axis of this work, the attention is focused on the primary sources, whose analysis opens new paths for the knowledge of modes of production, dissemination and reception of literature in the period, and, consequently, for a more diversified understanding of the Brazilian Cultural History of the same period. Putting in check the concept of source and influence, the dichotomy between periphery and center, as well as the conventional idea of delay, this work, by placing José de Alencar at the center of the formation of an audience, invites to rethink the role of the writer also in the formation of a literary system in Brazil, showing that much is gained by making prismmatic the idea that the contact of the Brazilian reader with the European romances preexisted the reading of the national novels. / FAPESP n° 2015/24023-5

Orientador: Maria Inez Mateus Dota / Banca: Maximiliano Martin Vicente / Banca: José Luiz Proença / Resumo: Trabalho sobre os cadernos de turismo da Folha de S. Paulo e do Jornal da Cidade de Bauru, sob a ótica da análise da prática discursiva empregada pelos dois periódicos, fundamentada no estudo da interdiscursividade entre jornalismo e publicidade no meio impresso. A problemática é constituída a partir de análises de textos e fotografias, com a finalidade de evidenciar as marcas e os vestígios da publicidade na composição dos periódicos e, sobretudo, as formas de construir os sentidos de acordo com seus interesses e dos anunciantes, rompendo com os ideais de imparcialidade e independência, tão proclamados pelos veículos de comunicação analisados. / Abstract: Not available / Mestre

L'émergence d'un nouveau médium ne laisse jamais intacts les médias qui l'ont précédé (McLuhan, Debray). Cette logique n'échappe pas au paradigme actuel, théâtre d'un bousculement majeur depuis l'apparition des technologies numériques. C'est ainsi qu'à l'heure du post-lnternet, le médium imprimé demeure telle une épave échouée sur la rive du progrès. Du fait de cet état, les mécanismes de ce médium s'offrent dans leur plus simple appareil à l'imagination des artistes contemporains qui, par l'usage de stratégies diverses, en développent de singuliers emplois - réveillant ce médium à l'instar d'un zombie (Parikka & Hertz). Cette thèse entreprend de présenter quelques-unes de ces nouvelles affordances (Norman) du médium imprimé développées depuis les années 2000 par une sélection d'artistes internationaux et par l'auteur, en solo et en collectif, à partir desquelles il s'agira de répondre à la question suivante : pourquoi imprimons-nous (nous, les artistes) encore ? Pour ce faire, l'auteur a forgé trois concepts : « ur-imprimo », « nouvel impressionnisme » et « exo-digital ». Au contact de ces derniers, l'auteur entend déplacer le centre de gravité des analyses médiatiques du médium imprimé en art des questions de reproductibilité (Benjamin), de mécanisation, d'uniformité et de fixité (McLuhan), vers les notions d'empreinte (Didi-Huberman), de trace (Derrida), de pratique vivante et de bricolage (Lévi-Strauss). Subséquemment à cette reprogrammation, l'estampe fait place au « printwork » (Cramer) et la figure du graveur à celle de l'artiste-imprimeur. / The emergence of a new medium never leaves intact the media which preceded it (McLuhan, Debray). Being the scene of a radical shift since the advent of new technologies, the actual paradigm is obviously not immune to this logic. That is why, in these limes of post-digital printed matter remains like a wreck on the shores of progress. As a result, the medium's mechanisms are offered to contemporary artists' imagination who, through the use of various strategies, develop singular new functions within it - awakening this medium like a zombie (Parikka & Hertz). This essay undertakes to present some of the new affordances (Norman) of the printed medium developed since the 2000's by a selection of international artists and by the author, alone or as a collective, from which the intent will be to answer the following question: why do we (artists) still print? ln order to do so, the author has forged three concepts: "ur-imprimo", "nouvel impressionnisme" and "exo-digital". With these concepts, the author thus intends to shift the center of gravity of the mediatic analysis of the printed medium in art from the question of replication (Benjamin), mechanization, uniformity and steadiness (McLuhan) towards the notions of imprint (Didi-Huberman), trace (Derrida), living artistic practice and do-it-yourself (Lévi-Strauss). Subsequently to this reprogramming, etching makes room for "printwork" (Cramer) and the printmaker becomes the artist-printer.