At least 65 of the books, pamphlets or broadsides printed in England in foreign vernaculars during the period covered by the Short Title Catalogue share a common characteristic: there is no clear indication anywhere on their title-pages, or within their colophons or texts, that they were printed in England and by English printers. Often the purpose of these ommissions was not so much to conceal the fact that the books were printed in England as to create a false impression that they were printed abroad. This thesis tries to resolve the various problems set by this class of book. As many as possible of the works have been identified, and bibliographical descriptions and photographs are given of all title-pages ornaments and capital initials contained in them. Although in the main printers have been identified through the presence of ornaments and initials to be found in other books which contain their full and clear imprint, occasionally supporting evidence of a different nature has been discovered and presented. The problems raised by these books are complex, and an Introduction of six chapters examines the background and origin of each individual item and attempts at the same time to trace the historical development of this distinctive branch of printing. Copies have been located in every major library in England and on the continent with the aim of discovering the trends and patterns of their sale and distribution, and it has been possible to distinguish sub-categories of these books which share a surprising number of characteristics. Thus in the period of nearly 90 years between the first of these publications, in 1552-3, and the delimiting date of 1640, there are three clear stages of evolution, each occupying approximately 30 years. The first, from 1553 to early 1584, is marked by the casual ommission of imprints. No fictitious imprints are found, and the motives of the various printers do not go beyond an implied intention to conceal the truth. The second stage begings in late 1584 and ends wwith the death of Sir Robert Cecil, Earl of Salisbury, in 1612. It was inaugurated by John Wolfe, a London printer who travelled and practised his craft in Italy and Germany before settin up shop in his own country. The privilege of printing certain profitable books was monopolised in late Elizabethan London by a small group of established printers, and newcomers often had difficulty in finding sufficient profitable material to keep their presses occupied. John Wolfe was one of these newcomers and in the course of his efforts to keep his presses busy he hit upon the idea of reprinting, in the original Italian, editions of well-known works by Machiavelli and Pietro Arentino which could no longer be produced in Italy after they had been placed on the recently-established Index Liborum Prohibitorum. There was no law of international copyright at that time, and in using fictitious impints in most of his early books in foreign vernaculars Wolfe was guided entirely by commercial considerations. English books printed in foriegn languages had a bad reputation in both foreign and domestic markets, since the insular English printer seldom had access to compositors with a reasonable grasp of foreign languages, and the occasional attempts to print in foreign vernaculars had usually resulted in inaccurate or even garbled texts. A statement made by John Charlewood to Giordano Bruno confirms this interpretation of Wolfe's motives; and it should be emphasised that at no time during this period did the English Government or the Stationers' Company express disapproval of the printing of any of these works. Wolfe naturally had his imitators. Charlewood in London and Joseph Barnes in Oxford both tried this expedient for increasing their sales of books in foreign vernaculars. Neither of them persevered, but the growing threat of Spanish invasion introduced a new motive for the use of fictitious imprints. The urgency of the times compelled Lord Burghley to write and get published a pamphlet called 'The Copie of a Letter ... to Don Bernadin de Mendoza'. This appeared in September, 1588, just after the news had been received of the English victory over the Spanish Armada. Its translation into Italian, specifically entered to John Wolfe, was produced with a fictitious imprint and it was the first piece of political propaganda to be surreptitiously printed in England in a foreign vernacular. Wolfe continued to produce books with misleading imprints for another three years, but in 1591 he virtually ceased to do his own printing and his place in this particular branch of the trade was taken by Richard Field. Field's first productions of this sort were his editions of the French translation of Burghley's pamphlet. These were followed by a group of books and pamphlets which are all but one characterised by bearing only the date, with occasionally a non-committal imprint such as "Nouvellement Imprimé". The exception, the Pedaços de Historia by Antonio Péres, bears the imprint: 'Impressoo in Leon'; but this was the only occasion that Field ever used a completely fictitious imprint. His later publications in this category consist of the books written by his Italian proof-reader, Petruccio Ubaldini, which appeared without any imprint at all, except for the date; and the books written, translated or edited by his Spanish proof-reader, Cipriano de Valera. The works produced by de Valera bear only Field's name translated into Spanish (Ricardo del Campo), and they have no geographical location. This imprint was designed to be misleading as most of these books were printed with the intention that some copies should be clandestinely exported to Spain. Thus during this second stage the motives of the authors and printers developed into a conscious aim of suggesting a false origin for their wares. The third stage extends from 1612 to the delimiting date, 164O. Salisbury does not seem to have been responsible for any surreptitiously printed political propaganda. After the death of his father he was by far the most powerful man in the English Government, and possibly it was because he did not use these tactics that no one else seems to have dared or cared to use them either. Three trends emerge in this final stage, and one of them may be noted in a pamphlet that was surreptitiously printed at the time of Salisbury's death. The surreptitiousness is only incidental, consisting of the omission of the imprint; and, as in the first stage, the imprint was left out rather because the edition was produced for a private order than because the printer had any intention to mislead or deceive. The second trend, concerned with the production of propaganda directed against particular groups of foreigners, was a continuation of the methods discovered by Wolfe and pioneered by Burghley. This had become a well-known and accepted strategem, and it was used on various occasions for definite purposes. The third trend, the production of illegal political propaganda directed against the home Government, was inaugurated in 1632 with Harper's edition of The Prince. It is hoped that this thesis will fill a gap in English bibliography. Books in English can be hard enough to identify when they contain authentic imprints. The problem becomes much more complicated when the books, although in English, were printed abroad with fictitious imprints, or when they were printed in England in foreign vernaculars but bore a fictitious imprint or no imprint at all. Messrs. Allison and Rogers have studied the problems of books printed abroad, and the present thesis tries to clear up some of the difficulties surrounding the books surreptitiously printed in England. Sixty-five titles are discussed, of which some two-thirds are not in STC.

Despite that we are in the midst of profound changes in communications technologies, there is a remarkable gap in the International Relations literature devoted to exploring the implications of these changes. In part, this can be attributed to the discipline’s conservative tendencies; generally, International Relations theorists have resisted studying major discontinuity in the international system. The few studies that do attempt to account for change typically focus on modes of production or destruction as determinant variables. Though there are rare exceptions, many of them also tend towards a form of mono-causal reductionism. When considered at all, communications technologies are viewed through the prism of, or are reduced to, these other factors. This study seeks to remedy this gap by examining the relationship between large-scale shifts in modes of communication and “world order” transformation -- the structure or architecture of political authority at a world-level. Drawing from the work of various “medium theory” scholars, such as Harold Innis and Marshall McLuhan, the study outlines an open-ended, non-reductive theory at the core of which is the argument that changes in modes of communication facilitate and constrain social forces and ideas latent in society. This hypothesized process can be likened to the interaction between species and a changing natural environment: new communications environments “favour” certain social forces and ideas by means of a functional bias towards some and not others, much the same as environments determine which species prosper by “selecting” for certain physical characteristics. In other words, social forces and ideas survive differentially according to their “fitness” or match with the new communications environment -- a process that is both open ended and contingent. The study is organized into two parts: Part one examines the relationship between printing and the medieval to modem world order transformation in Europe; Part two examines the relationship between new digital-electronic-telecommunications (called “hypermedia”) and the modem to postmodern world order transformation. The study suggests that the hypermedia communications environment is contributing to the dissolution of modern world order by facilitating the transnationalization of production, the globalization of finance, the rise of complex, non-territorial social networks, and the de-massification of “national” identities. The hypermedia environment is also helping to re-focus security concerns from an inter-national to an intra-planetary context. While it is far too early to provide a clear outline of the emerging postmodern world order, the trends that are unearthed in this study point away from single mass identities, linear political boundaries, and exclusive jurisdictions centred on territorial spaces, and towards multiple identities and non-territorial communities, overlapping boundaries, and non-exclusive jurisdictions.

Despite that we are in the midst of profound changes in communications technologies, there is a remarkable gap in the International Relations literature devoted to exploring the implications of these changes. In part, this can be attributed to the discipline’s conservative tendencies; generally, International Relations theorists have resisted studying major discontinuity in the international system. The few studies that do attempt to account for change typically focus on modes of production or destruction as determinant variables. Though there are rare exceptions, many of them also tend towards a form of mono-causal reductionism. When considered at all, communications technologies are viewed through the prism of, or are reduced to, these other factors. This study seeks to remedy this gap by examining the relationship between large-scale shifts in modes of communication and “world order” transformation -- the structure or architecture of political authority at a world-level. Drawing from the work of various “medium theory” scholars, such as Harold Innis and Marshall McLuhan, the study outlines an open-ended, non-reductive theory at the core of which is the argument that changes in modes of communication facilitate and constrain social forces and ideas latent in society. This hypothesized process can be likened to the interaction between species and a changing natural environment: new communications environments “favour” certain social forces and ideas by means of a functional bias towards some and not others, much the same as environments determine which species prosper by “selecting” for certain physical characteristics. In other words, social forces and ideas survive differentially according to their “fitness” or match with the new communications environment -- a process that is both open ended and contingent. The study is organized into two parts: Part one examines the relationship between printing and the medieval to modem world order transformation in Europe; Part two examines the relationship between new digital-electronic-telecommunications (called “hypermedia”) and the modem to postmodern world order transformation. The study suggests that the hypermedia communications environment is contributing to the dissolution of modern world order by facilitating the transnationalization of production, the globalization of finance, the rise of complex, non-territorial social networks, and the de-massification of “national” identities. The hypermedia environment is also helping to re-focus security concerns from an inter-national to an intra-planetary context. While it is far too early to provide a clear outline of the emerging postmodern world order, the trends that are unearthed in this study point away from single mass identities, linear political boundaries, and exclusive jurisdictions centred on territorial spaces, and towards multiple identities and non-territorial communities, overlapping boundaries, and non-exclusive jurisdictions. / Arts, Faculty of / Political Science, Department of / Graduate

American publishers of indecent books from 1840 to 1890 were not outsiders to the printing trades. They should be seen instead as entrepreneurs whose technological practices and business strategies were largely representative of the diversity within American publishing. Books prohibited or later destroyed because of their content survived in a relatively wide variety of forms in the hands of rare book collectors, making such artifacts perhaps even more important for the study of industrial practices than literary works collected in greater numbers by research institutions. Those rare artifacts make available long-lost details about the men and women who manufactured print at the boundaries of social propriety, the production technologies they employed, and the place of difficult-to-research publishers in the American book trades. Conservation, papermaking, illustrations, printing, and typefounding are as important to the history of American erotica as the more famous prosecutions led by Anthony Comstock. Focusing on works considered indecent by the nineteenth-century bibliographer Henry Spencer Ashbee, this dissertation integrates the political economy of print with an analysis of the material forms of semi-erotic and obscene books. Surviving artifacts offer evidence about regional production styles and the ways that fiber selection, and particularly the use of straw in low-quality papers, influenced the prevalence of yellow wrappers for ephemeral works. Printer skill levels and capitalization can sometimes be determined through the presence of gripper marks on printed sheets. Reconstructing and contextualizing the technological practices of these publishers can create new tools for bibliographical analysis, an accessible source of information about technical processes for general historians, and a wealth of data about publishers such as William Berry, whose role in networks of erotica in nineteenth-century America has only recently begun to be appreciated.

The thesis is focused on key canadian media - print, radio and television, in the individulal chapters I'm trying to describe their development as it is during the formative years and influenced, and what role it plays in today's Canada and which one of them has a privileged position in the country. Before that I was trying to deal with the history of Canada to clarify the roots all Canadian journalism and the media occurred. I also give attention to some selected major Canadian media personalities, whether those from the past and the present, who are in some way involved on what is today Canadian journalism, or the form of it's today. My attention did not miss either: the French-Canadian journalism, which about their form and the place on the map of the Canadian media fought for centuries. Its center is the Canadian province of Quebec. In my work, I also discuss how journalism is taught at several Canadian universities, how much of them offers a learning program and how they teach it. Whether the emphasis is more on theory or more practical. I write also about media education, which has been several years in Canada's history. Last but not least, I tried to map the Czech track in the Canadian media and specifically designate some of expatriate media that readers can find in Canada.

Jean-Baptiste Bodoni (1740-1813) est l’un des imprimeurs les plus célèbres du monde occidental et, pour l’Italie, le dernier représentant de la « Typographie d’Ancien Régime » en même temps que le premier des « modernes ». Il a en effet été le dernier capable de dessiner, graver et fondre lui-même ses caractères, tout en exerçant conjointement l’imprimerie et la librairie. Après lui, l’industrialisation du livre commence : les activités qu'il réunissait dans son entreprise, selon la tradition remontant à la naissance de l’imprimerie, se scindèrent sans retour, tandis que la production imprimée s’adressait désormais à la fois à des marchés plus vastes et à des publics différents et plus larges. Les tirages de masse s'accompagnèrent d'une baisse de la qualité et d'une plus grande banalité du style. Grâce à Angelo Pezzana, directeur de la Bibliothèque de Parme au XIXème siècle, les outils utilisés par Bodoni pour fabriquer les caractères, mais aussi ses archives et une collection complète des volumes produits par son atelier, ont été conservés jusqu’à nos jours. Il est donc possible de reconstruire la vie de Bodoni, en insistant notamment sur ses rapports avec les cours d’Europe et avec le marché de la bibliophilie, sur les conditions et les pratiques de travail dans la fonderie de caractères et dans l’imprimerie, et sur la genèse des ouvrages les plus célèbres. La fortune qui a été la sienne remonte aux décennies qui suivent sa disparition et se prolonge jusqu’à aujourd’hui, où les caractères Bodoni sont utilisés dans les graphismes publicitaires et dans les revues, ainsi que pour les marques de mode. Ils sont, toujours, des symboles de l’élégance, de la simplicité, et en même temps du luxe et de l’italianité. / Giambattista Bodoni (1740-1813) is one of the most famous printers of the western world and, for Italy, the last representative of the "Ancien Régime Typography" at the same time as the first "modern". It has indeed been able to make his own characters while exercising together printing and book trade. After him, the industrialization of the book begins: the activities he met in his company, according to tradition dating back to the birth of printing, divided without return, while print production is now addressed to both larger markets and different and wider audiences. Mass prints were accompanied by a decline in quality and of greater banality of style. With Angelo Pezzana, director of the Library of Parma in the nineteenth century, the tools used by Bodoni for making type, but also its archives and a complete collection of volumes produced by his typography, have been preserved until today. It is therefore possible to reconstruct Bodoni of life, with particular emphasis on its relations with the courts of Europe and the market for bibliophile, on the conditions and labor practices in the foundry of characters and in printing, and the genesis of the most famous works. His fortune follow his death and continues until today, where Bodoni characters are used in graphics and for publications and magazines, as well as for fashion brands. They are always, symbols of elegance, simplicity, and at the same time of the luxury and of the Italian style.

Ce travail comporte 3 volumes: 1 (texte), 2 (illustrations), 3 (description de la bibliothèque d'Érasme et liste de ses éditions princeps). Le premier volume de texte étudie à la fois les rapports entre Érasme et ses imprimeurs et démontre comment cet humaniste a été l'un des premiers auteurs a participé activement à la production matérielle de ses œuvres, utilisant la mise en page et les différents éléments constitutifs du livre (page de titre, manchette, index, paragraphe, caractère typographique) pour tenter de maitriser la réception de son œuvre auprès de ses lecteurs. Ce travail contient trois parties: dans un premier temps, il suit Érasme pas à pas à la recherche d'un imprimeur idéal, puis à partir de 1514 et de sa rencontre avec Johann Froben à Bâle, il décrit les différentes formules utilisées par Érasme pour mettre en forme ses livres. Une troisième partie étudie les épîtres rédigées par ses imprimeurs. Elle montre que l'humaniste joue un rôle également important dans la revendication de ses imprimeurs à se présenter comme humanistes./This study has three volumes :1 (texte), 2 (illustrations), 3 (description of the library of Erasmus and the list of his editio princeps). The first volume studies the relations between Erasmus and his printers. He show that this humanist is the first to be implicated in the material production of his œuvre. He uses lay-out and differents elements of the book (tittle-page, marginalia, paragraph, index, types) to control the reception of his œuvre by the public. The first volume contains three parts: first, the chronological description of the writer searching an ideal printer. In the second part, after the meeting of Erasmus and Johann Froben in Basel in 1514, this study describes the different formules uses by Erasmus to constitute a new image of the modern book. In the last part, we describe the different letters of the Erasmus's printers. We show that Erasmus was also responsable of the revendication of his printers to be also the humanists. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Die vorliegende Arbeit beschreibt das Bibliothekswesen auf den Maltesischen Inseln. Einleitend werden Länderinformationen, Informationen zur maltesischen Sprache und zu Schul- und Berufsausbildung gegeben, gefolgt von einem Überblick über die maltesische Druckgeschichte, dem Buchmarkt und der Pflichtexemplarregelung auf den Inseln. Im Hauptteil wird auf Unterhaltsträger von maltesischen Bibliotheken eingegangen und alle bekannten Bibliothekstypen vorgestellt. Innerhalb der verschiedenen Bibliotheksgruppen wird mindestens eine Bibliothek anhand ihrer Funktion, Mitarbeiter, finanziellen Situation, vorhandenen Sammlungen, Erschließungsinstrumenten und Benutzungsmodalitäten detailliert dargestellt. Andere Bibliotheken des gleichen Bibliothekstyps werden genannt, Besonderheiten werden erörtert. Des Weiteren wird ein Überblick über die Möglichkeiten bibliothekarischer Ausbildung gegeben. Die beiden bibliothekarischen Berufsverbände MaLIA und MSLA werden kurz anhand ihrer Aufgaben und Tätigkeiten dargestellt. Ausführliche Informationen über die Literaturversorgung der Malteser durch Bibliotheken und die Struktur des Bibliothekswesens in Malta werden in der Zusammenfassung erörtert. Der Text wurde gelegentlich durch graphische Darstellungen ergänzt. Im Anhang der Arbeit befinden sich unter anderem Adressverzeichnisse der bekannten öffentlichen und wissenschaftlichen Bibliotheken sowie Karten im DIN A3 Format, auf welchen die Bibliotheken verzeichnet wurden. Die Diplomarbeit basiert auf Literaturstudium, Befragungen per E-Mail und Experteninterviews.

La thèse vise à démontrer que l'imprimeur Abraham Verhoeven n'a pas publié de gazette à partir de 1605, et qu'il n'a donc pas publié le premier journal au monde, ni le premier journal illustré. Par contre, il a publié :à partir de 1605, des planches d'actualité; à partir de 1609, des occasionnels; à partir de<p>1617, des nouvelles imprimées; à partir de 1620, des occasionnels en série, datés avec plus ou moins de précision (signés en continu en 1620, puis numérotés); à partir du 27 juin 1629, un journal irrégulier mais très fréquent, la VVekelijcke Tijdinghe; à par-<p>tir du début 1632 et jusqu'en 1634, un autre journal irrégulier moins fréquent, le Courante uyt.<p> / Doctorat en philosophie et lettres, Orientation information / info:eu-repo/semantics/nonPublished

Die vorliegende Arbeit beschreibt das Bibliothekswesen auf den Maltesischen Inseln. Einleitend werden Länderinformationen, Informationen zur maltesischen Sprache und zu Schul- und Berufsausbildung gegeben, gefolgt von einem Überblick über die maltesische Druckgeschichte, dem Buchmarkt und der Pflichtexemplarregelung auf den Inseln. Im Hauptteil wird auf Unterhaltsträger von maltesischen Bibliotheken eingegangen und alle bekannten Bibliothekstypen vorgestellt. Innerhalb der verschiedenen Bibliotheksgruppen wird mindestens eine Bibliothek anhand ihrer Funktion, Mitarbeiter, finanziellen Situation, vorhandenen Sammlungen, Erschließungsinstrumenten und Benutzungsmodalitäten detailliert dargestellt. Andere Bibliotheken des gleichen Bibliothekstyps werden genannt, Besonderheiten werden erörtert. Des Weiteren wird ein Überblick über die Möglichkeiten bibliothekarischer Ausbildung gegeben. Die beiden bibliothekarischen Berufsverbände MaLIA und MSLA werden kurz anhand ihrer Aufgaben und Tätigkeiten dargestellt. Ausführliche Informationen über die Literaturversorgung der Malteser durch Bibliotheken und die Struktur des Bibliothekswesens in Malta werden in der Zusammenfassung erörtert. Der Text wurde gelegentlich durch graphische Darstellungen ergänzt. Im Anhang der Arbeit befinden sich unter anderem Adressverzeichnisse der bekannten öffentlichen und wissenschaftlichen Bibliotheken sowie Karten im DIN A3 Format, auf welchen die Bibliotheken verzeichnet wurden. Die Diplomarbeit basiert auf Literaturstudium, Befragungen per E-Mail und Experteninterviews.:Abkürzungsverzeichnis 5 Darstellungsverzeichnis 6 1 Einleitung 7 2 Die Maltesischen Inseln 11 2.1 Landeskundliche Informationen 11 2.2 Sprache und Bildung 12 2.3 Buchwesen und Pflichtexemplarregelung 17 3 Bibliotheksvielfalt 24 3.1 Unterhaltsträger maltesischer Bibliotheken 24 3.2 National Library of Malta 27 3.3 Public Libraries 41 3.4 Bibliotheksarbeit für Kinder und Jugendliche 52 3.5 Academic Libraries 65 3.6 Special Libraries 76 4 Bibliothekarische Ausbildung 89 5 Bibliothekarische Berufsverbände 95 6 Zusammenfassung 101 Literatur- und Quellenverzeichnis 106 Anlagenverzeichnis Anlagen