ARTS GRÀFIQUES I COSMOVISIÓ La primera conclusió que es desprèn d’aquest estudi és també la central: explica com les arts gràfiques generen les formes i els continguts d’una nova cosmovisió, tant en l’imaginari col•lectiu com en les arts. Aquesta cosmovisió es va modificant durant tot el segle XIX per l’accentuació de diversos factors tècnics, com ara el registre de la imatge, el procediment de copiat i els canals de difusió; també es va modificant pel seu caràcter generalista, divulgatiu, laic i global; i, per últim, es transforma per la internacionalització i la distribució indiscriminada que donen pas a un fenomen sense precedents: l’accessibilitat. Durant el transcurs del segle XIX, la segona revolució gràfica fa d’aglutinador, al voltant de la tipografia, de les incorporacions tècniques al món de la imatge. Primer, amb la xilografia, la litografia i els processos fotogràfics. Després, les connexions entre les tècniques, amb els nous procediments producte dels descobriments tècnics i científics, faran créixer la identitat gràfica fins a la tercera revolució, la de la dècada de 1880 a 1890, amb la presència de la fotografia impresa. La transferència icònica a la identitat cultural occidental serà conseqüència de la internacionalització d’aquesta imatge tecnològica. Els resultats gràfics són productes diversos, objectivables i quantificables, però sobretot formen un conjunt de solucions que ha penetrat en tots els nuclis de la societat en un procés imparable durant tot el segle XIX. Per la disparitat de formes –cartells, embolcalls, diaris, paper moneda, publicitat, llibres, naips...– i de continguts –icònics, textuals, lúdics...–, per la quantitat d’elements humans que hi participen –tècnics, artistes, escriptors i una pluralitat de personatges d’àmbits culturals i productius diversos, des dels fonedors fins als periodistes, des dels enquadernadors al dibuixants–, són els productes gràfics, des del segle XIX, un referent comú en un temps i espai determinats. Són el paradigma d’allò comú que és dóna en tot el món occidental. Per dir-ho d’alguna manera, no trobarem una forma més internacional i més comuna que la tipogràfica –n’és un exemple una Times–, ni tampoc un llenguatge més comú –pensem en les narracions gràfiques d’un Willem Bush– o una tècnica més comuna –la xilografia, posem per cas. Aquest canvi de paràmetres, de concepció de l’individu i del seu entorn, tant en la imatge com en l’imaginari, es dóna en el procés de canvi entre l’artesania gràfica i la indústria, en el període que anomenarem de la manufactura, i resta com a document en les revistes d’aquesta època anomenades genèricament il•lustracions. La cosmovisió, la nova concepció del món que deixa enrera l’antic règim visual i que va gestant-se en l’època de la Il•lustració francesa i del seu referent icònic, l’Enciclopèdia, obre el camí a nous espectacles i espectadors, a noves lectures i lectors, a una nova ciutadania; és en definitiva, la gran convulsió de les arts i la proclamació de la mort de l’antic sistema, el de les arts acadèmiques. Així, en l’imaginari col•lectiu tindrem la presència de l’espectador, activa, però indirecta, com a consumidor. El pensament liberal havia dut l’art, en totes les seves expressions, a ser un producte de mercat, subjecte al gust de l’usuari, a l’èxit o al fracàs. El ciutadà serà, doncs, jutge de la bondat del producte, fent-lo rendible econòmicament, per exemple. Aquest individu amb capacitat de decisió però amb forma de consumidor fa la seva entrada triomfal en el món de l’art, en el món que serà moda, gust o tendència. Aquesta entrada i l’entrada d’altres actors, com el galerista, el col•leccionista, el crític, el pensador de la bellesa, l’esteta, el productor, l’inversor, etc., aniran conformant el nou sistema de les arts, en què, òbviament, l’art haurà mort com a producte del sistema de l’antic règim. De tal manera aquesta transformació de l’art –no la seva pràctica o el seus ideals intrínsecs– serà pública, que tothom podrà gaudir, gratuïtament, de l’espectacle convuls de la seva presència. Tothom podrà ser espectador i usuari de la revolució perpètua que anomenem avantguardes, que anomenem moda, que anomenem gust. / Knowledge of the relationships established in the decade from 1880 to 1890 between the art, photography and printing is in the background of the study. For this reason there was a need for defining parameters of the evolution over more than five centuries of printing. The establishment of five periods, l'artesanal, manufacturing and industrial-, the advent of graphic design, with the breakdown of the family plot and the finding of the current collapse, will represent a conceptually ordering a disorder of persistent name historical treatment of the graphic arts. At the same time had to sequence alignment between printing and photography in the period since the advent of lithography to the emergence of photogravure. The parameters of art were treated promptly, since the establishment of a chronology and history were known and with literature data. This evolution had graphics give it the relevant technological, machinery, printing, paper industry, etc.. Once the timing was necessary in order periods, and the territories defined by the cultural, technical and social that allowed me to recover the initial study. This object of study was a weekly magazine published in Barcelona between 1880 and 1890, Illustration of Luis Tasso and Serra. It was necessary to distinguish a woodcut of a lithograph, a photo-mechanically engineered a de facto organic, such as those published Joarizti and Mariezcurrena in the weekly study, had to find out the differences between a gillotage and a woodcut, which meant when had a blueprint or a silk-screen, as were the parents, the types of graphical output, the features of the technique, a metallic timber, to be called "TROPHIES" or stereotypies. The decade of the publication had a clear disadvantage in the field of historiography: it belonged to the Modernist full time, very elaborate, cultivated and preserved compared with other times. The time chosen, the decade of the publication of the magazine publishing Tasso, was labeled then-twenty-five years into the various approaches and research-of eclectic historicism of territory, without too much to say. He drew a poor country without good artists, subject to European rhythms, and that these were late and wrong. The claim of aestheticism, or the English "Aesthetic Movement" - in Catalonia as a precursor of Modernism, initiated by Alexandre Cirici Pellicer, allowed a review of the subject of that despised eclecticism. The recovery of the centenary of the Universal Exhibition of 1888 and some more art historians engaged in the study of the fragments bypassed or forgotten by the major historiographical trends favored a thickening of the literature on time.

This PhD dissertation focuses upon the role of Lyon's printing industry in the revival of Catholicism in the second half of the sixteenth century. Lyon was one of Europe's premier cities; booming trade and tolerant attitudes had been catalysts for its growth. It possessed one of the finest and most renowned printing industries on the continent. Reputations were turned upside down by the development of evangelical activism in the 1560s. By the late 1560s the city was once more firmly placed in the Roman Catholic camp. Lyon's presses joined in the newly found Catholic sentiment. Presses produced a vast range of texts necessary for the reconstruction of the Church. From the start, the commerce of the book and the fate of Catholic revival were closely bound together. Within a decade of the fall of the Protestant regime, Catholic authors and publishers produced steady streams of violent pamphlet literature aimed towards the eradication of the Huguenot. With a powerful combination of theological tomes and a flood of book and pamphlet literature addressed to a wider audience, Lyon's printing presses held an important role in the progress of Catholic revival. Chapter one sketches core aspects of the history of the printing industry in Lyon from its inception in the 1470s until 1600. Chapter two concentrates on the production of pamphlet literature between 1565 and 1588, the years of Catholic victory and the period leading up to the radical developments of the Holy Catholic League. Chapter three extends the survey of the period 1565 until 1588 by addressing the body of larger religious books published. Chapters four and five explore the role of pamphlet literature during Lyon's adherence to the Leaguer, and then Royalist movement. Chapter six examines the production of larger religious books throughout the years 1589 until 1600. This study of Lyon's place in print culture demonstrates that our preconceptions of the book culture - seen through the predominantly German model - cannot be accurately imposed across European printing centres. Contrary to the German experience print culture and the Counter-Reformation were inextricably linked. Moreover, French Catholic authors were prepared to confront the evangelical movement in the medium of print. By doing so Catholic authors and publishers fully utilised the weapons that had brought Protestantism so much success, making them their own.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A presente dissertação tem como objeto de estudo a Gráfica Imprinta, criada a partir de um projeto cuidadosamente elaborado por seus mentores Aloísio Magalhães e Arnaud Torres, com o objetivo de atender, principalmente, aos designers gráficos do Rio de Janeiro. Enfocando o período de 1969 a 1989, que compreende a trajetória da Empresa desde sua concepção até a mudança de administração, o trabalho se insere na história da evolução da Indústria Gráfica no Rio de Janeiro. Aborda o período que se inicia com a formação dos alunos da Escola Superior de Desenho Industrial, ESDI UERJ, em 1963, até a década de 1980, com a consolidação da tecnologia offset, como principal forma de impressão em nosso país. Partiu-se da premissa de que a conjuntura tecnológica pode influenciar no processo de desenvolvimento de um impresso e, também, de que os designers podem interceder no processo evolutivo de uma gráfica. Numa primeira fase foi feita uma pesquisa exploratória na qual entramos em contato com ex-alunos formados pela ESDI, durante a primeira década de seu funcionamento, que apontaram a Gráfica Imprinta como referência de serviços diferenciados. Passando esta, a ser o foco da pesquisa, abordamos seu idealizador, Arnaud Torres, bem como, mais sete designers e dois antigos funcionários. Os profissionais que participaram da pesquisa, nos forneceram dados por meio de entrevistas não estruturadas, que ocorreram entre junho e agosto de 2007, foram gravadas e posteriormente transcritas e analisadas. Elaboramos um acervo iconográfico que se refere, tanto à história da Imprinta como também, documenta parte da produção de alguns designers e a indústria gráfica da época. Consideramos que a história da Gráfica Imprinta demonstra que, naquele momento de transição da tecnologia, a disponibilidade nela encontrada pelos designers para sua experimentação no campo da produção e a troca de conhecimento que ali se verificou, produziram crescimento em termos técnicos e teóricos para todos os envolvidos, bem como, incremento na qualidade dos impressos ali executados e otimização de projetos gráficos futuros / This dissertation has a printshop named Imprinta as the studys object. Imprinta was created from a carefully elaborated project, whose authors are Aloisio Magalhaes and Arnaud Torres, and that had the goal of offering services, mainly, to Rio de Janeiros graphical designers. Focusing on the period from 1969 to 1989 which encompasses the story of the company since its inception to the moment a new administration took over, this work describes part of the history of the printing industry in Rio de Janeiro. It addresses the period that starts in 1963 with the formation of new students of the Superior School of Industrial Design (Escola Superior de Desenho Industrial, ESDI) that belongs to the State University of Rio de Janeiro (Universidade Estatual do Rio de Janeiro, UERJ) and ends in the 1980s with the consolidation of Offset as the main printing technology in Brazil. We started by assuming that the technological environment can influence the process of development of printed matter and also that designers can impact a print shops evolutionary process. In the first phase of this work, an investigative research where we contacted former ESDI students that graduated during ESDIs first decade of existence, pointed us to Imprinta as a reference for differentiated printing services. With Imprinta as the focus of our research, we contacted Arnaud Torres, its mentor, seven additional designers and also two former employees of the company. From June to August of 2007, the research participants, by means of nonstructured interviews, provided information that were recorder and then transcribed and analyzed. We were able to build a collection of iconographic items that relates to both the history of Imprinta and also documents part of the production of some designers and the printing industry at the time. We believe that Imprintas story shows that, at that moment of technology transition, the availability Imprinta provided to designers for their experimentation in the field of production and exchange of knowledge, has generated technical and theoretical growth for all involved, an increase the quality of the printing services run at Imprinta and the optimization of future printing projects

Este estudo apresenta um diagnóstico realizado com Pequenas e Médias Empresas (PMEs) do setor gráfico localizadas no estado do Paraná, o qual teve o objetivo de avaliar o nível de maturidade organizacional destas quanto à implantação de práticas de Gestão da Qualidade (GQ), e seu desenvolvimento obedeceu às seguintes etapas: pesquisa e análise do panorama dos estudos acadêmicos relacionados ao tema, acompanhada de entrevista em uma microempresa do setor (etapa 1); aplicação de um modelo de diagnóstico do nível de maturidade quanto às práticas em GQ na mesma empresa, com a proposição melhorias (etapa 2) e replicação do modelo de diagnóstico, desta vez validado por uma análise fatorial, em três grandes regiões do Paraná, através de uma survey (etapa 3), de forma a, por meio dos fatores, comparar resultados entre regiões, porte, idade e área de abrangência das empresas. Os resultados revelaram que, em um contexto acadêmico, as pesquisas ainda podem avançar, com poucos trabalhos a respeito, apesar da unanimidade verificada quanto à importância da Gestão da Qualidade para as PMEs. A falta de mão-de-obra qualificada no setor foi a principal dificuldade apontada pelo gestor de uma microempresa durante a etapa 2. Os cinco fatores formados através da análise fatorial na etapa 3 foram os seguintes: Treinamento e participação dos funcionários (Fator 1); Qualidade da manufatura (Fator 2); Capacidade de detecção e análise dos defeitos nos produtos (Fator 3); Estrutura de apoio (Fator 4) e Capacidade de identificação das causas de defeitos e de atendimento das necessidades dos consumidores (Fator 5). Através da avaliação destes fatores, se constata que as empresas necessitam de ajustes e melhorias em seus métodos de Gestão da Qualidade. O fator “Treinamento e participação dos funcionários” revelou um ponto crítico para esta categoria de empresas, tanto na survey quanto no estudo de caso. Ainda, foram identificadas diferenças significantes entre as categorias de empresas, tais como os melhores resultados para o Fator 1 nas microempresas e também naquelas localizadas nas regiões oeste e sudoeste, os melhores índices de qualidade da manufatura nas empresas mais jovens e uma estrutura de apoio mais consistente nas empresas localizadas nas regiões oeste e sudoeste e também naquelas que usufruem de uma maior abrangência de mercado. / This study presents a diagnosis made with Small and Medium Enterprises (SMEs) of the printing sector located in the state of Paraná, which had the objective of evaluating their level of organizational maturity regarding the implementation of Quality Management (QM) practices, and Its development respected the following stages: research and analysis of the panorama of the academic studies related to the subject, accompanied by an interview in a microenterprise of the sector (stage 1); Application of a maturity level diagnostic model for QM practices in the same company, with the proposition of improvements (step 2) and replication of the diagnostic model, validated by a factorial analysis, in three large regions of Paraná, through a survey (step 3), in order to, through the factors, compare results among regions, size, age and area of coverage of companies. The results revealed that, in an academic context, research can still be advanced, with few papers about it, despite the unanimity regarding the importance of Quality Management for SMEs. The lack of skilled labor in the sector was the main difficulty pointed out by the manager of a microenterprise during stage 2. The five factors formed through the factorial analysis in step 3 were the following: Training and employee participation (Factor 1); Quality of manufacturing (Factor 2); Ability to detect and analyze defects in products (Factor 3); Support structure (Factor 4) and Identifying the causes of defects and meeting the needs of consumers (Factor 5). Through the evaluation of these factors, it is verified that companies need adjustments and improvements in their methods of Quality Management. The "Employee training and participation" factor revealed a critical point for this category of companies, both in the survey and in the case study. Also, significant differences were identified among the categories of companies, such as the best results for Factor 1 in microenterprises as well as those in the western and southwestern regions, the best manufacturing quality indices in the younger companies, and a more support structure consisting of companies located in the west and southwest regions and also those with a greater market reach.

Este estudo apresenta um diagnóstico realizado com Pequenas e Médias Empresas (PMEs) do setor gráfico localizadas no estado do Paraná, o qual teve o objetivo de avaliar o nível de maturidade organizacional destas quanto à implantação de práticas de Gestão da Qualidade (GQ), e seu desenvolvimento obedeceu às seguintes etapas: pesquisa e análise do panorama dos estudos acadêmicos relacionados ao tema, acompanhada de entrevista em uma microempresa do setor (etapa 1); aplicação de um modelo de diagnóstico do nível de maturidade quanto às práticas em GQ na mesma empresa, com a proposição melhorias (etapa 2) e replicação do modelo de diagnóstico, desta vez validado por uma análise fatorial, em três grandes regiões do Paraná, através de uma survey (etapa 3), de forma a, por meio dos fatores, comparar resultados entre regiões, porte, idade e área de abrangência das empresas. Os resultados revelaram que, em um contexto acadêmico, as pesquisas ainda podem avançar, com poucos trabalhos a respeito, apesar da unanimidade verificada quanto à importância da Gestão da Qualidade para as PMEs. A falta de mão-de-obra qualificada no setor foi a principal dificuldade apontada pelo gestor de uma microempresa durante a etapa 2. Os cinco fatores formados através da análise fatorial na etapa 3 foram os seguintes: Treinamento e participação dos funcionários (Fator 1); Qualidade da manufatura (Fator 2); Capacidade de detecção e análise dos defeitos nos produtos (Fator 3); Estrutura de apoio (Fator 4) e Capacidade de identificação das causas de defeitos e de atendimento das necessidades dos consumidores (Fator 5). Através da avaliação destes fatores, se constata que as empresas necessitam de ajustes e melhorias em seus métodos de Gestão da Qualidade. O fator “Treinamento e participação dos funcionários” revelou um ponto crítico para esta categoria de empresas, tanto na survey quanto no estudo de caso. Ainda, foram identificadas diferenças significantes entre as categorias de empresas, tais como os melhores resultados para o Fator 1 nas microempresas e também naquelas localizadas nas regiões oeste e sudoeste, os melhores índices de qualidade da manufatura nas empresas mais jovens e uma estrutura de apoio mais consistente nas empresas localizadas nas regiões oeste e sudoeste e também naquelas que usufruem de uma maior abrangência de mercado. / This study presents a diagnosis made with Small and Medium Enterprises (SMEs) of the printing sector located in the state of Paraná, which had the objective of evaluating their level of organizational maturity regarding the implementation of Quality Management (QM) practices, and Its development respected the following stages: research and analysis of the panorama of the academic studies related to the subject, accompanied by an interview in a microenterprise of the sector (stage 1); Application of a maturity level diagnostic model for QM practices in the same company, with the proposition of improvements (step 2) and replication of the diagnostic model, validated by a factorial analysis, in three large regions of Paraná, through a survey (step 3), in order to, through the factors, compare results among regions, size, age and area of coverage of companies. The results revealed that, in an academic context, research can still be advanced, with few papers about it, despite the unanimity regarding the importance of Quality Management for SMEs. The lack of skilled labor in the sector was the main difficulty pointed out by the manager of a microenterprise during stage 2. The five factors formed through the factorial analysis in step 3 were the following: Training and employee participation (Factor 1); Quality of manufacturing (Factor 2); Ability to detect and analyze defects in products (Factor 3); Support structure (Factor 4) and Identifying the causes of defects and meeting the needs of consumers (Factor 5). Through the evaluation of these factors, it is verified that companies need adjustments and improvements in their methods of Quality Management. The "Employee training and participation" factor revealed a critical point for this category of companies, both in the survey and in the case study. Also, significant differences were identified among the categories of companies, such as the best results for Factor 1 in microenterprises as well as those in the western and southwestern regions, the best manufacturing quality indices in the younger companies, and a more support structure consisting of companies located in the west and southwest regions and also those with a greater market reach.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A presente dissertação tem como objeto de estudo a Gráfica Imprinta, criada a partir de um projeto cuidadosamente elaborado por seus mentores Aloísio Magalhães e Arnaud Torres, com o objetivo de atender, principalmente, aos designers gráficos do Rio de Janeiro. Enfocando o período de 1969 a 1989, que compreende a trajetória da Empresa desde sua concepção até a mudança de administração, o trabalho se insere na história da evolução da Indústria Gráfica no Rio de Janeiro. Aborda o período que se inicia com a formação dos alunos da Escola Superior de Desenho Industrial, ESDI UERJ, em 1963, até a década de 1980, com a consolidação da tecnologia offset, como principal forma de impressão em nosso país. Partiu-se da premissa de que a conjuntura tecnológica pode influenciar no processo de desenvolvimento de um impresso e, também, de que os designers podem interceder no processo evolutivo de uma gráfica. Numa primeira fase foi feita uma pesquisa exploratória na qual entramos em contato com ex-alunos formados pela ESDI, durante a primeira década de seu funcionamento, que apontaram a Gráfica Imprinta como referência de serviços diferenciados. Passando esta, a ser o foco da pesquisa, abordamos seu idealizador, Arnaud Torres, bem como, mais sete designers e dois antigos funcionários. Os profissionais que participaram da pesquisa, nos forneceram dados por meio de entrevistas não estruturadas, que ocorreram entre junho e agosto de 2007, foram gravadas e posteriormente transcritas e analisadas. Elaboramos um acervo iconográfico que se refere, tanto à história da Imprinta como também, documenta parte da produção de alguns designers e a indústria gráfica da época. Consideramos que a história da Gráfica Imprinta demonstra que, naquele momento de transição da tecnologia, a disponibilidade nela encontrada pelos designers para sua experimentação no campo da produção e a troca de conhecimento que ali se verificou, produziram crescimento em termos técnicos e teóricos para todos os envolvidos, bem como, incremento na qualidade dos impressos ali executados e otimização de projetos gráficos futuros / This dissertation has a printshop named Imprinta as the studys object. Imprinta was created from a carefully elaborated project, whose authors are Aloisio Magalhaes and Arnaud Torres, and that had the goal of offering services, mainly, to Rio de Janeiros graphical designers. Focusing on the period from 1969 to 1989 which encompasses the story of the company since its inception to the moment a new administration took over, this work describes part of the history of the printing industry in Rio de Janeiro. It addresses the period that starts in 1963 with the formation of new students of the Superior School of Industrial Design (Escola Superior de Desenho Industrial, ESDI) that belongs to the State University of Rio de Janeiro (Universidade Estatual do Rio de Janeiro, UERJ) and ends in the 1980s with the consolidation of Offset as the main printing technology in Brazil. We started by assuming that the technological environment can influence the process of development of printed matter and also that designers can impact a print shops evolutionary process. In the first phase of this work, an investigative research where we contacted former ESDI students that graduated during ESDIs first decade of existence, pointed us to Imprinta as a reference for differentiated printing services. With Imprinta as the focus of our research, we contacted Arnaud Torres, its mentor, seven additional designers and also two former employees of the company. From June to August of 2007, the research participants, by means of nonstructured interviews, provided information that were recorder and then transcribed and analyzed. We were able to build a collection of iconographic items that relates to both the history of Imprinta and also documents part of the production of some designers and the printing industry at the time. We believe that Imprintas story shows that, at that moment of technology transition, the availability Imprinta provided to designers for their experimentation in the field of production and exchange of knowledge, has generated technical and theoretical growth for all involved, an increase the quality of the printing services run at Imprinta and the optimization of future printing projects

More and more print jobs are delivered from customer to printer digitally over the Internet. Although Internet-based job delivery can be highly efficient, companies in the graphic arts and printing industry often suffer unnecessary costs related to this type of inflow of print jobs to their production workflows. One of the reasons for this is the lack of a well-defined infrastructure for delivering print jobs digitally over the Internet. This thesis presents INFLOW - a prototype for a print job delivery system for the graphic arts and printing industry. INFLOW is a web-based job delivery system that is hosted on an Internet-connected server by the organization receiving the print jobs. Focus has been on creating a system that is easy to use, highly customizable, secure, and easy to integrate with existing and future systems from third-party vendors. INFLOW has been implemented using open standards, such as XML and JDF (Job Definition Format). The requirements for ease-of-use, high customizability and security are met by choosing a web-based architecture. The client side is implemented using standard web technologies such as HTML, CSS and JavaScript while the serverside is based on J2EE, Java Servlets and Java Server Pages (JSP). Using a web browser as a job delivery client provides a highly customizable user interface and built in support for encrypted file transfers using HTTPS (HTTP over SSL). Process automation and easy integration with other print production systems is facilitated with CIP4’s JDF (Job Definition Format). INFLOW also supports"hot folder workflows"for integration with older preflight software and other hot folder-based software common in prepress workflows.

The problem in this research was to derive and prioritize program content areas and topics for a community college level printing program appropriate to the needs of the printing industry in Halifax County, Nova Scotia, Canada. This prioritized list will provide guidance during curriculum development. The needs assessment executed in this study was a Beta-type needs assessment. The methodology used in this study was a telephone interview technique utilizing a questionnaire developed on the basis of in-person interviews with key informants in the printing profession. As a result of this study, curriculum guidelines were offered for a community college level printing program. Within these guidelines, the broad content area of press operations was given the highest priority, with almost one-half (45%) of the curriculum devoted to press course offerings in press operations. The broad content area of pre-press operations was given the second highest priority, with approximately one-third (33%) of the curriculum devoted to course offerings in pre-press operations. The broad content area of postpress was given the least priority, with less that one-quarter (22%) of the curriculum devoted to course offerings in post-press operations. Curricular emphasis of specific topic areas within these broad content areas were also examined, and recommended curricular emphasis was given for these topic areas. In addition demographic information regarding the size and scope of the printing industry in Halifax County was reported. / Ed. D.

The study centres on the development of a didactically justified design model of a competency based modular training system for the Printing, Newspaper and Packaging Industries. The design model is represented in a diagram form identifying the components of the design model in relation to their systems function. The components of the design model are; training needs analysis, aims and objectives of training, the learner initial situation, the code of practice for training within industry, the pre-interactive training phase, the interactive training phase and training outcomes. Checklists are developed for using the design model as well as some practical examples of the implementation of the design model in creating a training system which features sound andragogic didactic principles and practices. The use of the design model enables the development of a practical competency based modular training system which meets the unique requirements of the Printing, Newspaper and Packaging Industries. / Educational Studies / M. Ed. (Didactics)

The master thesis Periodical Press in the Kutná Hora Region during the period 1918 - 1948 focuses on the changes of the structure of periodical press in the Kutná Hora region in the specified time range. First, the definition of the Kutná Hora region with its demographic and geographic characteristics is provided. As the structure of the periodical press in the Kutná Hora region during the era of the First Republic was based on the situation before the First World War, the landscape of the media of the Kutná Hora region before 1918 is described. Kutná Hora region had been already rich in periodical press of political parties as well as the press of non-political organizations in that time and the same situation applies also for the interwar period. After the Munich agreement until the beginning of the occupation of Czechoslovakia the structure of the political press was changing at first and finally all the periodicals of political parties ceased to exist. By the march 1943, also the press of the non-political organization disappeared. In 1945 the richness of the prewar periodical press situation was not renewed. Most of the political parties shifted their weekly newspapers away from the Kutná Hora region and the non-political organizations were not allowed to publish their magazine due to the lack of...