Distributed event processing systems suffer from poor scalability and inefficient resource usage caused by load distributions typical in real-world applications. The results of these shortcomings are availability issues, poor system performance, and high operating costs. This thesis proposes three remedies to solve these limitations in content-based publish/subscribe, which is a practical realization of an event processing system. First, we present a load balancing algorithm that relocates subscribers to distribute load and avoid overloads. Second, we propose publisher relocation algorithms that reduces both the load imposed onto brokers and delivery delay experienced by subscribers. Third, we present ``green" resource allocation algorithms that allocate as few brokers as possible while maximizing their resource usage efficiency by reconfiguring the publishers, subscribers, and the broker topology. We implemented and evaluated all of our approaches on an open source content-based publish/subscribe system called PADRES and evaluated them on SciNet, PlanetLab, a cluster testbed, and in simulations to prove the effectiveness of our solutions. Our evaluation findings are summarized as follows. One, the proposed load balancing algorithm is effective in distributing and balancing load originating from a single server to all available servers in the network. Two, our publisher relocation algorithm reduces the average input load of the system by up to 68%, average broker message rate by up to 85%, and average delivery delay by up to 68%. Three, our resource allocation algorithm reduces the average broker message rate even further by up to 92% and the number of allocated brokers by up to 91%.

Sedan 1700-talet har läsarnas medverkan varit en väsentlig del i tidningarnas produktion. Utan deras deltagande har det inte heller blivit någon tidning. En förändring på området skedde när professionaliseringen av publicistrollen blev ett faktum och läsarnas medverkan ifrågasattes. Samhällsförändringar och tekniska utvecklingar har sedan lett fram till det vi har idag: ett samhälle där medieorganisationerna är i allt större behov av att läsarna återigen deltar i olika former. Syftet med studien är därför att undersöka hur journalister och ledning på tre olika lokaltidningar resonerar kring och förhåller sig till användargenererat material, samt vilka möjligheter användarna har att delta. Genom semistrukturerade intervjuer med lokaltidningarnas ansvariga utgivare och två journalister på respektive redaktion har vi fått fram att tidningarna generellt har ett positivt förhållningssätt till användargenererat material. De anser att teknikens utveckling både har hämmat och främjat relationen till läsarna i takt med att olika plattformer har utökat tidningarnas grundläggande publiceringskanal, det vill säga papperstidningen. Informanterna tror på ett ökat samarbete mellan yrkesverksamma journalister och användare i framtiden. De hävdar samtidigt att användarnas material inte får ta allt för stor plats och på så sätt konkurrera ut redaktionsmaterialet. Vidare menar de att yrkesprofessionen och de kunskaper som den omfattar är en av grundpelarna i tidningens funktion och så bör det förbli. I diskussionen använder vi oss av begrepp som offentlighet och deltagande samt resonemang kring det förändrade mediesammanhanget och den journalistiska yrkesprofessionen. / Since the eighteenth century user contribution has been a crucial part of newspaper production. Without the participation from the public there hasn’t been a newspaper at all. The professionalization of the publicist role became the starting point who changed how people valued user contribution. Societal change and the technical development has then led to the society we have today – a place where media organizations find themselves in a greater need for user participation to survive. The purpose of this study is therefore to examine how three local news papers reason about and react to user generated content and also to find out what possibilities the users have to participate. Thru semi structured interviews with the legally responsible publisher for each news paper and two journalists from each editorial staff our result shows that the news papers have a positive attitude towards user generated content in general. The informants say that the technological development have been both an improvement and inhibitory in the relationship to the readers. They believe in an increased cooperation in the future but at the same time emphasize the fact that user generated content can’t be allowed to take too much place and become a rival to the journalistic material. The informants also say that the knowledge they posses thru their journalistic education is the main core in their work as well as in the idea and function of the news paper. That is the way it should remain. We use terms and theories about the public sphere, participation, media convergence and the journalistic profession in our discussion.

Geza Kon wurde am 2. August 1873 als Sohn eines Rabbiners im ungarischen Csongrad geboren. Er entstammte einer bekannten askenasischen Familie. Diese siedelte bald nach seiner Geburt nach Zemun (bei Belgrad) über. Seine erste Anstellung bekam Geza Kon 1889 bei dem bekannten serbischen Buchhändler Friedrich Breslauer in Belgrad. Ab 1894 wurde er für sieben Jahre der Geschäftsführer bei dem ebenfalls berühmten Buchhändler Arsa Pajevic in Novi Sad.

Am 20. März 2011 hat die Universitätsbibliothek Leipzig der serbischen Nationalbibliothek im Krieg geraubte Bücher des Belgrader Verlags Geza Kon übergeben. Zur Unterzeichnung der Übergabe-Vereinbarung in der Bibliotheca Albertina waren der Botschafter Serbiens in Deutschland, Ivo Viskovic, sowie der Direktor der serbischen Nationalbibliothek, Sreten Ugricic, anwesend. Beide sprachen eine Einladung an den Direktor der UB, Ulrich Johannes Schneider aus, am 6. April 2011 an den Feierlichkeiten zum 70. Jahrestag des Angriffs der Deutschen auf Belgrad in der serbischen Nationalbibliothek teilzunehmen und die Übergabe zu besiegeln.

Submitted by Danielle Rosa Paul (danielle.paul@hotmail.com) on 2015-10-22T13:35:35Z No. of bitstreams: 2 VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2015-10-26T12:49:19Z (GMT) No. of bitstreams: 2 VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2015-11-11T17:24:38Z (GMT) No. of bitstreams: 2 VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) / Made available in DSpace on 2015-11-11T17:24:58Z (GMT). No. of bitstreams: 2 VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) Previous issue date: 2015-09-30 / The following work addresses the editorial policies of Jorge Zahar, specifically from 2001 to 2014, discussing the challenges faced by this publishing house that has built the brand through the ideal of publishing books that remain on the market over time. The study presents its history, since the foundation as 'Zahar Editores', in the 1950s, describing the editorial proposals on the context of specific social and marketing situations. Some critical moments were highlighted, when both the editorial policies and the company's management structure were reassessed, resized, establishing a period of major changes. That said, this work aims to analyze different Zahar’s catalogs: one of the 1985 period - when the publisher house started to be managed by Jorge Zahar and his children - and the ones from 2001 to 2014, noticing the aspects of changes and similarities between all the catalogs and the editorial fund. The categories 'independent' and 'classical books' have been identified as strategic elements in the self-conception and external identification of the publishing house, pointing its perception of books as cultural assets, as well as the role of the editor as a cultural agent. The performance of Zahar has been challenging two types of diagnostics in the common sense and even in the academic literature. The first is that publishers need to invest in books that quickly reach high sales levels, even if they don’t last too long, in order to ensure profitability and presence in the market. The second is that, in general, small and medium publishing houses, still autonomous, tend to sell their copyrights to the largest and most capitalized companies, once they have to face the aggressive marketing policies of these organizations. The research findings suggest that Zahar has insisted on maintaining their self-identification as a publishing house of classical books, directing their editorial policies to the publication of materials that last longer, demonstrating that it is possible to follow their own path in terms of emphasizing the unique role the editor, marked by independence in choosing what, how, when and how many publications - and retaining its place in the market. / O presente trabalho versa sobre as políticas editoriais da Jorge Zahar Editor, em especial de 2001 a 2014, discutindo os desafios enfrentados por uma editora que construiu sua marca através do ideal de publicar livros que se mantivessem no mercado editorial ao longo do tempo. Foi apresentado um histórico da editora, desde sua fundação, como Zahar Editores, nos anos 1950, descrevendo as propostas editoriais situadas em conjunturas sociais e mercadológicas específicas. Detectaram-se alguns momentos críticos, em que tanto as políticas editoriais quanto a estrutura de gestão da empresa foram reavaliados, redimensionados e sofreram mudanças importantes. Analisaram-se diferentes catálogos da Zahar: o de 1985, período em que a editora passou a ser gerida por Jorge Zahar e filhos, e os de 2001 a 2014, observando o que neles permaneceu dos anos 1980 e também as transformações e permanências do fundo editorial entre os anos 2001 e 2014. As categorias 'independência' e 'livros clássicos' foram identificadas como elementos discursivos estratégicos na auto-concepção e identificação pública da editora, apontando sua percepção dos livros como bens culturais, bem como da função do editor como agente cultural. A performance da Zahar tem desafiado dois tipos de diagnósticos difundidos no senso comum e mesmo na literatura acadêmica. O primeiro é que as editoras precisam publicar livros que alcançam alta vendagem rapidamente, mesmo que eles tenham uma sobrevivência efêmera, como forma de garantir sua lucratividade e sobrevivência no mercado. O segundo é que as editoras, em geral, pequenas e médias, ainda autônomas, tendem a precisar vender seus direitos para empresas maiores e mais capitalizadas, pois não terão como enfrentar as políticas mercadológicas agressivas dessas organizações. As conclusões da pesquisa sugerem que a Zahar tem insistido na manutenção de sua auto-identificação como editora de clássicos, direcionando suas políticas editoriais para a publicação de livros que tenham longa duração, demonstrando que é possível seguir um caminho próprio, em termos de exercício da função própria do editor, marcada pela independência na escolha do que, como, quando e quanto publicar – e conservar seu espaço no mercado.

La traduction pragmatique n’est pas le domaine réservé des traducteurs travaillant dans les secteurs économiques en dehors de l’édition. De nombreux traducteurs d’édition sont aussi des traducteurs pragmatiques. Dans ce domaine, leur spécialisation ne se confond pas avec le domaine dans lequel ils travaillent. Leur métier est méconnu et il n’existe aucune formation pour préparer les aspirants traducteurs à cette spécialisation. Cette recherche s’efforce de combler cette lacune. Elle commence par décrire les ouvrages pragmatiques afin de montrer que dans ce secteur, la réflexion traductive porte sur le texte dans sa mise en page. L’unité de traduction s’hybride, puisqu’elle est composée de rubriques textuelles aux fonctions communicatives précises et d’éléments visuels. Il s’ensuit que la réflexion traductive demande une approche multisémiotique qui s’appuie sur une connaissance approfondie du livre pris comme un espace signifiant dont le texte n’est qu’une composante parmi d’autres. La connaissance du livre est au cœur de la spécialisation des traducteurs pragmatiques actifs dans l’édition. Le milieu de l’édition attend des auteurs et traducteurs un travail de rédacteurs. Les tapuscrits fournis sont relus et corrigés, voire partiellement réécrits pour les améliorer, par les correcteurs. Il n’y a plus un auteur mais une fonction auteur qui réunit les différents intervenants de la chaîne du livre. L’apprentissage du métier doit donc comporter une part de socialisation seconde, intégrée aux exercices de traduction proposés, pour préparer les aspirants traducteurs à s’insérer dans cette équipe. Tout en se perfectionnant en traduction, les jeunes traducteurs doivent se muer en collaborateurs fiables capables de prendre part au processus de fabrication du livre en agissant en tant que médiateur culturel. Leur action s’exprime principalement par l‘écriture de la traduction mais aussi par leurs commentaires sur la fabrication du livre. / Pragmatic translation is thought as the area of specialized translators working for clients outside of the publishing industry, which is deemed to contract literary translators. This is true to some extend. However a large sector of the publishing industry is not concerned with literature but with pragmatic books dealing with all sorts of topics. Many pragmatic translators working for the publishing industry are in fact specialized in translating pragmatic books, not texts. They have to understand the way pragmatic books, made of visual and linguistic messages, convey information to their readers to translate them. This aspect of translation is little known and, outside the study of translation for advertising, research investigating the interaction of texts and iconography is scarce. There is even less on translator training. This thesis endeavours to contribute the observations of a professional translator turned translator trainer. It begins by describing the layout of pragmatic books and showing how the translator must take in the text and the iconography to make sense of the message. The double page is a visual unit splitting the information between text and images. As a result, a translation unit is a mix of texts and images. It follows that translators have to approach the translation of books as a multisemiotic activity. Therefore, when translating pragmatic books, translators have to consider them as signifying space in which textual units are no longer the only source of information. The core of the specialisation of pragmatic translators working in the publishing industry is a profound understanding of how books communicate meaning. Publishers expect both authors and translators to be able to write following style specifications for a given book series. Tapuscrits are proofread and sometimes partially rewritten to be put in agreement with the social communicative norms. At the end of the process leading to the publication of a book, the published text is a collective product and no longer the text originally provided by its “author”. To translate in this context, trainees must learn how to work in a team, albeit working from home. Translation training, at this point, aims at turning students into independent professional able to rewrite and adapt texts, taking into account the visual around, to accommodate readers’ expectations as defined by publishers. As they strive to improve their translation techniques, soon to be translators also need to learn to become cultural mediator and to criticize the books they are translating so as to improve them if need be. Invisible to readers, their contribution to the making of a book, appears in the writing of the translation and in comments on the book itself; and it is very visible to publishers they work for.

The thesis offers a translation of a part of the novel Ce cœur changeant (2015) by Agnès Desarthe, a contemporary French author. The historical-psychological novel is set in early twentieth-century Paris. The next part situates the novel in the context of French literature, introduces its thematic and stylistic characteristics and describes the main translation problems, their solutions and the chosen method of translation. The last part gives an overview of a French work of literature's journey to Czech audience and records an attempt to have the novel published in the Czech Republic.

[pt] Este trabalho analisa a produção da Coleção Primeiros Passos, publicada pela editora Brasiliense no período da abertura democrática, no Brasil, entre os anos 1979 e 1985. Com a produção dessa Coleção a Brasiliense não só conquistou uma nova posição no campo editorial como criou um espaço de participação política relevante no processo democrático em construção. Destaca-se para a análise histórica o projeto político editorial de esquerda construído pela Brasiliense nesse momento. / [en] This work analyzes the production of Primeiros Passos, the book collection, edited by Brasiliense during the period of the Brazilian democratic opening process, from 1979 to 1985. With it, Brasiliense reached a new and important position on the publishing field and furthered an extremely relevant space for political discussion and participation alongside with the democratic process under construction by civil society. The leftist political publishing project built by Brasiliense is focused on here from a historical perspective.

La démocratisation de l’écrit dans notre société culturelle moderne a fait que tout un chacun peut se revendiquer auteur. La reconnaissance n’est plus désormais à rechercher à travers la traditionnelle publication chez un éditeur mais à travers l’immatérialité des outils d’auto-édition offerts en ligne. D’une part, avec la phase de désintermédiation qui se joue entre les différents acteurs du secteur littéraire, l’écrivain se passe d’une maison d’édition. L’éditeur disparaît. D’autre part, l’auteur, personnage romantique et emblématique sur lequel le droit d’auteur a été forgé, s’efface progressivement du paysage juridique. Avec l’effacement du mythe est emportée la vision propriétaire des droits d’auteur, au profit de l’utilisateur. L’auteur disparaît. Les nouvelles pratiques de cette société connectée bouleversent le droit et sa capacité d’adaptation. Pourtant le contrat d’édition littéraire, socle de la relation auteur-éditeur, existe bel et bien et constitue le sujet de cette étude. Modèle dominant des contrats d’auteur, l’ambition de cette recherche est d’arriver à saisir à travers cette relation la nature du contrat d’édition et le jeu des nouveaux équilibres posés par l'ère numérique (réforme du Code de propriété intellectuelle), mais aussi de saisir les mutations à la lisière du droit d’auteur qui redéfinissent la possession dans l’ère immatérielle avec les modèles alternatifs du contrat d’édition littéraire (licences libres et creative commons). Les moyens d'y répondre emprunteront à l'analyse juridique mais aussi dans une juste mesure à l'internormativité, qui permettra d'observer le droit avec les yeux du sociologue, de l'économiste et de l'historien / The liberalization of writing in our contemporary cultural society has made it so anyone can now aim for the title of author. The recognition of one’s work is now sought, not through the traditional means of publishing, with the assistance of a professional publisher, but through immaterial processes of self- online publishing. On one hand, thanks to these new means, the author is able to cut the intermediation of the publishing field and to avoid using a professional publishing company. On the other hand, the author, romantic and emblematic character upon whom author’s rights have been forged is fading away from the legal landscape. With the decay of the myth, the ownership conception of author’s rights is taken away by those of the user. The author is fading away. The new customs of our over connected society are dramatically changing law and its ability to adapt. Although, publishing contracts are still a part of the process and are the subject at the heart of this study. The French intellectual property code was able to grant this contract access to the dematerialized world by incorporating the paradigm shift. Main model of publishing contracts, its ambivalent nature is due to the merging of both civil and intellectual property law that can be applied to it. This study aims to capture the true nature of the publishing contract figure, through the relations established between authors and publishers, including their new balance, and also to grasp a full understanding of the mutations surrounding the authors’ rights and that redefine ownership in a now immaterial era through the new alternative means of self-publishing (free licenses and creative commons)

The Master's thesis deals with strategic management, importance of strategy and with the basic methods of strategic analysis. Selected methods have been applied to particular company - The Paseka Publisher. The main objective is to make overall evaluation of strategic position of The Paseka Publisher in the context of the current book market. Furthermore, it is essential to reflect the current state of the publishing industry and highlight the main factors that directly affect the strategic position of publishers. On the basis of strategic analysis is possible to make synthesis of gained knowledge, which leads to the formulation of strategic recommendation for the core business activities.