This thesis is a reader-centred investigation of Australian young adult selfdefined 'keen readers' of novels for pleasure, and considerations regarding audiencels by writers and publishers. It is predicated on the understanding that adult power operates at every level of young adults' lives, including the publishing, promotion and availability of their literature. The complexity of defining 'young adult' and 'Young Adult literature' and therefore publishing and promoting for this nominal audience is recognised as being dependent on the varying adult constructs of the terms and, therefore, is at the basis of decisions made in this adult-oriented industry. Historical and commercial aspects of Australian publishing (nominally) for this group of readers provide a context for this grounded theory-based qualitative study. Analysis of transcripts from focus group discussions with self-defined young adult 'keen readers of novels for pleasure' demonstrates that these participants had a sophisticated understanding of their leisure reading experiences regarding what they liked reading, how they found out about books, what made them choose one book over another, and where they obtained them. The insights gained from these 34 participants informed the analysis of comments by Australian adult 'creators' - writers and publishing staff - regarding audience, commercial pressures, promotional aspects and other factors influencing what is published and made available to young adult keen readers for pleasure. That these 34 participants were active buyers and promoters as well as borrowers of books indicates the need for the industry to recognise their expertise and value as a distinct and influential audience niche - the 'neo-consumers' of the future. The research provides a starting point into analysis of the influence of the group of adults I have termed 'gatekeepers', whose (largely institutional) roles enable them to either connect young adult readers with books and creators, or to separate them.

八○年代，台灣文化出版界湧起一陣文學已被商品化的譴責之聲。談論文學商品化現象的人士甚多，可是卻少有人詳陳其概念內涵，更遑論深入舉證具體剖析。由文學商品化論述的興起所引發的種種疑惑，乃是促成本論文的研究動機。簡言之，本論文試圖回答以下研究問題：一、究竟什麼是文學商品化？其在學術上的理論淵源為何？為什麼會產生商品化這種現象？而這種現象真的始自八○年代嗎？二、被商品化的文學究竟是嚴肅文學還是通俗文學，亦或二者？ 　　本研究分為二部分來解答上述問題：第一部分是文學商品化概念的理論探討與歷史實證研究，本部分的研究先由理論探討中抽繹出文學商品化現象的觀察層面，再依據理論的啟示從歷史縱剖面（五○~八○年代）來實際探討該現象濫觴之年代以及發崛其可能之形成（或未形成）原因。第二部分探究第二個研究問題。這一部分的研究乃是以九○年代的台灣社會為橫切面，從中揀選出最具代表性的嚴肅及通俗文學出版社（分別是洪範與皇冠兩家出版社），然後根據前一階段中所探討之商品化概念，去檢測九○年代文學出版事業是否有被商品化的現象。 　　研究結果扼要簡述如下： 　　從理論探訪中得知：商品化是伴隨現代他工業發展而來的一個現象，面文學商品他應走在工業經濟發展成熟之後才會產生的現象。文學商品化簡言之就是文學成為資本家牟利的工具，作品存在的意義是以交換價值而非美學價值來衡量。文化產品逐漸如同工業產品一般，必須不斷地被產出、交換為資本家積累財富。文學商品他封藝街創作領域造成的最大傷害便是－－讓異化現象在文化領域中出現。此外，商品他現象令論者關切的焦點是人的自主性，或者說是在資本主義社會中消費者自主性的問題。綜合上述，我們在實際研究文學商品化現象時，觀察的局面當放在文學產銷過程中，究竟有沒有造成文學創作者與消費者自主性逐漸淪喪的問題。 　　隨者資本主義經濟體制在台灣社會的深化，文學商品他現象確實有愈來愈盛行的趨向。七○年代時商品化現象僅發生在文學翻譯領域中，到了八○年代創作領域開始受到侵害，八○年代以後，依循出版企劃目標而生產的文學集體創作有增加的趨勢，作者在有限的自主權束縛下，連創作意念的表達亦顯得支離破碎。九○年代之後商品他的情形更加普遍流行。就目前來說，文學商品他現象封傳統藝術創作理念所造成的傷害應是遠遠地超過對文學消費者自主性的危害。 　　至於嚴肅及通俗文學被商品化的課題，研究結果顯示，皇冠出版社在文學生產方面確有較多商品化市場導向的作品，雖然洪範的出版計劃並非完全無視於市場需求的存在，可是它絕對遵循文人創作者導向的原則，不會為了牟利將理性化作法帶入藝術創作領域中，這一點就是洪範與皇冠最大的差別，至於在銷售模式上，皇冠與洪範倒是相去不遠。 　　九○年代的台灣社會已進入消費社會階段，文學商品化現象似乎是難以避免的趨勢。面對這樣的情勢，如何在當今社會中建立其他文學出版傳播途徑彌補市場機制之不足將成為迫切須要解決的問題。 / In the 1980s, many cultural elites consented to the view-point that "literary commodification" phenomenon was very pre-valent. This phenomenon was often discussed, but the "literary commodification" concept was seldom clarified. The main purpose of this thesis is to explore the following questions: (1) What is "literary commodification"? Why does the phenomenon take place? When did the phenomenon originate in Taiwan? (2) Is serious/popular literature commodified? 　　In order to answer questions mentioned above, this research is divided into two parts and each tries to answer one of those questions. The first part includes the theoretical exploration and historical empirical research of the "literary commodifi-cation" concept. The second studies the production and distri-bution of publishing firms of serious/popular literature. 　　The important results of this thesis are as follows: 　　"Literary commodification", simply speaking, is that literature becomes a profitable tool controlled by capitalists. Literary works are measured by exchange value, not aesthetic value. Cultural works are gradually like industrial products. Capital -ists accumulate wealth by producing and exchanging those cultural products continuously. When capitalist economical development is getting mature in Taiwan, "literary commodifi-cation" phenomenon is getting prevalent. In the 1970s, "liter-ary commodification" phenomenon took place only in literary translation field. After the 1980s, there are more and more market-oriented works designed by publishing firms. The authors of those works must conform to publishing firms' requirements. Under these circumstances, artists' autonomy is infringed seri-ously. "Literary commodification" phenomenon is getting worse in the 1990s. The results of the second part indicates that " literary commodification" mainly happens in popular literature field. 　　In the 1990s, Taiwan has become a consumer society in which commodification will be an inevitable tendency. "Literary co-mmodification" may make literary works more homogeneous in the book market, so how to establish other literary communication chaanel except market will be an urgent issue.

<p>This essay is about publishing on the Internet and aims to understand the differences between publishing information on the webpage Wikipedia (Swedish version) in contrast to other information pages on the Internet, for example blog, discussion pages, homepages etcetera. The study is based upon an article which described that 90% of the information publishers at Wikipedia belongs to a small elite of white, western, well educated men between the age of thirty to thirtythree. This study examines why people who does not belong to this heteronormativity publish information in other Internet places but not at Wikipedia.Wikipedia is an open source site, where anyone can publish and are even encouraged to do so and is often described as an utopian dream of the digital democracy, so why don´t people express themselves on Wikipedia? The method is based on two discussion groups, which are compared and analyzed. The study is based upon theoretical competence within feminist theory and conceptions such as intersectionality, heteronormativity and digital divide as well as theories about digital devices and social order. The analyses concluded that Wikipedias structure restrains people from contributing with information on the site, that is understand to be associated with true and objective information and prestige. It is also compared to the printed encyclopedia which also strengthens this understanding. And when people publish information in other coherences it is based upon their own understanding, and this requirement for true and objective information at Wikipedia hinder many.</p>

<p>Open access to scientific literature on Internet is a concept which is supposed to change librarians' work. The aim of the thesis was to examine librarians' perception of Open access. A questionnaire survey was conducted among librarians at libraries with specialisation in technique, natural sciences, medicine and pharmacy in Sweden. Even though Open access can be regarded as an alarming for librarians' work, the results of the survey showed that the future of the librarians' profession can be positive if they flexibly adopt their work routines according to changes in publication forms and library users' needs.</p>

A model was created in order to assist classical musicians, especially pianists, with the process of creating their own musical niches in order to achieve public recognition, build an audience following and experience financial gain. This blueprint involved creating six arrangements for the piano four-hand medium that were then self-recorded, self-marketed and self-distributed. This essay introduces the repertoire used for this project, five Argentinean tangos by Eduardo Arolas and a habanera by Sebastian Yradier and it also examines the criteria by which they were chosen. A discussion of the arrangements follows, focusing on the compositional techniques that were used. Next, the essay presents the methods employed to self-record, self-market and self-distribute the compilation as well as additional means available to independent musicians pursuing a similar endeavor. The discussion focuses on techniques that pertain to musicians who do not have the support of a record label or a music publisher. The conclusion of this study is that there are a number of accessible methods that independent musicians can employ in order to self-record, self-market and self-distribute their music. However, the level of success of such endeavors depends on the musicians' ability to create a high quality musical product, constantly interact with new audiences and employ various promotional methods. A recommendation for further study is enclosed.

This essay is about publishing on the Internet and aims to understand the differences between publishing information on the webpage Wikipedia (Swedish version) in contrast to other information pages on the Internet, for example blog, discussion pages, homepages etcetera. The study is based upon an article which described that 90% of the information publishers at Wikipedia belongs to a small elite of white, western, well educated men between the age of thirty to thirtythree. This study examines why people who does not belong to this heteronormativity publish information in other Internet places but not at Wikipedia.Wikipedia is an open source site, where anyone can publish and are even encouraged to do so and is often described as an utopian dream of the digital democracy, so why don´t people express themselves on Wikipedia? The method is based on two discussion groups, which are compared and analyzed. The study is based upon theoretical competence within feminist theory and conceptions such as intersectionality, heteronormativity and digital divide as well as theories about digital devices and social order. The analyses concluded that Wikipedias structure restrains people from contributing with information on the site, that is understand to be associated with true and objective information and prestige. It is also compared to the printed encyclopedia which also strengthens this understanding. And when people publish information in other coherences it is based upon their own understanding, and this requirement for true and objective information at Wikipedia hinder many.

This dissertation investigates nineteenth-century Canadian literary and general interest periodicals through the prefaces and other editorial missives written by the editors who created them. It seeks to demonstrate how these cultural workers saw their magazines as vehicles for promoting civic and literary development. While the handful of previous Canadian magazine dissertations take a “snapshot” approach to the genre by profiling a handful of titles within a region, this study attempts to capture the editorial impulse behind magazine development more widely. To do so, it examines multiple titles over a wider geographical and chronological span. To provide context for these primary documents, the dissertation begins with a chapter that summarizes the development of magazines as a genre and the history of publishing in nineteenth-century Canada. Subsequent chapters examine prefaces by theme as well as by rhetorical strategy. Themes such as nationalism, cultural development, and anti-Americanism emerge most prominently, alongside rhetorical techniques such as metaphor, imagery, analogy and personification. The dissertation also examines other sites of editorial interaction, most commonly the “correspondent’s columns,” where editors provided public feedback on topics ranging from versification to currency to prose style as a means of educating writers and readers alike. Finally, the dissertation relies on existing indexes to identify some of the most prolific contributors to the magazines, considering how these writers used the magazines to boost their literary careers. In the early century, these sources verify the productivity of canonical writers such as Susanna Moodie and Rosanna Leprohon, and call attention to obscure writers such as Eliza Lanesford Cushing, W. Arthur Calnek, James Haskins, and Mary Jane Katzmann Lawson. In the later century, the same approach is used again to examine the hive of writers who emerged to contribute to late century magazines like The Canadian Monthly and National Review and The Week, confirming the immense productivity of writers such as Agnes Maule Machar and drawing attention to now-obscure contributors like Mary Morgan. By recovering these overlooked editorial elements and figures, this dissertation draws scholarly attention to a more nuanced view of literary production and affirms the importance of magazines to literary development in nineteenth-century Canada.

Seamfulness is a narrative-based and arts-informed inquiry into young women's "depression" as pedagogy. Unfolding in rural Nova Scotia, this research is rooted in my experience of depression as the most transformative event in my life story. While memoirists tell me I am not alone, there is currently a lack of research on personal understandings of depression, particularly for young adult women. Through storytelling sessions and self-publishing workshops, I explored four young Nova Scotian women's depression as a productive site for growth. Participants include four young women, including myself, who experienced depression in their early 20s, and have not had a major depressive episode for at least three years. Aged 29 to 40, we claim Métis, Scottish, Acadian, and British ancestries, and were raised and lived in rural Nova Scotian communities during this time. At the seams of adult education, disability studies, and art, I ask: How do young women narrate experiences of "depression" as education? How do handmade, self-published booklets (or “zines”) allow for exploring this topic as embodied, emotional and critical transformative learning? To address these questions, I employ arts-informed strategies and feminist, adult education, mental health, and disability studies literatures to investigate the critical and transformative learning accomplished by young women who experience depression. Through a feminist poststructuralist lens and using qualitative and arts-informed methods, I situate depression as valuable learning, labour, and gift on behalf of the societies and communities in which women live. I argue that just as zines are powerful forms for third space pedagogy, depression itself is a third space subjectivity that gives rise to the "disorienting dilemma" at the heart of transformative learning. I close with "Loose Ends," an exploration of depression as an unanswered question. This thesis engages visual and verbal strategies to disrupt epistemic and aesethetic conventions for academic texts. By foregrounding participant zines and stories, I privilege participant voices as the basis for framing their experience, rather than as material to reinforce or contest academic theories.

This dissertation focuses on the potential empowerment writing has among a homeless community in Atlanta, Georgia. Through the participation in a newly created writing workshop and a street newspaper in that community, the narrative and communication among writing participants demonstrate negotiations of self-identification as public and private writers and the situational influence writing has on their lives. The study adds to the “public turn” of writing instruction with the intention of helping to bridge the gap between traditional composition pedagogy in academia and such education in outside community. That participatory instruction reinforces the notion that writing and rhetorical performances can effect positive change in individual lives beyond that institutional space.

This thesis describes and analyzes implications of going from hypertext news to hypermedia news through a process of design, involving users and producers. As in any product development, it is difficult to conceive design of a novel news format that does not relate to earlier genres, and thus to antecedent designs. The hypothesis is that this problem can be addressed by explicitly taking a genre perspective to guide interaction design. This thesis draws on genre theory, which has previously been used in rhetoric, literature, and information systems. It is also informed by theories from humancomputer interaction. The methodological approach is a case study of the ELIN project, in which new tools for online hypermedia newspaper production were developed and integrated. The study follows the project from concept design to interaction design and implementation of user interfaces, over three years. The thesis makes three contributions. Firstly, a genre perspective on interaction design is described, revealing broadly in what respects genre affects design. Secondly, the online newspaper genre is described. Based on a content analysis of online newspaper front-pages, and interviews with users and producers, genre specific design recommendations regarding hypertext news front-page design are given. A content analysis of Swedish online newspapers provides a basis for a design rationale of the context stream element, which is an important part of the news context on article pages. Regarding hypervideo news, design rationale is given for the presentation of hypervideo links, in the context of a hypermedia news site. The impact on news production in terms of dynamics of convergence is also discussed. Thirdly, the design processes in cooperative scenario building workshops are evaluated, regarding how the users and producers were able to contribute. It provides implications and lessons learned for the workshop phase model. A discourse analysis also reveals important facilitator skills and how participants relied on genre in the design process.