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This thesis uses a multidisciplinary approach drawing primarily on archival and bibliographical research as well as the fields of children’s literature, book history and translation to explore British translation of Nordic children’s fiction since 1950. Which works of Nordic children’s literature have been published in the UK during the period in question? And how were Nordic children’s authors and texts selected by British publishers, along with British translators and illustrators? Chapter One gives an overview of limited past research in this area, focusing on publishing and book history and Translation Studies (particularly Polysystem Theory). Chapter Two considers bibliographical research already undertaken in Children’s Literature Translation Studies and is followed by a detailed study of the British National Bibliography (1950-2000). This methodological approach has documented for the first time the depth and breadth of the corpus of British translations of Nordic children’s fiction since 1950, enabling key authors, publishers, translators and genres to be identified. A brief analysis is given of the Golden Age of Nordic children’s literature in British translation up to 1975, followed by a decline into the twenty first century. The thesis then goes on to examine the principles and practices of text and translator selection as its second major research element, with extensive use made here of archival sources. Chapter Three explores publishing archives as a research resource and details issues in their distribution and potential use. Chapter Four gives an overview of the key role of the editor as a centre pin in the process of publishing works in translation, drawing on a wide range of publishing archives as well as introducing the case study part of the thesis which examines an independent press and a major international academic publishing house. Chapter Five looks in detail at the role of author-educator-publisher Aidan Chambers in publishing Nordic children’s literature in the early 1990s through small press Turton & Chambers. Chapter Six examines the role of Oxford University Press in publishing Nordic authors from the 1950s to the 2010s, in particular Astrid Lindgren. This thesis aims to make a significant and unique scholarly contribution to the hitherto neglected study of the translation of children’s literature into British English, offering a methodological framework (bibliographical and archival) which has potential for use with other language systems and with adult literature in translation.

“They opened up a whole new world”, or something like it, was a phrase I heard repeatedly when I spoke to women about their memories of magazine reading in the interwar years. How the magazine operated as an imaginative window, a frame, space or mirror for encountering, shaping, negotiating, rethinking, rejecting, mocking, enjoying, the self and others became the central question driving this thesis. The expansion of domestic ‘service’ magazines in the 1920s responded to and developed a new female readership amongst the middle classes and working-class women, preparing the way for high-selling mass-market publications. The multiple models of modern womanhood envisaged in magazines, meanwhile, from the shocking ‘lipstick girl’ of the mid-1920s to the 1930s ‘housewife heroine’, show that what being a woman and modern in the period meant was far from settled, changed over time and differed according to a magazine’s ethos and target readership. In a period that witnessed the introduction of the franchise for women, divorce legislation, birth control, the companionate marriage, cheap mortgages, a marriage bar in the workplace, growth in the number of single women and panic over population decline, amongst other things, magazines helped resolve tensions, set new patterns of behaviour and expectations. This thesis, which examines the magazine as a material artefact produced in a specific historical context, argues that its complex ‘environment’ of coloured pictures, inserts, instructional photographs, escapist fiction, chatty editorial and advertising opened women up to conscious and unconscious desires to be a sports woman, a worker, a mother, a lover, or to look like their favourite film star; a ‘window’, that is, through which women without the benefit of £500 a year and a ‘room of their own’ could gaze and imagine themselves, their lives and those of their families, differently.

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This thesis examines the publisher Thomas Nelson’s contribution to the juvenile publishing field in Britain in the period between 1850-1918, and studies Nelson’s development into a specialised publisher of books for children in the same period. The thesis examines the ways in which the children’s book and the juvenile publishing field developed through negotiating the demands of religious and secular education, arguing that it was through the children’s list that Nelson transitioned into a modern educational publisher. The thesis challenges assumptions that the history of children’s books is one from reading for instruction to reading solely for pleasure, thus also expanding our understanding of the types of books which were published in the “Golden Age” of children’s books. Finally, in uncovering the influence of the Nelson firm, the thesis reassesses the role of Scottish companies in British juvenile publishing. The research builds on three types of data: first and foremost information comes from the “Papers of Thomas Nelson & Sons”, a collection of the firm’s business and editorial papers. To allow comparisons with the larger publishing field and with specific publishers, data were also gathered from contemporary trade, professional, government and literary publications. Finally, the material form of selected Nelson children’s books is analysed. In chapter one, the impact that Nelson’s origin as a publisher with evangelical sympathies had on text selection and editorial methods is analysed. The reasons for the adventure tale’s dominant position on the Nelson list is the focus of chapter two, which analyses the editorial treatment of this genre and the diverse opportunities this genre afforded Nelson. Chapter three analyses the development of Nelson series, particularly the implications such diversification schemes had for the demarcations between juvenile and popular fiction. Chapter four examines the educational gift book and its relationship with Nelson’s schoolbooks, and the ways in which the conservatism and innovation of the early twentieth-century print market affected the composition of the children’s book list. The thesis concludes with a comparison of Nelson books from either end of the period studied, and uses the 1921 Newbolt Report on “The Teaching of English” to reflect on Nelson’s position in the publishing field.

The principal argument of this thesis is that royalist literary publishing in the civil wars and Interregnum was a more coherent and wider movement than has been recognised. It asserts the importance of print culture to royalists, both as a vehicle for personal responses to political circumstances, and as a means to criticize and undermine the opposition. The thesis uses the publisher Humphrey Moseley as a lens through which to examine the publisher's role in the dissemination of a wide range of royalist texts. It demonstrates that publishers, as well as authors, were driven by their political and ideological opinions. The thesis begins by establishing that the royalist and Anglican convictions expressed within the texts published by Moseley corresponded with his own. This opening chapter also demonstrates the editorial control that he exerted when publishing a book. Next follow five case studies. In the second chapter I examine writings of Moseley's most prolific author, James Howell. I show that until the censorship legislation of September 1649, Howell published royalist polemical pamphlets. I argue that in response to the censorship act Howell shifted to a more subtle method of polemical writing, most notably when he embedded extracts from his polemical pamphlets in his historical allegory Dodona's Grove which Moseley published in 1650. Chapters Three to Six are genre-based case studies. These chapters analyse the ways that a variety of genres were used by royalists in support of the Stuart cause and the Anglican Church. In the final chapter I set Moseley within the context of royalist publishing more widely. I review the careers of Henry Seile and Richard Royston to demonstrate that Moseley was not the only publisher committed to the royalist cause and that his productions belonged to a broad spectrum of royalist publishing.

論文(博士)--香港中文大學歷史系,1994. / 參考文獻: p. i-xxi(3rd group) / 游子安. / 論文提要 --- p.i / Chapter 第一章 --- 善書與社會文化變遷的界定 --- p.1 / Chapter 第一節 --- 善書的界說 --- p.1 / Chapter 第二節 --- 社會文化變遷與善書的論題 --- p.6 / Chapter 第三節 --- 善究綜述及本文研究的取向 --- p.12 / Chapter 第二章 --- 淸代社會文化對善書發展的影響 --- p.22 / Chapter 第一節 --- 淸代的社會敎化與宣講善書 --- p.22 / Chapter 第二節 --- 民間宗敎的盛行與關帝、呂祖善書的傳播 --- p.37 / Chapter 第三節 --- 淸代學術風氣下善書的編纂和整理 --- p.52 / Chapter 第三章 --- 淸代善書編著人物及區域的研究 --- p.63 / Chapter 第一節 --- 功過格等善書反映明末淸初社會經濟的問題 --- p.63 / Chapter 第二節 --- 出入三敎的家族--江蘇長洲彭氏家學、 善書與善舉 --- p.91 / Chapter 第三節 --- 從余治及其《得一錄》論淸後期善書與善舉 --- p.111 / 附：余治年表 --- p.122 / Chapter 第四節 --- 淸末湖南善書與反敎書刊 --- p.126 / Chapter 第四章 --- 淸代善書流行的社會文化意義 --- p.142 / Chapter 第一節 --- 善書流通地域與傳播方式 --- p.142 / Chapter 第二節 --- 官紳士人各階層與善書的編刊 --- p.157 / Chapter 第三節 --- 善書特定的勸戒對象 --- p.169 / Chapter 第四節 --- 善書與世變 --- p.195 / Chapter 第五章 --- 結論 --- p.205 / 附錄 書影 / 主要徵引書目

稿本 / 論文(碩士)--香港中文大學硏究院新聞與傳播學部,1992. / 參考文獻: leaves 75-76 / 阮紀宏. / Chapter (一) --- 研究目的與意義 --- p.1 / Chapter (二) --- 《有所謂報》的創刊年代與鄭貫公 / Chapter 2.1 --- 中國的國勢 --- p.4 / Chapter 2.2 --- 本世紀初香港的狀况 --- p.5 / Chapter 2.3 --- 鄭貫公傳略 --- p.7 / Chapter (三） --- 《有所謂報》 / Chapter 3.1 --- 有關《有所謂報》的描述 --- p.14 / Chapter 3.2 --- 面對同業競爭 --- p.15 / Chapter 3.3 --- 廣告與發行 --- p.17 / Chapter 3.4 --- 《有所謂報》的編排與欄目 --- p.20 / Chapter 3.5 --- 《有所謂報》的文體 --- p.22 / Chapter (四） --- 《有所謂報》與《中國日報》的論戰 / Chapter 4.1 --- 拒約運動的由來始末 --- p.27 / Chapter 4.2 --- 香港與拒約運動 --- p.32 / Chapter 4.3 --- 報界與拒約運動 --- p.35 / Chapter 4.4 --- 《有所謂報》與拒約運動 --- p.38 / Chapter 4.5 --- 論戰的由來 --- p.39 / Chapter 4.6 --- 論戰的焦點 --- p.40 / Chapter 4.7 --- 《有所謂報》論戰手法種種 --- p.49 / Chapter 4.8 --- 有關論戰的討論 --- p.54 / Chapter (五） --- 結論 --- p.60 / 附録： / Chapter (1) --- 《有所謂報》在論戰期間刊登的有關文章目 録 --- p.64 / Chapter (2) --- 參考書目 --- p.75

The Swedish publishing company En bok för alla (which translates as “A book for everyone”) was established in 1976 following a decision in the Swedish parliament granting the right of the government to sign a cooperative agreement with the non-profit foundation Litteraturfrämjandet. Using state funds, the publishing company would publish books of high literary value to be sold at low prices over a three-year period. The purpose of this was to combat the kind of literature that was sold at supermarkets and corner shops, and which was deemed being of low literary value, but also to reach the wider public and attract non-readers. In this study I argue that the establishment of En bok för alla must be viewed as an expression of Swedish cultural policy which took form in the early years of the 1970s. Two years prior to En bok för alla being established the Swedish parliament passed the first cultural policy act of Sweden, thus laying the groundwork for cultural policy to come. In this act, it is stated that aim of Swedish cultural policy was to contribute to a better social environment and to work for the furtherance of equality. This would be achieved by, among other things, minimizing the negative effects of commercial interests in the cultural sphere and decentralizing the production and distribution of culture. During the 1960s and 1970s, books had become increasingly expensive and books of higher literary quality were both more difficult and more expensive than their lower quality counterparts. I argue that many looked at this as a shortcoming on the part of the above mentioned commercial interests, who valued money more than literature. I will also show how some these ambitions, bold though they may have been, in the end fell short of accomplishing the goal of En bok för alla. Though they did succeed in publishing books at low costs, the question of whether they were of high literary quality or not I can’t say, they did not seem to reach the wider audience they had hoped to attract. Following the Swedish election of 2006 and the subsequent change of government, the state funds for En bok för alla were withdrawn in 2007. The argument given for this was that the book market had changed since 1976. This was of course true, but in my opinion the need for these high-quality dime-store books is perhaps even more acute today than ever before. In a time when smartphones, television and computers all compete for our attention, I believe that it is becoming an increasingly important task for our society to secure the role of books and reading in the world of media.

The Captive Press argues that nineteenth-century Indian captivity narratives escaped from the expectations of the American literary marketplace through manipulations of the material text. With modern methods of production, promotion, and dissemination, captivity narratives dominated the reading public even as Native peoples were forced to submit to governmental encroachments. This study focuses on narratives produced by and about Anglo-American women whose impoverished return from captivity motivated them to write for their livelihood. The narratives of Rachel Parker Plummer, Sarah Larimer, Fanny Kelly, and Abbie Gardner-Sharp were designed to appeal to local readers who were likely to become financial sponsors through direct marketing. Later editions added para-textual material, developed textual content, and introduced illustrations such as wood engravings or photographs to increase marketability for broader audiences. By publishing captivity narratives on state presses and distributing them through regional print networks, nineteenth-century producers maintained the homegrown flavor of the genre while expanding readership beyond local boundaries. This dissertation demonstrates how, with the assistance of editors, illustrators, and publishers, these entrepreneurial women reversed their subject position to hold the popular press captive.