Submitted by AUREO JOAQUIM CAMARGO null (aureo.camargo@uol.com.br) on 2016-02-06T23:16:10Z No. of bitstreams: 1 A BAGATELIZAÇÃO DA LITERATURA DE LIMA BARRETO.pdf: 2332706 bytes, checksum: b7936a449901fad512a4c6e86a3ccea5 (MD5) / Approved for entry into archive by Sandra Manzano de Almeida (smanzano@marilia.unesp.br) on 2016-02-11T13:05:10Z (GMT) No. of bitstreams: 1 camargo_aj_dr_assis.pdf: 2332706 bytes, checksum: b7936a449901fad512a4c6e86a3ccea5 (MD5) / Made available in DSpace on 2016-02-11T13:05:10Z (GMT). No. of bitstreams: 1 camargo_aj_dr_assis.pdf: 2332706 bytes, checksum: b7936a449901fad512a4c6e86a3ccea5 (MD5) Previous issue date: 2015-12-18 / Esta tese objetiva demonstrar o percurso editorial do escritor carioca Afonso Henriques de Lima Barreto (1881-1922), analisando as modificações e as permanências no legado editorial do escritor após sua morte. Chamamos de bagatelização a maneira como o escritor juntou os textos do livro Bagatelas, publicado em 1923, modelo que plasmou as edições póstumas organizadas por Francisco de Assis Barbosa. Analisamos o processo de bagatelização da literatura de Lima Barreto por dois vieses: a) o desenvolvido por Lima Barreto, resultado da veia satírica do escritor; e b) a bagatelização realizada por Francisco de Assis Barbosa, motivada pelas exigências inerentes do mercado editorial. Assim, há pelos quatro capítulos que compõem a tese o fio condutor da discussão do processo bagatelizador da obra de Lima Barreto, embasado pela descrição da evolução do mercado editorial brasileiro. No primeiro capítulo, tomamos o espaço temporal de 1909 a 1923, momento da constituição do legado editorial do escritor, com sete obras publicadas. O segundo capítulo compreende o intervalo temporal de 1923 a 1956, quando o legado editorial do escritor é, por um lado, mantido pelas editoras, e por outro sofre alterações e ampliações, atingindo um total de dez volumes. O terceiro capítulo tem por objetivo exclusivo a tentativa de se oferecer ao mercado as obras completas de Lima Barreto, executada por Francisco de Assis Barbosa, com o legado editorial limabarretiano atingindo o total de dezessete volumes. O último capítulo apresenta as tendências editoriais existentes nas publicações das obras de Lima Barreto pós-1956 marcadas por dois aspectos: por um lado a repetição continuada e acrítica dos textos fixados na edição de 1956 por Francisco de Assis Barbosa, quase única referência; por outro, pelo aparecimento de edições que dialogam implicitamente com a edição de 1956, visando a oferecer ao mercado edições distintas do padrão barbosiano. / The thesis aims to demonstrate the editorial course of the works of writer Afonso Henriques de Lima Barreto (1881-1922), analyzing the changes and continuities that have taken place in the editorial writer's legacy after his death. We call bagattelization the way the writer joined the texts of Bagatelas, published in 1923, a model that has shaped the posthumous editions organized by Francisco de Assis Barbosa reflected in the publications of other publishers, subsequent to their work. We examine the process of bagatellization of Lima Barreto literature by two biases: a) developed by Lima Barreto, a result of the satirical vein of the writer; and b) the bagatellization performed by Francisco de Assis Barbosa, resulted by the demands inherent in the publishing market, described in its main trends throughout its evolution until almost our time. The conducting wire of the thesis summarized the discussion of bagatellement’s process of Lima Barreto work was distributed by four chapters. At first, we’ll approach the time interval between 1909-1923, when the editorial writer's legacy constitute oneself , composed by the publication of seven works .The second comprehends the interval 1923-1956 , when the editorial writer's legacy is on the one hand , maintained by publishers , and on the other , undergoes changes and expansions, reaching production of the writer a total of ten volumes.The third has the exclusive purpose of trying to treat Francisco de Assis Barbosa to offer in 1956 by Brasilense publisher to market the complete works of Lima Barreto, with limabarretiano legacy reaching seventeen volumes mark.The final chapter presents existing editorial trends in the publications of the works of Lima Barreto post- 1956 marked by two aspects: on the one hand, the continued and uncritical repetition of the texts set in the edition of 1956 by Francisco de Assis Barbosa, almost unique reference; other by the emergence of issues that implicitly dialogue with the edition 1956, aiming to provide the market with different editions of barbosiano standard while retaining, even residually, however, signals bagatellization process.

abstract: The purpose of this dissertation is to investigate the materiality of a unique text, Random House and The Illustrated Modern Library’s 1946 Don Quixote, illustrated by Catalonian painter Salvador Dalí. It analyzes Dalí’s classical trajectory, how Dalí and the text were received in mid-twentieth century North America, and how they both fit into the print history of illustrated editions of Don Quixote. Each is revealed to be unique in comparison with the history of the genre due to the publishing house’s utilization of Dalí’s high-quality illustrations in a small-sized text. Lavish illustrations traditionally have been reserved for larger, collectible editions. The contemporary material significance of the 1946 edition is revealed by examining organizations, people, and circumstances that were necessary for its production in the United States, and by contextualizing the text’s reception by North American popular culture, high art echelons, and art critics. The overarching history of illustrated editions of Don Quixote is examined, comparing Dalí and his illustrations with important thematic and methodological benchmarks set by illustrators within this 400-year period, especially regarding renderings of reality and fantasy. Analyses of the first three watercolor illustrations of Dalí’s 1946 Don Quixote reveal how the painter forms mythological imagery and composes the quixotic dichotomy of reality and fantasy through the metaphoric gaze of an inanimate figure representing the protagonist. Dalí at times renders the “real” Don Quixote as incapacitated, omitting from his illustrations universalized iconography utilized in previous centuries achieved by rendering Don Quixote’s perspective, gaze, and heroic interpretation of events. In these three illustrations, Dalí forms Don Quixote as a deflated figure based in burla (mockery) and engaño (self-deception) by negating Don Quixote’s gaze within the compositions, without compromising the painter’s trademark surrealist style. The text therefore challenges the genre’s print history while Dalí challenges French and German Romantic illustrators’ universalized iconography that traditionally highlights the nobility of the knight errant. By focalizing fantastic madness as interacting with burlesque reality, Dalí creates a new episteme within the genre of illustrated editions of Don Quixote, establishing his unique niche as an illustrator in this genre. / Dissertation/Thesis / Doctoral Dissertation Spanish 2017

"The greater the variety of people who succeed in unlocking the store-house to their intellectual heritages, the greater the bounty of the librarian. It is with these thoughts in mind that the present study is undertaken, the analysis and evaluation of the contribution of a single publishing house in the production and promotion of books characterized as 'the classics which are our heritage from the past in editions which are the heritage of the future.' The firm is the Heritage Press and its outlet, the Heritage Club, an organization which may well be studied to ascertain its contributions to some readers' intellectual heritage. The first step will be to relate the history, purpose, and organization of the club. Next, by making use of the publisher's statements in the house organ, the Prospectus for the Eighteenth Series, 1953, the publications will be analyzed"--Introduction. / Typescript. / "May, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Robert G. Clapp, Professor Directing Paper. / Includes bibliographical references (leaves 49-52).

Исследование посвящено повышению качества редакторской подготовки газеты «Вектор» на основе редакторского анализа корпоративной прессы. В исследовании был проведен анализ российских корпоративных изданий (структурно-содержательные и визуально-полиграфические особенности). Автор приходит к выводу о том, что большинство корпоративных газет нуждается в обновлении. Были проанализированы особенности газеты «Вектор» (выпуски 2016–2017 гг.) и проведен опрос читателей и экспертов. Было предпринято обновление модели корпоративной газеты «Вектор». Газеты приобрела облик делового корпоративного издания. Содержание газеты стало более разнообразным и близким читателю, была организована обратная связь. Дизайн газеты стал современным, лаконичным и сдержанным. Визуальный акцент был сделан на увеличении количества иллюстративного материала. Появилась электронная версия корпоративной газеты «Вектор». / The study is devoted to improving the quality of editorial preparation of the newspaper "Vector" on the basis of editorial analysis of the corporate press. The study was the analysis of Russian corporate editions (structural and visual-printing features). The author comes to the conclusion that the majority of corporate newspapers need updating. The features of the newspaper "Vector" (2016-2017 issues) were analyzed and a survey of readers and experts was conducted. An update of the model of the corporate newspaper "Vector" was undertaken. The newspaper acquired the appearance of a business corporate publication. The content of the newspaper became more diverse and closer to the reader, feedback was organized. The design of the newspaper has become modern, concise and restrained. Visual emphasis was placed on increasing the amount of illustrative material. There was an electronic version of the corporate newspaper "Vector".

This essay compares and analyses five different editions of Beethoven’s Piano Sonata no. 29 in Bb-major, op.106, with focus on editorial choices and techniques. The analysis takes as its point of departure James Grier's definitions of different types of editions. In the study the editions are scrutinized in a number of aspects from chosen passages, deemed as problematic in Beethoven scholarship, in order to see how the editions answer to the definitions of Grier. The comparisons show that the editions are shaped, affected and influenced by the aims regarding their use and function, and testify to how different the outcome may be even when editions are based on the same source material.

<p>Many pages appear darker than others because of necessary rescanning.</p> / <p>In 1908, Henry James prepared a revised version of The Wings of the Dove {1902) as part of the New York Edition of his works. Despite the notoriety of James's habit of revision, and despite the high critical status of the novel as one of James's major works, no scholarly edition of the novel exists. This study attempts to supply such an edition by presenting the text of the first printing of The Wings of the Dove, together with a complete list of substantive variants in the two other editions supervised by the author.</p> <p>There are three forms in which the text of The Wings of the Dove is available: the first American edition (Scribner's, 1902); the first English edition (Constable, 1902); and the New York Edition (Scribner's, 1909). This study refers to these three editions as A, C and N, respectively. The history of the text shows that A, while the first to be published, is not the first printed; moreover, it lacks some of the final corrections which James made in his proofsheets of C. Hence, C, the first text to be printed and the one which contains all of his corrections of 1902, has been chosen as the copy-text for this edition.</p> <p>In addition to a brief discussion of the textual variants, the introduction to this edition presents all the available authorial aids to understanding the novel. Acomplete history of James's composition and publication of The Wings of the Dove, from his first Notebook entries of 1894 to the revision of the novel in 1908, is reconstructed here from published and unpublished letters of the period. A section devoted to analysis of James's epistolary comments on the novel and of his one published critique, the Preface to the New York Edition of The Wings of the Dove_, reveals inconsistencies which are ultimately related to the long and intermittent period over which the novel was composed. Finally, examination of some of James's revisions leads to the conclusion that most of the substantive variants are stylistic in effect, but that the remainder clarify or add to the meaning of particular passages.</p> <p>The text of the first English edition of The Wings of the Dove (C) is reproduced here as this edition's reading text. The correct forms of misprints in C are given in the lateral margins. The substantive variants in A and Nare listed in the lower margins of the pages on which the orginal text appears. This variant edition presents, for the first time, and in convenient form, all the authorial versions of the text of The Wings of the Dove.</p> / Doctor of Philosophy (PhD)

Yeung Hoi Calvin. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 52-53). / Abstracts in English and Chinese, appendix in Chinese.

Wu, Xiao. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 111-124). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgement --- p.iv / Table of Contents --- p.v / Chapter Chapter One: --- Chinese Film Piracy Consumption and Media Globalization --- p.1 / Introduction: The Rampant Film Piracy in China --- p.1 / Literature Review --- p.4 / Focuses in Chinese Film Piracy --- p.4 / Four Theoretical Positions in Media Globalization --- p.7 / Summary --- p.17 / Chapter Chapter Two: --- Problematics of Chinese Film Piracy Consumption --- p.19 / Two Concepts --- p.19 / Diversity --- p.19 / Filmic Gene Pool --- p.20 / Two Arguments and One Deduction --- p.23 / The Argument for the Expanding Global Capital --- p.23 / The Argument for National Protectionism --- p.25 / The Long Tail --- p.26 / The Theoretical Deduction for the Chinese Case --- p.27 / Research Questions --- p.28 / Methodological Note --- p.28 / Chapter Chapter Three: --- A Re-Examination of Chinese Film Piracy Market --- p.32 / The Myth of Market Access --- p.32 / State Censorship Overlooked --- p.34 / The First-Release Obsession --- p.35 / An Internet Take-over? --- p.38 / Summary --- p.39 / Chapter Chapter Four: --- "In Search of the “Invisible"" Audience/Viewers" --- p.42 / The “Official´ح Audience --- p.42 / Chinese Film Audiences Re-Captured --- p.45 / Sketches on the ´بInvisible´ة Viewers --- p.51 / Conclusion --- p.56 / Chapter Chapter Five: --- Structural Analysis for Chinese Film Piracy Consumption --- p.58 / Chinese Piracy Viewers: An Idle Spare of the Nexus? --- p.58 / The Film Piracy Market in China --- p.61 / Summary --- p.63 / Chapter Chapter Six: --- A Brief History of Chinese Piracy Consumption --- p.67 / Video Hall (Mid-1980s to Mid-1990s) --- p.68 / Epoch of the Videodisc (Since mid-1990s) --- p.70 / Online Movie Forums and Blogs (1998-Present) --- p.73 / Online Social Networks of Cinephiles (2004-Present) --- p.76 / The Accompanying Print Media (1999-Present) --- p.78 / Conclusion --- p.82 / Chapter Chapter Seven: --- The Chinese Public Cine-Space --- p.83 / The Publicness of Piracy Viewing --- p.83 / A Public Cine-Space --- p.84 / Cultural Public Sphere: The Concept --- p.84 / The Chinese Internet --- p.85 / The Chinese Online Film Critics --- p.87 / The Chinese Public Cine-Space --- p.89 / A Trajectory of the Online Cine-Space --- p.90 / Mechanism towards Diversity --- p.93 / The Techno-Divide --- p.98 / Chapter Chapter Eight: --- Conclusion --- p.100 / Contributions --- p.100 / Historical Account of Chinese Film Piracy Consumption --- p.100 / Inclusive Model for Diversity of Cultural Market --- p.101 / Weaknesses and Future Suggestions --- p.103 / Final Remark --- p.106 / Appendix A --- p.108 / Bibliography --- p.111

For almost a century Shakespeare’s work has been viewed primarily under a supremacy of performance with an insistence that Shakespeare wrote his work to be staged, not read. This prevailing view has ensured that most responses in Shakespearean research fit within this line of enquiry. The recent argument that Shakespeare was a literary dramatist who wrote for readers—as well as audiences—has met with resistance. This thesis first exposes the very literate world Shakespeare lived in and his own perception of that world, which embraces a writer who wrote for readers. The material evidence of readers begins in Shakespeare’s own lifetime and grows steadily, evidenced by the editorial methods used to facilitate reading, the profusion of books specifically for readers of general interest, and the thousands of lay reading circles formed to enjoy and study the plays. Readers of the seventeenth through the nineteenth centuries are shown to have spontaneously responded to the works as literature, as reading Shakespeare aloud within a family or social circle has a tenacious history. For three hundred years after Shakespeare’s death it was readers and Shakespeare reading groups who created and maintained Shakespeare’s legacy as a literary icon and national hero. The history of millions of lay readers reading aloud in community was engulfed by the transition of the texts into academia and performance criticism until by the 1940s Shakespeare reading groups were virtually non-existent. A new genre of editorial practice can support a re-emergence of community reading and point toward a greater acceptance of Shakespeare as a literary dramatist, enlarging the field of Shakespearean scholarship and criticism. A prototype of a Readers’ Edition of a Shakespearean play specifically edited and designed for reading aloud in groups is included with this thesis.

La présente thèse est un travail herméneutique sur Sports et Divertissements, édition de luxe qui combine musique et textes par Erik Satie et illustrations en pochoir par Charles Martin. Étant donné son caractère fortement intertextuel, Sports et Divertissements est abordé sous la problématique de l’art total et de ses prolongements dans les livres de peintres et d’artistes, ainsi que dans le contexte artistique de sa création (notamment la mode et son illustration et les livres art déco) pendant et un peu après la Première Guerre Mondiale.Conçu initialement par son éditeur Lucien Vogel, et paru dans une première version en 1914, Sports et Divertissements n’a pris sa forme finale qu’en 1923, dans une révision totale effectuée par Charles Martin. La thèse souhaite démontrer l’efficacité narrative maximale de cette deuxième version, en termes de correspondance entre les éléments littéraires, musicaux et visuels dans la temporalité de l’œuvre ainsi que dans son aspect plastique global à travers un processus ludique et dramaturgique de l’imagination. / The present thesis is an interpretative study of Sports et Divertissements, edition de luxe which combines music and texts by Erik Satie and pochoir illustrations by Charles Martin. Given the highly intertextual character of the work, Sports et Divertissements is seen under the notion of total art, extended to livres de peintres and livres d’artistes as well as in the artistic context of its creation (notably fashion and its illustration and art deco books) that occurred during and after the 1st World War.Initially conceived by its editor Lucien Vogel, and appearing on a first version in 1914, Sports et Divertissements didn’t take its final form until 1923, in a total revision of the illustrations by Charles Martin. The thesis attempts to show the maximal narrative efficacity of this final version, in terms of correspondence among literary, musical and visual elements in the temporality of the work, as well as in its global visual aspect, through a creative and dramaturgical process of the imagination.