In much of the historiography surrounding print culture and the book trade, the worldliness of print remains a point of common emphasis. Indeed, many influential studies either assume or actively present the history of print as part of a broader ‘secularization thesis’. Recently, however, historians have challenged these narratives, recognizing the central role of religious print as a driver of growth within the book trade and discussion within the nascent ‘public sphere’. Yet the scholarship into ‘religion and the book’ remains fragmentary, focused on individual genres or persons, with no unified monograph or standard reference work yet to emerge. This dissertation addresses some of the barriers to synopsis by investigating the long-term print output of the largest social and professional group engaged in evangelizing Christianity to the public: the clergy of the Church of England. By focusing on the clergy, this dissertation evades the usual narrow focus on genre. In the past, book-historical and bibliographic studies have relied heavily on a priori classification schemes to study the market for print. While sufficient in the context of relatively well-defined genre categories, such as printed sermons, the validity of these classification schemes breaks down at the wider level, for example, under the conceptual burden of defining the highly fluid and wide-ranging category of ‘religious works’. This dissertation begins to remedy such problems by modelling the print output of a large population of authors who had the strongest stake in evangelizing Christianity to the public through print. It utilizes the latest techniques in the field of digital humanities and bibliometrics to create a representative sample of the print output of the Anglican clergy over the ‘long’ eighteenth-century (here 1660-1800). Based on statistical trends, the thesis identifies a crucial period in the history of clerical print culture, the first four decades of the Hanoverian regime. The period is explored in detail through three subsequent case studies. By combining both traditional and digital methods, therefore, the dissertation explores clerical publishing as a phenomenon subject to evolution and change at both the macro and micro level. The first chapter provides an overarching statistical study of clerical publishing between 1660 and 1800. By combining data from two bibliographical datasets, The English Short-Title Catalogue (ESTC), and the prosopographical resource, The Clergy of the Church of England Database (CCED), I extract and analyse a dataset of clerical works consisting of almost 35,000 bibliographic records. The remaining chapters approach the thesis topic through primary research-based case studies using both print and manuscript sources. The case studies were selected from the period identified in the preceding statistical analysis as a crucial transitional moment in the history of clerical publishing culture, c.1714 to 1750. These case studies form chapters 2, 3, and 4, each of which explore a different aspect of a network of authors who worked under the direction of the bishop of London, Edmund Gibson (1723-1748), during the era of Whig hegemony under Sir Robert Walpole. Finally, an appendix outlines the methodology used in chapter 1 to extract the sample of clerical printed works from the ESTC. Overall, the thesis demonstrates the profound influence of the clergy on the development of English print in the hand-press period. It thus forms both a historiographic intervention against the secularization thesis still implicit in discussions of print culture and the book trade, as well as providing a cautionary critique of the revisionism which has shaped recent investigations into the Church of England.

近年來台灣政府積極推動「營造英語生活環境行動方案」，再加上「國小英語課程」的實施，使得國小校園中充斥各種英語印刷文字佈置。本研究旨在了解這些校園英語環境印刷文字佈置之設計與成效及如何有效運用這些英語教學資源。 本研究對象來自於台北縣一國小九位教職員(其中包括四位行政人員和五位英語教師)以及622位三到六年級的學童。資料收集主要來源為訪談及問卷。收集的資料(主要採用描述性統計及卡方檢定)分別進行分析比較。 本研究主要的發現如下: 1.校園英語環境印刷文字佈置設計規劃主要由教育主管機關以及學校行政人員決定和負責。 2.英語教師參與校園英語環境印刷文字佈置設計規劃的程度會影響她們是否使用這些英文印刷文字進行教學的意願。 3.80%以上的受訪學生都注意到校園中的英語環境印刷文字佈置，也顯示高度的學習意願。但是由於多數英語教師未使用這些英語環境印刷文字於教學，這些校園英語環境印刷文字佈置對於學生英語學習幫助不明顯。 4.大部分的受訪者贊同校園中英語環境印刷文字佈置的必要性，並提出建議。 本研究有助於初步瞭解校園中英語環境印刷文字佈置的設計使用情形和成效。文末作者進一步提供英語環境印刷文字佈置設計和應用之相關建議，作為未來校園英語環境印刷文字佈置設計之參考。 / In Taiwan, with the policy of creating an English-friendly environment and new elementary school English curriculum, different kinds of environmental print (EP) such as English signs and English learning related posters can be seen in nearly every elementary school. It is important to have a clear idea about the effectiveness of elementary school’s environmental print (ESEP) and how to make use of ESEP. The purpose of the present study is to investigate the design of the ESEP and its effect in language learning and teaching. Participants of the study were nine school staff and 622 students sampled from the third grade to the sixth grade in one elementary school in Taipei county. Two sets of interviews and questionnaires were employed to collect data. Both qualitative analysis of interviews and quantitative statistical analysis (descriptive statistics focusing on frequency and percentage examination, and chi-square test) of the questionnaire were employed. The major findings are summarized as follows. First, the design of ESEP is primarily a top-down process. The educational authority and the school’s administrative staff directed the design of ESEP. Second, the degree of the involvement of the design of ESEP influenced English teachers’ willingness to conduct ESEP instruction. Third, more than 80% of the students noticed the existence of ESPE and showed high interest in learning about ESEP. However, without English teachers’ instruction, the effectiveness of ESEP in students’ language learning was not obvious. Fourth, most participants appreciated the existence of ESEP, and they gave suggestions for future ESEP development. Finally, some implications and suggestions for future research were discussed.

Alors que la parabole du Fils Prodigue fut un support aux vives controverses religieuses du XVIe siècle qui touchèrent Anvers, les productions artistiques (peintures, gravures, dessins) restituèrent une image plus consensuelle de cette histoire. Au lieu de matérialiser les nombreuses exégèses théologiques (contradictoires) sur le message du Christ, les artistes préférèrent puiser dans la culture profane (comme les pièces de théâtre) et mettre l’accent sur la scène de la dissipation avec les courtisanes ou insister sur des détails triviaux.Cette thèse étudie les nombreuses raisons qui les ont conduits à de tels choix (poids de la censure, recherche d’une vaste clientèle, flatterie du spectateur…) et analyse les choix de mise en scène, épisode par épisode. Elle démontre comment les ateliers d’artistes ont reproduit des formules répétitives ; comment les choix iconographiques favorisèrent tour à tour la méditation spirituelle, la délectation visuelle ou les pensées condescendantes envers autrui. / While the parable of the Prodigal Son was a support in the deep religious controversies which affected Antwerp during the 16th century, the artistic productions (paintings, prints and drawings) gave back a more consensual image of this history. Instead of representing the numerous contradictory theological exegeses about the message of Christ, the artists preferred to drawn their inspiration from profane culture (as plays) and to emphasize the scene of the waste with the courtesans or to insist on everyday and coarse details.This thesis studies the numerous reasons which led them to such choices (weight of censorship, search for a vast clientele, flattery of the spectator…) and analyses the choices of setting, episode by episode. It demonstrates how artist studios reproduced repetitive formulae and how the iconographic choices facilitated alternately the spiritual meditation, the visual enjoyment or the condescending thoughts to others.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

The significant role of the female printer in the American home-based print shops during the colonial and early republic periods has been documented in print history, socioeconomic, labor, and women studies, yet with the industrialization of the printing trade, women’s presence is thought to have disappeared. Contrary to the belief that industrialization of the print shop eradicated women’s involvement in skilled employments such as typesetting, the creation of the Women’s Cooperative Printing Union in California and the creation and chartering of the Women’s Typographical Union in New York, both in the late 1860s, clearly indicate that women continued to work in printing. The assumption that industrialization brought with it the unionization of the trade denies the possibility of non-union shops, as well as the continuation of home-based businesses across the ever-expanding nation as it moved westward. This research has sought to uncover and restore to history women who have been involved in the trade from the early transition of the home shop at the beginning of the 1800s to the signing of the WTU charter in 1869 by union employed compositors, as well as to identify establishments that hired female compositors. Digital newspaper databases have been used as a means of locating both women and opportunities available to them in the American printing trade between 1800 to 1869. Several women significant to this history, both those who have been found to be employed as compositors/typesetters and those who created opportunities for the employment of trained women compositors/typesetters, are discussed.

This thesis is an enquiry into the conditions in which various understandings of the newly introduced but vaguely grasped Western notion of ‘art’ emerged and sustained themselves in the name of cultural reproduction in early twentieth-century China. This Western concept of art was translated into Chinese as ‘meishu’, a neologism originally coined in Japanese kanji, and regarded as the embodiment of the ‘national essence’. Through a close examination of five art-related publishing events—the publication of the nationalistic journal Guocui xuebao; the launch of the art periodical Shenzhou guoguangji; the endeavours to compile a book collection on art, Meishu congshu; the making of the text Zhonguo yishujia zhenglüe which claimed to be a history book of Chinese ‘meishu’; and an example of image appropriation from Stephen Bushell’s Chinese Art—this thesis explores the ways in which different ‘neologistic imaginations’ of the term ‘meishu’ were constructed through publishing practices attempting to preserve and reproduce the ‘national essence’, by creating from the existent tradition a category of ‘art’ equivalent to that in the European West. Unlike previous scholarship, which deems any understanding of ‘meishu’ that deviated from the ‘authentic’ European model a ‘misconception’, this thesis sees these disparate understandings of ‘meishu’ as equally valid statements competing for dominance in the discursive field of art. This thesis thus argues that there existed at least three modes of utterances regarding the notion of ‘meishu’ in early twentieth-century China, and that the success of any such given utterance depended upon the acceptance of the authentic quality argued in its strategy of cultural reproduction. This thesis hence not only offers a detailed analysis of each publishing event, but also provides an interpretative framework within which the recognition of these utterances can be analysed by their strategic approaches to claiming cultural authenticity.

This thesis analyses the content, tone, form and authorship of the national newspaper gossip column 1918-1939, as a new means through which the qualities of the popular press in this period can be more closely defined. Often dismissed as an example of the sensational, Americanization of early twentieth-century popular culture, the celebrity gossip column has been loosely grouped with the friendly, informal language and bolder formatting of the ‘New Journalism’ of the late nineteenth century and the development of the dramatic ‘human-interest’ stories of ‘everyday life’ in the interwar period (LeMahieu, 1988; Wiener, 1988). Through a comparative study of six newspapers including the Daily Express, Daily Mail and News of the World, I analyse the changing representation of the celebrity subject, and, originally, the shifting character and persona of the gossip columnist. Whereas some historians have analysed the content of newspapers without considering the questions of the newspaper’s production, I analyse newspaper employment records, gossip columnists’ memoirs and their unpublished letters and diaries to define the specific economic, social and cultural circumstances which, I argue, influenced their public portrayal. Also, in examining the unpublished correspondence between editors, proprietors and columnists and the burgeoning print culture of journalistic training manuals and professional memoirs, I provide a history of the press’s professionalization in this period. The national popular press has often been used as a historical source to define national character and national identity in the interwar period (Bland, 2008; Kohn, 1992). By scrutinizing the content and production of the gossip column and particularly the class, behaviour, interactions and subject matter of the columnist, I argue that the gossip column presented a version of ‘Britishness’ that was not so inward-looking and domesticated as so many accounts of interwar Britain suggest.

Title: The effect of sensomotoric stimulation on flat foot of children Introduction: Flat foot is a common health problem in childhood. Its development is related to congenital or acquired dysfunction of the plantar vault. There is no single opinion on the criteria for diagnosis and therapy forms. The aftereffects and health risks of flat foot are often neglected. The therapy form of sensomotoric stimulation, including balance exercises and walking barefoot over different surfaces, could be an appropriate part of the physical activities and games for children in kindergarten. Objectives: The main objective of this thesis was to compare foot prints of a group of children from one kindergarten class before and after six months of sensomotoric stimulation by three different methods (the Chippaux-Šmiřák method, the Godunov-Sztriter method and the Mayer method.). The second objective was to determine at what age category will be the highest prevalence of flat feet and also at what age group is the biggest improvement of the foot arch. The third objective was to compare each other method and determine whether the results will match. Hypothesis 1: After six months of sensomotoric stimulation of the feet of children occurs in the majority of feet of probands the improvement of the longitudinal foot arch...

Title: The effect of sensomotoric stimulation on flat foot of children Introduction: Flat foot is a common health problem in childhood. Its development is related to congenital or acquired dysfunction of the plantar vault. There is no single opinion on the criteria for diagnosis and therapy forms. The aftereffects and health risks of flat foot are often neglected. The therapy form of sensomotoric stimulation, including balance exercises and walking barefoot over different surfaces, could be an appropriate part of the physical activities and games for children in kindergarten. Objectives: The main objective of this work is to evaluate the effect of sensomotoric stimulation of flat foot at preschool age. Methods: The research contains 21 children. Forty-two foot prints were taken at the beginning of the therapy. Three methods were used to evaluate the foot prints: the Chippaux-Šmiřák method, the Godunov-Sztriter method and the Mayer method. The therapy form of sensomotoric stimulation included balance exercises and walking barefoot over different surfaces. The duration of therapy was 15 minutes each school day for six months. The control foot prints of 15 children were taken after the therapy and the results were compared with the foot prints before therapy. Results: The research contains twenty-one...

Taking into account the theoretical approaches of Joseph Alois Schumpeter and Clayton Christensen to innovation, this case study is mapping the current Czech environment of written online media. Traditional media houses are dealing with the crisis of finances and information as generally described by Christensen, which means they are in real need for innovation yet they are not always successful. Other new incentives also appear on the market. Similarly to the situation abroad, the NGO sector is able to provide quality content on issues of its interest. Social innovation is rather a buzzword in the country, yet the author identifies a couple of efforts in the online written media. The author also suggests there might even be a niche for a social enterprise in the area to cooperate with the NGO sector and blogosphere. Keywords creative destruction, disruptive innovation, social entrepreneurship, social innovation, Czech Republic, print media online, watchdog journalism Abstrakt Tato případová studie nahlíží teoretickou optikou kreativní destrukce dle Josepha Aloise Schumpetera a rozkladných technologií dle Claytona Christensena prostředí digitálních podob současného českého tisku. Zatímco velké mediální domy se snaží ustát krizi financí a informací, potřebují také v duchu Christensenova přístupu...