This study aims to examine and review efforts taken by Malaysian publishing houses towards the marketing of books in the country. In addition, a comprehensive appraisal of the historical background that shaped the later developments in the trade is also presented because the early years set the contexts of the development of the book trade in Malaysia. Next, the environmental appraisal of factors in the current situation and how these factors each pose threats or opportunities are studied in terms of their impact on the trade. To achieve the objective of studying the marketing strategies of Malaysian producers of cultural products, a comprehensive mail-questionnaire survey enforced by personal visitations was conducted as an instrument to gather the necessary data on 49 publishers and distributors of books in Malaysia. The respondents are regular fee-paying members of the Malaysian Book Publishers Association (MABOPA) and also the Malay Book Publishers Association (IKATAN). The findings indicate that production of educational books is the mainstay of Malaysian book publishing and these books are the main source of income for most houses. Government policies especially in the educational system have become the major instrument in encouraging the growth of indigenous book publishing during the post-Independencey ears. The government is thus found to be rather influential on trends developing in the trade. Its actions lay emphasis on locally written and published books and have minimised dependence on imported publications. The other results of this study also show that in terms of usage of marketing research, Malaysian houses generally have a high awareness of marketing and marketing communications. This awareness is generally applied advantageously by most houses. With regard to the study of marketing practices, the approach includes the analysis of the 4Ps of the marketing-mix. When these practices are examined, it is concluded that the houses regard sales promotion, advertising, personal selling and direct mail as important tools and they are utilised continuously. It is concluded that publishing houses, especially among the larger and wellorganised establishments, have a high level of awareness and knowledge of marketing communications and have applied this capability to their advantage. There is however scope for more market-oriented approach among the smaller indigenous houses.

The aim of this study is to examine the tension between 'commerce and culture' in the dynamic development of the Australian children's publishing industry, within the wider context of international children's publishing history. It aims to refute a commonly stated 'truism' - that the conflict between the cultural value of a book and the need to market it threatens the integrity of the authors, publishers and the books themselves. Instead, it demonstrates that the tension between cultural and commercial definitions of the book publisher's role lies at the heart of the dynamism which has fuelled the development of a publishing climate, and created really innovative publishing. Publishing has too often been examined as if the sole motive of the publisher should be to produce books of quality, and though this is certainly the primary objective of the publishers which are the focus in this study, it is imperative to recognize that the dissemination of 'quality' literature and cultural product has always been dependent upon the recognition of commercial strategies which are often naively dismissed as being opportunistic and even extraneous to the publisher's purpose. As this thesis endeavours to show, the pioneering efforts of John Newbery, the Religious Tract Society, E.W. Cole, Ward, Lock & Co., and Australia's first publisher Angus & Robertson and of later publishers such as Penguin, Scholastic, Lothian, Omnibus, Allen & Unwin and others, were founded just as much upon the shrewd recognition of a viable market as they were upon the aim to enrich young readers' lives. In fact it is the symbiotic partnership between these two objectives which has fuelled their successes and their failures. It is where publishers either steer a path paved only with good intentions or one paved entirely with gold that their enterprises generally falter. The study owes a significant debt to the achievements of those who have documented Australian children's publishing 'output' so assiduously - Maurice Saxby's groundbreaking histories (1969, 1971, 1993) and Marcie Muir and Kerry White's comprehensive bibliographical tools (1982, 1992). Contrary to those endeavours, though, this study'goes back-stage' to the area where the publishing 'action' happens. Consequently it does not provide a comprehensive overview of every publication or author; it does not cover every genre and style. Rather it is concerned to document the activities of publishers which have produced books for children in Australia, in brief, and to isolate key examples of publishing enterprises within this coverage which represent 'case studies' of the different types of companies which have played a successful part in publishing development. This work is intended to be of interest not simply to either children's literature or Australian literature theorists, but to book historians, and to media, cultural studies and entertainment industry theorists. It was based on a belief that cultural histories of this nature are valuable in tracking the growth of a society and also in demonstrating that creative endeavours are never simply that. They are the result of a complex interweaving of a variety of factors, and that therefore artists approach creativity 'at their peril' without first understanding something of the world into which they are entrusting their creations. Consequently there were several objectives in the study which were to: 1. contextualize Australian children's publishing within a history of children's publishing internationally, with particular reference to early commercial beginnings in Britain and to British Empire developments, but also with appropriate reference to growth in the USA; 2. contextualize Australian children's publishing within the broader range and expansion of the book publishing industry in Australia, particularly the latter's economic growth and cultural influence since WWII, but also including an overview of foundational developments from the nineteenth century; 3. contextualize Australian children's publishing within social, educational and cultural developments, such as the development of education programs, the expansion of public and school libraries, the changes in government policy related to children and books, shifting social attitudes towards the child, and the impact of entertainment and media industries; 4. examine the roles played by various individuals, especially publishers, managers, editors, marketers, booksellers, librarians, teachers and professional commentators in the development of the Australian children's publishing industry. Their roles will be analysed in the context of various industry-particular questions such as a) the oft-remarked upon tensions that exist in publishing, between for example, 'craft-like' and bureaucratic structures; b) the interplay between 'structure and agency' in the industry; c) the shift from a 'library market' to a 'mass market' under such influences as globalization and media; d) whether publishing is necessarily more 'Australian' if it is done by independent, rather than multinational companies; and e) the influence that the 'internal' structure of publishing has had on its development, e.g. the isolation of children's publishing from the mainstream, the predominance of women as agents in its development, and so on; 5. finally, discuss the implications of globalization since the 1970s, and posit future directions in the production, marketing and consumption of children's properties. This study examines the industry from a critical perspective relying not on the evaluation of quality as opposed to mass market literature, but viewing all forms of trade literature for children as part of a dynamic whole. It therefore traces the origins of publishing in English-language countries briefly first before examining the Australian situation, and shows that from the very beginning, publications for children have been the products of both altruistic and profit-driven objectives. It concentrates on the post-WWII period, on certain key enterprises and trends which have been particularly successful, suggesting that those publishing houses and those individuals within them who 'balance' commerce and culture with the most skill, are those who succeed in making 'good' books readily accessible to those for whom they have been created. This thesis celebrates the fact that children's publishers have always demonstrated an admirable combination of opportunism and idealism, the two characteristics which are essential to a successful publishing company. Australia has been fortunate in rearing several enterprising individuals whose early publishing attempts laid the ground for the currently successful houses. Without E.W. Cole, William Steele at Ward, Lock and Co., Frank Eyre at Oxford University Press, Andrew Fabinyi at Cheshire, Barbara Ker Wilson at Angus & Robertson, Anne Bower Ingram at William Collins, the later successes of key individuals at Penguin Books Australia, Scholastic Australia, Allen & Unwin, Lothian Books and Omnibus Books and countless others may not have been planted in such fertile ground. This study predicts that the future of Australian children's publishing lies in the recognition of the essential role played by commercial instincts in shaping cultural endeavours.

Since 1990s, the publishing industry in China begins to pursue the new management and integration model Conglomerate , however, is the main reform direction under the changes and challenges of the domestic and international environment. This paper primarily concentrates on ¡§the evolution and impact of publishing conglomeratization in China ¡¨After reviewing the development history and current structure of publishing industry in China, and comparing with the development experiences of Taiwan, this paper has found that the conglomerate surely brings economies of scale, but the intervention of the market, concerning the control and influence of CCP and its government, will be an obstacle to the development of the publishing industry. Furthermore, in order to improve the cross-strait publishing exchange, this study also highlighted the need for understanding the strengths, weakness, opportunities, and threats about publishing exchange, cooperation and competition between Taiwan and China. Here, the restriction of publishing rights in China is still a key problem to Taiwan¡¦s publishers. But now under the regulation of WTO, the restriction will loosen gradually; and the rising power of publishers, from Taiwan to China, in the Chinese publishing market is blurring the line between the realms of politics and the realms of market, the future favors the later.

Amazon.com, Inc. (AMZN), headquartered in Seattle, Washington, is the world’s largest online retailer (Jopson, 1). The company’s website launched in the United States in 1994 by Jeffrey Bezos as an online bookstore, later diversified to offer a broad line of products in multiple warehouses across the US. With successful expansion, Amazon.com is now available worldwide in Canada, the United Kingdom, Germany, France, Italy, Spain, Japan, Brazil and China (SECdatabase, 50). The company directly sells or acts as a third – party to deliver the products to customers. As of the first quarter in 2011, Amazon has approximately 137 million active customers worldwide (Szkutak, 1). In 2007, CEO Jeff Bezos lead Amazon in a new direction by introducing the eReaderKindle, offering a new platform for digital books and other e-print media. The Kindle allows users to read, shop for, download and browse eBooks, newspaper, magazines, blogs and websites using Wi-Fi. The 3G Kindle uses Sprint’s 3G cellular services to allow immediate customer purchase and download from the Amazon Kindle store, with no connectivity charges. The base model e-ink Kindle features a 6” screen, while the Kindle DX has a 10” screen and the newly introduced Kindle Fire has 7” multi-touch colored screen. The Kindle is designed for people who favor a small, compact electronic device to carry in their pockets or bags. The purpose of this paper is to detail the development, technology, opportunities as well as challenges associated with Amazon Kindle in relate to the publishing industry. The paper also discusses whether the 6” eReader device will change reading habits and its impact on hardcopy publishing businesses worldwide.

This study preliminarily introduced the concept of ¡§cultural creative industry¡¨ and chose ¡§publishing industry¡¨ ¡Vwhich has been neglected in the industry study in the long run-as the main subject in this study. This study analyzed the developing trend and strategy of Taiwan¡¦s publishing industry from Porter¡¦s ¡§diamond model¡¨ which focused on the four important factors- demand conditions, factor conditions, related and supporting industries and firm¡¦s strategy, structure and rivalry. Furthermore, the study mainly adopted literature research and second-hand information analysis as the principal methodology along with in-depth interviews with highly-involved professionals which included ¡§City Group¡¨ the most successful publishing group among HK, China and Taiwan, ¡§Linking Books¡¨ which has achieved in running business in China and ¡§Taipei publishing industry associate¡¨ which owns the main members located in Taipei in publishing sector. Because the market scale is limited and the publishing industry neglected the oversee market for a long time, we could find that our publishing industry is mainly composed of medium-and-small enterprises. Under the saturated domestic publishing market and increasingly highly competitive environment, our publishing industry is in an urgent and difficult time to face the challenge of globalization. Taiwan¡¦s publishing industry should take ¡§great china market¡¨ -China, HK and Taiwan- as the first priority and then enter into the ¡§pan-china market¡¨ which focuses on the Singapore and Malaysia. In the end, we could get the chance to get into western stage. For our industry, we should take the ¡§Big conglomerate, vice-bands¡¨ model which is imitated from the global strategy of western publishing group. By that, our industry could enhance negotiating power, share the complementary resource in the group, share the managerial and marketing platform. This study hopes to be a lead to attract more researchers. Facing the global movement of industry structure, we underwent the hollowing out of the industry especially in the manufacturing field, we have to think should Taiwan has the alternative to create the next economic miracle. Will the cultural creative industry be the light of the dark?

The Victorian publishing industry has been frequently analysed, debated and discussed within the fields of book history, publishing history, media studies and literary studies, yet there is a gap within academic business research on the publishing industry from the approach of organisational studies, in particular from the perspective of new institutionalism. This research examines how the business practices of organisations in the British publishing industry - which I refer to as literary businesses - developed in the Victorian era, by exploring the formation of these practices in relation to wider societal influences. My research analyses how authors, publishers and literary agents instigated and reproduced business practices in the industry, examining why these practices became accepted and legitimised. This historically oriented research is constructed around primary and archival sources, in particular trade periodicals, personal letters and business documents.

This thesis explores the persuasive effects of literature both personally and socially, via the codification of character archetypes in fiction (exemplified here in high fantasy fiction). This thesis firstly explores the manner in which literature can affect individuals' beliefs, and how certain representations of groups (in this case, women) can be inherited and maintained through genre norms, themselves maintained through traditional publishing models and financial concerns. Next, this thesis offers an analysis of self-published novels' responses to the archetypal representations of women within high fantasy, as exemplified in two popular high fantasy works, The Lord of the Rings and A Game of Thrones, and four self-published novels (including the author's own). It then focuses on whether self-publishing allows for the highlighted genre norms to be more easily subverted due to the nature of the new publishing model. It concludes with a discussion on the possibility of a new form of literary understanding, termed by the author 'multiliteraryism'. Building on debates in the field of world literature and multilingualism, multiliteraryism, it is suggested, can offer a new method of understanding multiple voices and representations, absent any denigration in terms of the means of publication.

In the frame introduction to Willa Cather's My Ántonia (1918), an unnamed author encounters her childhood friend Jim Burden on a cross-country train. Jim asks the author why she has never written anything about their mutual friend Ántonia. To answer Jim's criticism, she proposes they both write stories about Ántonia, but only Jim honors the agreement. The rest of the novel is put forth as Jim's manuscript "substantially" as he brought it to the author (xii). This scenario is but one of several ways My Ántonia evokes Cather's experience ghostwriting S.S. McClure's My Autobiography (1914) for, just as the authorial voice in My Ántonia dissolves into Jim's, Cather had to adopt McClure's perspective to write her former employer's life story. Going further, Cather worked closely with her book editor Ferris Greenslet and the production editor R.L. Scaife to be sure Houghton Mifflin would paginate the introduction with roman numerals and thereby produce the effect of a true authorial preface. The introduction recalls the preface of McClure's autobiography, which acknowledged Cather for "cooperation" that contributed to "the very existence" of his book. Interpreting My Ántonia and My Autobiography as projects connected by authorial process, textual allusion, and even typesetting suggests the complicated and elusive nature of collaborative labor in the literary marketplace, as well as the extent to which modern literary texts responded to those complexities. Working on a task or project with a partner or in a group can frustrate, energize or empower those involved, but whatever feelings it inspires, interactive labor often has a life of its own. This is the idea of collaborative momentum. My dissertation examines relationships among authors, agents, editors, publishers, and unofficial "middle men" to argue that supportive and adversarial cycles of interactive labor in the modern American literary marketplace created the basic parameters of modern authorship. I show that as professional specialization becomes more rigid and institutionalized, the literary field paradoxically created new spaces for nebulous but crucial cooperative labor. In particular, the effect I call collaborative momentum facilitated the exchange of economic and symbolic capital. Additionally, I show that narratives of the modern period are inextricably invested in corporate and institutional labor systems that surround them and can be interpreted as rhetorical attempts to reform and improve those systems. By analyzing the author's cultural identity in relation to rising institutional collaborators of the modern era, I contribute to the steadily growing field of authorship studies while adding to ongoing scholarly conversations about individual authors and texts. My chapters analyze the systemic production of literary identity, reciprocal relationships between editors and authors, the modern apparatus of literary debut, and the role bibliophilia and book collecting played in the production of The New Negro. I therefore highlight four paradigmatic examples of interactive labor while simultaneously emphasizing that collaborative momentum as I describe it was crucial not only to those with privilege but also to individuals and groups struggling against inequality, whether it was Salish novelist D'Arcy McNickle, Alain LeRoy Locke, or self-employed literary agent Flora May Holly. My work helps scholars see a power structure that granted disproportionate credibility to white men as literary creators and publishing industry insiders, yet it also shows a modern American literary culture shaped as much by the experience of marginalized individuals and groups negotiating a discriminatory publishing industry as it was by aesthetic contests between popular fiction and high modernism. My first chapter, Character, Personality, and the Editor Figure: William Dean Howells and the Institution of Image-Building establishes that the same cultural logic that allowed Samuel Clemens to develop a public persona as a fictional character also empowered William Dean Howells to create his literary identity as the nation's foremost editor figure. Further, I argue that image-building was a collaborative affair; Howells and many others helped define Mark Twain, and countless authors and critics came to define Howells as the Dean of American Letters in the 1890s and as America's "pious old maid" after his death in 1920. I argue that Howells' persona-work extends to his novel A Hazard of New Fortunes (1890). The main characters--co-founders of a fictional literary magazine--have contrasting identities: one is ostentatious but lacks substance; the other is so unsure he hardly has an identity. Labor crises at the magazine and in the city streets gesture at the problematic nature of a personality-driven culture that had come to define selfhood without emphasizing a moral or ethical element. In chapter two, "Reciprocity and the `Real' Author: Willa Cather as S.S. McClure's Ghostwriter," I trace a cycle of debt--monetary and symbolic--from McClure's rise as magazine editor to a moment of financial crisis in 1912 that led his corporate board to oust him from his own magazine. To pay off his debts, he asked Willa Cather to author his autobiography. I read the ghostwriting project as an example of how mutual debt is generative, for Cather accepted the role out of personal loyalty and took no money for her work. Cather's fictional works, including My Ántonia and The Professor's House (1925), engage with the cycle of debt and indebtedness and imagine a narrative exchange unclouded by any question of money but tied, instead, to a dream of self-sacrificing friendship. My article "It's Mr. Reynolds Who Wishes It: Profit and Prestige Shared by Cather and Her Literary Agent," in Cather Studies Volume 9, "Willa Cather and Modern Cultures," draws on material from this chapter. My third chapter, "Discovery of the Month: D'Arcy McNickle and the Apparatus of Literary Debut" takes up as its interpretive focus changing institutions of literary career-launching. My approach brings together two scholarly conversations, one preoccupied with McNickle's refinement of his perception of Native cultures and the other, informed by a history of the book methodology, concerned with the cultural systems that codified twentieth-century authorial identity and credibility. McNickle is an important example of how institutions of discovery functioned. The exceptional aspects of McNickle's story--the nine-year duration of his effort to publish his first book, his outsider identity, and the number of avenues he tried in order to become established make him an ideal example. To better understand McNickle's relationship with literary agent Ruth Rae, I frame my analysis with the story of the literary agent's rise as an integral figure in literary debut. Turning to McNickle's fiction in the second part of this chapter, I analyze his The Surrounded as a reaction to cultural institutions of literary discovery. McNickle narrates the tragedy of failed mediation and gestures at an alternative model of interaction. He embeds this thematic exploration in his allusions to the Salish oral tradition, so that the text itself mediates an experience of cultural discovery. Chapter four, "Irrepressible Anthologies, Collectible: Bibliophilia and Book Collecting in the New Negro," continues my analysis of the literary middle man's collision with American modernity by tracing the intersection of anthology, book collecting, and bibliophilia as they pertain to The New Negro's book design, artistic form, and multi-generic content. While recent studies have linked the anthology to Boazian ethnography and modernist collage, I provide a more immediate reading of the philosophies of collecting inherent to modern and African American print cultures. I read The New Negro as a book production process structured by efforts to produce an object worthy of being collected. My also analyzes of how the anthology's book design interacts with the positions on materiality and collecting at play in its collected prose and poetry. This case study of the creator-intermediary as collector historicizes modern book collecting and appreciates African American bibliophiles as an alternative to the dominant white American and European book collecting traditions. Appreciating these distinctions suggests, ultimately, that a significant aspect of the exchange of economic and symbolic capital in the modern age was to mediate a contested present day by refashioning ideas about the past.

The publishing business in the Edo period (1603 – 1868) was very unique since it was divided into two genres: shomotsu mononohon and jihon kusazōshi. Publishers had their specialties and their business strategies varied. In this research paper, I examine the publishing strategies from the view of the network system. First, I state the definition of this network. Next, I study the publishing history of the Edo period to gain a general understanding. Lastly, I examine the network systems of the shomotsu publishers and the jihon kusazōshi publishers. I use examples from Tsutaya Jūzaburō, Suharaya Mohē, Tsuruya Kiemon, the Torii School and the Utagawa School. In the end, the readers will understand the various networks had the roles to energize the Edo community, and each network was indispensable among the whole big network system.

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