Letteratura scientifica selezionata sul tema "Publishers and publishing – political aspects"

This paper provides a historical overview of German newspapers published in Osijek. In the period between the liberation from the Turks and the end of World War Two, almost half of Osijek’s population were Germans, which enabled them to play a significant role in all aspects of city life, and newspaper publishing was no exception. A review of German newspapers published in Osijek revealed that they differed in content, publication frequency and longevity. After reading and reviewing both scholarly and scientific literature, it was concluded that most facts about the newspapers were not completely, but partially preserved in a non-chronological order. Newspaper publishers operated in difficult circumstances and frequently changed editors and owners. However, today, we can claim, that German newspapers published in Osijek were vital, diverse in form and important to (educated) readers and their needs and habits. The newspapers were similar to magazines and covered all facets of life, including politics, science, economy, art and culture. Such newspapers covered everything their readership might find interesting, and many Croats contributed to those German newspapers as associates. This paper is based on the review of research and scholarly and scientific papers. The intention was to follow the logical and chronological structure of German newspapers.

Open data from the public sector can fuel the innovation of digital products. This paper investigates barriers and success factors regarding use of open data in such innovations, and how public sector can increase the value of published data. A multimethod approach was used. An initial study identified aspects of relevance through interviews, a system development experiment, and a focus group. An in-depth study used the insight to perform interviews and a survey targeting innovators. Details on data needs, discovery, assessment, and use were found as well as barriers regarding use of open data in digital product innovations. Associated recommendations to data owners are provided regarding how they can increase the innovation capacity through appropriate licenses and service levels; convenient access mechanisms; publishing channels and infrastructures; transparency and dialogue; data, metadata, documentation, and APIs of high quality; harmonization and standardization.

This essay is a reexamination of Samuel Beckett's The Capital of the Ruins, the untransmitted radio script written for Raidió Éireann (now Raidió Teilifís Éireann) in 1946 following his work with the Irish Red Cross in Saint Lô. The first half of this essay is concerned with the archival and publishing history of the text. This section examines the variants introduced by various editors or publishers and makes a case for a definitive edition of the text based on the edited photocopy of the typescript held in the Beckett International Foundation archive at the University of Reading. The second half of this essay then uses this close attention to the text to reconsider the focus of The Capital of the Ruins and the extent to which the piece is more firmly directed towards socio-political aspects of post-neutrality Ireland than has previously been identified.

In this article, we have addressed the early stages of quantum physics in Spain, specifically, between the years 1930 and 1960. We have relied on David Kaiser’s thesis on the weight of philosophy in quantum physics textbooks in the United States (Quantum legacies, chap. 8, 2020) and we have made a first approximation for the Spanish case. To have a better understanding of the editorial, intellectual and cultural context, we have created and analysed a database from the REBIUN university catalogue, which has offered us a panoramic view of the works published at the time, as well as their places of origin, languages, publishers, and evolutions. Then, we have analysed the treatment of philosophical aspects in some relevant Spanish textbooks. We have concluded a particular evolution in the Spanish case, conditioned by its economic, social, and political context, with a tendency to interpret quantum physics from a national-catholic dogma and to escape from mathematical complexity. We have also seen a great influence from the English-speaking sphere and an enormous importance from the Latin American publishing system in the dissemination of works in Spanish. The results call for us to carry out studies in greater depth.

<p>Kostas Sarris, Chrysanthos Notar as and the publication of "Dodekavivlos" by Dositheos of Jerusalem: a case of false publication date (1715 / c.1722)</p><p>The article focuses on «Dodekavivlos» by Dositheos the patriarch of Jerusalem (1641-1707). His historiographic work was published after his decease by the Greek publishing house of Anthime in Bucharest. The book was edited by his nephew and successor to the patriarchical throne of Jerusalem Chrysanthos Notaras and the publisher and future bishop of Wallachia Mitrofanis Grigoras. The study concentrates on the false date of publication noted under the title of "Dodekavivlos", that is to say, October 1715, whereas, in reality, the book was published between 1721 and 1723. In the first part of the article, the process followed during the edition and the publication of the book is depicted. Moreover, the outset of the aforementioned procedure as well as the publication date of «Dodekavivlos» is determined. In this context, some aspects of history of the publishing house Anthime are clarified whilst the publishing work and the technical impediments confronted by a Greek publishing house in the Rumanian Principalities in the turning point of the 18th century are delineated. The second part of the article attempts to formulate a cohesive and comprehensive interpretation of the false publication date. Both the polemic character of the content of «Dodekavivlos», which due to the rivalry over the religious establishments of the Holy Land, was of political nature, and Chrysanthos Notaras' correspondence along with the historical background of the publication can conduce to some conjectures over Chrysanthos' decision not to record the real date but an earlier one as well as the choice of the particular date of the title. According to the interpretation brought forward, Nicolaos Mavrokordatos' potential political ventures played a significant role. Also, telltale, though of less importance, is the fact that the name of the publisher and bishop of Wallachia Anthimos Iviritis is not recorded under the false date of the title of «Dodekavivlos».</p>

This article considers today’s ‘post-digital’ political publishing through the material forms of an experimental book, The 2015 Baltimore Uprising: A Teen Epistolary. Anonymously published and devoid of all editorial text, the book is comprised entirely of some 650 screen-grabbed tweets, tweets posted by black Baltimore youth during the riots that ensued on the police killing of Freddie Gray. It is a crisis-ridden book, bearing the wrenching anti-black terror and rebellion of Baltimore 2015 into the horizon of publishing. Drawing on critical theories of books and digital media, and bringing Saidiya Hartman and Frank Wilderson to bear on issues of publishing, the article appraises seven aspects of this book’s materiality: its epistolary structure and rupture with the book-as-closure; its undoing of the commodity form of books; the ‘poor image’ of its visual scene; its recourse to facial redaction and voiding of narrative progression; and its destabilization of readers’ empathy.

In recent years, many publications presenting the records of sejmiks (regional assemblies in the Polish-Lithuanian Commonwealth) from the sixteenth-eighteenth centuries have appeared on the publishing market, and teams of historians from several research centres are working on new ones. Instructions for deputies to the Sejm and other resolutions of sejmiks are the fundamental sources for studying many aspects of the social and political life of the noble Commonwealth. Also, military historians use this type of source. However, the question arises whether the publishers of such sources include all the material related to the activity of the sejmik that would be of interest to researchers of martial history. On the other hand, a question can be asked whether they reach for sejmik records and can use them in their research into Old-Polish military science. In this case, the aim is to present the value of published sejmik records in studies of various aspects of the functioning of the Crown and Lithuanian armies and soldier life. Their fundamental importance for showing the mechanisms of the functioning of the noble levy (Polish. pospolite ruszenie, i.e. mass national conscription) seems obvious, but is it worth using them when researching problems related to the functioning of the so-called quarter army (Polish: wojsko kwarciane) or the comput army (Polish: wojsko komputowe)? The author also tries to analyse the scope of the material contained in published collections of sejmiks records. The purpose is to assess whether the sources related to the sejmiks’ activities in military matters are complete or whether the researchers compiling and editing these publications omit certain materials which may be important to historians of Old-Polish military science.

В статье-рецензии, посвященной книге С.С. Царегородцева, вышедшей в издательстве «Аквилон», раскрываются некоторые важные стороны оригинальной авторской интерпретации творчества выдающегося английского философа и политика Френсиса Бэкона (1561–1626), многие идеи которого звучат актуально и в наши дни. По сути, монография становится приглашением к широкой научной дискуссии относительно политической карьеры и творчества Бэкона. The review dedicated to the book by S.S. Tsaregorodtsev (PhD in Political Science), published by the Aquilon publishing house. The book shows some important aspects of the original author's interpretation of the Francis Bacon (1561-1626) ideas which relevant today. In fact, the monograph becomes an invitation to a broad scientific discussion about Bacon's political career and work.

Rankings and indicators have been with us for a while now, and have increasingly been objects of attention in international law. Likewise, they have been with the LJIL as a journal for a while now. Our so-called ‘impact factor’ is, to my untrained eye, the most prominent feature on the LJIL webpage hosted by our publisher. So this editorial is something of a rearguard action. The indicators and rankings, however, keep piling up. Proliferation may afford a perverse sort of optimism, about which below but, as will be clear, I do not share it. The increasing number and command of indicators and rankings reflects a consistent trend and a bleak mode of knowledge production. Knowledge production has been a topic in these pages recently, for instance Sara Kendall's excellent editorial on academic production and the politics of inclusion. I mean to continue in that vein, with respect to other aspects of the political economy of the academic production of international law, especially at a nexus of publishing, scholarship and market practices. There is an undeniable element of nostalgia in what will follow, but I do not really mean to celebrate the publishing industry, status quo ante, that has put me in this privileged position to wax nostalgic. The academic publishing business is flawed. What we are preparing the way for is worse. When I say we, I mean to flag my complicity, both as an individual researcher and as an editorial board member. I use the word complicity to convey a personal anxiety, also in my role as editor, so let me be clear: the LJIL board has no policy concerning rankings, and rankings have never influenced review at the journal. Moreover, while I cannot claim to speak for the LJIL as a whole concerning the topic of rankings or any other matter, nor is mine exactly a dissenting voice on the board. The tone of this polemic is mine alone; the concern is not.

This scientific article examines the periodicals of the Volga right-wing-monarchical parties of the early XX century as sources that make it possible to expand the understanding of the main directions in the conservatives’ socio-political activities. The object of the study is the print media of the right-wing parties of the Volga region at the beginning of the XX century, the subject of the analysis is the specificity of the informative material placed on the pages of these publications and reflecting different aspects of the party life. The retrospective, historical-comparative, problem-chronological, statistical methods used for research analysis enable us to consider the publishing activities of the Volga region right-wing conservatives in dynamics, to give prominence to their problematic aspects. The right-wing-monarchist parties that emerged against the background of revolutionizing the socio-political life of the late Russian Empire, like other political forces in general, sought to use party periodicals as a mouthpiece for broadcasting their ideas. Published for this main purpose, the party periodicals, along with this, also became a relatively accessible platform for guiding the activities of the party. The country’s social and political life was reflected on the pages of the periodical press, informational, critical and polemical articles were published, the chronicle of the life of the party was reflected. The most important purpose of periodical press was to convey in an accessible form to readers and subscribers the ideological attitudes and programmatic positions of the parties they represented. In addition, newspaper publications became a source reflecting a complex relationship between political parties of various political trends. The far ambiguous nature of relations between the right-wingers and local and imperial authorities was also reflected in the periodical press. In addition, the print media make it possible to correlate statistical data on opening right-wing departments in the Volga region provinces, supplement information about their leaders. The circulations of the published editions give a certain idea on the degree of demand for them from the readership.

1. Introduction

Le 10 mai 1940 et pour la seconde fois en vingt ans, la Belgique est envahie par l’Allemagne. Contrairement à l’invasion de la Grande Guerre, il ne faut que dix-huit jours aux armées teutonnes pour écraser l’armée belge et occuper le territoire national tout entier. Peu avant la fin des hostilités, la vie culturelle reprend néanmoins timidement. Dès la fin mai 1940, les cinémas rouvrent leurs portes. La presse reparaît sous surveillance allemande. L’édition du livre, machine beaucoup plus lourde, ne reprend son activité qu’à la fin de l’été de 1940. Avec la signature des conventions bilatérales puis internationales sur la propriété intellectuelle dans la seconde moitié du XIXe siècle, la Belgique a vu le secteur de l’édition du livre s’effondrer. Le public belge marque en outre une certaine désaffection envers les auteurs belges et plus particulièrement envers ceux qui se font éditer localement. N’est-ce pas le mémorialiste français Georges Suarez qui écrivait, en 1932, que « L’écrivain wallon trouve devant lui une route hérissée de difficultés ;son public est clairsemé, épars, capricieux […] ;les snobs locaux, acceptent les yeux fermés tout ce qui vient de Paris […] mais exercent un contrôle hautain sur leurs auteurs nationaux » (Georges Suarez, La Belgique vivante. Préface d’André Tardieu. [Louvain, Editions Rex, 1932], p.28-29). Toutes catégories confondues – presse quotidienne ou périodique, livres et brochures diverses –, la production éditoriale belge – domaines francophone, néerlandophone, germanophone et dialectal wallon confondus – connaît pourtant entre 1936 et 1939 une courbe ascendante ;puis, de 1941 à 1945, une inflexion avant de voir remonter lentement la production de 1946 à 1949. Le pic de l’année 1938 ne sera pas égalé dans les dix années qui suivent. En 1939, nous constatons une très infime baisse de l’offre de titres :1,1%. Les sommets atteints par l’éventail de titres proposés en 1938 et 1939 s’explique par la mobilisation des réservistes qui n’ont d’autres loisirs que la lecture. En 1940, le chaos qui suit la Campagne des Dix-Huit Jours contraint la plupart des éditeurs à l’inactivité. La reprise de certains secteurs de l’édition au début de l’été permet toutefois de maintenir une production de titres supérieure aux années 1935-1936. La production reprend de façon spectaculaire en 1941, dépassant le niveau de 1939 et se rapprochant de celui de 1938. Nous interprétons cette remontée du nombre de titres par l’effet de la fermeture des frontières et donc par la nécessité de présenter de nouveaux titres au public belge avide de lecture. De 1942 à 1944, la chute spectaculaire s’explique sans doute par la disparition d’une grande partie de la presse périodique et par le caractère de plus en plus contraignant de la censure allemande. Celle-ci réduit le nombre de titres publiés à cause de la raréfaction croissante du papier disponible. Remarquons que la raréfaction des titres disponibles sur le marché n’implique pas obligatoirement une diminution quantitative des tirages. A partir du mois de septembre 1944 et en 1945, un certain nombre d’éditeurs sont placés sous les projecteurs de la Justice militaire et interrompent ou cessent leurs activités. Par ailleurs, une série de petits éditeurs occasionnels qui publiaient n’importe quoi sous n’importe quelle forme disparaissent du champ éditorial. De plus, la pénurie de papier, les ruptures de fourniture d’électricité industrielle qui fait tourner les rotatives et la réouverture des frontières aux importations françaises, puis néerlandaise dans la seconde moitié de l’année 1945, incitent les éditeurs belges à la frilosité. Enfin, en 1946, la reprise peut s’expliquer par la stabilisation économique.

2. L’épuration des bibliothèques et des librairies

Même si la liberté de presse est garantie par la Constitution, la loi belge organise les délits de presse. Les circonstances exceptionnelles de la déclaration de guerre de la France et de l’Angleterre à l’Allemagne à la suite de l’invasion de la Pologne provoquent la création d’un éphémère Ministère de l’Information nationale (1939-1940), puis d’un Service d’Information du Premier Ministre (1940). Une censure larvée, justifiée par la sécurité du territoire et le respect de la neutralité de la Belgique, est d’ailleurs exercée dès le mois de septembre 1939 afin d’éviter tout prétexte d’intervention de la part des belligérants. Durant les premiers mois de l’Occupation, une épuration anarchique s’exerce à l’encontre des bibliothèques privées et des librairies. Ce sont tantôt des soldats qui brûlent des livres trouvés sur les rayonnages de leur logement réquisitionné, tantôt des officiers qui prennent la mouche en découvrant chez le libraire de leur nouveau lieu de résidence un opuscule de l’espèce J’ai descendu mon premier Boche. Dès le 13 août 1940, la Militärverwaltung ordonne l’épuration systématique des bibliothèques publiques et des librairies. Tout livre ou brochure anti-allemand ou anti-nazi doit être immédiatement mis sous clef et bientôt déposé entre les mains des services allemands. Le soin de déterminer ce qui tombe ou non dans cette catégorie particulièrement vague est laissé à la seule appréciation des bibliothécaires et des libraires. Ceux-ci doivent attendre le mois de septembre 1941 pour que la Propaganda Abteilung daigne publier une liste de 1800 titres interdits. Des compléments sont ensuite régulièrement insérés dans le Journal de la Librairie de la Gilde du Livre et dans les Mededeelingen van het Boekengilde. Le Ministère de l’Instruction publique charge de surcroît des enseignants et des inspecteurs d’épurer les manuels scolaires de tout propos anti-allemands. Cette mesure a pour but d’éviter que l’occupant ne s’en charge lui-même et n’impose le manuel unique à l’instar de ce qui se passe Outre-Rhin. Le 8 octobre 1940, sans en avoir soumis le texte aux autorités allemandes, le Ministère de l’Instruction publique crée donc une Commission chargée de la révision des ouvrages classiques pour l’enseignement normal, moyen, primaire et gardien, plus communément désignée sous le nom de Commission pour la Révision des Ouvrages Classiques. Composée de collaborationnistes notoires mais également d’authentiques résistants, la Commission examinera près de 5000 titres entre la fin octobre 1940 et la fin mai 1944 ;elle interdira l’usage de 564 manuels et en fera modifier 182 autres.

3. La censure des livres

Au début de l’été, les Allemands chargent l’Union des Industries Graphiques & du Livre (UNIGRA), le syndicat des imprimeurs belges, d’exercer une censure préalable générale et d’empêcher ainsi la publication de tout propos anti-allemand. Cette censure est ensuite circonscrite, à partir du 20 août 1940, à la littérature qui traite de sujets militaires et politiques (en ce compris les questions concernant la race, le judaïsme et la Franc-maçonnerie). Le 24 septembre 1940, la Propaganda Abteilung prend le relais de l’organisme belge. Le Referat Schrifttum est dirigé par le Sonderführer Pr Dr Hans Teske et par son adjoint le Sonderführer Leutenant Bruno Orlick. Durant son premier exercice, ce bureau de la littérature refuse 100 manuscrits sur les 600 qu’il examine. A partir du 15 janvier 1943, invoquant le manque de papier, le Referat Schrifttum impose aux éditeurs de soumettre tous leurs manuscrits. Chaque demande est établie en triple exemplaire. Le premier est conservé dans les dossiers de la Propaganda Abteilung, les deux autres exemplaires sont transmis à l’Office Central du Papier - Papier Centrale (OCP-PC). Celui-ci y appose un numéro correspondant à un bon de consommation de papier. L’un est conservé dans les archives de l’OCP et l’autre est retourné à l’éditeur qui doit le présenter à l’imprimeur. Sans ce bon de consommation, l’imprimeur ne peut entreprendre le travail puisqu’il doit justifier les quantités utilisées dans ses ateliers. Tout le processus de contrôle apparaît dans les livres sous la forme de numéros précédés des mentions « Autorisation PA n° » / « Toelating PA nr » / « Zulassung Nr… » et « OCP n° » / « PC nr ». Parfois encore, le numéro d’affiliation de l’imprimeur auprès de l’OCP figure dans le colophon du volume. Chaque numéro est lié à un titre et à l’éditeur qui le demande. En cas d’annulation du projet par l’éditeur, le numéro est alors perdu. Du côté de la SS, l’Abteilung III C 4 de la Sicherheitsdienst se charge notamment de la surveillance des Editions autorisées. Contrairement à la Propaganda Abteilung qui intervient le plus souvent en amont, la SD intervient essentiellement en aval. Celle-ci saisit les ouvrages « séditieux » qui auraient pu échapper à la sagacité des censeurs de la Propaganda Abteilung, ou à l’autocensure des éditeurs belges.

4. La pénurie de papier

Avant la guerre, la Belgique importait la quasi-totalité des matières premières destinées à la fabrication du papier et du carton. Mais le déclenchement des hostilités a rendu l’approvisionnement difficile et réduit en conséquence la fabrication du papier. La pénurie des matières premières provoque une réaction rapide de l’administration militaire allemande. Dès le 17 juin 1940, elle exige un état des lieux de la production, des stocks et de la consommation qui permette la rationalisation de l’économie. Parallèlement à ces mesures et en complément à celles-ci, le Ministère des Affaires économiques crée en février 1941 un Office Central du Papier pour veiller à la production et à l’utilisation rationnelle du papier et du carton. Près de la moitié de la cellulose est alors consacrée à la fabrication de produits ersatz comme le carton-cuir pour les chaussures ou le « Balatum » et l’« Unalit ». En mai 1941, l’OCP interdit la fabrication de produits de luxe tels les confettis, les sous-bocks et le papier-dentelle pour tarte. Les besoins en papier et carton augmentent cependant :pour les emballages en replacement d’autres matières devenues rares, pour le papier d’occultation, ou encore pour la paperasserie administrative occasionnée par la rationalisation de l’économie. En avril 1942, le Referat Papier, sous prétexte de rationalisation, ordonne la fermeture de près de la moitié des papeteries. Mais celles qui restent en activité souffrent de la pénurie de matières premières et de combustible qui entraîne une baisse de la production. En octobre 1942, prétextant cette fois la pénurie de papier, le Referat Schrifttum interdit la publication de livres à plus de 5.000 exemplaires mais autorise des dépassements aux éditeurs suffisamment bien en cour. La consommation de papier est alors contrôlée par l’OCP. En avril 1943, le spectre de la pénurie permet encore le recensement des stocks de papier chez les imprimeurs. Or personne n’est la dupe de ces dernières mesures qui relèvent plus de la censure que de l’économie.

5. La restructuration économique et professionnelle

Dès le début de l’été 1940, la Militärverwaltung commence de saisir les biens ennemis, c’est-à-dire français et britanniques. Grâce à la mise sous séquestre des avoirs du Groupe Hachette, l’actionnaire français de l’Agence Dechenne, le principal distributeur de presse en Belgique est administré par un Allemand, représentant des intérêts du groupe éditorial allemand Amann. Celui-ci obtient le monopole de l’importation de quotidiens étrangers et de la distribution des journaux belges. Il réussit également à devenir le principal grossiste en livres, imposant aux éditeurs le choix de certains titres, le tirage et parfois la couverture des livres. En novembre 1940, tous les éditeurs de livres et de périodiques ainsi que les libraires doivent s’inscrire au Cercle belge de la Librairie ou à son homologue flamand. En juin 1942, le Ministère des Affaires Economiques institue la Gilde du Livre / Boekengilde qui détient, par le biais de ses deux chambres linguistiques, le monopole de la représentation professionnelle. En 1941, l’Occupant suscite la formation d’un organisme de collaboration, la Communauté culturelle wallonne (CCW) qui devrait investir le champ culturel, à l’instar de la Deutsch-Vlämische Arbeitsgemeinschaft (DeVlag). Dirigée par l’écrivain prolétarien Pierre Hubermont, la CCW tente de regrouper les auteurs au sein d’une Chambre des Lettres françaises et d’une Chambre des Lettres dialectales. Très peu d’intellectuels se rallieront à cet organisme rapidement démonétisé. A la suite du congrès européen des écrivains tenu à Weimar en octobre 1941, une Europäische Schriftsteller Vereinigung est par ailleurs fondée le 27 mars 1942. Cette Société Européenne des Ecrivains (SEE), destinée à remplacer le PEN-Club international, encourage les traductions et la diffusion des ouvrages de ses membres. Pierre Hubermont est désigné pour tenir le rôle de porte-parole de la Section wallonne et belge de langue française (SWBLF) qui commence d’être organisée dans le courant du mois de mars 1942. Seule une poignée d’écrivains répondront aux sirènes de Weimar. En 1943 la Communauté Culturelle Wallonne fonde une nouvelle structure plus discrète, et surtout, moins discréditée :la Fédération des Artistes wallons et belges d’expression française (FAWBEF) dont l’intitulé est très proche de celui de la section locale de la SEE. Il ne s’agit pas d’un repli stratégique de la part de Pierre Hubermont – qui est cependant contraint de constater le semi échec de la CCW – mais d’une tentative d’officialisation de la structure corporative ébauchée par la CCW sous l’œil attentif du Ministère de l’Instruction publique. La FAWBEF ébauche la création d’une Chambre de Littérature subdivisée en Chambre des Ecrivains d’expression française, en Chambre des Ecrivains d’expression wallonne, en Chambre des Traducteurs et en Chambre des Editeurs. Le but est d’aboutir à une adhésion obligatoire et ainsi à un contrôle de l’accès à la profession. Depuis l’instauration de la législation et la signature des conventions internationales sur la protection des droits d’auteur dans la seconde moitié du XIXe siècle, les redevances sont essentiellement perçues en Belgique par des sociétés de droit français. Face à cette situation de perceptions multiples, l’administration militaire allemande impose une perception unique par une société de droit belge. Dans un premier temps, la Militärverwaltung place sous séquestre les sociétés françaises qui disposent du monopole de fait de la perception des droits d’auteur en Belgique francophone. Dans un second temps, au début du mois de janvier 1941, la Nationale Vereeniging voor Auteursrecht (NAVEA) est réquisitionnée et désignée pour détenir le monopole de la perception des droits. Toujours en janvier 1941, une tentative de rallier l’Association des Artistes professionnels de Belgique (AAPB) à la société unique afin d’en faire sa section francophone échoue grâce à la résistance de ses dirigeants. L’AAPB est alors dissoute par les Allemands. Le monopole de la NAVEA pose de nombreux problèmes juridiques. Pour toucher les droits de suite, les artistes et leurs ayants droit doivent devenir membre de la NAVEA, alors que les sociétés françaises interdisent la double appartenance sous peine de perdre les droits à la pension. Après d’âpres pourparlers, la NAVEA s’engage à payer les pensions pour les artistes qui la rejoindraient rapidement. La NAVEA ne collabore pourtant pas avec l’occupant puisque, clandestinement, celle-ci noue un accord avec la société anglaise The Performing Right Society, via Lausanne et Lisbonne, et répartit en secret les droits des auteurs anglais et américains. Elle tente de surcroît de protéger ses affiliés juifs en refusant de livrer la liste des ses adhérents.

6. La production

Malgré les contraintes liées à la pénurie de papier et celles qu’impose la censure, les éditeurs belges profitent des circonstances pour éditer à tour de bras tout et n’importe quoi, puisant essentiellement dans le vivier des littérateurs locaux. En effet, les Belges s’adonnent au loisir peu onéreux de la lecture. La fermeture des frontières bloque les importations de livres français et néerlandais. D’une part, la culture flamande est revalorisée alors que toute velléité pan-néerlandaise est combattue. D’autre part, la littérature française est contingentée :les Lettres françaises sont systématiquement dénigrées car on les juge délétères. Enfin, la germanisation rampante va bon train grâce à la promotion des Lettres scandinaves et allemandes :il s’agit de remodeler les structures mentales des lecteurs grâce aux traductions. Les tirages sont énormes pour des valeurs sûres comme le Leeuw van Vlaanderen (200 000 exemplaires) d’Hendrik Conscience et De Vlaschaard (100 000 exemplaires) de Stijn Streuvels. La plupart des maisons d’édition développent ou inaugurent des collections de lettres étrangères. A la suite de pressions du Referat Schrifttum, rares sont les grands éditeurs qui ne publient pas de traductions de l’allemand. Aux quelques éditeurs rétifs, le chef du Referat Schrifttum suggère de remplacer les textes allemands par des traductions d’auteurs scandinaves et finno-estoniens. C’est ainsi qu’une maison anti-allemande éditera des romans du prix Nobel norvégien Knut Hamsun pourtant rallié à la collaboration la plus dure. Mais les éditeurs ne peuvent pas publier toutes les traductions :les auteurs slaves du nord (Russes et Polonais), anglo-saxons contemporains et juifs sont considérés comme indésirables et interdits. Le Referat Schrifttum autorise la publication de romans anglo-saxons qui ne sont pas encore tombés dans le domaine public. Ces autorisations exceptionnelles ont trait à des textes qui dénigrent systématiquement le modèle social britannique et américain. Curieusement sont ainsi traduits des romans remettant en cause un ordre social ou moral comme Babbitt (1943) de Sinclair Lewis, The Grapes of Wrath (De Druiven der gramschap, 1943 et Grappes d’amertume, 1944) de John Steinbeck, The Picture of Dorian Gray (Le Portrait de Dorian Gray, 1944) d’Oscar Wilde ou encore The Rains came (La Mousson, 1944) de Louis Bromfield. La réédition de The Scarlet Pimpernel (Le Mouron Rouge, 1943) de la baronne Emmuska Orczy dénonce le fanatisme de la Révolution Française et stigmatise l’hédonisme de la Gentry anglaise. A titre d’exemple, les Editions de La Toison d’Or, financées par les Allemands, publient 26 % de traductions, les Editions Les Ecrits sortent 31,75 % de traductions. A l’Uitgeverij De Lage Landen qui publie en langues néerlandaise, allemande et française, les traductions constituent 44 % du catalogue néerlandais.

7. Les éditeurs

La demande permet à une nouvelle génération d’éditeur de se manifester. Certaines maisons d’édition sont créées avec l’appui de l’un ou l’autre service allemand. D’autres, qui ne s’inscrivent pourtant pas dans une politique de collaboration, sont fondées sous le regard attentif de la Propaganda Abteilung. Des maisons jugées hostiles au national-socialisme sont mises sous séquestre. Enfin, des administrateurs provisoires et des directeurs littéraires inféodés au nouveau pouvoir sont nommés. Comme le reste de la population, les acteurs du champ éditorial adoptent un éventail de positions qui va de la Résistance à la Collaboration avec, pour le plus grand nombre, une accommodation à des degrés divers. Si certains choisissent de résister et freinent la politique allemande du livre dans la mesure de leurs moyens, aucun toutefois n’entre dans la clandestinité. A partir du 15 janvier 1943, tous les manuscrits doivent toutefois passer entre les mains de l’administration allemande ;ce sera souvent la seule compromission des éditeurs. La grande majorité des maisons reste patriote, à l’instar des Editions Casterman, des Editions Dupuis ou des Editions Charles Dessart. Un réseau éditorial d’Ordre nouveau est en revanche composé par Léon Degrelle et des rexistes. Le 25 août 1940, la s.a. La Presse de Rex obtient de pouvoir sortir à nouveau son quotidien de combat, Le Pays Réel (1936). La ligne éditoriale outrancière du journal ne parvient pas à fidéliser son lectorat (moins de 10 000 exemplaires vendus en 1942) et Degrelle renfloue les caisses de la rédaction grâce aux bénéfices du Palais des Parfums, une entreprise juive spoliée, et à des subventions de la SS. En 1943, Degrelle finance un nouveau quotidien, L’Avenir, inspiré de Paris Soir. Le groupe de presse de Degrelle publie également des hebdomadaires :une version collaborationniste du Pourquoi Pas ?intitulée pour l’occasion Voilà ;Tout, copié sur les géants Match, Tempo et Signal ;Indiscrétions, un magazine de mode qui prend rapidement le titre Elle et Lui ;et une revue pour jeunes gens, Mon Copain « volé ». La Presse de Rex possède encore trois maisons d’édition :les Editions Rex (1929), les Editions Ignis (1939), l’Uitgeverij Ignis (1941) et les Editions de L’Archer (1944). La s.a. Editoria, dirigée par le critique d’art Paul Colin, fait également partie du même réseau. Editoria regroupe la Nouvelle Société d’Edition (1934), l’hebdomadaire Cassandre (1934) et Le Nouveau Journal (1940). Des journalistes rexistes participent à la création de maisons littéraires :Claude Chabry fonde, en 1943, les éditions du même nom, les Editions du Rond-Point (1943) puis les Editions de La Mappemonde (1943) ;Victor Meulenijzer s’associe au caricaturiste de Cassandre René Marinus pour monter Les Editions du Dragon (1944) ;Eugène Maréchal relance en 1941 les Editions Maréchal (1938) et participe à la création des Editions du Carrefour (1943). Julien Bernaerts, le fondateur des Editions de la Phalange (1934) et de l’Uitgeverij De Phalanx (1938), se rallie à l’Ordre nouveau. Il est bientôt remarqué par le SS-Hauptsturmführer Hans Schneider qui travaille pour l’Ahnenerbe, le cercle académique de la SS. En 1943, Schneider persuade Bernaerts de créer l’Uitgeverij De Burcht. Dans le même cadre, Franz Briel, Léon Van Huffel et René Baert mettent sur pied les Editions de La Roue Solaire (1943). Proche de la SS, le directeur de l’Uitgeverij Steenlandt (DeVlag), Jan Acke, est abattu par la résistance. Il n’est pas le seul puisque Paul Colin est bientôt exécuté par un étudiant de l’Université libre de Bruxelles, Arnaud Fraiteur. Toujours dans l’orbite de la collaboration, les deux grands trusts de presse allemands Mundus et Amann essayent de pénétrer le marché belge. Tandis que le groupe germano-slovaque Mundus finance la création des Editions de La Toison d’Or (1941), fondées par Edouard Didier, Guido Eeckels et Raymond De Becker, Amann tente de s’emparer de l’Uitgeverij De Lage Landen (1941) de Guido Eeckels, puis Mundus devient un temps actionnaire de l’entreprise qui publie alors des ouvrages pour le compte du Deutsche Institut. Rappelons que, par l’entremise d’administrateurs provisoires, Amann pèse sur l’édition grâce à l’Agence Dechenne et signalons que Mundus a fait tomber le quotidien mosan La Légia (1940) dans son escarcelle. Les Editions de Belgique de Maximilien Mention, qui porte pourtant l’uniforme noir des cadres rexistes, ne semblent pas exprimer les idées nouvelles. Les journalistes rexistes Jules Stéphane et son épouse Marguerite Inghels dirigent la coopérative Les Auteurs Associés (1942) et Het Boek (1943) qui ne sont pas non plus d’obédience nazie. A la marge de ce réseau, mais très impliquées dans le réseau national-catholique, figurent les Editions L’Essor (1939) de Léon Renard. Comme toutes les coopératives ouvrières, les Editions Labor d’Alexandre André sont placées sous séquestre. André est maintenu à la direction commerciale de la maison tandis que le chef de la CCW est propulsé par l’occupant à la direction littéraire.

8. La Libération

A la Libération, l’Etat Belge instaure à nouveau un régime de censure larvée dans le but d’empêcher la diffusion des idées ennemies :des auteurs réputés inciviques sont interdits de publication dans la presse, des livres sont saisis et des maisons d’édition sont placées sous séquestre et leurs livres mis à l’index. Quelques éditeurs de la nouvelle génération quittent Bruxelles pour Paris en prétextant la mauvaise conjoncture économique mais en réalité ils fuient un climat qu’ils jugent répressif. Plusieurs retrouvent une place importante dans les champs éditorial et littéraire parisiens où leur passé est ignoré. Notons que la Justice militaire belge a rarement poursuivi un éditeur pour ses activités, comme si les éditeurs n’étaient pas responsables des idées qu’ils ont mises sur le marché. Le refus de livrer la liste de ses adhérents juifs et les accords clandestins avec The Performing Right Society permettent à la NAVEA de survivre après la Libération sous une nouvelle appellation :la Société des Auteurs Belges-Belgische Auteursmaatschappij (SABAM). L’Etat de droit rétabli, les sociétés françaises reprennent leurs activités en Belgique, restaurant ainsi le système de la perception multiple. L’Association des Artistes professionnels de Belgique constitue un jury d’honneur pour sanctionner ses membres qui auraient fauté. L’Association des Ecrivains belges exclut de ses rangs les auteurs compromis. Les Académies expulsent des immortels et en blâment d’autres, les écartant provisoirement de leur honorable société. Des écrivains, peu ou prou impliqués dans la collaboration, suivent le chemin des éditeurs et posent leurs valises sur les bords de la Seine. Les uns deviennent conseillers littéraires de grandes maisons parisiennes, d’autres, comme Paul Kenny, deviennent millionnaires en publiant des romans d’espionnage. Plusieurs exilés ci-devant anti-bolchevistes se lancent dans la traduction de romans anglais et américains. D’aucuns inventent la solderie de livres neufs à prix réduit s’ils ne revêtent pas l’habit vert. La réouverture des frontières aux livres d’écrivains français, néerlandais et anglo-saxons repousse la plupart des littérateurs belges dans l’ombre dont ils étaient sortis à l’occasion de circonstances exceptionnelles. On pourrait croire que l’âge d’or de l’édition est terminé. Or la crise du papier va entraîner l’émergence d’une nouvelle littérature et la création de nouvelles sociétés d’édition :les imprimeurs sont tenus de prendre deux qualités de papier, l’une bonne et l’autre médiocre. Celle-ci est alors utilisée pour des publications à destination de la jeunesse. Naissent ainsi une quinzaine d’hebdomadaires parmi lesquels figurent Franc-Jeu (1944), Lutin (1944), Perce-Neige (1944), Story (1945), Wrill (1945), Cap’taine Sabord (1946), Jeep (1945), Annette (1945) et Tintin (1946). Les deux derniers deviendront de véritables « blanchisseries » pour les réprouvés de l’Epuration… La bande dessinée belge et ses deux écoles, Marcinelle et Bruxelles, ainsi que les sociétés qui éditent leurs albums vont bientôt dominer le marché francophone.

Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished

The research involved a small sample from one part of the United States, Southern California, and also one profession, publishing. The results may not be generalized to employees in different industries.

This study attempts to analyse the way foreign media organisations have used the Internet to inform, educate and mobilise citizens for participation in their national election. These foreign experiences provide a framework with which to analyse the implications for the SABC as a public broadcaster of the next elections in South Africa. The research was informed by theories of media and democracy. One of the most powerful features of the new technology is its technical ability to facilitate an interactive flow of information. This research examines the concept of cyberdemocracy and the implications for the SABC, especially as it is planning on launching an online election strategy. The democratic roles of journalism and the implications for the SABC are also discussed. As a public service broadcaster, the SABC is bound to educate, inform, and mobilise voters for participation, build community and national identity and scrutinise the poll in the interests of transparency, accountability and fair play. International journalists are advocating a new type of journalism, called public or civic journalism, which combines these roles. This research draws primarily on qualitative research methods, using a case study methodology. It draws upon direct observation and interview methodology in the fieldwork. However, it also uses some quantitative methods in the analysis of the websites and the SABC research.Finally, the research analyses the situation at the SABC and provides recommendations for the election website within this context

ZusammenfassungThe India Occidentalis collection of reports on America from the de Bry workshop is not only known as a major artistic publishing project, but also represents a tremendous achievement with regard to both linguistic and cultural translation. As publishers and contractees of translation processes, the de Brys occupied a position analogous to that of the texts’ authors and their positions of power vis-à-vis the public. More specifically, this is true to the extent that they operated within discourses of linguistic power and propaganda, conquest and colonization in which they had the authority to decide what would be presented to their readership – and in what language. Among other aspects, the discussion revolves around translation as a marker of distance in the accounts of Brazil by Hans Staden and Jean de Léry as well as around the discursive parallels between the indigenous population of the Americas and the Protestant population of the Netherlands vis-à-vis the Spanish conquerors.

AbstractIn the sixteenth century, Wittenberg developed into one of the most important centers of printing in Germany. The works of Martin Luther and Philipp Melanchthon became exceptional bestsellers. Sacrosbosco’s Sphaera appeared between 1531 and 1600 in more than forty editions. Economically successful printers such as Georg Rhau, Hans Lufft, and Johann Krafft, as well as the booksellers and publishers Moritz Goltz, Christoph Schramm, Conrad Ruehel, Bartholomäus Vogel, and Samuel Selfisch—all of whom were involved in the Wittenberg editions of the Sphaera—influenced local affairs as members of the town council and confidants of the prince electors. Analyzing tax lists, contracts, and historic town maps makes it possible to identify the houses they owned and to reconstruct their locations. Mapping the real estate of printers, booksellers, and bookbinders who lived in Wittenberg in the sixteenth century shows this group’s economic success quite plainly and points to professional and private relationships. Some of the houses still exist. They are three-dimensional documents of the taste and home decor of a new elite.

This chapter aims to map Russian literary translation in Italy in the twentieth century and to reflect on how politics influenced publishers’ and translators’ choices. The increase of Russian literary translations into Italian is linked to the strong interest Italians had for Russia from the eighteenth century onwards, leading to a reception process unique among European literatures. After the October Revolution, many Russian exiles chose Italy as their second home and tried to propagate their culture there. The most important of these was the poet Viacheslav Ivanov. Thanks to his encouragement, the first rhymed Italian translation of Aleksandr Pushkin’s Evgenii Onegin appeared. After World War II, Russian literature in Italy was identified with the Soviet Union; texts chosen for translation were intended to underline their political-social character. Left-oriented publishing houses, such as Editori Riuniti and Einaudi, focused their interest on the literature of the “Thaw” period and of the Twenties. For Feltrinelli, a small Milanese publishing house specializing in political texts, Soviet literature was a key element of ‘editorial strategy’. Publicity surrounding the 1957 world première publication of Doctor Zhivago, followed by Pasternak’s 1958 Nobel Prize, brought Feltrinelli huge success. In the following two decades the polarization of cultural political issues subsumed discourse on Russian and Soviet literature into academia. From the mid-1980s onwards, Russian literature gradually lost its centrality to Italian translation publishing, overwhelmed by the collapse of the Soviet Union. Thirty years after the end of Communist ideological influence, the initiative to celebrate Dostoevsky’s bicentenary in 2021 (and the many new translations that have appeared to mark it), show how, without Russian literature, Italy’s literary heritage would be irredeemably impoverished.

Chapter 4, ‘Poets and Travellers’ (1998), explores various aspects of Lord Byron’s literary and political engagements, beginning by focusing on his satirical work ‘English Bards and Scotch Reviewers.’ William St Clair details the poem’s tumultuous publication history, marked by its rejection by London publishers, discussing the complexities of forgeries and controversy surrounding the poem. The chapter then shifts to Byron’s involvement with the Elgin Marbles and his critical stance on Lord Elgin’s actions, seen in his poem ‘The Curse of Minerva’. The discussion extends to Byron’s influential work Childe Harold's Pilgrimage, controversial for attacking Lord Elgin and addressing the removal of the Elgin Marbles. Byron's influence on the Philhellenic movement and his use of romantic poetry conventions, coupled with explanatory notes, contribute to ongoing debates about Greece's historical and cultural significance.

This book collects thirteen short stories by ‘Saki’ (Hector Hugh Munro): ten in their original periodical versions and three that had been forgotten until recently. The first ten were rewritten when they were reprinted as part of the volume The Chronicles of Clovis (1911). Reconstructing the composition/publishing process from Munro’s correspondence with his new publisher (John Lane at The Bodley Head), I argue that the title was imposed on Munro, who acquiesced by writing more stories featuring his Clovis character and by reworking older works so that Clovis appeared in them. The intention in doing so was to give the collection more of a thematic unity, and thereby anticipate the difficulty that publishers felt they had in interesting the reading public in volumes of unconnected stories. Munro also made another concession to his publisher in a significantly rewritten and expanded version of his political fantasy ‘Ministers of Grace’, which unfortunately only obscured the satirical thrust of the original version. Similarly, readers will likely prefer the originals of the other stories before they were distorted to include Clovis. ‘Mrs. Pendercoet’s Lost Identity’ is adduced here, being an example of a contemporaneous story that could be given a differently named protagonist because it was not destined to be part of The Chronicles of Clovis. ‘The Romance of Business’, conversely, is a later example of a Clovis story, unusual because it was written on commission. These two rediscovered stories are accompanied by another, ‘The Optimist’, which showcases Munro’s ability to cater for a wider public by writing in a more naturalistic and serious way.

This chapter explores representations of books and readers in a variety of interwar periodicals. As Elizabeth Dickens suggests, in the interwar period, the book trade and the periodical press ‘often worked together, providing content, ideas, and promotion for each other’ (2011: 165). This chapter positions itself, therefore, at the intersection of publishing history and periodical studies. Focusing particularly on regular book review columns and advertisements for books and bookshelves this chapter illuminates the ways in which different kinds of interwar publishers and authors targeted female readerships. Drawing on a variety of kinds of periodicals, from feminist magazines like Time and Tide, to political periodicals like Everywoman, to domestic magazines like Good Housekeeping, the chapter shows the ways in which books were advertised by publishers, recommended by reviewers, and displayed as objects that can both indicate and form taste.

This chapter reconsiders some tenets of Genette's insightful framework for analyzing paratexts, by examining the transformation of paratexts on one kind of published play—a cheaper, nineteenth-century, English-language “Acting Edition”—after remediation into digital form for new purposes: not for producing theatre, but for studying old drama. Invoking Aiken's Uncle Tom's Cabin and Dion Boucicault plays as examples of general patterns, the author first fill in gaps in the inventory of print paratexts, delineating a species of theatrical paratext different from the literary paratexts spotlighted by Genette, that, together with the publisher's commercial communications, referred away from the single author or drama and rendered the publication into a hybrid literary-practical commodity. Moving to the twenty-first century, the chapter touches briefly on the pre-digital academic publishing formats, print anthologies and facsimile microform, which involved paratextual and market practices variously inherited by digital successors. While acknowledging the diverse array of digitized playbooks, the chapter concentrates on the proprietary database Literature Online produced by the Chadwyck-Healey division of a conglomerate corporation ProQuest, couching the remediated play paratexts within shifts in global capitalism. These for-profit paratexts partly reveal their political economy basis in fusion with the ideologies of the academic market and the materiality of their medium, including a new species of partly visible protocols that the author calls actuating marks. Overall, the chapter uses old melodrama to open new views of the performances of paratexts across textual media and embedded in political economy.

Abstract This chapter describes the publication process, using Milton and Bandia’s term ‘agents of translation’ to describe the important role played by publishers in the dissemination of foreign literature. The chapter shows how authors pitched new translations to publishing houses, and on what criteria publishers decided whether or not to print the proposed manuscript. This is demonstrated through a case-study of the Boston publisher Houghton Mifflin, using the reader reports produced in response to translations proposed to the firm over a fifteen-year period. The chapter also shows translators in negotiation with their publishers over royalties, and over the precise wording of translations. The political interests of publishers are discussed, notably the anticolonial politics of T. Fisher Unwin, and the chapter concludes with a comparison of two major series, Max Műller’s Sacred Books of the East, and the Wisdom of the East series published by John Murray.

There is little disagreement among game scholars about the important, if not crucial role of game publishers in the wider game industry. Yet, there is surprisingly little literature on the role of individual game publishers, let alone their publishing strategies. Drawing on critical political economic theory, document analysis is conducted on financial statements of global game publisher Activision Blizzard. Its 2010 publishing deal with game studio Bungie and the 2015 acquisition of King Digital Entertainment serve as case studies to analyse game publishers’ role in the formatting of cultural commodities and the subsequent rationalization of game production. Despite the increased accessibility of game development and distribution platforms, publishing power is still a significant institutional force to be reckoned with.

This chapter examines the place of feminist publishing in both the French and international publishing industries from 1975 until 2000. It uses the theories of sociologist Pierre Bourdieu in order to analyse the ways in which feminist publishers attempted to gain a foothold in an industry that was marked by broader economic, political and cultural shifts in French society in the decades following the 1970s. It considers both the publishing industry and feminism as ‘fields’, following Bourdieu, the intersection of which allowed French feminists and women writers a means of expressing and disseminating their ideas and experiences. Structural and political changes in the 1980s and 1990s, however, meant that the context was generally less favourable for feminist publishing, although some publishers were able to adapt to the shifting context and markets. Internal division and disagreements within the feminist movement also contributed to a decline in specialist collections devoted to feminism.

The book publishing industry represents one of the most complex fields of activity, combining artistic and editorial creation with the specific technologies of book production and all the processes necessary for its sale. The field's evolution is closely related to the level of technological development of society, becoming very dynamic since the second half of the last century. In the last 50 years, the great qualitative leaps of the industry occurred with the development of digital technology that became the main technical support of the field. This article highlights certain aspects of the evolution of the book publishing industry in Romania in the last 30 years since the first private publishing houses appeared. The study focuses on the domain evolution in close connection with that of digital technology in recent decades. A series of negative influences suffered by publishing houses during this period are also presented, such as restructuring and reorganizations caused by economic crises, the Covid-19 pandemic, etc. The methodology is based on the analysis of recent studies and articles, as well as secondary research based on the analysis of large publishing houses' websites, as well as analyses and annual reports carried out by Romanian institutions. The study has a more qualitative character, determined by the difficulties encountered in conducting a rigorous industry analysis. The article is part of a larger research into the business of the book publishing industry, research that attempts to provide an overview of the field and the issues facing publishers. The study's conclusions are addressed to analysts and researchers, especially leaders and managers in the book publishing industry, who must be aware of the domain importance of national culture. They need to focus on getting political decision-makers to update the legislation according to the specific, current, prospective requirements to support and develop the sector.

The author of this article is publishing a fragment of the newly found Greek inscription from the environs of Temriuk (the region of Krasnodar, in ancient times the Asian side of the Bosporan kingdom), dated the late 2nd – early 3rd c. AD. It is a list of thiaseitai – members of the Bosporan religious association. The names are of the Greek and Iranian origin which is usual at Bosporus in the Roman period. It shows a certain degree of Hellenization of the barbarian population and Barbarization of the Greeks on the Asian side of the Kingdom. The author also gives a new reading of the earlier published four proxenic decrees. He corrects the earlier suggested reading of the so-called “Third Phanagoreian proxenia” and the restoration of the three proxenic decrees from Panticapaeum. His historical and epigraphic commentary concerns the problems of enktesis and the duty-free import of goods at Bosporus. To his mind the grant of land-plots and houses in these decrees is connected with the policy of the Spartocids, the tyrants of Panticapaeum, who gave this privilege by themselves without turning to the polis institutions of the Bosporan cities. But when the tyrants, probably Leucon I, Paerisades I and Eumelus for sure, gave some political privileges to the cities like the “restoring of the constitution of their fathers”, i.e. a certain deal of polis autonomy, then the proxenic decrees were adopted with a term politeia – a right to obtain a civil position at Bosporus, chiefly in Panticapaeum, sometimes in Phanagoria and Gorgippia. It was linked with enktesis and gave a possibility to participate in political and civic life in one of these three poleis. The author also corrects the reading of a building inscription from Kyz-Aul (European Bosporus) dated to 204/5 AD, where the publishers didn’t recognize the name of one of the epimeletai – Aur(elius) (…), an archont, presumably, in Panticapaeum (Caesareia), Nymphaeum or Phanagoreia (Agrippeia). Along with Herakas, son of Pontikos, the supreme interpreter of the Alani, this person restored something “ruined, broken out” or simply when something ”fell down”. Herakas as the interpreter of the Alani, was also mentioned in the Phanagoreian inscription of 208 AD where one of the building projects was also held under his supervision. The author connects this Herakas’ activity with the policy of king Sauromates II who was searching for the support of the Bosporan cities and the Alani.

Family businesses represent an important percentage of the world economy in terms of global turnover and social impact by providing many jobs. The essential characteristics, such as durability over time, flexibility in periods of economic instability, and certain ethics promoted in the business, have attracted the researchers’ attention, especially from the second half of the last century. A global analysis of this economic segment is difficult, primarily due to a lack of a unitary field definition. The present study attempts to present some definitions used in the most developed economic areas of the world, such as the European Union, the United States of America, China, etc., emphasizing the local particularities but especially the common aspects, based on which it will be possible to individualize the field of family businesses, considering the process of increased globalization of the world economy. It will be analysed the effort and interest of the European Union in developing a unitary definition of family businesses, starting from the national definitions, to create unitary legislation as an essential element in achieving cohesion at the European level. The methodology included specialized literature (analyses, articles, studies) on various aspects of the field and the research of some legal, national, and European documents related to the definition of the family business concept as secondary research. The present study is part of a larger research on the field of family business, focusing on technology-based family businesses and especially on family businesses in the book publishing industry. The study is addressed to the researchers of the family business sector and their managers to find effective ways. It means making the political factor aware of the domain's importance and creating a legislative framework adapted to this type of business's specific needs for support, promotion, and development.

In his book The Long Truce (Spence Publishing, 2001) the late A. J. Conyers argues that tolerance, as practiced in western democracies, is not a public virtue; it is a political strat- egy employed to establish power and guarantee profits. Tolerance, of course, seemed to be a reasonable response to the religious wars of the sixteenth and seventeenth centuries, but tolerance based upon indifference to all values except political power and materialism relegated ultimate questions of meaning to private life. Conyers offers another model for tolerance based upon values and resources already resident in pre-Reformation Christianity. In this paper, we consider Conyer’s case against the modern, secular form of tolerance and its current practice. We examine his attempt to reclaim the practice of Christian tolerance based upon humility, hospitality and the “powerful fact” of the incarnation. Furthermore, we bring the late Conyers into dialog with Fethullah Gülen, a Muslim scholar, prolific writer and the source of inspiration for a transnational civil society movement. We explore how both Conyers and Gülen interpret their scriptures in order to fashion a theology and politi- cal ideology conducive to peaceful co-existence. Finally, because Gülen’s identity has been formed within the Sufi tradition, we reflect on the spiritual resources within Sufi spirituality that make dialog and toleration key values for him. Conyers locates various values, practices and convictions in the Christian message that pave the way for authentic toleration. These include humility, trust, reconciliation, the interrelat- edness of all things, the paradox of power--that is, that strength is found in weakness and greatness in service—hope, the inherent goodness of creation, and interfaith dialog. Conyers refers to this latter practice as developing “the listening heart” and “the open soul.” In his writings and oral addresses, Gülen prefers the term hoshgoru (literally, “good view”) to “tolerance.” Conceptually, the former term indicates actions of the heart and the mind that include empathy, inquisitiveness, reflection, consideration of the dialog partner’s context, and respect for their positions. The term “tolerance” does not capture the notion of hoshgoru. Elsewhere, Gülen finds even the concept of hoshgoru insufficient, and employs terms with more depth in interfaith relations, such as respect and an appreciation of the positions of your dialog partner. The resources Gülen references in the context of dialog and empathic acceptance include the Qur’an, the prophetic tradition, especially lives of the companions of the Prophet, the works of great Muslim scholars and Sufi masters, and finally, the history of Islamic civilization. Among his Qur’anic references, Gülen alludes to verses that tell the believers to represent hu- mility, peace and security, trustworthiness, compassion and forgiveness (The Qur’an, 25:63, 25:72, 28:55, 45:14, 17:84), to avoid armed conflicts and prefer peace (4:128), to maintain cordial relationships with the “people of the book,” and to avoid argumentation (29:46). But perhaps the most important references of Gülen with respect to interfaith relations are his readings of those verses that allow Muslims to fight others. Gülen positions these verses in historical context to point out one by one that their applicability is conditioned upon active hostility. In other words, in Gülen’s view, nowhere in the Qur’an does God allow fighting based on differences of faith. An important factor for Gülen’s embracing views of empathic acceptance and respect is his view of the inherent value of the human. Gülen’s message is essentially that every human person exists as a piece of art created by the Compassionate God, reflecting aspects of His compassion. He highlights love as the raison d’etre of the universe. “Love is the very reason of existence, and the most important bond among beings,” Gülen comments. A failure to approach fellow humans with love, therefore, implies a deficiency in our love of God and of those who are beloved to God. The lack of love for fellow human beings implies a lack of respect for this monumental work of art by God. Ultimately, to remain indifferent to the conditions and suffering of fellow human beings implies indifference to God himself. While advocating love of human beings as a pillar of human relations, Gülen maintains a balance. He distinguishes between the love of fellow human beings and our attitude toward some of their qualities or actions. Our love for a human being who inflicts suffering upon others does not mean that we remain silent toward his violent actions. On the contrary, our very love for that human being as a human being, as well as our love of those who suffer, necessitate that we participate actively in the elimination of suffering. In the end we argue that strong resonances are found in the notion of authentic toleration based on humility advocated by Conyers and the notion of hoshgoru in the writings of Gülen.

One of the leading Western Ukrainian diaspora journals – London «Liberation Way», founded in January 1949, has become the subject of the study for the first time in journalism. Archival documents and materials of the Ukrainian Publishing Union in London and the British National Library (British Library) were also observed. The peculiarities of the magazine’s formation and the specifics of the editorial policy, founders and publishers are clarified. A group of OUN members who survived Hitler’s concentration camps and ended up in Great Britain after the end of World War II initiated the foundation of the magazine. Until April 1951, including issue 42, the Board of Foreign Parts of the Organization of Ukrainian Nationalists were the publishers of the magazine. From 1951 to the beginning of 2000 it was a socio-political monthly of the Ukrainian Publishing Union. From the mid-60’s of the twentieth century – a socio-political and scientific-literary monthly. In analyzing the programmatic principles of the magazine, the most acute issues of the Ukrainian national liberation movement, which have long separated the forces of Ukrainian emigration and from which the founders and publishers of the magazine from the beginning had clearly defined positions, namely: ideology of Ukrainian nationalism, the idea of ​​unity of Ukraine and Ukrainians, internal inter-party struggle among Ukrainian emigrants have been singled out. The review and systematization of the thematic palette of the magazine’s publications makes it possible to distinguish the following main semantic accents: the formation of the nationalist movement in exile; historical Ukrainian themes; the situation in sub-Soviet Ukraine; the problem of the unity of Ukrainians in the Western diaspora; mission and tasks of Ukrainian emigration in the context of its responsibilities to the Motherland. It also particularizes the peculiarities of the formation of the author’s assets of the magazine and its place in the history of Ukrainian national journalism.