Gotowa bibliografia na temat „Children's publishing industry”

In Malaysia, the development of information and communication technology (ICT) has created an impact on children’s book in the publishing world. Subsequent to this development, local book publishers were challenged to produce reading material in interactive digital form for children. Recognizing the importance of ICT and the benefit brought to the society, the government has implemented both the National Creative Industry Policy (DIKN) and the Malaysian Education Development Plan (2013-2025). Under this policy, players in the broadcasting and publishing industry in Malaysia were encouraged to develop the country's creative industry in order to raise the Gross Domestic Product (GDP). However, how prepared are players in the bookkeeping industry to produce interactive digital books for children? This is because the number of publications until 2017 is still small. This article will analyze the publishing status of children's digital books produced by the local publishers. Additionally, this article aims to investigate the readiness of publishers to publish interactive digital books for children in Malaysia. The method used in this study is through the analysis of children’s book titles in digital format from the website. In addition, the study also interviewed the management of the publishing house. Results showed Malaysian book publishers sought to bring the organization's direction towards the publication of interactive digital books. However, a few were found to be reluctant to change. In conclusion, Malaysian publishers will do well with the support of all parties in order to strive for the publication of children's interactive digital books via the online platform.

The most striking change in children's culture, including children's literature, over the last few decades has been its commercialization and globalization (O'Sullivan, Comparative Children's Literature 149–52). The children's book industry in the United States, the leading market, is increasingly dominated by a handful of large media conglomerates whose publishing operations are small sections of their entertainment businesses. As a consequence, as Daniel Hade observes, “the mass marketplace selects which books will survive, and thus the children's book becomes less a cultural and intellectual object and more an entertainment looking for mass appeal” (511). The influence of these multimedia giants is immense: manufacturing mass-produced goods for children, they sell their products beyond the borders of individual countries, further changing and globalizing what were once regionally contained children's cultures. As a discipline that engages with phenomena that transcend cultural and linguistic borders and also with specific social, literary, and linguistic contexts, comparative children's literature is a natural site in which to tease out the implications of these recent developments.

The subject of the study is the role and place of cooperative publishing houses in the formation of the domestic consumer market of book products and scientific assessment of organizational, publishing and trade activities of publishing cooperatives in the context of the new economic policy (NEP). The purpose of the scientific article is to study the role and place of cooperative publishing houses in the formation of the domestic consumer market of book products and, through the prism of studying the problems of economic history, to give a scientific assessment of organizational, publishing and trade activities of the NEP. Methods of research. All components of the study are based on fundamental principles – scientific, historicism, objectivity, system, development, priority of concrete verity, pluralism; and also the methods of knowledge of social and economic processes of social development – analysis, synthesis, problem-chronological, comparative analytical, archaeological, retrospective, statistical, a systematic and integrated approach. Research methodology. In the process of the study, the fundamental principles were based on Economic History and History of Economic Thought, the Ukrainian and foreign scientists’ works and experts in this area. Results of work. In the context of this issue, we explored the role and place of cooperative publishing houses in the formation of the domestic consumer market of book products and, through the prism of studying the problems of economic history, gave a scientific assessment of organizational, publishing and trade activities of the NEP. The field of application of results. The results of this research can be applied to study the issues of Economic History and History of Economic Thought, History of the Publishing Industry. Conclusions. Thus, cooperative publishing houses were business-type societies, organizationally and functionally belonged to cooperative societies, and on the other hand - were public associations with editorial, production, economic and socio-cultural functions. Examining the activities of cooperative publishing houses, it can be stated that they occupied an important place in the distribution and printing of various literature: socio-economic, socio-political, agricultural, artistic, children's books, textbooks, natural, military. Consumers of book products of cooperative publishing houses were the most various social and professional groups of the population: workers, peasants, employees, women, youth, military, children. By distributing literature in a country where almost two-thirds of the population was illiterate, publishing houses contributed to the full operation of educational institutions, raising the intellectual and spiritual level of society, creating conditions for the development of science, art, culture and education. There was a completely organic connection between publishers' cooperatives, cultural, educational, and scientific institutions, and a kind of intellectual and spiritual dependence developed due to the high demand for books, as publishers published literature from all fields of knowledge. The activities of cooperative publishing houses of the NEP period, especially the formation of the organizational structure and the implementation of advertising and propaganda work should be taken into account when developing the legal framework of the national program of book publishing in Ukraine.

Children’s and youth literature in new China The author describes the difficult beginnings of publishing in new China, a country devastated in large part by the Japanese occupation and civil war. Publishing houses of all types were then scattered over a huge territory and very few. This was particularly the case for publishing children’s and youth literature. Despite this difficult situation, as early as the end of 1950, the first specialized publishing house for children and youth audiences was established in Shanghai. The author shows the difficult further way of building a large publishing movement and institutions cooperating with it, which specialized in work for children and youth audiences. It indicates the role of the publishing movement in expanding the education of children and young people in China. It signals the collapse of an excellent business in the gloomy period of the cultural revolution, and then shows a gradual rebirth, and then, again, the dynamic development of the industry in the early 1980s in connection with the implementation of the “reform and opening up” policy. An important stage in this dynamic development was the formation of a new media group aimed at children and youth audiences in 2000 – the Chinese youth and children’s information and publishing cooperative. This has led to the creation of similar media groups throughout China. Over 70 years of operation, new China has made tremendous progress in the field of children’s and youth literature and publishing. Interestingly, this process, especially in the initial period, was carried out in cooperation with its counterpart in Poland. Many Polish books for young Chinese readers have appeared on the Chinese market and this phenomenon continues to be beneficial for both sides.

The paper focuses on the dependence between the emergence of single motherhood by choice as a social group and shifts in Anglophone children’s illustrated literature. I argue that this social group with a prominent social capital has impacted children’s picturebooks in English-speaking societies in many ways. First, choice mums need literature that could help them to discuss the structure of their family and principal concepts of single motherhood by choice. Second, children’s literature with such content allows monoparental families to become symbolically visible to other members of society and thereby strengthen their position. Single mothers by choice are determined to contribute with their own art individually or as a member of a larger network. Self-publishing industry and ubiquitous online consumption support both professional and amateur creativity which become available to a wide readership through internet online sellers. International publishing houses respond to the demand for diversity in children’s picture- books. Although, they are obviously profit-oriented and therefore publish picture books that simultaneously promote diversity and cover a wider number of book buyers.

This article explores the findings from the first “diversity count” of Australian children’s picture books, conducted in 2019 in partnership with advocacy group Voices from the Intersection (VFTI). Specifically, this article explores the eighty-three percent of 2018 Australian children’s picture books that did not feature a marginalized protagonist: namely, those that featured human characters who could not be identified as marginalized in any way, animals, and inhuman protagonists. We propose that the Australian publishing industry, rather than suffering from a “diversity deficit,” instead overrepresents a narrow demographic of human experiences and non-human protagonists. We suggest that the oversaturation of the local children’s picture book market with such similar stories disadvantages all children, who are denied a rich and diverse reading experience, as well as the opportunity to see themselves and their peers depicted. This article provides greater insight into the current debates about diversity and inclusion in children’s media.

Purpose The purpose of this study is to investigate the status, challenges and impacts of the Arab international book fairs, with particular focus on the Muscat Book Fair. This study proposes a framework to assist in the design and organisation of future Arab book fairs. Design/methodology/approach The study used a variety of methods to obtain data, including questionnaires, site visits (both regional and international), observations and interviews. A literature review was also undertaken which helped determine major worldwide issues related to aspects of book fairs and the publishing industry, focusing on Arab book fairs. Findings Arab international book fairs remain relatively traditional, however, there are several examples of innovative improvements in some states. Reading habits and literacy trends were found to be influenced by dominant socio-cultural factors, emphasising religion and children’s literature. This seems to have a reverse effect on the publishing industry. Results also revealed a number of disadvantages related to economic downturns and political instability. Despite continuous expansion, Arab book fairs still suffer from various obstacles which affect the publishing industry’s growth. There are other obstacles that they face which are directly associated with distribution and marketing as well as violations of intellectual property laws. Practical implications This study proposes a framework for future improvement of the Muscat Book Fair. It discusses the engagement of local cultural institutions, non-profit community and academic organisations, as well as private sector organisations. These will leverage value and help keep abreast of international developments in book fairs/publishing. It is hoped that the proposed framework will be beneficial to those running book fairs at a regional level, and to countries with developing economies. Originality/value There have been no previous empirical studies investigating book fairs in the Arab states. This study adds to the currently scarce body of literature related to book fairs and the publishing industry.

The contemporary market of books for children and teenagers, despite observable short-term periods of decline, is still one of the most stable and profitable segments of the Polish publishing and book market as publishing industry reports show. Publishing houses obtain guaranteed profits first of all from global bestsellers targeted both at the youngest readers and at teenagers. The present article discusses the phenomenon of branding, i.e. the creation of global brands in the sector of books for young readers. Branding has now become an important instrument of international book marketing, while the so-called brand policy occupies a significant position in the marketing tactics of publishers operating in the segment of books for young readers. The observation of the media in the worldwide and domestic market allows us to see a ten-dency towards the professionalisation of children’s culinary culture. A manifestation of this phenom-enon is inter alia the development of the toy industry associated with the manufacture of culinary accessories, as well as the annexation of the media space reserved for children and the young. Within it, we can notice the multiplication of culinary TV programmes, while more and more Internet culin-ary projects, little chef online games, and applications for mobile devices are becoming available. A culinary “thematic turn” is also taking place in the book market for children and young people. After 1989, impressive qualitative and quantitative changes took place in the cookbook segment for the youngest readers. This evolution covered their new thematic variants and editorial styles, as well as media formats (culinary audiobooks and e-books), which reflected the global fash-ions and ideas characteristic of consumer culture, as well as evidenced the culinary emancipation of the youngest. The report will show diverse variants of present-day cookbooks for young readers linked with children’s entertainment supersystems.

The American Society for Indexing’s 2022 virtual conference focused on the future of indexing and the effect of technological changes on the publishing industry. Eight sessions were held over two days (29-30 April) and a pre-conference workshop for new indexers was offered the day before (28 April). Over 120 participants from around the world joined the conference online. The programme included presentations on practical topics (indexing the metatopic, editing an index, updating an existing index, marketing), indexing in various formats (children’s books, ebooks), and the role of indexing (both historical and in the modern world). Generous break times and a final happy hour enabled participants to chat and network informally, while for those on the other side of the world the availability of recordings of all the sessions enabled them to benefit without having to stay up half the night.

The article focuses on the 19th-century American history schoolbooks as primary sour­ces in historiography and cultural studies. The re­levance of the topic is determined by the fact that historically several regions with different econo­mic, cultu­ral and ideological characteristics existed and deve­loped in the USA. Therefore, broad political powers of the state governments that traditionally made laws in the field of education may give us the reason to assume that the narration of the American history in books produced and used in different parts of the country might have reflected values and beliefs of those particular states.The study was based on the principle of historicism, which let us closely analyze such questions as the authorship, places of schoolbook publishing and areas of their distribution with re­ference to the changing sociocultural realia of the 19th-century America.The following conclusions were drawn. The advent and development of public education as well as the blossom of the printing industry in New England contributed to the fact that in the 1820s there emerged a big group of authors who wrote the most popular American histories. Simultaneously with the growth of the number and influence of publi­shing firms in New York and Philadelphia, the center of the textbook production moved to the Mid-Atlantic Region in the latter half of the century.The United States territorial acquisitions of the 19th century predetermined the mass migration of the American citizens who amongst other possessions carried their children’s textbooks to new places. Due to the fact that the system of public edu­cation was still in its juvenile years and did not enjoy authority among the citizens, school administrations and teachers were not able to make parents buy new schoolbooks from the lists approved by schools, counties, or states, which led to the problem of textbook diversity and to the distribution of the northern books throughout the whole country. Concurrently, high profits in textbook business attracted many people who tried to write and sell as many histories as possible. This resulted in the problem of oversupply of schoolbooks.

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.

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.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
Full Text

Cette thèse cherche à comprendre et expliquer l’interdépendance entre l’évolution des pratiques classificatoires des éditeurs jeunesse et la construction d’un sous-espace éditorial autonome, intégré et doté d’une forte puissance de légitimation. Ce travail vise ainsi à restituer à partir des exemples de deux pays – la France et l’Espagne – les contours de l’édition jeunesse d’un point de vue national et transnational. À travers l’étude des systèmes de classification du marché éditorial jeunesse dans deux sous-champs nationaux et deux aires linguistiques cette recherche s’inscrit au croisement d’une sociologie historique de la culture et d’une sociologie des classifications. Elle se veut à la fois comparative, croisée et transnationale. Elle s’intéresse particulièrement aux logiques et pratiques des agents du sous-champ de l’édition jeunesse – en tenant compte de leur espace des possibles tant au sein de la maison d’édition que dans le marché éditorial – qui visent l’imposition de catégories circulant dans et par-delà les États-nations. Il s’agit d’aller au cœur des systèmes de classification pour mieux comprendre le marché éditorial et culturel, mais aussi la genèse des représentations et des pratiques sociales, les acceptions du local et du global ainsi que l’interaction de stratégies symboliques et économiques orientées vers la construction sociale de la valeur du produit
In this thesis the goal is to understand and explain the mutual reliance between the evolution of the way editors classified children’s books and the creation of an autonomous and integrated editorial subfield which have a major role in the process of legitimating children literature. In this study I will work on two countries – France and Spain – to reestablish the evolution of the children’s book publishing from both a national and transnational perspectives. I will study the systems used to classify children’s books in two national subfiels and two linguistic areas. This research will offer a historical sociology of culture approach and a sociology of classification approach. This analysis will be comparative, entangled and transnational. It will focus on the logics and the strategies of the children’s book publishers to impose categories that would spread inside – and beyond – nation-states, taking into account their space of possibles as much inside the publishing house as on the publishing market. I am going to analyse the classification systems to better understand the cultural and editorial markets. I will also study the origin of the children’s book representations and social practices. I will try to understand the interaction of symbolic and economic strategies that are built on a social construction around the value of a product

碩士
明新科技大學
服務事業管理研究所碩士班
104
As the transition of society proceeds, the issues relevant to the pre-school education of children are receiving more and more spotlights. This study aimed to explore the current industry condition and the operation of Chung–Cheng Publications Ltd. In total, 209 questionnaires were distributed, all of which are valid. The statistical methods used in the study include: Descriptive Statistics, Reliability Analysis, Validity Analysis, T-test, one way ANOVA and Canonical Analysis. The results showed a significant positively correlated among " low cost ", " focus ", " difference ", " quality of service ", " satisfaction " , " loyalty ", " market competition " and " switching costs ".

Abstract Research on the translation of children’s literature in South Africa is currently in its nascent stages. This study aims to provide a comprehensive descriptive overview of current practices in the translation of children’s literature in South Africa, particularly against the backdrop of the educational context. It espouses a broadly causal view of translation, but also encompasses a comparative and process model (see Chesterman, 2000). Translation is used to a significant degree in the production of children’s books in South Africa. However, it is not clear exactly to what degree translation is utilised, nor is there any information available about how translation contributes to the production of children’s books in South Africa. This study addresses these questions. Based on survey research among publishers, and the analysis of publishing data, it finds that there are significant differences between the ways in which translation is used in the production of children’s books in the various languages in South Africa. Specifically, translation is used much more extensively in the African languages than in Afrikaans and English, with a correspondingly lower incidence of original production in the African languages. Furthermore, the educational discourse has a profound effect on the uses of translation in the production of children’s books in South Africa. However, the educational discourse has a greater determining effect on the production of books for children in the African languages than in Afrikaans and English. Theoretical discourse surrounding domestication and foreignisation is particularly problematic in the South African context, and findings from a survey among translators indicate that translators from different language groups have different opinions about whether children’s books should be translated using domesticating or foreignising approaches. The above findings broadly deal with the contextual dimension. They are concerned with how social, ideological and material factors and discourses affect the ways in which translation is used in the production of children’s books in South Africa. At this point the matter of translation theory is introduced. It is questioned to what degree contemporary context-oriented translation theory manages to provide a satisfactory explanation of the South African situation. It is argued that polysystem theory and Toury’s (1995) concept of translation norms provides some explanation of the translational dynamics evident in the production of children’s books in the different languages in South Africa. However, some aspects of the South African situation do not neatly “fit” into polysystem theory, and some parts of the theory therefore have to be mediated or reconsidered, particularly utilising postcolonial and more ideologically sensitive perspectives, to satisfactorily account for the South African situation. This reconsideration leads to a conception of the relationship between translation and its context that is less binary and determinist, with a greater emphasis on hybridity and fluidity. This contextual dimension of the study spills over into the textual dimension. All of the above contextual and process-oriented factors finally find their precipitation in actual translations. By means of close analysis of a sample of 42 (21 translations and their source texts) English and Afrikaans children’s books intended for leisure reading and for educational reading, this part of the study investigates the norms evident in the selection of children’s books for translation, as well as the operational norms evident from the translations. The key questions here are why particular texts are selected for translation, and how cultural markers in these texts are handled in translation. The analysis demonstrates that the selection of books for translation (preliminary translation norms) is dependent on contextual as well as textual factors, with ideology and function playing particularly important roles. These roles differ for different types of books, books of different origins, and books in different language pairs. In terms of the operational norms, translators’ opinions about domestication and foreignisation do not necessarily correspond to translation practices. Rather than an exclusive, binary adherence to domesticating and foreignising approaches, analyses of the operational norms evident in translated children’s books demonstrate a hybridised mix of domesticating and foreignising strategies, which vary according to the type of book, the origin of the book, and the language pair involved in the translation process.

碩士
國立臺東大學
兒童文學研究所
95
Taiwanese children’s literature has become much more popular and diversified in recent years. For this reason, this thesis intends to present the transformations of the Taiwanese children’s literature through historical source analysis and in-depth interviews. Established in 1945, right after the Japanese colonial period, the Eastern Publishing Company is the first children’s book publishing company in Taiwan. It has been dedicated to enhancing the children’s language education and opening the door to literature for children. In the analysis of the two monthly magazines, Eastern Youth（東方少年）and Study Friend（學友）, it is shown that the foundation stone of the Taiwanese children’s literature was laid by such writers as Chen Ciou-fan（陳秋帆）, Hong Yan-ciou（洪炎秋）, Huang Shih-de（黃得時）, Yang Yun-ping（楊雲萍）, Ma Sha-ou（馬沙鷗）, Lin Yu-shan（林玉山）, Lin Sian-mo（林顯模）, Wang Shih-lang（王詩琅）, and Syue Syue-guei（薛學規）. They all played a vital part in the development of the Taiwanese children’s literature, providing abundant “food for thought” for children. In addition, this thesis analyzes the series books published by the Eastern Publishing Company. It is concluded that there are five phases in its development, each of which has different characteristics. For example, in the foundation phase, such best-sellers as Great People of the World（世界偉人傳記叢書）came off the press. In the transition phase, the publisher not merely started to issue localized science books and picture books, but it also introduced and translated foreign award-winning books, enabling young readers to cultivate a global and diverse world view. All in all, this thesis aims to outline the development and historical orientation of the Eastern Publishing Company. However, in the process it is no easy task to collect complete sources, for a number of documents have been lost, destroyed, or disposed of. Therefore, it is expected that the publisher can cooperate with the academic institutions, striving to preserve these valuable sources.

碩士
國立屏東科技大學
幼兒保育系所
96
This study aims to explore the current industry condition and the operation difficulties of Chin-Chin as well as recommend as to the difficulties. The in-depth interview approach was applied and Chin-Chin was the study subject. “Survey of the Current Operation Condition of Chin-Chin Publications Ltd.” and “Outlines of the In-Depth Interview”, both adapted by the researcher of the current study, were utilized as the major research instruments. This study used Porter’s five-force analysis model to explore the current industry condition faced by Chin-Chin through five competition forces, including the threat from new joiners, the threat from substitutes, the competition severity among current producers, the price negotiation ability of suppliers, and the price negotiation ability of purchasers. And, through SWOT, the advantages and disadvantages on the internal operation of Chin-Chin and the opportunities and threats faced in the external environment were analyzed. The results of Porter’s five-force analysis showed that the most severe threats faced by Chin-Chin included capital insufficiency, low profitability of substitutes, slow growth of the publishing industry of the teaching material for young children, less suppliers, purchasers’ emphasis on the price and quality of products and service. Additionally, the SWOT analysis indicated the operation difficulties of Chin-Chin, including high publishing cost, too much inventory, insufficient brand marketing planning, fierce competition in this industry, limited capital, families with less children, unfavorable overall economic environment, imported publications for teaching young children, and prosperous publishing of multimedia teaching material. Finally, the current study submitted research recommendations based on the study results as a reference for Chin-Chin, government units, and researchers. Keywords: publishing of the teaching material for young children, teaching material about nature for young children, industry analysis

Many of us read books every day, either electronically or in print. We remember the books that shaped our ideas about the world as children, go back to favorite books year after year, give or lend books to loved ones and friends to share the stories we've loved especially, and discuss important books with fellow readers in book clubs and online communities. But for all the ways books influence us, teach us, challenge us, and connect us, many of us remain in the dark as to where they come from and how the mysterious world of publishing truly works. How are books created and how do they get to readers? The Book Business: What Everyone Needs to Know® introduces those outside the industry to the world of book publishing. Covering everything from the beginnings of modern book publishing early in the 20th century to the current concerns over the alleged death of print, digital reading, and the rise of Amazon, Mike Shatzkin and Robert Paris Riger provide a succinct and insightful survey of the industry in an easy-to-read question-and-answer format. The authors, veterans of "trade publishing," or the branch of the business that puts books in our hands through libraries or bookstores, answer questions from the basic to the cutting-edge, providing a guide for curious beginners and outsiders. How does book publishing actually work? What challenges is it facing today? How have social media changed the game of book marketing? What does the life cycle of a book look like in 2019? They focus on how practices are changing at a time of great flux in the industry, as digital creation and delivery are altering the commercial realities of the book business. This book will interest not only those with no experience in publishing looking to gain a foothold on the business, but also those working on the inside who crave a bird's eye view of publishing's evolving landscape. This is a moment of dizzyingly rapid change wrought by the emergence of digital publishing, data collection, e-books, audio books, and the rise of self-publishing; these forces make the inherently interesting business of publishing books all the more fascinating.

1820s print culture had a love–hate relationship with album poetry. Although the publishing industry capitalized on the democratization of the elite album, most of the critical discourse was satirical. Women’s ‘albo-mania’ provoked ‘albo-phobia’. Male professional writers’ intense anxieties about cultural feminization and de-professionalization focus on album poetry. Anti-album discourse mediated sociocultural anxieties about the decline of poetry and rise in women and amateur writers’ participation in the literary marketplace. By contrasting anti-album discourse in periodicals such as Blackwood’s Edinburgh Magazine with samples of published album verses by poets including Bernard Barton and Robert Charles Dallas, the chapter examines the genre’s identification with women, children, amateur writers, and newly literate classes deemed ineligible to participate in culture as agents rather than as consumers.

Chapter 4 moves from France to England, where the growth of fervent evangelical Protestantism and a massive publishing industry resulted in an exponential increase in the reproduction and adaptation of Doré’s imagery. At the heart of this chapter are the monumental religious works produced for the Doré Gallery, established in London in 1868. By relying on consistent compositional structure and highly legible narratives, Doré’s biblical paintings cohere to evangelical principles and functioned counterdiscursively to the visual cultures of spectacle that shaped much of Victorian experience. While French audiences derided Doré’s efforts at painting, British viewers eagerly consumed these works, which were offered in the heart of the commercial art district and provided wholesome entertainment that counterbalanced the more suspect spectacles of nearby neighborhoods. This was a context in which commercialism and religious experience overlapped and which became, as one commentator put it, “where the godly take their children.”

Jeannette Brown’s career has included accomplishments in industry, academia, and publishing. Her claim to fame is working in two different pharmaceutical firms, where she was able to contribute her skill to the research teams who produced several marketable drugs. She was also able to mentor minorities to encourage them to enter the field of chemistry, both as part of a corporate effort and as a volunteer. Jeannette Brown was born May 13, 1934, in Fordham Hospital in the Bronx, New York. She was the only child of Ada May Fox and Freddie Brown. She was born in the middle of the Depression, and times were tough. Her father worked a number of jobs in order to feed his family, including shining shoes on the street. Finally, when Jeannette was five, her father got a job as a superintendent in a building in the Washington Heights section of Manhattan. This section of Manhattan was just becoming a home for middle-class blacks moving up from Harlem. Since her father was a super, he had a basement apartment in the building. One of the tenants in the house was Dr. Arthur Logan, who became Jeannette’s doctor when she became very ill. Jeannette was in and out of the hospital many times, and she remembers asking Dr. Logan how she could become a doctor. He told her that she would have to study science. Jeannette was only five or six at the time, but that conversation impressed her and she immediately decided to become a scientist. When Jeannette started school at the age of six, she went to the neighborhood public school, which all children did at the time. The children in the school were mostly black, and some of them taunted her because she was interested in being a good student. Her father decided that the only way that she was going to get a good education was for him to try to get a job as a superintendent in a white neighborhood so that Jeannette could go to the mostly white schools.