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Social media use has become an integrated part of the lives of readers and writers which allows them to come together in digital communities where they can find new works of fiction. This new way of engaging with fiction stretches the boundaries of what has been considered a book in the past, by moving beyond the physical, or even digitally, bound object to the consideration of content, containers, and the ability to share. The easy access to such digitally social communities creates a push back against the traditional publishing industry's hierarchy, which requires an author to follow the author - agent - publisher - reader publishing model to reach their market. By using a theoretical framework of Foucault's archaeology with elements of McLuhan's rear-view mirror and global village, I argue that access to these digitally social platforms gives rise to a new type of citizen author who chooses to sidestep the industry's gatekeepers and share their works directly with interested readers on these social platforms. Gender and genre, especially, play a key role in developing the communities in which these authors write. The use of surveys, interviews, and data mining brings to the fore issues of gender, genre, community, and power which highlight the push and pull between these writers and the industry. The communities that develop around works of fiction in digitally social spaces challenge the hierarchy of the industry. They do this by going directly to their readers, where they can engage with them, take on feedback, and grow a loyal audience. As these communities evolve, they take on aspects of the publishing industry, such as editing and gatekeeping. Meanwhile, the industry itself seeks to harness the rising power of the citizen authors, in some cases, by working with platforms to identify the most popular works and offering them publishing deals to monetise their works and bring them back into the traditional industry.

Open access publishing (OA) not only removes price and permission restrictions to academic research, but also represents an opportunity to reassess what publishing means to the humanities. OA is increasingly on the agenda for humanities researchers in the UK, having been mandated in various forms by universities and governmental funders strongly influenced by advocates in the STEM disciplines. Yet publishing practices in the humanities are unique to the field and any move to a new system of scholarly communication has the potential to conflict with the ways in which humanities research is published, many of which are shaped by the expectations of the neoliberal university that uniquely impact on the practices of humanities researchers. Furthermore, OA does not reflect a unified ideology, business model or political outlook, and different methods of publication based on open practices will inherently represent a variety of values, struggles or conceptual enclosures. This thesis assesses the contrasting values and practices of different approaches to OA in the humanities through a series of case-studies on governmental and scholar-led forms of OA, explored through a critical methodology comprising both constructivism and deconstruction. The thesis argues that the UK governmental policy framework, comprised of policies introduced by the Research Councils (RCUK) and Higher Education Funding Councils (HEFCE), promotes a form of OA that intends to minimise disruption to the publishing industry. The scholar-led ecosystem of presses, in contrast, reflects a diversity of values and struggles that represent a counter-hegemonic alternative to the dominant cultures of OA and publishing more generally. The values of each approach are analysed on a spectrum between the logic of choice versus the logic of care (following the work of Annemarie Mol) to illustrate how the governmental policies promote a culture of OA predominantly focused on tangible outcomes, whereas the scholar-led presses prioritise an ethic of care for the cultures of how humanities research is produced and published. In prioritising a commitment to care, scholar-led presses display a praxis that resembles the kinds of activities and relationships centred on common resource management (‘commoning’). The thesis concludes with a series of recommendations for how such care-full values could be best realised in an emancipatory commonsbased ecosystem of OA publishing for the humanities, which would be cultivated through a range of institutions and political interventions.

With deep historical roots in culture and even myth, ‘creativity’ travels from its first formal English dictionary entry at the end of 19th Century (Kaufman & Glaveneau 2019) to becoming central in the re-branding of cultural industries as creative (Hesmondhalgh & Baker 2011) in the proceeding century. However, despite being studied with academic rigour since the 1950s (Sawyer 2012), there is no agreed theory of creativity (Sternberg & Lubart 1999, Hennessey & Amabile 2010). Given this epic rise in its cultural and industrial importance, there have been many attempts in recent decades at explaining the nature of creativity, including whether it can be aided or even managed from an economic perspective. This thesis aims to join this this specific and on-going challenge by looking at creativity in the industrial context of magazine publishing: an established cultural industry and one on the cusp of what could be called ‘digital change’ in the last decade. In an attempt at adding to the definitional and methodological understanding of creativity in media, this thesis adopts a componential or holistic ‘4 Ps’ conceptualisation (first discussed by Mel Rhodes, 1961), by considering creativity in People, Process, Place and Products. A key element of this work, the ‘4Ps’ model developed is used to interpret a theorised relationship between four variables by way of proximal ‘measures’ – ones instrumentalised by reviewing cultural theory (such as genius and ‘Big C’ creativity of Weisburg 1993 and Csikszentmihaly 1988) and the social psychology confluence theories of ‘Small C’, everyday creativity (Sternberg & Lubart 1991, Amabile 1983, 1996). Through qualitative research methods, individual and group interviews, as well as organisational autoethnographic accounts from magazine publishers, editors, entrepreneurs and employees (including two ‘historical’ magazines cases), nine case study findings have been used to form structured qualitative datasets, aiding interpretation of interrelatedness of the ‘4 Ps of creativity’. A primary contribution of the thesis is therefore located within the ontological contention of empirical ‘measurement’ – and its approach to creativity judgement in the fields of cultural studies, the emerging field of media management (Malmelin & Virta, 2016, Virta & Malmelin 2017) and creative industries study (Kung 2008a, 2008b). In addition to the research’s approach, the creativity and media management insights aim to shine a light on an industry facing an existential threat from the digital shift. Where magazines today are shown to perhaps need less ‘heroic’ personality-defined People creativity (unlike the 1990s), creativity in the digital era is important in other ways. In nuancing different types of ‘Big C’ and ‘Small C’ creativity in contemporary magazine work, the study makes a case for adapting creativity management models such as Amabile’s (1996 and Amabile & Pratt 2016) and Tan (1998) by focusing on Process aspects of skills and knowledge development, aided through differentiated environmental Place culture factors suited to magazine genres, clients and audiences in changing fields with new domains of knowledge.

This thesis presents a critical history of the gallerist as publisher from 1900 to the present. Through a series of case studies of gallerists and their publications, I chart the forms and functions that gallery publishing has taken over the last century and explore the key relationships and issues within this strand of publishing practice. Despite diversity in the content, publishing context, and means of producing these publications, I argue that the history of publishing by gallerists is characterised by the overarching themes of promotion, innovation, collaboration, and democratisation. I explore these themes across a chronological structure, focusing on selected examples of significant and sustained publishing activity led by gallerists from 1900 to the present day in Europe and North America. Beginning in 1900 with the livres d'artiste of Ambroise Vollard and Daniel-Henry Kahnweiler in Paris, I explore the reasons why gallerists were motivated to publish and how publishing became an essential facet of a gallerist's professional practice. I follow with case studies of publications by gallerists Jeanne Bucher, Aimé Maeght, Seth Siegelaub and David Zwirner. The five chapters of the thesis are structured in order to allow for both a thorough analysis of an individual publication or publishing series as well as an examination of the contemporary publishing context within which they were produced. In my selection of case studies, I analyse examples that demonstrate the various forms and functions of publishing produced by gallerists: the livre d'artiste; the artists' novel; the gallery magazine; the catalogue as exhibition; and books of art writing. Accompanying these individual case studies is a broader analysis of the ways in which gallerists both influenced and took inspiration from the wider context of art publishing. Despite the wealth of research on the history of artists' books and magazines in the twentieth century, this thesis forms the first scholarly account of the impact of gallerist publishing on the development of modern and contemporary art publishing. I draw on existing research in the wider field of art publishing and combine it with interviews, archival material and personal accounts of the gallerists in order to re-evaluate the significance of gallerists and their publications in the history of art publishing. While I have consulted a number of archives and exhibitions over the course of this project, at the core of my research are the collections held by the Scottish National Gallery of Modern Art Library and Archive and the thesis is intended, in large part, to reflect the nature of those collections.

This thesis is a study of contradictions. In publishing terms, the 1930s was a decade of both consolidation and conservatism and of revolution and progress. It was a period of commercial growth, but also ideological evangelism, thereby making one of the central questions of the period: how do you reconcile commerciality with political idealism? In the publishing industry there was no one who embodied these contradictions in the same way as Victor Gollancz. Building on the work of Febvre and Martin, and Eisenstein, this study seeks to show what happens when political belief is united with commercial publishing in an effort to bring about serious and quantifiable social change. In using the theories of both Bourdieu and Genette, it becomes clear how Gollancz managed to unify both the acquisition of economic and symbolic capital with formidable marketing acumen to create a type of commercially–driven, but politically astute publishing never seen before in the industry. By extensive use of the archives of publishers Victor Gollancz and Lawrence & Wishart, the British security services, and the Communist Party of Great Britain (CPGB), in many cases for the first time, this study makes clear that, despite becoming too closely aligned to the CPGB, the Left Book Club and Gollancz’s own publishing firm made radical changes that not only revolutionised publishing in the Thirties, but also directly influenced the policies of the incoming Labour government of 1945. This is significant because it runs contrary to what is for many the perceived view of the success (or lack thereof) of the Left Book Club in particular, positions Gollancz within the wider context of social change, and claims his place as a great innovator in publishing, whose modern age we are still living in.

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

This PhD thesis examines woodblock book publishing during the radical years of Mao’s life time, when thread-bound books were criticised as representing the symbol of the old literati culture by the CCP government. This very political authority paradoxically subsidised and encouraged the publication of thirteen fine woodblock books, including the unique woodblock edition of The Communist Manifesto. Using vast amount of both unpublished and published archival materials and personal interviews, this project analyses the production, dissemination and the circulating culture of woodblock publications during the Mao Era 1949–1976. It argues that archaism, as an essential feature of elite book culture, continued into the PRC through woodblock publishing practices and began to function as a type of distinction for the CCP elite group. Classic theories of both the history of woodblock publishing and archaism see 1949 as the watershed, after which both cultural practices were discouraged by the CCP political authority. This thesis provides a new perspective in studying the continuity of Chinese book culture, amends details in woodblock production in a modern era, and discloses the complex relations between archaism and the CCP ideology as a cultural system. All these will fill the gap in research on the history of woodblock books and technology, contributing new approaches and new materials of Maoist book culture to Chinese studies as a whole.

Scientific research can lead to breakthroughs that revolutionise society by solving long-standing problems. However, investment of public funds into research requires the ability to clearly demonstrate beneficial returns, accountability, and good management. At the same time, with the amount of scholarly literature rapidly expanding, recognising key research that presents the most important contributions to science is becoming increasingly difficult and time-consuming. This creates a need for effective and appropriate research evaluation methods. However, the question of how to evaluate the quality of research outcomes is very difficult to answer and despite decades of research, there is still no standard solution to this problem. Given this growing need for research evaluation, it is increasingly important to understand how research should be evaluated, and whether the existing methods meet this need. However, the current solutions, which are predominantly based on counting the number of interactions in the scholarly communication network, are insufficient for a number of reasons. In particular, they struggle in capturing many aspects of the academic culture and often significantly lag behind current developments. This work focuses on the evaluation of research publications and aims at creating new methods which utilise publication content. It studies the concept of research publication quality, methods assessing the performance of new research publication evaluation methods, analyses and extends the existing methods, and, most importantly, presents a new class of metrics which are based on publication manuscripts. By bridging the fields of research evaluation and text- and data-mining, this work provides tools for analysing the outcomes of research, and for relieving information overload in scholarly publishing.

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

The academy has long relied on publisher-facilitated research dissemination; yet digital dissemination has dramatically transformed the scholarly publishing field. Particularly, open access (OA) has disrupted an increasingly commodified and fetishised publishing praxis, creating an open intellectual commons. However, despite OA's public good, academics remain indifferent to its praxis. The UK academy's policy environment and cultural practices, represent a unique arena to consider these issues within. Limited research concerning the UK academy's rationales for OA engagement exists, particularly qualitative work critically evaluating influences and barriers to achieving cultural change. From a novel ethnographically-framed sociological perspective, combined with empirical investigations, this research addresses this gap in knowledge through comprehending academics' OA responses, publishing influences, actor power-relationships and related HE policy environments. A novel theoretical framework employing Marx, Foucault, Gramsci and the Italian Autonomous-Marxists' conceptualisations of power-relations, struggle and resistance, empower an ideological critique analysis. An examination of how increasingly marketised universities have embraced cognitive capitalism and academic alienation, contrasts with the tensions, events and concepts underlying UK OA's development. Extensive semi-structured interviews with different publishing actors provide cultural-native insights. OA practitioners expose the publication field's configuration, academics and other publishing actors' discourse develop further insights, while academic activists reveal how differing approaches affect dissemination praxis. Analysis indicates actors, including governmental bodies, commercial publishers and funders, dominate a hegemonic ruling-bloc, through controlling economic and symbolic esteem capital. An academy is revealed shifting from idealised OA, towards pragmatic compliance with a normative gold-OA form, although concerns about perceived cost barriers and diminished prestige capital remain. Despite ruling-bloc efforts to address the conjunctural crisis OA represents, a disaggregated counter-hegemonic resistance exists: providing platforms, sustainable publishing, and exposing inequities. While gold-OA praxis proliferates, a struggle for agency within scholarly publishing praxis continues. Hence, ostensibly future dissemination will contain OA elements, but its conformation remains uncertain.

This thesis examines law and policy in the book publishing industry in Ghana, with an evaluation of the success of government-sponsored institutions that have been established for the purpose of publishing development in the country. Issues concerning publishing development in Ghana and other countries in Africa have attracted considerable debate and coverage in the literature. The focus of the debate has been mainly centred on challenges confronting publishing development in the continent and the promotion of sustainable schoolbooks provision. Whilst there is a body of existing literature on the historical development of book publishing and its challenges, the role of law and policy, and the contributions of government-sponsored institutions to publishing development has not been explored. This thesis therefore provides the first analysis of law and policy, and an evaluation of government-sponsored institutions. In an attempt to fill this gap, this research identifies law and policy, examines the rationale for policy formulation, the policy-making process itself, the experiences of various stakeholders in the formulation of these policies and issues relating to the implementation of policy. It also evaluates the success of government-sponsored institutions by examining how their work has influenced book development and publishing in the country. The data for this research comprise legislation, policy documents and recorded interviews. These were analysed using the framework that was developed for book policy analysis. The use of the framework has been particularly useful in the analysis because it is compatible with the critical realist approach. Over two empirical chapters, the use of content analysis provides a thorough insight of the social, economic and political context, within the context of Ghana, for which institutions dedicated to publishing development were established as well as the formulation of book policies. Although government-sponsored institutions have provided considerable support to publishing development, the findings suggest that their operations are hindered due to a lack of funds and logistics. The findings again suggest that both national and international legislation have not been adequately beneficial to publishing development. A third empirical chapter, which focuses on the interview data for policy development offers an in-depth analysis into the policy-making process and the challenges that are associated with the implementation of policy. The findings suggest existing policy is limited in terms of scope of book publishing, and even with this limitation, there is a lack of transparency in the procurement process. A major challenge of the book publishing industry in Ghana is the lack of resources to enforce legislation and implement policies. Public policy analysis is not a new concept, however this research developed a framework for book policy analysis, a framework that combines concepts from general public policy analysis and in the specific area of information science as well as guidelines from UNESCO s guide to formulating book policies in a way that allowed the content of book policies to be analysed. The research also recommends that institutions should be strengthened through review and restructuring, and to review the textbook policy towards the development of a national book policy that will recognise book publishing as a strategic national industry.

Adopting a mixed methods approach consisting of interviews, focus group discussions and surveys, this thesis investigates the state of digital publishing in Ghana within the context of Rogers’ diffusion of innovation theory. With a focus on children’s ebooks, it examines publishers’, authors’ and readers’ levels of adoption of ebooks, and their motivations for, perceptions of, and challenges or barriers to, going digital or otherwise. It also assesses the state of digital infrastructure and human resource capacity in Ghana to support the growing ebook sector, and identifies the knowledge and skills deficit in the industry in order to inform the development of courses that will be incorporated into the BA Publishing Studies programme at Kwame Nkrumah University of Science and Technology (KNUST). This thesis reveals that the level of adoption of ebook publishing among publishers and authors was relatively low given the interest demonstrated by young readers. The latter were very interested in ebooks and read mainly foreign content because it was freely available and accessible online. Publishers’ and authors’ motivations for publishing ebooks include visibility, the opportunity to reach a much wider audience, and the novelty of publishing digitally to keep abreast of current trends so as to transform the local industry. Some barriers to adoption identified were the cost associated with acquiring infrastructure, the security of online content, inadequate information about ebooks, non-use of ebooks, and infrastructural challenges such as inconsistent electricity supply and poor Internet penetration. The thesis also identified an awareness disconnect between publishers and their local readers: publishers perceive ebooks to be for the international market and, as such, do not focus on promoting them in the local market; thus, local readers are not aware of the existence of ebooks. Expanding on Rogers’ adoption categories, two new categories were created, incidental adopters and perceptual late adopters, to accommodate individuals who do not fall within Rogers’ established adopter categories. To increase the spread of digital publishing and the uptake of ebooks in the Ghanaian book market, the thesis recommends the elimination of the barriers to adoption and, most importantly, advocates training and skills development to reduce the knowledge and skills deficit gap among publishers and authors.

BACKGROUND: It has been claimed that the involvement of commercial companies in medical and health research poses risks relating to potential conflicts of interest. In response, many journals have developed conflict of interest policies, and there has been a proliferation of related guidance from publishers, professional associations and commercial companies, mostly centred on processes of voluntary disclosure. Studies and commentaries on these have raised concerns regarding the adequacy of such practices, but there has been limited analysis of the underlying context – how and why policies have been constructed in this way – or exploration of alternative approaches. AIM: This thesis examines how actors within medical journal publishing conceptualise conflicts of interest. It analyses their understandings of conflicts of interest: which types of interest are deemed most significant; which actor groups are seen as conflicted; and how conflicts are managed. Through doing so, it explores the barriers to, and possibilities of, change. METHODS: The study draws on two distinct sets of data. The first is a sample of conflict of interest policies and guidance. The second is 48 semi-structured interviews with actors working in a range of roles related to medical journal publishing. These data were thematically analysed to illustrate how medical journal publishing conceptualises and manages conflicts of interest, to identify perceived strengths and weaknesses of current approaches, and to identify potential opportunities for improvement. RESULTS: There appears to be an established discourse around conflicts of interest, which emphasises particular stakeholders, while others, who also have opportunities to influence journal content, are frequently absent from the debate. Financial interests are readily highlighted, while non-financial ones receive less attention and are thus often unregulated (Chapter 5). High levels of consistency characterise the ways in which actors discussed the management of conflicts of interest: for example, self-disclosure was regularly highlighted, despite the acknowledged weaknesses of this approach (Chapter 6). The existence of further mechanisms that offer the potential to assist in managing conflicts of interest were identified, though findings suggest that, in practice, these currently have limited uptake (Chapter 7). Interviewees’ suggestions of how conflicts of interest might be better managed (e.g. through greater data transparency) are also analysed. Overall, narrow interpretations of conflicts of interest and their management appear to have become institutionalised in ways that serve to limit the uptake of alternative approaches. DISCUSSION: Given the substantive importance that medical research can have on health policies and treatments, robust processes are required to protect the integrity and legitimacy of journals. This research shows that existing, institutionalised understandings of conflicts of interest have critical limitations, which leaves medical publishing open to potentially unethical practices that may be a source of bias in published evidence. This poses a significant threat to the desire to attain ethically robust, peer-reviewed medical/health research that can be used to inform policy and practice. Drawing on the interview data, the thesis explores some possible alternatives that may warrant further consideration.

This thesis is a response to Darnton’s challenge that ‘more work needs to be done on the bookseller as a cultural agent’, and offers as a case study the career of the early nineteenth- century Glasgow bookseller John Smith, Youngest (1784-1849), and the company John Smith and Son (founded 1751). Early nineteenth-century Glasgow was developing into a major centre of commerce, with trade and finance taking full advantage of the new industrial age and burgeoning population. In comparison to Edinburgh, there has been comparatively little research on Glasgow’s role in the contemporary book trade. John Smith, Youngest, was the third of three generations of booksellers of the namesake family firm, merchant baillie, Secretary to the Maitland Club, and member of the contemporary Glasgow cultural and social elite. Smith was a devout Presbyterian, and this religious faith was highly influential on and guided his personal and business lives. I argue that this aspect of his life is the key to understanding John Smith. This is the first thorough study of John Smith. Using publications of Smith’s imprint and his social network, I show the influence Smith had on the book trade of the period through his Presbyterian religious faith, how he maintained his business, and which outside pressures were brought to bear on the family firm; as well as determining what contribution he made to the cultural milieu of the period through his business and philanthropic ventures. This will be the first study on the book trade of Glasgow from a bookseller’s perspective.

In the early sixteenth century, the free imperial city of Augsburg in southern Germany played a vital role in the development of music printing with movable type north of the Alps. These technical advances impacted on the distribution of musical repertoire and placed the city's printers on a more equal footing with their Italian competitors. Taking these innovations as its starting point, this thesis examines the development of music printing in Augsburg during the sixteenth century. In addition to considering the specialist formats of choir books and partbooks, it extends the boundaries traditionally applied to music print culture to include books about music and pamphlets and broadsheets. These complementary strands of the printing industry contributed to a diverse geography of performance, with Augsburg's musical activity taking place not only in churches, schools and the home, but also in inns and on the street. The market for music publications was similarly multifaceted, encompassing professional musicians, wealthy collectors, students, keen amateurs and humble street performers. Levels of production varied. Pamphlets and broadsheets enjoyed a diverse market profile and were produced in large numbers. Theoretical texts and partbooks were issued in small quantities. In addition to reflecting their more restricted audience, this meagre output was a consequence of the city's thriving book trade, which reduced the demand for local production. In the case of partbooks, it was also a result of deliberate product placing. Augsburg's astute printers carved out a niche in a crowded market by issuing small numbers of partbooks at the highest end of the quality spectrum. The inclusive approach to music printing adopted in this study ensures that the significance of its findings extends beyond a localised investigation of print culture. By tracking the ebb and flow of production across formats and over the sixteenth century as a whole, a complex relationship between music printing and the socio-economic, cultural, political and religious upheavals of the period becomes apparent. Music printing, often the preserve of musicologists and specialist bibliographers, emerges as a powerful tool with which to refine our understanding of the early modern book world.

The University of Huddersfield Press, re-launched in 2010, is an open access publisher of peer reviewed journals, monographs and sound recordings. The research to inform this thesis was conducted between 2011 and 2015. The primary research question of this thesis and accompanying business plan is to demonstrate how the University of Huddersfield Press can establish a viable and innovative business model. Subsidiary research questions are to establish how the output of the Press will contribute to and enhance the University’s strategic objectives and to indicate how the Press, as an open access publisher, can contribute to the world of scholarly communication by increasing the literature on New University Presses. As such, a number of chapters have been published as journal articles. The thesis introduces the University of Huddersfield Press before setting out the motivation, background and focus of the study. The rise of New University Presses (NUPs), the open access movement, the role of the repository and the library as publisher are examined and placed in context to the Press. The four cases studies included in this thesis are not multiple case studies, rather they are embedded units of analysis in a single practice based case study, which allows the reader to follow a number of different reading paths. The case studies use observation, in depth investigations and a personal account of the author’s work in developing the Press, which will give new insight into open access publishing by NUPs. The first case study presents data and findings regarding the Press monograph publishing imitative. It draws on external literature and reflections of experience of the Press in order to derive lessons for best practice on future management of the Press. The second case study takes an in depth look at journal publishing within the Press. It looks at how the Huddersfield Open Access Publishing (HOAP) Project was used to launch a number of successful journals using the institutional repository and has helped to build the reputation of the Press in the University and wider community. Lessons learned are examined in order to recommend a more sustainable future for the Press. The third case study involves one of the journals to be published by the Press, Fields: journal of Huddersfield student research. It outlines the rationale for Fields in an institutional context, including the process of setting up an online, open access, multidisciplinary journal for student research. Year one of the project, which saw the journal go from proposal to fully fledged publication, is analysed and lessons learned are discussed. The final case study investigates Huddersfield Contemporary Records (HCR) and presents a case study of music publishing within the University. This case study stands independently and therefore begins with a review of the literature specifically on music industry issues pertinent to HCR. The case study includes a suggested business model and workflow for future releases. The thesis analyses the results and findings from the case studies in order to suggest a viable and innovative business model for the Press. This addresses questions of sustainability, arising from the case studies. The thesis develops Hahn’s programme and publication level business planning in library publishing before providing evidence of the reputational value of the Press to the University of Huddersfield. This is practically demonstrated in the Business Plan, which outlines the future for the Press for the next five years. The accompanying business plan will help to shape future thinking regarding this form of publishing.

This thesis consists of four essays in collaboration and discrimination. The first essay examines the role of collaboration as a determinant of publication productivity in the field of economics, measured by means of citations, journal rank, and journal impact factor. The analysis employs cross-sectional data of 1,512 journal publications published in 2012 in 16 economics journals. The findings show a positive effect of team size on publication productivity, whereas research teams consisting of only one gender perform better in terms of research quality than gender-mixed teams. The analysis also indicates a negative relationship between female-dominated teams and research productivity. The second essay examines the impact of physical attractiveness on productivity. As literature found a strong impact on wages and career progression, it can be either due to discrimination in favour of good-looking people or can reflect an association between attractiveness and productivity. We utilise a context of academic publishing where there is no or limited face-to-face interaction. Using data on 2,800 authors, the results suggest that physical attractiveness has significantly important benefits. The third essay also considers the effect of physical attractiveness, as assessed based on pictures of top scientists, on their probability of winning the Nobel Prize. In contrast, the results show that attractiveness is negatively correlated with the probability of being awarded the Nobel, with the magnitude of this effect being not negligible. The fourth essay analyses the subsequent publication success (i.e., the probability to publish in top journals, the publication productivity) of the contenders in a best paper prize awarded at an academic conference to see whether the winners' papers fare better than those that failed to get the prize, measured by rank and impact factor of the journal, and citations. We employ the data of nominees for the Distinguished CESifo Affiliate prize between 2008 and 2015. The findings indicate that winning has a positive effect on the quality of journals they published as well as the publication productivity, suggesting that scholars who succeed in their early stage of academia tend to success later compared to those who are not outstanding. This thesis contributes to the literature on publication productivity and discrimination in academia by extending the existing literature on these issues. In this context, we explore the determinants of research productivity in economics (e.g., gender, nationality, seniority and others) and how those characteristics impact on productivity. We also investigate the role of beauty, and the presence of appearance-based discrimination, in determining research productivity among mainstream academics. We then re-examine the role of physical attractiveness at the top of the distribution of productivity, among Nobel Prize candidates/winners. Finally, we examine inequality in scientific research outcomes and the role of the so-called Matthew Effect. The findings shed light on the issues of collaboration, discrimination and inequality in academia.

In recent years, the UK higher education sector has seen notable policy changes with regard to how research is funded, disseminated and evaluated. Important amongst these changes is the emphasis that policy makers have placed on disseminating peer-reviewed scholarly journal articles via Open Access (OA) publishing routes e.g. OA journals or OA repositories. Through the Open Science agenda there have also been a number of initiatives to promote the dissemination of other types of output that have not traditionally been made publicly available via the scholarly communication system, such as data, workflows and methodologies. The UK Research Excellence Framework (REF) 2014 introduced social/economic impact of research as an evaluation measure. This has been a significant policy shift away from academic impact being the sole measure of impact and has arguably raised the profile of public engagement activities (although it should be noted that public engagement is not equivalent to social/economic impact, but is an important pathway to realising such impact). This exploratory study sought to investigate the extent to which these recent policy changes are aligned with researchers publication, dissemination and public engagement practices across different disciplines. Furthermore, it sought to identify the perceptions and attitudes of researchers towards the concept of social/economic impact. The study adopted a mixed-methods approach consisting of a questionnaire- based survey and semi-structured interviews with researchers from a broad range of disciplines across the physical, health, engineering, social sciences, and arts and humanities across fifteen UK universities. The work of Becher (1987) and Becher & Trowler (2001) on disciplinary classification was used as an explanatory framework to understand disciplinary differences. The study found evidence of a lack of awareness of the principle of OA by some researchers across all disciplines; and that researchers, in the main, are not sharing their research data, therefore only the few who are doing so are realising the benefits that have been championed in research funders policies. Moreover, the study uncovered that due to the increased emphasis of impact in research evaluation, conflicting goals between researchers and academic leaders exist. The study found that researchers, particularly from Applied and Interdisciplinary (as opposed to Pure) disciplinary groups felt that research outputs such as articles published in practitioner journals were most appropriate in targeting and making research more accessible to practitioners, than prestigious peer-reviewed scholarly journal articles. The thesis argues that there is still more to learn about what impact means to researchers and how it might be measured. The thesis makes an overall contribution to knowledge on a general level by providing greater understanding of how researchers have responded to the impact agenda . On a more specific level, the thesis identifies the effect of the impact agenda on academic autonomy, and situates this in different disciplinary contexts. It identifies that it is not only researchers from Pure disciplines who feel disadvantaged by the impact agenda , but also those from Interdisciplinary and Applied groups who feel an encroachment on their academic autonomy, particularly in selecting channels to disseminate their research and in selecting the relevant audiences they wish to engage with. Implications of the study s findings on researchers, higher education institutions and research funders are highlighted and recommendations to researchers, academic leaders and research funders are given.

This thesis is concerned with the editorial, printing and marketing history of four Byzantine historical narratives, published between 1556 and 1645, and soon collectively identified under the name Corpus Historiæ Byzantinæ (hereinafter, 'Byzantine Corpus'). The four Byzantine historians - Ioannes Zonaras, Niketas Choniates, Nikephoros Gregoras and Laonikos Chalkokondyles - enjoyed considerable popularity in early modern Europe, with a peak of interest in the second half of the sixteenth century. This thesis aims at highlighting how these four texts, despite being so popular in a number of early modern European countries (particularly in the German-speaking area, in Italy and in France), did not do so for the same reasons: in fact, depending on the country in which these books were printed, they were marketed, perceived and read in very different ways. This element is particularly relevant in light of the fact that the Byzantine Corpus represents the earliest predecessor of the Corpus Fontium Historiæ Byzantinæ, the modern resource for the study of Byzantine historical sources. Chapter 1 analyses the early formation of the Byzantine Corpus and, in particular, the figure of Hieronymus Wolf, first editor of the Byzantine Corpus, often considered the 'father' of Byzantine studies; his relation with his patrons, the Fuggers of Augsburg; finally, his relation with his publisher, the Basel printer Johannes Oporinus. It then provides contextualised bibliographical and paratextual descriptions of the editiones principes of the Byzantine Corpus, all printed in Basel. Chapters 2-5 reflect the same comparative approach, used to investigate how the later editions of the Byzantine Corpus were prepared and marketed in different European countries: each chapter provides a bibliographical and paratextual analysis of the subsequent German, Italian, French and Genevan editions respectively. The Conclusions draw together all the information collected in the previous chapters and investigate three pivotal aspects of the Byzantine Corpus: i) the formation of the Byzantine Corpus and the individual popularity of each of the four Byzantine historians based on the frequency and popularity of both individual and collective editions; ii) the distinctive reasons of their popularity, analysed through a comparison of the different approaches with which editors and publishers have presented these texts to their respective audiences in Germany, Italy and France; iii) the reasons for the rise and decline in popularity of the Byzantine Corpus in the early seventeenth century.

This thesis examines the publisher Thomas Nelson’s contribution to the juvenile publishing field in Britain in the period between 1850-1918, and studies Nelson’s development into a specialised publisher of books for children in the same period. The thesis examines the ways in which the children’s book and the juvenile publishing field developed through negotiating the demands of religious and secular education, arguing that it was through the children’s list that Nelson transitioned into a modern educational publisher. The thesis challenges assumptions that the history of children’s books is one from reading for instruction to reading solely for pleasure, thus also expanding our understanding of the types of books which were published in the “Golden Age” of children’s books. Finally, in uncovering the influence of the Nelson firm, the thesis reassesses the role of Scottish companies in British juvenile publishing. The research builds on three types of data: first and foremost information comes from the “Papers of Thomas Nelson & Sons”, a collection of the firm’s business and editorial papers. To allow comparisons with the larger publishing field and with specific publishers, data were also gathered from contemporary trade, professional, government and literary publications. Finally, the material form of selected Nelson children’s books is analysed. In chapter one, the impact that Nelson’s origin as a publisher with evangelical sympathies had on text selection and editorial methods is analysed. The reasons for the adventure tale’s dominant position on the Nelson list is the focus of chapter two, which analyses the editorial treatment of this genre and the diverse opportunities this genre afforded Nelson. Chapter three analyses the development of Nelson series, particularly the implications such diversification schemes had for the demarcations between juvenile and popular fiction. Chapter four examines the educational gift book and its relationship with Nelson’s schoolbooks, and the ways in which the conservatism and innovation of the early twentieth-century print market affected the composition of the children’s book list. The thesis concludes with a comparison of Nelson books from either end of the period studied, and uses the 1921 Newbolt Report on “The Teaching of English” to reflect on Nelson’s position in the publishing field.

This thesis explores the potential futures of the scholarly monograph in an increasingly digital environment. By positioning the medium of the book as a major site of struggle over the future of scholarly knowledge production within the humanities, this thesis argues for the importance of experimenting with alternative ways of thinking and performing the academic monograph. In particular, it argues for the importance of experiments that go beyond simply iteratively reproducing established print practices of knowledge production, dissemination and consumption. This is especially important when the present print-based arrangements tend to sustain the interest of established stakeholders, inhibiting wider access to scholarly research and experimentation with new forms of scholarship and scholarly communication. This thesis will examine some of the forms a politics of the book based on openness, remix and liquidity might take. It will draw on some recent experiments in scholarly book publishing—from liquid and living books to anonymous authorship and radical open access—that try to challenge and rethink the book as a fixed and stable commercial object, as well as the political economy and scholarly practices surrounding it. These experiments do so by cutting the book together and apart differently and by exploring experimentation as a specific discourse and practice of critique.

The core question this research seeks to answer is: how and why do the publishing and marketing of children’s books in the Arabic-speaking World differ fundamentally from publishing and marketing in larger western children’s books markets? In 2003, the Arab Human Development Report concluded that the Arab book is a “threatened species” (Rogan, 2004). A decade later, this assessment still resonates with Arab book publishers. Sophisticated marketing techniques are still conspicuously absent from the Arabic book publishing industry, and in need of further development. Marketing and market research drives publishing in the West, and advocates the love of books to customers (Squires, 2009, pp. 40-69), (Baverstock, 2008, p: 1), (Bogucki, 2012), (Blythe, 2009, pp. 6-8) while publishing in the Arab World is driven by different priorities. To understand marketing Lebanese children’s literature, given that Lebanon is regarded as the Arab World’s publishing capital exporting 90% of its books, the research employs both qualitative and quantitative methods to collect data, provide a socio-cultural appreciation of the publishing industry, and address the factors affecting book development, customers, and markets. Publishing exists within a framework of influential factors shaping the industry, including legacy publishing houses and family-run publishing houses, mistrust between the different stakeholders in the book chain, and the socio-economic situation in Lebanon and across the Arabic-speaking World. An overview of the Lebanese children’s book publishing houses reflects the traditional methods used to publish and market Lebanese children’s books. Particular attention is given to the crucial role played by book fairs as the key sales channels across the region. A series of surveys demonstrates the importance of picture books for advancing literacy and language capacity among elementary school children as well as creating a love of the Arabic language. The uniqueness of Arab markets is demonstrated when marketing methods used in the UK are applied to the Lebanese market, with variable results. The research highlights the need to further develop marketing mechanisms for Lebanese children’s literature and the need for greater comparative publishing research in the Arabic-speaking World. The research adds to the body of knowledge on Arabic Children’s book, drawing a clear picture of the publishing and marketing of children’s books in Lebanon and across the Arabic-speaking World, offering practical ideas for other Lebanese publishers to work on, and introducing a combination of new methods to understand different players in the book chain process.

In this thesis I explore the role and significance of editorial illustration, developed in printed publications and evolving within online publishing structures. Editorial illustration has a long tradition of illustrating stories in news publications, but I argue that in current online news websites its particular role has all but failed. Online publishing has become the driving force within editorial publishing and this raises the question whether, and how, editorial illustration can continue to be a successful constituent in an online publishing environment? I argue that the continuation of editorial illustration lies within digitally native narrative forms, from online interactive documentaries, game-based storytelling, data-visualisation to memes: viral images spread through social media. Within these forms the significance and agency of illustration is not only clearly present but evolving, except here illustration is interwoven with the story. I argue that these forms of illustration, as well as printed illustration, are based on the same conceptual model and articulate editorial illustration’s inherent attributes. I propose a constellation of four attributes (manifestation, translation, reflection, and engagement) that together give rise to the key quality that illustration offers to the reader, deliberation. Illustration should not be understood as a separate artifact, positioned next to a text, but as a multimodal practice, always related to a story, enabled by the specific qualities of its contextualizing medium. As practice-led research, the thesis explores this proposition in practice and theory within printed and online forms of editorial illustration and in relation to online media technologies and material properties. Central is the development of a potential method of online editorial illustration that I call data driven illustration, a formation employing the material and semiotic expressive potential of live data and code. The research draws primarily from the ideas of media materiality (Hayles, Kittler, Manovich), but in doing so is supplemented with other relevant theories found in semiotics (Barthes, Hayles, Kress and van Leeuwen) and audience reception (Hall). This interdisciplinary approach is applied to the field of illustration through a historical study of wood-engraved news illustration in the Illustrated London News; through my own practice as an illustrator, in this case, work undertaken for the NRC newspaper; and explorations of various examples of online illustration. This thesis offers a first step in constructing a framework for editorial illustration, to move beyond the print paradigm and provide a language through which to explore illustration as an emergent practice.

This study investigates a range of metrics available when an article is published to see which metrics associate with its eventual citation count. The purposes are to contribute to developing a citation model and to inform policymakers about which predictor variables associate with citations in different fields of science. Despite the complex nature of reasons for citation, some attributes of a paper’s authors, journal, references, abstract, field, country and institutional affiliations, and funding source are known to associate with its citation impact. This thesis investigates some common factors previously assessed and some new factors: journal author internationality; journal citing author internationality; cited journal author internationality; cited journal citing author internationality; impact of the author(s), publishing journal, affiliated institution, and affiliated country; length of paper; abstract and title; number of references; size of the field; number of authors, institutions and countries; abstract readability; and research funding. A sample of articles and proceedings papers in the 22 Essential Science Indicators subject fields from the Web of Science constitute the research data set. Using negative binomial hurdle models, this study simultaneously assesses the above factors using large scale data. The study found very similar behaviours across subject categories and broad areas in terms of factors associating with more citations. Journal and reference factors are the most effective determinants of future citation counts in most subject domains. Individual and international teamwork give a citation advantage in majority of subject areas but inter-institutional teamwork seems not to contribute to citation impact.

This is a study of the Parisian Latin book industry in the first four decades of the sixteenth century. It challenges the assumption that the Reformation brought about a profound change in the European print world. Luther's engagement with a mass audience is believed to have led to an increase in the number of vernacular publications produced by printers throughout Europe. This was not the case in Paris. Parisian booksellers traded on their established expertise with certain genres, such as theological texts, educational books, and works by classical authors, to maximise their readership both in Paris and farther afield. Working in close proximity inspired the Parisian bookmen to unity and collaboration rather than enmity and direct competition. When printers, booksellers and publishers collaborated they were able to undertake bigger and riskier projects. Such projects might have involved testing new markets or technologies (such as Greek or music printing), or simply producing a book which required a high capital investment. The familial unity extended to the widows of printers, some of whom were able to capitalise on this and build substantial businesses of their own. This high level of collaboration and the continued focus on the established Latin market give the Parisian book world its very specific character. It also helped Paris build an international reputation for high-quality books.

This thesis examines geographical publishing in mid-Victorian Britain. Focusing specifically on literatures of travel and exploration, it considers the role of publishers and the publishing industry more widely in shaping the geographical understandings of a range of mid-Victorian readers. Through a detailed examination of the production, circulation and reception of four publishing projects, this thesis provides insights into the challenges and opportunities associated with different forms of publishing whilst also drawing attention to the broader print culture which was implicated in bringing knowledge of these works (and the geographies within them) to various reading publics. The first chapter offers a critical overview of recent work by historical geographers and historians of science concerning print culture, publishing and scientific knowledge. It also outlines the theoretical framework adopted within this thesis which emphasises the importance of considering production, circulation and reception simultaneously. The second chapter develops this discussion further by providing a rationale for a study of travel and exploration publishing specifically. It also explores the methodological implications of deploying an approach which simultaneously considers how particular works of geography were produced, replicated and consumed in the mid-Victorian period. Chapters 3-6 offer detailed case studies of particular publishing projects. Chapter 3 examines David Livingstone's Missionary Travels and Researches in South Africa (John Murray, 1857). Chapter 4 explores Francis Galton's The Art of Travel or, Shifts and Contrivances Available in Wild Countries (John Murray, 1855). Chapters 5 and 6 focus on multi-authored works. Chapter five considers the series Vacation Tourists and Notes of Travel (Macmillan and Co., 1861-1864). Chapter 6 investigates the periodical Geographical Magazine (Trtibner, 1874-1878). Through these case studies, as the concluding chapter 7 highlights, this thesis offers new insights into the way that print figured in shaping particular geographical imaginations during the nineteenth century.

Chinese consumer journalism is a new type of journalist who has been working in Chinese lifestyle magazines since the 1990s. This study examines the elements and roles of magazine journalists’ professionalisation, and contextualizes them with the main trends of Chinese media development during the transition era. While investigating the daily practice of consumer magazine journalism in China, by exploring the ideology and ethics behind their practices and by discussing the original connection between consumer journalism and other more ‘serious’ forms of journalism in China, the Researcher found that consumer journalists actually share the same journalistic ethics and ideology as their ‘serious’ counterparts. To avoid political retribution and commercial pressure, consumer journalists have reoriented the multiple functions of journalism to present their social role as an ‘information vehicle’, ‘serving the rising class’, with ‘independence from media ownership and commercial forces’ and ‘contributing to culture and traditional society’. The elements involved in this new genre of journalism include financial and operational autonomy from the state, and editorial independence from their international parent magazine companies. Moreover, this genre of journalism shows a trend towards a combination of the internationalist, consumerist and cosmopolitan, unlike other journalism in China.

This thesis addresses the phenomenon of museum publishing to question why books are produced by museums. The answer to this question is sought through an empirical study that examines museum books from both their production and their reception as well as a detailed study of the relationship of the texts to the museum. The case study methodology supplies interview data from museum staff involved in writing, editing, designing and project-managing the production of books at the National Gallery and the Wellcome Collection, both in London. Interviews with staff involved with publishing in other national and provincial institutions broaden the basis of these case studies. Visitor responses are obtained primarily through questionnaires delivered electronically to volunteers who purchased exhibition books at these institutions. The cross-disciplinary research draws on theories from museum and publishing studies. Data are analysed from the theoretical position of an active audience (Abercrombie and Longhurst 1998) whose uses of books encompass functions of memory and representation. Genette’s (1997) concept of paratext forms the basis from which to characterise the reciprocal relationship between catalogues and their associated exhibitions. Books contribute to the communication resources of museums, but rather than being viewed merely as adjuncts to the exhibits on display, they are presented in this study as integral to the visitor’s experience both during the museum visit and later, as distributed objects in personal ownership and in wider society. The authority and cultural values associated with books when combined with those of the museum make them a particularly forceful resource for meaning-making for both the producers and the consumers.

In this dissertation I call into question the way the concept of ‘field' is treated in neo institutional research by readdressing Pierre Bourdieu's elaboration of field. I discuss Bourdieu's framework which includes three concepts: field, capital and habitus. While Bourdieu's work has been widely incorporated into extant research, there have been few attempts to employ his concepts as a ‘theoretical triad' for empirical analysis. I explore how Bourdieu's approach enriches understandings of field through an analysis of book publishing with primary reference to Scotland. I contribute to the current literature on fields by examining book publishing as a social space, structured by the distribution of capital and moderated by habitus, that operates within the confines of internally defined boundaries. The dissertation illustrates how Bourdieu's elaboration of field addresses issues of struggle, power and micro dynamics that are underexplored within the field perspective of neo institutional theory. I argue that Bourdieu's framework of field, capital and habitus is useful because it brings simultaneous attention to processes of stability in social interaction and to conflict and difference.

In short, I would argue that our notion of the artist's book came about not through a singular definitive change in the practical mode with which an artist might choose to express himself, as for instance in the familiar Marxist model of greater distribution and economy of the art object through mass-production, but rather in a fundamental and decisive change in the consciousness of both author and reader as a concrete corollary of many different factors. Thus the difficulty of defining precisely what sort of classification one should impose or how to exclude, include or segregate into category the many different tribes of book that might satisfy a particular brief is essentially brushed aside. The familiar skirmishes between the modernist protagonists of mass-production and the paladins of craft over content are immaterial; it is the reader who, just as much (if not more) than the artist/author, establishes the conditions with which the book will become meaningful. "Tropes" by Paul Claydon In PutAbout: a Critical Anthology of Independent Publishing (Maria Fusco and Ian Hunt eds. ) London: Bookworks, 2004. p124. The Everyday Press began its life as a proposal for a Fine Art Practice-based Doctoral Research at the University of Kingston. This research practically questions how publishing artists' books can be considered an art practice in and of itself, it articulates a series of problematic associated with the position of the artist as publisher and the effective conditions of reception of the said books within the field of Artists Books. The Everyday Press is a publisher of artists' books. This means that the practical, actual, critical and historical commitments of The Everyday Press to artists' books are its project. How this is arguably achieved is documented in part by this thesis and made evident by the publications themselves. The present thesis contains all the publications of The Everyday Press to date as well as four contextual volumes that approach the work of The Everyday Press from different perspectives. Through a process of mise en abyme each volume includes one another in a condensed, reflected form. In this four volumes thesis I will specify my use of mise en abyme as a self-reflexive structure and a working model for the research. Together the thesis forms an expose of The Everyday Press as a work in itself. The contextual volumes are organised as follows: Volume One proposes an outline of the field and defines an area of knowledge and professional experience of the publisher. This is done in order to first expose on the one hand the conventional relationship of the press to the field and on the other its attempt at expanding the category through practical publishing. This first volume sets The Everyday Press in a critical and historical moment informed by precedents. Volume Two endeavours to describe the publications, their context of production and content. It constitutes a catalogue of the publications to date and problematises the intentions of the publisher against the actual publications and their possible reception as artists' books. The writing here should at times be understood as a parody of some authoritative interpretive modes related to artists books, particularly those seeking affiliation and original contributions. Those intentions are as laden with problematic a priori conceptions, unshakable because they are always already present to the interpretive paradigm that bypasses the reader and his ability to make his mind up for himself. Volume Three marks the traces of the passage of a few artists' books through time and space and produces an account of the field through revealing anecdotes and encounters. This account of the field is also where some of the networks of dissemination of the books are exposed as productive sites and encounters rather than as neutral vehicles for distribution. The books are released through distributive networks, bookshops, museums and the Internet. The research documents and interrogates how such networks may have been formed in the past and how the channels of distribution constitute an essential part of the Field of Artists Books. Volume Four is a bibliography of books and catalogues on artists' books. The bibliography takes stock of a wide variety of publications on artists' books to draw attention to the kind of documentary trace of distribution, circulation and reception they represent That overlooked history of the practice of exhibiting, publishing, disseminating and collecting artist's books during the last forty years is primarily focused on bibliographic data where the main criteria is bibliographical information rather than critical writing or texts on artists' books. My research gathered and compiled these documents in order to provide an aspect of the field often ignored. In its final form it aims to be a source book of exhibition catalogues, collection catalogues, monographs, dealership catalogues and other lists published to inform, promote, describe, show, distribute and circulate artists' books. A series of exhibition of that material and the works of The Everyday Press further the work of public dissemination of the present research. Although this is not stated repeatedly in the thesis, the material presence of The Everyday Press publications should be assumed throughout. The reader can take for granted that books were exchanged, gifted and pushed on anyone remotely interested in the subject of artists' books I came in contact with in the course of the research. My long-standing experience as an art book dealer provided the background knowledge and direct connections to doing the work of production, distribution and research necessary for the PhD. That background no doubt played a role in wanting to produce new books with other artists, possibly wanting to make the kind of books I didn't see because they didn't exist. While all the people contacted for the purpose of this enquiry were aware of my being an artist undertaking a work of research related to artists' books also consisting in a publisher, they welcomed my questions and the books I came with as a genuine publishing project. Explaining what I was doing was not always easy and The Everyday Press publications were also a calling card for me to contact artists, publishers, dealers, editors etc. Paradoxically it is the work of research itself (for example interviewing a publisher or an librarian, or looking for reference books in a dealer's basement) that represents a practical insertion of The Everyday Press into the field (where publishers compare notes, the librarian gladly accepts a new free book and dealers sometimes share some knowledge). As we will see in the thesis, the category of artists' books is full of those contradictions and paradoxes: to begin with artists' books are viewed and received as Art but released as books.

This study focuses on the academic publication processes in Saudi Arabia, the barriers that affect researchers' ability to carry out and publish research and the potential advantages and disadvantages offered by the Internet in the area of academic publishing. It addresses the readiness of researchers to adopt innovative approaches to publication including those based on electronic media. There are potential problems faced by researchers wishing to publish; these include length of time required to publish, low publication numbers, referees' demands and conditions, mailing difficulties, lack of communication between researchers and journals, delays in researchers' addressing the reviewers' amendments, the weaknesses of financial support, the cost of using and publishing articles, weaknesses in the distribution of academic journals, their limited international spread because of the use of the Arabic language more than other languages, delays in the printing of research because of the low capability of Universities' printing houses, (resulting from a lack of human and machinery resources), and finally the limited numbers of academic journals written in Arabic. In the view of the author, given that publication of papers and distribution of knowledge through the Internet is faster, more efficient and more effective than the traditional approach; many of the current procedures could be improved through the use of this medium. The data collection and analysis presented in this study addresses the extent to which such benefit could be realised in practice. This research reviews the limitations of research publishing in Saudi Arabia by focusing on the nature of academic journals, in terms of their numbers and purpose, the barriers that academic staff faced when they wished to publish their research work in local or international academic journals, and the attitudes of academics towards electronic publishing and publishing in general. The research comprises interviews, case studies, and questionnaire methods. The most prominent findings from this study are the lack of encouragement for academic staff to conduct and publish research, lack of financial support to the research publishing sector, lack of a research publishing infrastructure and a lack of private sector support for funding research and publishing. An interesting finding is that unlike many other countries, there is no culture of volunteering for work that does not provide direct financial benefit. This could be an important factor affecting the adoption of an online open publishing approach in which reviewers and editors are not paid directly for the work. This research leads to recommendations aimed at giving more focus to academic staff, the application of some regulations and incentives to encourage increased academic research and publishing, increasing the financial support to the research publishing sector, to automate the research publishing process, discarding some unnecessary elements of the process, encouraging and rewarding voluntary work in supporting research publishing, and encouraging the private sector to improve and support academic research in general and research publishing specifically. In conclusion, this study focuses on the academic publication process; the potential advantages and disadvantages offered by the Internet, and the attitudes of scholars towards electronic publishing. This research ultimately aims at proposing and implementing suitable processes and policies to solve these problems and to identifying means of overcoming the research publishing barriers in Saudi Arabia.

In order to determine the extent of book marketing on book sales and the principles of resonance that may be linked to sales beyond that predicted by marketing, a demonstrably random sample of 192 books from the population of Young Adult (YA) books available from 2003-2008 in the national U.S. market were scored with estimations of marketing influence and total sales. Three data analysis methods were used: first, a consideration of simple linear regression and variable correlation, termed the 'linear' method; second and third, the 'difference' and 'quadrant' methods, in which books with sales beyond what was predicted by their marketing scores were compared against books with sales below what was predicted by their marketing scores. In the 'difference' and 'quadrant' methods (the differentiation between the two methods will be discussed in detail later), statistically significant differences between the 'beyond' and 'below' sets of books were established as possible points of resonance or dissonance-i.e., key aspects of audience appeal or distaste. These aspects were then compared to the initial results from the 'linear' method and probable patterns of resonance were established. These patterns had important implications pertaining to issues of race, gender, and the belief-systems particular to teenagers. The nine main patterns established were: patterns of meaning/sophistication, patterns of emotion, patterns of estrangement, self-importance, gender, race, socioeconomic status and divine potential. Three auxiliary studies were conducted first to identify the extent of coverlikeability as it pertained to sales, next to establish that young adults (and not their parents or other adults) accounted for the majority of resonance points observed, and finally to estimate the overall effectiveness of self-promotion among authors. Results indicated that cover likeability may increase sales by up to 14.5%, that young adults can reasonably be assumed to be the primary readers of texts, and that author selfpromotion is not significantly connected to increased sales. As a final exercise, the list of possible principles of resonance was used to evaluate the publishing industry's effectiveness at assigning marketing/promotion. Numbers indicate that publisher book marketing is disconnected with principles connected to sales somewhere between 3% and 55% of the time and a more accurate estimate may not be possible without another study. The results of the initial study and the auxiliary studies were used in order to inform the creation of the novel presented in the creative portion of the thesis, Secrets of the Mam; Wata.

This study assesses the role of the Western publisher in the creation of African literature through an examination of Oxford University Press's Three Crowns Series, a previously overlooked series that existed from 1962 to 1976. Using archival evidence to examine the economics and the institutions of African literary publishing, and the patterns of assimilation and resistance in author-publisher relations, this study addresses some of the broader concerns of postcolonialism through a study involving the methodology of book history. Part I surveys OUP's history in Africa, and questions whether this supports the formulation of the Western publisher in Africa as an agent of a `civilising mission' or an agent of `cultural imperialism'. It charts how OUP established and maintained its dominant cultural and economic position in Africa in the 20th century, and describes the complex system adopted for the cross-subsidisation of economic and cultural capital. It also explores OUP's work in apartheid South Africa, and analyses the tension between scholarly publishing for the liberal academic establishment and publishing schoolbooks for Bantu Education. Part II examines the history and publishing strategy for Three Crowns, and considers the hierarchies of literary production and consumption that were instituted. It addresses the role of the publisher in selecting, editing, producing, promoting and distributing new postcolonial writing. Through reference to author case-studies, it assesses how the aesthetic and commercial value of African literature was negotiated, and explores the systems of inclusion and exclusion in operation. Case-studies of the publication of Wole Soyinka and Athol Fugard address the impact of the publisher in the construction of the authors' literary identities. In the case of OUP's Three Crowns series, this study concludes that the publisher exercised a decisive influence on the constitution of African literature institutionally as well as on the material form of the books, and that the processes of publication profoundly affected the reception and meaning of the texts.

The research undertaken for this project relates to the history of the 'Ladybird' imprint together with the company that produced these popular children's books. The period, from 1914 to present day, during which the books were produced, and throughout which the company operated, was one of great technological change in the print industry as well as one of great social change, and the company was shaped by many outside factors. In turn, its books were widely read and, arguably, themselves influenced generations of children. The research covers the books and the company from the mid-nineteenth century to the present day. Various factors that have influenced the company and its books, such as the British education system, the First and Second World wars, changes in print and communications technology, the British library system and bookselling practices, evolving social and political attitudes, the impact of the media and the company's competitors, have all been taken into account. The ways in which the brand has emerged and evolved is discussed within the context of commercial, social and political factors.

The sociotechnical system of print-on-paper for the dissemination of textual information prevails despite widespread concerns about its sustainability. On the basis of sociotechnical transitions theory the print-on-paper system is perceived as a regime. Information technology is identified as one of the generic technologies that has the potential to address the unsustainability of the incumbent regime. Its potential effects are examined through the development of the electronic book, which is defined as those IT applications providing an alternative form of textual display to printed paper. Yet, such applications have remained marginal. According to sociotechnical transitions theory the electronic book can be seen as a niche in relation to the print-on-paper regime. An alternative conceptualisation of transitions as a process of network reconfiguration is suggested. On that basis, the electronic book is depicted as a number of emergent innovation networks. Social Network Analysis methods informed by network approaches to innovation theory are applied to visualise and discuss these emergent networks. In one of the representations, the electronic book is mapped as a sociotechnical network including organisations, users and technologies. It emerges that network formation often transgresses a distinct niche-regime divide. Patterns of network interaction are explored and assessed as to whether they represent a sociotechnical transition in progress. The analysis reveals different patterns of network formation which are indicative of prospective sociotechnical trajectories where different concepts of the electronic book are emphasised. It emerges that the discussion of sustainability and the emergence of the electronic book remain largely unlinked.

The aim of this thesis is to examine the practice of publishing followed by English little presses in the post-World War II period, with particular emphasis on the design and production of books. There is relatively little published material on these presses from the perspective of publishing and design history, and this thesis seeks to redress some of this imbalance. Using a case-study approach, this thesis focuses on the publishing practice of five London-based presses over a thirty-five-year period (1945-1979): Stuart Montgomery's Fulcrum Press, Stefan and Franciszka Themerson's Gaberbocchus Press, Roy Lewis's Keepsake Press, Asa Benveniste's Trigram Press, and Bob Cobbing's Writers Forum. It draws from a variety of sources, including interviews with many closely associated with the presses, archival material (such as correspondence with authors and suppliers, invoices, and artwork), and an analysis of editions published by these presses. The thesis briefly compares little press practice to mainstream publishing and private press practice of the time. Relationships between little presses and mainstream organizations including the Arts Council of Great Britain and the Poetry Society are also briefly considered. The thesis consists of two parts. The first part provides the general context and background and consists of two chapters. The first chapter critically evaluates published material related to little press publishing from different angles, including publishing history, design and printing history, and literary history, with the intention of establishing key sources. The second chapter provides brief biographical information about the principals, and considers their individual methods of operation, including editorial agendas, approaches to marketing and distribution, and financial support. The second part of this thesis is focused on aspects of book production and design, and begins by providing a brief overview of mainstream book production and design during this period. Subsequent chapters, organised by press, examine different aspects of book production and design, with the intention of establishing the extent to which design was an important factor in little press publishing. The approaches, methods, and equipment employed in book production are discussed, and an overview of each press's approach to book design with particular emphasis on typography, illustration, layout and colour is provided. This is further supplemented by a detailed analysis of a chosen title published by each press. An illustrated catalogue of 357 books published by these presses provides added visual context.

This thesis examines the problems engendered by ongoing Western dominance in the field of francophone African publishing, with specific reference to Guinea and Senegal. This dominance raises complex issues of power, authority and voice that are familiar tropes in postcolonial analyses, but this thesis seeks to re-place such questions in a wider context, looking at the current material circumstances of the publishing industry and “socially contaminated” instances such as international donor funding and national language policy as a perspective. This allows the links between the two rather distinct fields of the cultural and the commercial to be explored.  The guiding theme is a critique of the argument for full indigenisation or africanisation of African publishing, a debate which is based on questions of language, critical authority and identity.  The thesis seeks to cut through the inevitable polemics raised by the dominance of Western publishers in African publishing, to clearly identify the problems thrown up by this imbalance, and to explore the ramifications for ‘African literature’.

This is an exploratory study, which aims to examine the factors affecting the research publication productivity of academic engineers and scientists from the National University of Malaysia (UKM) and University of Malaya (UM). This study aims to identify problems, as well as increase the understanding of factors conducive for a productive academic research environment.

A simple observation about the nature of reading initiated this project. The observation was that in reading we are able to use ink on paper as an equivalence of the real world event it details. Attempts to account for this by examining reading as it progresses did not give rise to clarification of this phenomenon, but solely to reading itself. Encounters with the text always resulting in 'ending-up-just-reading'. This is identifiable as a central characteristic of the material and the reader's attitude towards it. As this difficulty with the nature of the undertaking threatened to stop any theoretical progress, various methodologies, including Ethnomethodology, were applied to the material in order to produce a way forward. However, these theoretical approaches did not solve the phenomenon of reading but merely multiplied its problematic features. Their terms displacing the focus of attention away from reading, to the internal expression of the approach itself. Elsewhere within the project a more reflexive approach was adopted. Examining the roles of reader, theorist and author that were variously adopted. The recognition that the author in detailing experiences as a reader of texts succeeds only in creating another text. There is an examination of levels of access available to the project reader and the constraints this places on any reading that can be made. Otherwise expressed, it is the reading of one text through the confines of another, we are always trapped within the medium. From this recognition that 'viewing from within' is an intrinsic, inescapable feature of reading, a solution to 'ending-up-just reading' offers itself. Aspects of reading are made obvious by getting the reader to activate them, as they read of them. The solution is an ethnographical account of the reading of a newspaper story, an interpretive account. Its success may be gauged by the familiarity of its description and its expression of shared reading experiences and common reading practices.

Eighteenth-century Scottish bibliography is a vast subject still awaiting exploration. There are, however, some landmarks to look for and guides to employ. I am thinking particularly, in the context of my own interests, of the writings of Philip Gaskell, and a work that should open up new sources, Robert H. Carnie’s awaited dictionary of the Scottish Book trade. The national Library of Scotland is in the early stages of compliling a catalogue of its eighteenth-century Scottish books which, no matter what form it takes, will provide scholars with a major tool. The description of books has been and doubtless will continue to be a controvertial subject, but those students who have much to identify can take encouragement, I believe from David Foxon’s ‘Thoughts on the History and future of Bibliographical Description’. In this work I map some particular and general areas of Scottish publishing history by examining the partnership of Gavin Hamilton and John Balfour, and the association they formed with the printer Patrick Neill. I study the partners in their own right as booksellers, publishers and printers, but I am concerned also with the larger bibliographical background. Hamilton and Balfour were strong-willed individuals who bought the force of their personal and private interests to bear on their professional lives; Hamilton, especially, in the period under consideration, saw little difference between his duty as a Scottish gentleman and his activities as a Scottish publisher. He and Balfour were far-sighted and adventurous, and deserve to be thought of as central figures in the story of the Edinburgh book trade.