Dissertations / Theses on the topic 'Editors Authors'

In this thesis I explore the current literary culture of Japan by examining the commercialization and politicization of junbungaku, “pure” literature. In particular, I focus on the most prominent award for new authors, the Akutagawa Prize, which is widely acknowledged as authoritative. My intention is to shed some useful light on the role of publishing company editors as the masterminds of the publishing industry. Chapter One provides an overview of issues surrounding junbungaku and taishū bungaku (“mass-oriented literature”). At present, junbungaku is defined in opposition to taishū bungaku, but ambiguities and boundary issues remain. This survey will enable us to identify the situations where the notion of junbungaku is defended as authoritative and how its relationship with the Akutagawa Prize increases its legitimacy. Chapter Two examines the origin and history of junbungaku, and discusses how the notion has changed over time. I also address questions such as what junbungaku is and how it can be defined, and uncover how junbungaku came under question as the Akutagawa Prize became more successful and began to overshadow junbungaku itself. The ultimate purpose of the Prize is to sell books and magazines; this affects not only literature but to some extent Japanese society as a whole. Chapter Three therefore deals with the Akutagawa Prize and junbungaku as a business. I examine the “Akutagawa Prize industry” led by the editors and Bungeishunju Ltd., including the nomination, selection, and announcement processes; distribution and sales; winning works; and judging. I analyze the process from the viewpoint of the publishing houses and editors. Finally, in the Conclusion I argue that the Akutagawa Prize endangers the very concept of pure literature by tying it to a commercial enterprise, compromising writers by making them dependent upon the financial goals of a corporation, which trains a reading public conditioned to accept the Prize as authoritative to receive the work in particular ways through the process of commercialization and commodification. As a result, “amateurization” is inevitable. I also examine the implications of this project for future research on Japanese literature and on the intersections of Japanese literary culture and commercial literary awards.

This thesis examines the professional identities of three Victorian novelists, George Eliot (1819-1880), Charlotte Yonge (1823-1901) and Florence Marryat (1837-1899), all of whom worked as editors between 1850 and 1880. I explore the practices that these women adopted as journalists in order to survive, and indeed thrive, within a male-dominated literary marketplace, revealing a number of strategies in common as well as some important differences. I also consider how these author-editors represented the experience of the female artist-professional in their fiction, demonstrating that each woman figured the mid-Victorian ideal of domesticity as useful when seeking to negotiate a public identity within a challenging professional climate. Working in the press during a period which has been described as a ‘golden age of women’s journalism,’ these writers nevertheless faced numerous challenges. The purpose of this thesis is to examine why George Eliot, Charlotte Yonge and Florence Marryat found useful the particular practices they chose when editing and writing fiction within the context of this rapidly changing climate. By examining this very diverse sample of writers, I demonstrate how women responded to the demands of the mid-Victorian periodical press, and their role within it, through the practices of anonymity, male pseudonyms, signature and posing as amateurs. The Introduction examines the nature of the professional/amateur divide at mid-century, and demonstrates how women could usefully subvert domestic ideology to position themselves as amateurs and thus covertly enter the public sphere. I offer an overview of research into the periodical press, as well as the position of the woman journalist. In the second part of my Introduction, I introduce the magazines that Eliot, Yonge and Marryat edited, describing a typical issue and offering important contextual information. Chapter One looks at George Eliot’s editorship of The Westminster Review (1852-1854), arguing that while Eliot adopted the tactic of anonymity and pseudonymity she nevertheless developed the persona of an ‘editress’ through her private correspondence. Chapter One examines the ideal of women’s literary professionalism that Eliot developed through the articles she published in The Westminster Review, based upon the values of hard work, training and excellence, and how this was then reflected in her representation of the female artist-professional in her fiction in texts as diverse as Scenes of Clerical Life (1858) and Daniel Deronda (1876). Chapter Two explores Charlotte Yonge’s editorship of The Monthly Packet (1851-1899) and the lesser-known privately circulated magazine The Barnacle (1863-1867). I examine Yonge’s practice of signature and posing as an amateur, as well as her editorial character of ‘Mother Goose,’ arguing that Yonge shared many of Eliot’s ideals of literary professionalism and that this is reflected in novels such as Dynevor Terrace (1857) and The Clever Woman of the Family (1865). In Chapter Three, I examine Florence Marryat’s editorship of London Society (1872-1876). I explore Marryat’s practice of signature, posing as an amateur when new to her profession and her editorial character of the ‘spiritualist editress,’ arguing that like Yonge, Marryat’s vision of women’s professionalism was similar to that of Eliot and that this was reflected in her representation of the female artist-professional in texts such as Her World Against a Lie (1878) and My Sister the Actress (1881). Despite writing for very different markets, what emerges from the fiction of all three author-editors is an idealised combination of posing as an amateur and skilful performance as an artist. Drawing on original archival research, this thesis recovers their hitherto under-researched editorial work, prompting a reconsideration of the canonical work of George Eliot, stressing the significance of the more familiar work of Charlotte Yonge and introducing Florence Marryat as an important but neglected literary figure.

This study primarily examines the cultural and commercial practices of editors and publishers who commission and acquire content in independent Australian publishing houses. My research spans a 30-year transitional period in book publishing from 1970 to 2000 - a period marked by rapid and unstable shifts in publishing culture, reflecting wider social, political, economic and technological change. In a global market economy, more than ever before, the acquisition of local content is critical in fostering original ideas and works by Australian authors. A series of semi-structured interviews with editors and publishers provides a direct source of personal experience and professional industry-based knowledge. These narratives address and engage with individual and collective values, beliefs, assumptions and attitudes which reflect particular personalities and publishing styles. They also contribute to an understanding of the editors' and publishers' commissioning role, where knowledge and content are taken up and developed and publishing decisions are made. An analysis of editors' and publishers' responses further explores the diversity of commissioning and acquisitions environments in which they live and work. Publishing houses are profiled and works of fiction and non-fiction are identified and discussed in an attempt to unpack how and why they were commissioned and developed for publication, and to what social and cultural effect. The dynamics of organisational structure and publishing culture are explored by analysing general and specific publishing models. Editors and publishers discuss how publishing companies operate and offer insights into, and perceptions of, organisational structure and publishing culture and, importantly, how both impact on commissioning practice. Issues of identity, representation and institutionalisation are identified as they relate to developments and trends within publishing and public culture, as a whole, and the ways in which they intersect. This nexus of culture and power is explored through the cultural production of Australian content, and in particular, in Chapters Five and Six, with the impact of second-wave feminism on Australian publishing culture and cross-currents in the production and publication of Aboriginal and Torres Strait Islander works.

Thesis (Ph. D.)--University of Sydney, 1996.<br>Title from title screen (viewed December 9, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 1996; thesis submitted 1995. Includes bibliographical references. Also available in print form.

This thesis investigates the life and work of Edward Baines, editor of the Leeds Mercury from 1801 to 1848 and Member of Parliament for Leeds from 1834 to 1841. It considers his political, journalistic and literary achievements and it investigates why no authoritative complete study of his life has been carried out since his son's filial biography written in 1851. The thesis examines the confusion which has arisen because Edward Baines Senior and Junior were both journalists editing the Leeds Mercury, both campaigning Dissenters, both Members of Parliament for Leeds and that much of their political and journalistic lives ran concurrently and not consecutively. Consideration is given to Baines's antecedents, his early years and the influences that helped shape his thinking. Baines's philosophy is examined, particularly as it was expressed in both his newspaper editorials and his academic writings. It shows that his fundamental beliefs were rooted in Protestant Christianity and how this was reflected in his views by his opposition to war and slavery, his lifelong support for individual freedom as expressed through Whig-Liberalism and the cause of Nonconformism. The thesis then follows a chronological approach. The years 1801 to 1815 witnessed his campaign on behalf of the merchants and manufacturers of the West Riding and the active political role he adopted from the election of 1807 onwards. The years 1815 to 1829 revealed Baines at the apotheosis of his journalistic career, with the revelations of the Government Spy scandal, his involvement in the campaigns for Parliamentary Reform, the commencement of his literary career and the launch of his strategy to establish a Whig power base in Leeds by taking control of the Parish Church vestry. The years 1830 to 1841 demonstrated Baines as an active politician, becoming the Member for Leeds and using his parliamentary position to campaign for the rights of the Dissenters. His final years 1841 to 1848 showed him still active in politics locally; an examination is also made of his final commitment to evangelical Congregationalism. Primary source material has been used throughout to illustrate Baines, his beliefs and the views his contemporaries held of him. Although few manuscript primary sources are available a considerable amount of printed primary source material is to be found in Baines's books and almost fifty years of his LessisMercury. The newspapers of his opponents, which cover the same period, offer a diverse range of views on the man and these enable a more balanced view of him to be reached than that found in his son's biography.

Le début des années 1990 constitue un tournant dans l'histoire de la bande dessinée, à la fois en termes de renouvellement des contenus et de montée en légitimité du médium. La maison d'édition L'Association, fondée en 1990 par sept auteurs, a été partie prenante de ces deux processus. Cette thèse est la première consacrée à cet éditeur et au rôle qu'il a joué dans la plus grande reconnaissance du médium. Alors que les travaux consacrés à la légitimation d'une forme artistique prennent souvent pour objet des médiateurs, celle-ci s'intéresse à des créateurs.Elle étudie la contribution de L'Association et de ses auteurs à cette montée en légitimité à travers une approche historique globale qui confronte l'analyse des revendications d'indépendance et d'alternative avec leurs traductions dans la pratique (fonctionnement interne, catalogue et livres). Pour cela, cette thèse s'appuie sur le recueil de sources orales auprès des auteurs et salariés de L'Association, sur des analyses à la fois externes et internes des œuvres publiées et porte une attention particulière au discours produit par l'éditeur. Cette thèse s'articule autour d'une première partie consacrée à l'histoire de la maison d'édition et de ses principaux auteurs, en s'efforçant de montrer en quoi ces derniers se distinguent du reste du champ de la bande dessinée, et d'une seconde centrée sur l'analyse de la politique éditoriale de L'Association, à travers l'étude de son catalogue et de ses principales réalisations<br>The beginning of the 1990s was a turning point in the history of comics, both in terms of artistic renewal and in terms of the rise in legitimacy of the medium itself. The publisher L'Association, founded in 1990 by seven authors, contributed to both of these phenomena. This thesis is the first one about this publisher and the role it played in legitimising the medium. Whereas studies of the legimisation of art most often focus on intermediaries, this one is centered on creators. This thesis examines the contribution that L'Association and its authors make, by adopting a global historical approach which contrasts the analysis of independence claims with its practical manifestations (organization, title lists, and books). Therefore, our work is based on interviews from authors and workers from L'Association, on both external and internal analysis of its publications, and focuses closely on the discourse produced by the publisher. This thesis is in two parts. The first deals with the history of the publisher and its major authors, and tries to show how they distinguish themselves from the rest of the comics field. The second focuses on the analysis of the publishing policy of L'Association through a study of its title list and its main achievements

This thesis examines the processes of writerly and editorial literary production undertaken by women sensation authors in the 1860s and 1870s. This focus represents a shift from the prevailing critical emphasis on the consumption of sensation fiction to the realm of production and therein allows the thesis to analyse the ways in which sensation operates as a set of rhetorical and linguistic strategies for women writers in the changing publishing conditions of mid-to-late Victorian society. I consider the ways in which sensation is an idiom that permeates all aspects of magazine publishing in this period and demonstrate how it could be adapted and become an empowering discourse for women writers and editors. Furthermore, this thesis sees sensation as an important component in the transformation of the press in the 1860s and 1870s. By analysing the specific ways in which sensational strategies were appropriated and transformed, this thesis reassesses the role of sensation in the creation of women’s writing in the second half of the nineteenth century, and consider its legacies in later ‘New Woman’ writers. I achieve this by examining three women editors, who were part of the transformation of magazine publishing in the period. Mary Elizabeth Braddon (1835-1915), Ellen (Mrs. Henry) Wood (1814-1887), and Florence Marryat (1837-1899) all operated as writers and editors in the mid-to-late nineteenth century. They produced varying types of sensational fiction that they serialised in their own monthly magazines, Belgravia, Argosy, and London Society respectively. Sensation provided a dynamic and flexible means for these women author-editors to assert their status in the context of the expansion of the press in the 1860s and 1870s. I argue that their work invites a more fluid and generous critical definition of sensation.

O foco desta tese centra-se na investigação do cenário editorial da Serra Gaúcha/RS/Brasil. Ao compreender a literatura como um sistema que se forma a partir de uma ampla e complexa rede de relações, tem-se como objetivo mapear e analisar os mecanismos de produção, publicação e circulação literária na região, sob o ponto de vista de seus escritores e editores. Inicialmente, parte-se de uma ampla pesquisa sobre escritores e obras que compõem a paisagem literária serrana do ano 2000 até 2016, com o propósito de estruturar o panorama de publicações e de produtores de ficção na região. Em seguida, realizam-se entrevistas pessoais com 25 escritores e 4 editores, com o intuito de verificar como eles percebem sua atuação no sistema literário em questão. Finalmente, as entrevistas são tabuladas e analisadas à luz da sociologia da literatura. Fatores sociais, históricos e culturais específicos da região, assim como as condições de produção, difusão, leitura e público literário, compõem os elementos investigativos desta pesquisa e colaboram para que se compreenda a vida literária na Serra Gaúcha, na atualidade.<br>This thesis focuses on the investigation of the editorial scenario of the Serra Gaúcha/RS/Brazil. Understanding literature as a system that is formed from a wide and complex network of relations, the objective is to map and analyze the literary mechanisms of production and publication in the region, from the perspective of its writers and editors. Initially, it is based on an extensive research on writers and works that compose the literary scenery from 2000 to 2016, with the purpose of structuring the panorama of publications and fiction producers in the region. Then personal interviews with 25 writers and 4 editors are carried out, in order to verify how they perceive their work in the literary system under discussion. Finally, the interviews are tabulated and analyzed according to the sociology of literature. Particular social, historical and cultural factors of the region, as well as the conditions of production, diffusion, reading and literary public, compose the investigative elements of this research and collaborate to understand the literary life in Serra Gaúcha, at the present time.

La thèse, construite sur des fonds d’archives inédits et de nombreux entretiens, porte sur les collections éditoriales d’albums pour enfants depuis les années 1960. Elle montre comment s'articulent et s’affrontent création et édition afin de proposer une réflexion sur la création éditoriale. Après un rappel des formes historiques, une cartographie des modèles de collections d’albums depuis les années 1960 est mise au jour. Loin d’être des lieux neutres, les collections font l’objet de contestations au tournant des années 1960-1970. La thèse analyse comment, dans de nouveaux contextes, les positions des différents acteurs des collections, auteurs, illustrateurs, directeurs de collection, éditeurs, se déplacent, et étudie les tensions de leurs interactions. Le dépouillement des archives de la Charte créée par les auteurs et illustrateurs, permet de mettre au jour leurs aspirations et combats. L’analyse du parcours éditorial de F. Ruy-Vidal montre les difficultés à introduire l’innovation éditoriale. La recherche sur les conditions de possibilité de la créativité éditoriale se poursuit au travers de trois modèles de fonctionnements innovants : le studio Delpire (ou : comment l’œil éditorial se forme-t-il et quelles sont les fonctions de l’équipe éditoriale ?) ; les collections du Rouergue dirigées par O. Douzou (quels sont les apports pour la créativité éditoriale d’un directeur de collection également auteur et illustrateur ?) ; et les éditions contemporaines Magnani (ou : peut-on sortir de la séparation collections pour enfants/collections pour adultes ?). En conclusion, une synthèse cherche à construire des outils d’analyse théorique de la créativité éditoriale<br>This thesis deals with French children’s picture book series since the 1960s. It highlights the difficulties to bridge creation and edition while providing an analysis of editorial creativity. After mentionning historical models of children’s series, we describe the evolution of series models (chapter 1 and 2). We show that this evolution was not without challenges. In the 60s and 70s, some authors and illustrators were craving for more legitimacy (chapter 3). At the same period, Ruy Vidal’s editorial career as publisher and editor allows us to discover the difficulties to introduce editorial innovations (chapter 4). It is then necessary to study the editorial conditions for creativity (chapter 5, 6, 7) through the examples of « Studio Delpire » (we wonder about his editorial « eye » and about the creative function of the editorial team), O. Douzou (Rouergue) (the question here is : what does an author-illustrator-editor provide ?), J. Magnani, a contemporary publisher (who tries to go beyond the frontier between children’s and adult’s books). All in all, these elements will help us discover ways to think of and analyze editorial creativity. The thesis is based on unexplored archives and numerous interviews with actors of the children’s picture books field

Notre recherche a examiné un phénomène communicationnel susceptible d’éclairer le processus de la modernisation de la société roumaine au tournant des XIXe et XXe siècles :il s’agit de la transformation de l’édition d’une société manufacturière dans « une proto-industrie culturelle » et de la création d’une sphère publique dans ce monde en constante redéfinition. Le rapport entre la croissance des biens culturels produits par les éditeurs et celle de l’intérêt des individus pour la lecture est le centre de notre recherche. Autrement dit, nous avons évalué la fonction sociale de la littérature roumaine et le rôle des livres sur le marché des produits culturels et informationnels. L’intervalle relativement long, de 1880 à 1914, nous a permis de confronter les données spécifiques à la production de littérature d’une manière diachronique, en analysant les stratégies économiques et politiques des acteurs et aussi les conflits résultant des rapports de pouvoir entre ceux-ci. L’analyse des conditions de ces mutations a déterminé les rôles sociaux des instances, les dialogues, les confrontations entre les acteurs et les publics. Nous avons identifié une crise de la littérature roumaine originelle qui a mobilisé une sorte d’internationalisation de la production littéraire. La concurrence des biens, des marchandises culturelles « importées » de l’Occident sous la forme des traductions ou des reformulations est l’un des « potentiateurs » de la création littéraire autochtone. <p>Les lectures croisées de documents (plans éditoriaux, correspondance, presse, journaux intimes et professionnels, etc.) et de sources secondaires (histoires littéraires, travaux de critique, manuels, etc.) nous ont permis de suivre l’évolution des intentions, des objectifs, des réalités et des conséquences sur ce qu’on considère l’histoire officielle de la littérature. Les différences entre les étapes démontrent, d’une manière assez exacte, les degrés de pouvoir des forces impliquées dans la production du canon littéraire ;elles illustrent aussi l’emprise croissante de l’idéologie sur le champ culturel à partir de la fin du XIXe siècle. L’analyse diachronique des parutions éditoriales à travers les 34 années étudiées reflète les changements des politiques culturelles de l’Etat. L’analyse appliquée à la politique éducationnelle de la discipline littérature roumaine nous a permis d’envisager une modification de la stratégie de l’Etat dans ce domaine et de questionner ses effets sur la création du patrimoine national. <p>Le littéraire, acteur central de notre recherche, nous a donné la possibilité d’instrumentaliser plusieurs notions appartenant à l’histoire du livre et de l’édition. De cette manière, les tensions présentes à l’intérieur de l’analyse historique de la littérature ont été transformées en sujet de réflexion, voire de rétablissement de certaines positions de domination. Le concept d’identité bibliographique est convoqué pour réaliser une lecture diachronique d’une époque. Nous avons identifié et analysé toute une série de problématiques passionnantes, telles les relations entre les instances impliquées dans la production, la circulation et la réception des livres littéraires durant la période 1880-1914.<p><p>The PhD thesis entitled The Romanian Literary Identity. Writers, Publishers and Readers in the Late Nineteenth and Early Twentieth Centuries examines a communication phenomenon, constituting a scientific enterprise that aims to clarify some aspects relating to the modernization of Romanian society during the Belle Époque: we have in mind the transformation of the “publishing house” from a business dealing with handmade items into a “proto-industrial culture” and the creation of a public sphere in a world constantly seeking to define itself. The relationship between the increasing number of cultural goods produced by publishers and the growing interest in reading among the people represents a main focus of this research. In other words, we tried to assess the social function of Romanian literature and the role of books on the market for cultural and informational products. By choosing a fairly long period of time (1880-1914), we were able to confront the data pertaining to literary production in a diachronic manner, analyzing the economic and political strategies of the “actors”, as well as the conflicts arising from the power relations between those actors. The analysis of the circumstances surrounding the transformations undergone by the Romanian cultural area enabled us to determine more clearly the social roles of the participants, the interactions and confrontations between actors and audiences. We could identify a crisis of the original Romanian literature, a crisis that fostered the “internationalization” of the literary production. The competition between cultural goods “imported” from the West in the form of translations or adaptations was one of the factors enhancing local literary production. <p>The cross-reading of documents (editorial plans, correspondence, press, personal and professional diaries etc.) allowed us to evaluate the evolution of the intentions, goals, realities and consequences of the official history of Romanian literature (which has its origins in this period). The differences between these stages revealed the power statuses of the forces involved in producing the literary canon; they also showed the growing influence of ideology on the cultural field since the end of the nineteenth century. The diachronic analysis of the titles published in the 34 years under scrutiny reflects the changes ocurring in the cultural policies of the state. The educational strategies concerning Romanian literature as a field of study revealed the state’s attitude change towards this area, which enabled us to assess the effects on the development of the “national literary heritage”.<p>The literary field, the central actor of our research, opened the possibility to operationalize several concepts pertaining to the history of book publishing. Thus, the tensions existing within the historical analysis of literature were transformed into a subject of reflection, even re-establishing some positions of dominance. The notion of bibliographical identity was employed in order to do a diachronic reading of the era.<p>The research conducted for this dissertation gave us the opportunity to identify and analyze a range of exciting issues, such as the relationship between the participants involved in the production, dissemination and reception of literary works between 1880 and 1914.<p><br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

In this study I have met three authors in a dialogue seminar on their literary work. The discussion, starting from texts by Lacan and Socrates, revolved around the dichotomy of personal and private, and how to benefit from personal material in one’s literary work. The three authors reflected on the writer Karl Ove Knausgård and the photographer Sally Mann, who both are working with their own immediate family as a motif. In Knausgård, you can find a strong and self-dissecting writer persona as a medium of creating recognition in the readers mind. In Sally Mann the metaphorical dimensions of this family motifs transforms them to images of much more general relevance than their private settings. On the subject of truth and story I also reflect on the different approaches that the authors Primo Levi, Viktor Frankl and Imre Kertész have on their experiences of the Holocaust. Finally the importance and relevance of metaphors as a way of getting a touch of one’s own private material is starting to be investigated.<br>I det här arbetet har jag samlat tre författare i olika genrer till ett dialogseminarium om sin arbetsprocess. Samtalet, som utgick från texter av Lacan och Sokrates, kretsade mycket kring författarens arbetsvillkor och de olika metoder som författarna använder sig av för att hitta sin frihet i förhållande till dem. I samtalet blev det uppenbart hur beroende alla författarna är av en förstående medarbetare. Okunskap och felläsning från en dramaturg eller redaktör kan bokstavligt talat bli förödande.    Dialogmötet kom att kretsa kring frågeställningar om hur man skiljer privat och personligt. Vi diskuterade författaren Karl Ove Knausgård och fotografen Sally Mann, som båda jobbar med sin egen familj som motiv. Genom att Knausgård använder sig själv som en roll visar han på en möjlighet att närma sig ett eget material. Hos Sally Mann är det istället de metaforiska dimensionerna i de vardagliga motiven som gör sig tydliga.    Också i Imre Kertész skildring av förintelsen förvandlas den till något större: en metafor för hur ödet och slumpen kan påverka våra liv. Hans berättelse blir på det sättet mindre beroende av vad som är sant, än skildringarna av två andra överlevare från Auschwitz: Primo Levi och Viktor Frankl. Vilket inte betyder att de andras texter saknar metaforisk styrka.    Avslutningsvis går uppsatsen in på författarnas sätt att använda metaforen som ett verktyg för att berätta. Metaforen är alltid en bild av någonting annat, den skapar en fördjupning och oförväntad igenkänning hos läsaren. Den ger också möjligheter för konstnären/författaren att berätta saker som hen inte kan säga på andra sätt.  Metaforen uppstår genom igenkänning i skapandet. Man kan välja att gå med den, eller aktivt gå emot den för att fördjupa textens eller filmens metaforiska dimension.    En viktig aspekt för yrkeskunnande inom konsten och författarskap är att aldrig ligga före i sitt arbete genom att oroa sig för vad omgivningen ska tycka och tänka. Då finns det en risk att man blir en feg konstnär, vilket är förödande för ens skapande.

yes<br>We thank Professors Evans and Wilkins for their interest in our systematic review.(1) We have reached the same conclusion as previous systematic reviews published in 2008(2) and 2014(3) and a review prepared for the New Zealand Ministry for Health in 2009.(4) Even the ‘alternative systematic review’ prepared by Professors Evans and Allen about which we have significant misgivings concludes that ‘larger and rigorous randomised controlled trials of interventions for visual stress are required’.(5)<br>A response to Professors Evans and Wilkins regarding the systematic review: Griffiths PG, Taylor RH, Henderson LM and Barrett BT (2016) The effect of coloured overlays and lenses on reading: a systematic review of the literature. Ophthalmic & Physiological Optics. 36: 519–544.

Dissertação de Mestrado em Ciências Jurídico-Forenses apresentada à Faculdade de Direito<br>Quem é o titular do direito de autor no âmbito do jornalismo: o/a jornalista ou a empresa jornalística? Existem diferenças no regime entre um/a jornalista com contrato trabalho e um/a jornalista freelancer? Quais são os trabalhos jornalísticos que merecem protecção jus-autoral? Em que difere a lei portuguesa para outros ordenamentos jurídicos? Teremos em Portugal um verdadeiro direito conexo do editor? Quais as regras impostas por um contrato de edição? A Directiva 2019/790 veio trazer o fim da Internet, tal como a conhecemos? Quais as novas utilizações que passam a ser permitidas? Dentro dessas, quais as que são úteis para o jornalismo? Quais foram as principais mudanças que a Internet comportou nos meios de comunicação social? Qual é a responsabilidade das plataformas digitais? Quais são os fundamentos nas batalhas entre jornalismo e agregadores de notícias? Que implicações tem o artigo 15.º na actividade jornalística? Estas são algumas das questões gerais que esta dissertação pretendeu dar resposta a fim de estabelecer bases para se responder à pergunta: em que termos se deverá pautar a transposição do artigo 15.º da Directiva 2019/790 para o ordenamento jurídico português? A presente dissertação traça assim um percurso pelo regime de protecção autoral na actividade jornalística no ordenamento jurídico português e em termos de direito comparado, pela relação entre o/a autor e o/a editor/a em Portugal, pela exposição dos fundamentos e explicação do âmbito da Directiva 2019/790 e, por fim, pela análise do artigo 15.º da directiva, referente à protecção de publicações de imprensa no que diz respeito a utilizações em linha. A tão controversa Directiva 2019/790 veio estabelecer no seu artigo 15.º um novo direito conexo “sui generis” que pretende assegurar remuneração dos media por utilizações dos novos serviços em linha que surgiram com a Internet, como os agregadores de notícias ou os serviços de monitorização de meios de comunicação social.<br>Who holds the author right in the context of journalism: the journalist or the media companies? Is there a difference between a contracted journalist and a freelance journalist? Which journalistic works deserve author rights protection? What is the difference between Portuguese law and other legal systems? Do we have in Portugal a true publisher related right? What are the rules imposed by a publishing contract? Did the Directive 2019/790 bring the end of the Internet? What new uses are allowed? Which of these changes are useful for journalism? What were the main changes that the Internet made in the media? What is the responsibility of digital platforms? What is the basis for the battles between journalism and news aggregators? What implications does article 15.º have in journalistic activity?These are some of the general questions that this dissertation intends to explain, as to answer the question: in what terms should the transposition of article 15.º of the Directive 2019/790 into the Portuguese legal system be guided?Thus, the present dissertation traces a path through the regime of author rights protection in the journalistic activity in the portuguese legal order and in terms of comparative law, by explaining the relationship between author and the editor in Portugal, by exposing the fundamentals and giving insight in the scope of Directive 2019/790 and, finally, through the analysis of article 15.º of the Directive, concerning the protection of press publications regarding online uses.The so controversial Directive 2019/790 established in its article 15.º a new related right, “sui generis”, aiming to ensure media remuneration for the use of online services that emerged with the Internet, such as news aggregators or the monitoring services of social media.

<p>This ethnographic project delves into the spheres of life of three autistic adults and their families. This thesis analyzes their experiences, current routines, and personal and family narratives about what it means to be an autistic adult across different identities and geographies. This thesis also identifies forms of knowledge that arise in these life experiences and shape strategies, decisions, or attitudes taken to navigate through life or overcome possible difficulties in their present and futures. This research takes place in Colombia, a diverse country and engages with anthropology of the everyday, sensory anthropology and disability studies.</p>