marzo 31, 2020

«It is only by selling books, that we can continue to be booksellers. We love books as much as you do. They are what sustain us, in every meaning of the word»


Douglas Stewart (@DSFineBooks), president of the Australian and New Zealand Association of Antiquarian Booksellers (ANZAAB) (@ANZAABRareBooks)
International League of Antiquarian Booksellers (ILAB) (@ILABRareBooks)



Doug Stewart (left) and Eric Waschke (right) raising the ILAB flag at an excursion in Oman.


«A message from the ANZAAB President

»To our collectors and friends,

»We face together the perils of the coronavirus, the impact of which is infiltrating all areas of our society.

»The virus will be defeated, but the cure is some time away. While the medical researchers do their work to end the crisis, we must do ours to limit its impact.

»Please follow all advice to increase your attention to personal hygiene, and to limit unnecessary socialising. By doing so, you will reduce the opportunities the virus has to infect you, and your loved ones.

»Public health is the priority, and ANZAAB has taken the unprecedented step of cancelling the Melbourne Rare Book Fair and Sydney Rare Book Fair for 2020. The associated Rare Book Weeks have also been cancelled.

»The economic impacts of the coronavirus are profound, and will affect most of us, with small businesses like ours particularly vulnerable. While some government assistance has been announced to cushion the fall, this assistance cannot protect us if we have no business at all.

»It is only by selling books, that we can continue to be booksellers.

»It is only by collecting books, that you can consider yourself a book collector.

»We love books as much as you do. They are what sustain us, in every meaning of the word.

»Books share our stories. They preserve our history. They reinforce our humanity. If you are reading this message you have already discovered this, from your visit to a book fair or interest in book collecting. We ask that you keep your passion for books alive during this difficult time.

»We stand by you as we face the coronavirus crisis together. During times of uncertainty we can be reassured that books always survive, libraries stand strong, and the presence of books gives comfort and solace when people are sick, isolated or distressed.

»Our members rely on collectors and librarians buying our books in order to pay our bills. If customers stop buying books, we cannot pay our rent, employ our staff, create a catalogue or open our shop every morning.

»We ask that you continue to support our small businesses during the coming months.

»Reach out to the booksellers and see what they have that might interest you. Bookshops are still trading, but many are now by appointment only, so give us a call and see if you can drop by. Take a look at our websites, send us an email with a wants list, send us a postcard if you prefer! If you are spending time at home, it is the perfect opportunity to order a few things and have them posted to you.

»Book collectors need booksellers, and now more than ever, booksellers need collectors.

»If you already make the occasional purchase, then keep doing so. If you are a regular buyer, please keep adding to your collection. We rely on each one of you to keep our small businesses alive.

»As we navigate our way through this crisis together, please look after your health, in consideration of those most vulnerable to this disease.

»We look forward to staying in touch over the months ahead, to continue mutual support, and the celebration of our love of books.

»With my very best wishes,

»23rd March 2020».


.../... Read all on the International League of Antiquarian Booksellers (ILAB)



«Graphic Design Trends Of 2020 | Typography Set To Trend 2020!» | Satori Graphics (@satorigraphic2k)



Satori Graphics




«Ready to dive into graphic design trends of 2020, that you can use in a practical sense? One hot and emerging graphic design trend of 2020 is the modernisation and innovation of typography use in graphic design. Simply put, you’re going to see a whole lot of typography being used in interesting ways heading into 2020.

»I’m going to give you the rundown of some of these uses, and there will be a test at the very end of the video, so follow along and absorb the typography goodness, oh and there is a test on graphic design trends in 2020. I have done a lot of research for this video, and have looked through design resources and listened to other professionals in this field. So I am confident that typography innovation is set to be a graphic design trend in 2020.

»It looks like the most popular trend will be bolder and heavier fonts being used, but the other 3 additions to the video will most likely be seen a whole lot more in 2020. So as I mentioned, specific sectors if typography are set to become graphic design trends of 2020, and you first must remember that typography is a huge part of graphic design, I’ve said it before many times on this channel, in fact typography is a graphic design principle in of it’s own.

»So what is the big fuss in 2020? Well tune in to todays video and follow along, as I have 4 different areas of typography that you can expect to see more of heading into 2020. I have done a lot of research into this, so I hope you did enjoy todays video on this graphic design trend in 2020, the different uses of typography. Let me know if you want to hear about more graphic design trends of 2020. Subscribe to stay updated to all of my uploads and until next time, design your future today, peace».


.../... Read all on Satori Graphics



«Teaching critical thinking nevertheless remains somewhat an unsolved field that headed towards perfection but as of today still in need of deeper and prospective investigation»


Pablo Agustín Artero Abellán
«Promoting Critical Thinking through the Modification of Questioning Verbs in Writing Assignments: A Study»

Tejuelo, vol. 31 (2020)
Número monográfico “Interfaces in language teaching”

Tejuelo. Didáctica de la Lengua y la Literatura. Educación | Universidad de Extremadura (@infouex) | Facultad de Educación | Departamento de Didáctica de las Ciencias Sociales, Lengua y Literatura | Badajoz | ESPAÑA

Se incluye a continuación un extracto seleccionado de las páginas 14 y 39 a 42 de la publicación en PDF [enlace de descarga directa]. Las referencias pueden consultarse en la ubicación original.

Enlace HTML.



Allie Smith @creativegangsters, Unsplash.


«Abstract

»The aim of the present study is twofold. First off, an analysis regarding 3rd ESO students' critical thinking application was procured from their performance from a piece of writing. To promote critical thinking, modification of the language of questions in the course book was purposely executed. This was then followed by an implementation of a whole Didactic Unit designed to enhance the role of reflective questions in the creation of more complex writings. This language modification was erected through the use of verbs contained in Bloom’s taxonomy higher orders. The changes that led students to write longer texts or express more elaborate ideas are also addressed. The data was collected via observation, pre and post questionnaires, and writing assignments.


»Conclusions, limitations of the study and lines for further investigation

»Regarding the answers provided first-hand by students through questioners as well as the previously exposed quantitative analysis can be both pointed at as the confirmation for the initial hypotheses and research questions. The mission was, except for the limitations to take into account, fully accomplished.

»At first, the conducted study was addressed to analyze whether critical thinking could be promoted or not within the framework of high school education, particularly through the modification of questioning verbs in writing assignments provided in the course book –Interface 3 by Macmillan editorial.

»The initial premise of a students’ potential production of longer texts, filled with more complex or richer ideas uniquely from a verbs’ replacement policy led to a search of professionalization when it comes to marking. Certainly, the difficultness to assess and give a faithful mark as far as ideas were concerned led to use a rubric to make it as accurate as possible. In this sense, a limitation of the study might be, arguably, that the grades were to some extent subjectively given. It is worth highlighting however that grading objectively continues to be a controversial area with much room for improvement. There is no official way or procedure to give an idea, a thought, one mark or another. What’s more, it is often the case that teachers grade same pieces of writing differently.

»Even admitting that the percentages of improvement were moderate, they still appear sufficient to claim that in the hypothetical case that students were provided with high-order-verbs questions, they would definitely be swayed to think deeper and write longer.

»Qualitatively speaking, all through the research period, students improved their grades an average by means of one point. By virtue of the quantitative analysis though, students also managed to ameliorate the three aspects assessed: the amount of words per writing, (increase of 42%), the inclusion of higher order verbs (rising about 12%) and lastly, a higher amount of compound sentences too (an additional 14%).

»Judging by the numbers and percentages laid out, it is our point of view that Interface 3 and maybe other course books as well should consider a restructuration in regards to the questions’ language and specifically, verbs.

»On account of this, the hypothesis referring to Interface 3 by MacMillan particularly on their failure to sufficiently promote the skill of critical thinking proved right too since the questionnaire showed students perception that the questions in such book were hardly to be answered in more than 3 lines.

»In this fashion, the definite re-counting that included both questions showed a positive imbalance of 30 words in favor of question 2, where the original verbs had been replaced for other higher in Bloom’s Taxonomy: question 1 revealed an average of 38 words per writing; question 2 accounted for 68 words on average. This difference may as well evince a much worrying feature: at present, Interface 3 and probably course books in general may be formulating their writing questions poorly from a ‘critical thinking’ point of view.

»To such a degree, it may be reasonable to affirm that if as a general rule, students wrote longer compositions for question two, reflective verbs such as hypothesize or imagine indeed influenced them as the key for such change.

»Another limitation to consider may be the pairing ‘prompt-teacher’. Whether the teacher remained silent during the completion of both questions 1 and 2, and in fact no further explanation, interpretation or detail were not given for the sake of impartiality, solidity and reliability as it was the specific purpose of the study, close attention should be put into the matter, meaning that this may well be laid out here as a possible limitation of the study equally.

»Taking all this into account, the outcome is irrefutably positive and edifying and was not only a success from an academic point of view. Instead, students expressed their most honest gratitude for having had the opportunity to work innovatively, through different approaches and technique. They claimed to have been inspired to think ‘out of the box’.

»Going further, this study was able to prove that through motivation and innovation yet applied to the same materials, students performed better in general lines. As a matter of fact, their writings could be also linked to other variables such as: a higher grade average, much more confidence, a more positive atmosphere, greater participation or a stronger will and mindset towards facing challenges or demanding subjects that additionally seek to avoid boredom as much as possible and enhance creativity.

»Teaching critical thinking nevertheless remains somewhat an unsolved field that headed towards perfection but as of today still in need of deeper and prospective investigation (Tsui, 2002). Authors such as Paul et al. (1995) also share such view and offer further reflection upon other future possibilities to help teachers designing original instructive ways for a better student command of thinking. This studio has laid out the relation between critical thinking and students’ performance in exams as a potentially interesting and perhaps productive field to explore.

»In relation with this another proposal that may be worth addressing consists of re-casting this same analysis including, even, the same questions and materials. The variation would come with regards to the groups with which the hypothesis would be tested. This means that two groups would be needed. Hypothetically, group A, would complete the first question, that of the book, including no modification whatsoever. This would be the control group. Group B would be the group subject to the same question except for verbs which would undergo change in terms of a higher level within Bloom’s Taxonomy. This way, an afterwards comparison may announce objectively as well possible changes.

»Assuming this other way may as well be worth of carrying out and so reading, I personally doubt that it should necessarily be regarded as a more reliable experiment since each student has their abilities and strengths. What this means is that comparing two different questions from two different students that, bear in mind, would undoubtedly have their unalike strengths and weaknesses or even excel at complete opposite subjects would seem, to my mind, unjust and biased.

»It is my personal stance that comparing two writings from a same subject will always appear more objective since they will continue to have their same skills and ‘defects’. Yet, as previously said, such study may as well shed light upon other fields or areas or even within the same. That, for now, remains to be seen.

»Working with a view to discovering new ‘powerful thinkers’ has also been suggested by William, Oliver and Stockdale (2004) who have in the past upheld the yet to discover potential behind critical thinking.

»Teaching or fostering critical thinking in the classroom should be neither stopped nor given scarce prominence come this point. This being so, “critical thinking is at the heart of our future because we live in a world of flagrant dogmatism and relativism, radically lacking in intellectual discipline” (Elder et al., 1999: 34).»



marzo 27, 2020

«Las autoridades participantes en la multiconferencia organizada por la Oficina de Política de Ciencia y Tecnología de Estados Unidos han agradecido a la comunidad editorial científica su rápida respuesta al llamamiento internacional en favor del libre acceso a las publicaciones sobre la COVID-19»



«España intercambia información con 14 países de todo el mundo sobre la COVID-19»
Ministerio de Ciencia e Innovación (@CienciaGob)



«Hasta ahora, cerca de 40 grupos editoriales han respondido a esta petición, permitiendo el acceso público a sus informaciones.

»El ministro de Ciencia e Innovación, Pedro Duque, ha participado este miércoles en una multiconferencia con un total de 14 países, organizada por la Oficina de Política de Ciencia y Tecnología de Estados Unidos (@WHOSTP), que ha contado con la comisaria europea de Juventud e Innovación, Mariya Gabriel, para intercambiar información sobre los proyectos científicos que se están desarrollando frente a la COVID-19.

»Los participantes en la multiconferencia -en la que también han estado responsables de Ciencia e Innovación de Australia, Brasil, Canadá, Francia, Alemania, India, Italia, Japón, Nueva Zelanda, Corea del Sur, Portugal, Singapur y Reino Unido- han compartido los esfuerzos que están haciendo sus respectivos países frente a la pandemia y han insistido en la importancia de la cooperación internacional.

»Además, han agradecido a la comunidad editorial científica su rápida respuesta al llamamiento internacional en favor del libre acceso a las publicaciones sobre la COVID-19, y los datos que las sustentan, de manera que se asegure que toda la información relevante sobre la pandemia pueda compartirse rápidamente entre los investigadores y así acelerar los esfuerzos globales para contener el nuevo coronavirus. Hasta ahora, cerca de 40 grupos editoriales han respondido a esta petición, permitiendo el acceso público a sus informaciones.

»El Gobierno de España se ha sumado a la declaración suscrita por estos 14 países para impulsar el acceso a toda la información publicada sobre la pandemia de coronavirus, un esfuerzo clave para contener el SARS-COV-2 y reducir su impacto. La Unión Europea, por su parte, ya ha regulado que todas estas publicaciones sean abiertas, excepcionando las reglas de derechos de publicación comercial.

»Durante la multiconferencia, los participantes han coincidido en la necesidad de incrementar sustancialmente la capacidad mundial de producción de equipos de protección, respiradores y material para diagnóstico, ante la escasez que sufren todos los mercados, dentro y fuera de Europa. Una parte importante del esfuerzo científico se está utilizando en acelerar desarrollos autóctonos equivalentes a otros existentes en otros países, detrayendo recursos de los avances reales.

»A sugerencia de Australia, España ha apoyado que se estudie la posibilidad de excepcionar también la regulación mundial de patentes, con el objetivo de acelerar los procesos de licencia y transferencia de tecnología, para poder fabricar determinados productos en todo el mundo de manera rápida.

»Todos los participantes han compartido también su preocupación por conocer las medidas adoptadas por cada país que atañen a la población, así como los resultados que están obteniendo, y han insistido en los efectos sociales tanto de la enfermedad como de las medidas que se están adoptando».


.../... Lee todo en el Ministerio de Ciencia e Innovación



«Si entramos en la dinámica de que nadie paga a nadie las consecuencias pueden ser irreparables. El efecto dominó afectaría también a muchos profesionales independientes, satélites de las editoriales: ocho de cada diez contratan colaboradores externos»


Carles Geli (@carlesgeli)
«El coronavirus tensa la cadena del libro. Unas 60 librerías plantean no pagar a los distribuidores, que ultiman ERTES que podrían afectar al menos a 500 personas en Cataluña»
El País (@el_pais)




«Los nervios que genera la crisis del coronavirus están empezando a hacer mella en el mundo del libro, quizá de las industrias donde sus diversos componentes (autores, traductores, correctores, ilustradores, editores, distribuidores, libreros…) son más interdependientes que en otros ámbitos económicos. Y esa mítica cadena se tensó ayer sobremanera al trascender que 63 librerías han planteado al Gremio de Libreros de Cataluña que el colectivo no abone de manera conjunta y unitaria las facturas de este marzo a los distribuidores, justamente una de las liquidaciones más importantes del año en el sector al recoger las ventas de la campaña de Navidad y Reyes.

»“Ni es falta de previsión ni mala gestión: el de Navidad es uno de nuestros flujos de ingresos más importantes junto con Sant Jordi y con ellos sueles pagar gastos que arrastras, priorizas otros pagos; aquí el problema es que, por el coronavirus, hemos dejado de ingresar en seco desde hace casi 15 días y así será durante bastante tiempo; la situación es muy delicada para muchas librerías, que mayormente van al día porque el sector deja muy poco margen”, apunta Mari Carme Ferrer, presidenta de los libreros, como explicación a la inquietante petición de las 63 librerías, de todas las dimensiones y mayormente de Barcelona, si bien también hay de Tarragona y Girona.

»Ferrer descarta que la decisión de no pagar ahora a los distribuidores sea generalizada entre las librerías y que pueda adoptarse como postura oficial del gremio, posición que además podría plantear, según otras fuentes consultadas, problemas jurídicos. “Estas peticiones es mejor hacerlas a nivel individual y me consta que hay la máxima predisposición por parte de los distribuidores; toda la cadena del libro sabe que hay que salvar a las librerías porque son su eslabón más débil”, confía Ferrer, que, aclara, “no estamos pidiendo que se nos condonen esas facturas sino un aplazamiento". En la misiva enviada al gremio por los libreros piden precisamente que no se emitan las facturas de este mes y se alarguen el vencimiento de las mismas 60 días. La presidenta, “por ahora”, no ha detectado entre los agremiados ningún cierre. Expedientes de Regulación Temporal de Empleo (ERTE), sí: “Eso, desgraciadamente, lo estamos mirando todos: en mi librería somos cuatro y un quinto a media jornada; es gente buena, que lleva con nosotros el que menos 13 años y no los quiero perder; cuando pase esto, los recuperaremos”, espera.

»“Tenemos buena predisposición, el sector del libro es y debe ser solidario, pero si a finales de marzo no nos paga ninguna librería, los distribuidores no podremos pagar a los editores y éstos, a su vez, no podrán pagar ni a sus trabajadores ni a sus imprentas ni a nadie y entraremos en una espiral muy peligrosa”, admite Martí Romaní, presidente del Gremio de Distribuidores de Publicaciones de Cataluña, un sector muy polarizado entre empresas de tres o cuatro trabajadores y otras de 80 a 100 empleados y que tampoco se va a librar de los ERTE. “Las distribuidoras hemos pasado de tener entre 150 y 200 pedidos de media a apenas tres o cuatro; es insostenible”, justifica. Romaní desconoce cuántos trabajadores podría quedar afectados por esos expedientes, pero fuentes conocedoras apuntan “al menos, entre 400 y 500 personas”. Sumándolos con los que se barajan en el resto de España, la distribución alcanzaría los 3.000.

»La decisión de los libreros inquieta también a los editores. “Si entramos en la dinámica de que nadie paga a nadie las consecuencias pueden ser irreparables”, alerta Joan Carles Girbés, director editorial de la cooperativa cultural Som (Ara Llibres, Amsterdam, Bernat Metge…) y presidente de la Setmana del Llibre en Català. “Si nos quedamos sin cobrar lo de Navidad y dejamos de vender por Sant Jordi nos habremos perdido las dos campañas más fuertes del año para los sellos comerciales”, apunta. Y desliza que es ahora en marzo cuando los editores suelen liquidar los derechos de autor a escritores e ilustradores.

»Y es que el efecto dominó afectaría también a muchos profesionales independientes, satélites de las editoriales: ocho de cada diez contratan colaboradores externos. Entre estos, quienes temen lo peor son los traductores editoriales, unos tres mil en España, que intuyen una crisis en diferido: ahora siguen trabajando, pero los editores, que en sus inevitables reorganizaciones de programación por la crisis del coronavirus priorizarán presumiblemente autores nacionales frente a los extranjeros, han empezado a retirarles títulos ya apalabrados para finales de año y principios de 2021. La cadena del libro se tensa por todas partes.




»QUEJAS POR LA INICIATIVA 'LLIBRERIES OBERTES'

»“La falta de liquidez de las librerías no pasa por no pagar a las distribuidoras y que se pare ahí la maquinaria económica del sector”, sostiene el editor Joan Carles Girbés, que asegura que, amén de las ayudas de las administraciones, para eso lanzó el pasado lunes desde Som, junto a la consultora digital Mortensen, la plataforma 'on line' Llibreries obertes (@obrimllibreries), que promueve una compra avanzada de libros para dotar de liquidez ahora a las tiendas cerradas por la crisis del coronavirus. Pero la tensión que vive el sector hizo que algunas librerías protestaran por su inclusión en la iniciativa sin haber sido consultadas, por el cobro de sólo el 50% de la compra y el resto cuando abran y el cliente reciba el libro o porque se direccione la venta a la página del proyecto y no a la web de cada librería.

»“Cierto, por hacerlo deprisa no habíamos hablado con todos, pero ya se está solventando, y sobre el porcentaje avanzamos en un primer momento más del doble de lo que suelen cobrar las librerías de una venta que no les cuesta nada y del que no han hecho ni pedido y que de otro modo tampoco harían… No, no hay tesorería oculta, como lo del 'link' es para centralizar la campaña y porque algunas librerías pequeñas no tienen”, se explica Girbés, que contrapone que ya son 151 las librerías que en solo 24 horas se han añadido a las primeras cien. La iniciativa se propone alcanzar en las tres semanas que los organizadores calculan que dure la campaña los 30.785 libros que se vendían cada día en marzo de 2019 en Cataluña. La facturación, al menos, de un día. La noche del martes se llevaban 1.179; faltan 29.606».


.../... Lee todo en El País



marzo 26, 2020

«La bibliografía de la nueva generación: editoriales emergentes en Uruguay. Cada una con su perfil, Pez en el hielo, Salvadora, Fardo y Tajante representan a una camada de editoriales alternativas que están emergiendo en la capital»


Alejandra Pintos (@Alepint)
Galería (@galeriarevista)




«En todo el mundo, el mercado de los libros está dominado por grandes conglomerados internacionales: Penguin Random House, Anagrama y Planeta se reparten el ranking de los más vendidos, donde predominan los libros de autoayuda, cocina y astrología. Y, justamente por eso, en un país tan pequeño como Uruguay, para estas editoriales no es sencillo (ni rentable) arriesgarse a publicar a un autor ignoto, una primera obra o un poeta disruptivo.

»Es en esos márgenes que prosperan las editoriales independientes, que desde hace un par de años están viviendo una etapa fermental, sobre todo entre los menores de 35 años, que sienten que sus voces y las de sus contemporáneos no se ven reflejadas en la literatura.

»Muchos de estos proyectos se reúnen a través del colectivo Sancocho, que agrupa a una decena de editoriales independientes. Juntos, organizan eventos —el próximo es el 19 marzo en el bar Tundra— con los que buscan conectar con una nueva generación de lectores.

»En esas ferias cada uno tiene su mesita, su espacio, para mostrar qué está haciendo y se ven desde fanzines hechos artesanalmente hasta libros a la altura de la editorial más prestigiosa, con tapas cuidadas, estéticas, que buscan convencer a un público que cada vez conecta menos con los objetos físicos de que compren un libro. Es que en el universo que conforman las editoriales independientes cada una tiene su lugar y su público.

»“En Montevideo hay una movida interesante de editoriales independientes y si bien hay varias, todas tienen una personalidad diferente, está bueno porque eso genera que podamos ir a ferias y convivir todos, no nos repetimos. Cada uno encontró su nicho de cosas que le interesa hacer, su perfil y su público. El nuestro es gente joven que tiene ganas de conocer qué están haciendo sus pares, entender a su generación. Acá publican personas más grandes, a mí me reinteresan, los admiro y los leo pero también tengo ganas de saber qué están haciendo mis pares”, cuenta Eugenia Ladra, de Fardo, una de las editoriales que reúne a los autores más jóvenes.

»Sin embargo, las publicaciones independientes no son una novedad. Uruguay tiene una larga tradición de editoriales pequeñas. Previo a la dictadura surgieron las emblemáticas Alfa (1958), Ediciones de la Banda Oriental (1961) y Arca (1962) y después lo hicieron Trilce (1985), junto con Ediciones de Uno (fundada por Luis Bravo, Daniel Bello, Gustavo Wojciechowski, Diego Techeira, Miguel Ángel Olivera, Héctor Bardanca y Agamenón Castrillón) y Fin de Siglo (1991).

»Sobre principios de los 2000, motivadas por el abaratamiento que trajeron las nuevas tecnologías, llegó una nueva generación de editoriales independientes, como Yaugurú, Irrupciones Grupo Editor, Civiles iletrados, La Propia Cartonera, Rumbo Editorial, Palabra Santa, Criatura Editora, Antítesis, Artefato, Casa Editorial HUM y Estuario Editora.

»Ahora es el turno de una nueva generación.».


.../... Continúa leyendo en Galería



«Alemania incluye la cultura entre los “bienes de primera necesidad”. La industria cultural podrá acceder a la línea de liquidez ilimitada prevista por el Gobierno de Angela Merkel»



Rosalía Sánchez, ABC (@abc_es)



Imagen de la web Prof. Monika Grütters.


«El coronavirus ha obligado en Alemania (al igual que en todo el mundo) a cerrar cines, teatros, óperas y conciertos, además de presentaciones de libros, exposiciones, museos y todo tipo de actividades culturales. Pero la ministra de Cultura, Monika Grütters, ha anunciado que no dejará al sector “en la estacada” y ha incluido a la cultura en el rescate financiero programado por el Gobierno de Angela Merkel, que entre otras medidas ha incluido 120.000 millones de euros para sostenimiento del empleo y una línea de liquidez ilimitada a la que podrán acceder desde grandes teatros hasta pymes y profesionales afectados por la cuarentena cultural.

»“Soy consciente de que esta situación supone una gran carga para las industrias culturales y creativas, y en particular para las instituciones más pequeñas e independientes. Puede poner a los artistas en una angustia considerable”, ha reconocido, garantizando un programa de supervivencia al que podrán acogerse artistas e instituciones.

»Al igual que en el contexto de la crisis financiera de 2008, “en esta situación también reconocemos que la cultura no es un lujo y ahora estamos comprobando cuánto nos hace falta si tenemos que prescindir de ella por un tiempo determinado”, ha dicho, incluyendo así tácitamente a la cultura entre los bienes de primera necesidad. “No solo debe valernos la economía, sino también nuestro paisaje cultural, que ha sido muy afectado por las cancelaciones”.

»“Si recomendamos cancelar eventos, lo hacemos porque estamos lidiando con una situación de emergencia excepcional”, ha justificado, y ha lanzado un mensaje de tranquilidad al afirmar que “los artistas y las instituciones culturales pueden confiar en el Gobierno, que tendrá en cuenta las situaciones de vida y las condiciones de producción de las industrias culturales, creativas y de medios”.

»Monika Grütters ha adelantado, además, que “escucharemos sus preocupaciones y trabajaremos para garantizar que se incluyan los intereses especiales de la cultura y los creativos en las medidas de apoyo y de liquidez”. Para ello, el Gobierno Federal ha alentado al sector a discutir las próximas medidas de ayuda y ha invitado a una reunión a representantes de la cultura y los medios de comunicación. “Tenemos que reaccionar ante las dificultades y emergencias, que no son culpa nuestra, pero que han de ser compensadas”.

»La Sociedad de comerciantes de la Música (SOMM) había escrito previamente una carta a la ministra, subrayando las consecuencias económicas de esta crisis y expresando la necesidad de ayuda inmediata. Con un volumen de ventas de alrededor de 1.000 millones de euros anuales y alrededor de 12.000 empleados indefinidos, la industria de la música, junto al sector de eventos de grabación y conciertos y fabricación de instrumentos, ha quedado paralizada y demanda la reducción de los requisitos de acceso a las ayudas y la cancelación de la parte de la seguridad social a cargo del empleador, además del diferimiento retroactivo de impuestos, contribuciones y aranceles junto a garantías para préstamos existentes y nuevos.

»Muchas instituciones culturales alemanas han mostrado su compromiso cumpliendo con la orden de cierre y pasando a ofrecer sus actuaciones en público, a través de Internet, de forma gratuita, como es el caso de la Staatsoper unter den Linden de Berlín, que ha pasado a modo on line todo su programa desde esta semana. “El objeto a rescatar ha de ser siempre la Humanidad”, ha defendido Nikolaus Bachler desde la Ópera Estatal de Baviera, que también ha pasado a Internet. “Si se trata de mantener elevados es espíritu y la moral, es necesario contar con la cultura y con el arte”».


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marzo 25, 2020

El tercer autor más vendido de España tiene 33 años, carece del apoyo de las editoriales y los medios críticos tradicionales, y cuenta con la difusión que le da la influencer Just Coco, su mujer y madre de sus dos hijos, en su canal en YouTube


Sara Navas
ICON EL PAÍS (@icon_elpais)



Javier Castillo posa para ICON en la sede madrileña de la editorial Suma de Letras. El escritor está a punto de publicar su cuarta novela La chica de nieve. Foto: Saúl Ruiz.


«Javier Castillo: el malagueño rechazado por las editoriales que se convirtió en el tercer autor más vendido de España. El escritor, de 33 años, se ha convertido en un fenómeno literario que ha despachado 615.000 ejemplares sin el respaldo de la crítica ni de los medios tradicionales.

»A los 27 años Javier Castillo (Málaga, 1987) escribió su primera novela durante los trayectos de tren en los que iba y volvía de su trabajo como asesor financiero en una consultora. Invertía algo menos de dos horas al día, 48 minutos cada trayecto, en ir y venir de Málaga, donde trabajaba, a Fuengirola, donde vive. El tiempo que muchos dedican a hundir la nariz en el móvil él, acompañado de su ordenador portátil, lo aprovechó para dar forma al thriller romántico El día que se perdió la cordura durante un año y medio.

»“Había leído muchas novelas publicadas que creo que eran mucho peores que la mía”, reconoce a Icon Javier Castillo. Por eso se animó a contactar con varias editoriales a finales de 2014, cuando terminó el libro. Solo una le respondió que le dirían algo, pero 13 meses después porque no daban abasto con los manuscritos que reciben. Castillo no quiso esperar.

»“No tenía sentido, yo tenía mi trabajo y para mí esto era un pasatiempo. Solo quería que alguien me leyera, así que subí la novela a Amazon, le puse un precio de tres euros, se lo comenté a mis amigos más cercanos y me olvidé”, explica el malagueño. A las dos semanas quiso comprobar si alguno de sus amigos la había comprado y lo que descubrió superó todas sus expectativas: El día que se perdió la cordura era número uno en España y la obra de Javier Castillo aparecía al lado de la de Ken Follet y Pérez Reverte.

»“Pensé que el ranking estaba ordenado por orden alfabético, porque no me lo podía creer. De un día para otro empecé a vender 1.000 libros al día en Amazon”. Hoy, su primera novela lleva 33 ediciones y Javier Castillo, con 615.000 ejemplares despachados y cuatro libros publicados, es el tercer autor más vendido en España (por detrás de Arturo Pérez Reverte y Fernando Aramburu). Unas cifras que superan de forma salvaje la media del mercado editorial. Según el informe sobre el sector editorial español de 2018, elaborado por la federación de gremios de editores de España, cada título tiene una tirada media de 3.762 ejemplares.

»El escritor, que ahora tiene 33 años, acaba de publicar su cuarta novela, La chica de nieve (a partir del 12 de marzo en las librerías españolas) y recuerda a Icon la vorágine que sucedió a su boom digital. “Al ver el fenómeno que estaba siendo en ventas digitales, muchas editoriales me escribieron interesándose por la novela. La que hoy es mi editora me escribió un tuit pidiéndome que no firmara con nadie porque estaban muy interesados y dos días después me hicieron una oferta”.

»Así comenzó la andadura de Javier Castillo, que seguía yendo a trabajar a Málaga todos los días porque pensaba que ya había vendido todo lo que podía vender en Amazon, junto a Suma de Letras, editorial que en 2017 publicó El día que se perdió la cordura en papel. “La primera edición del libro fueron 8.000 ejemplares. Desde entonces ha vendido casi 500.000 y ha sido número uno muchísimas semanas. Recuerdo que la editorial me llamaba casi todos los días diciéndome que era una locura lo que estaba pasando”.

»Pero el precipitado éxito de Castillo poco tuvo que ver con la suerte del principiante. Su segunda novela, El día que se perdió el amor, continuación de El día que se perdió la cordura, estuvo ocho semanas en el número uno cuando se publicó en enero de 2018. Su tercera novela, Todo lo que sucedió con Miranda Huff, publicada en marzo de 2019, pasó diez semanas ininterrumpidas en el número uno. Tal y como explicaba Jesús Ruiz Mantilla en un artículo publicado en EL PAÍS en 2018, junto a Elísabet Benavent y Eva García Sáenz de Urturi, Javier Castillo es “uno de los grandes magos del best seller en español”, y más concretamente del suspense y la novela negra. Estos tres autores han logrado publicar y vender libros a una velocidad pasmosa sin que nadie esperara tales niveles de popularidad cuando empezaron desprovistos de respaldo editorial.

»Sin embargo, el tercer autor español más vendido en España no cuenta con un apoyo de la crítica literaria equitativo al que recibe de un público que agota sus novelas en las librerías españolas. La obra de Castillo —novela negra, vertiginosa y efectista— pertenece a un ámbito de la literatura, el de las novelas de entretenimiento y consumo rápido, que no suele aparecer —ni lo pretende— en las publicaciones literarias. El escritor reconoce a Icon que al principio no entendía el desinterés que despertaba entre los críticos cuando estaba vendiendo cientos de miles de ejemplares, pero que con el tiempo lo vio como un ejercicio de justicia en el que otros libros que necesitaban más promoción que los suyos obtenían la atención que él no recibía por parte de los medios.

»“Ahora me parece genial que no hablen de mí e incluso me da paz mental. Es cierto que antes no lo comprendía, pero en este momento creo que es algo bueno. Lo único importante es que la gente te lea. Lo demás es alimentar el ego y este es el peor enemigo de cualquier escritor porque hay que estar preparado para no vender y para no gustar. Al final se trata de disfrutar del día a día con la familia y los amigos”.

»Javier mantiene los pies en la tierra, escribe sus libros en la biblioteca pública de Fuengirola rodeado de opositores y estudiantes (“ya nos conocemos todos porque siempre vamos los mismos”), y su nombre apenas aparece en la prensa. Pero cada vez que va a una firma de libros, el malagueño atiende a miles de personas que esperan horas para compartir con él unos segundos. En Instagram le siguen más de 300.000 fans y sus libros se traducen a varios idiomas. Castillo ha sido invitado al almuerzo anual que organiza la Casa Real con motivo del Premio Cervantes y ha charlado sobre literatura con el rey Felipe y la reina Letizia. Incluso Joël Dicker, autor al que admira, alabó su obra en una frase que decidieron incluir en la solapa de su tercer libro (“Javier Castillo es sin duda el nuevo fenómeno de la literatura europea”).

»Durante un tiempo, Castillo trató de compaginar su incipiente carrera literaria con el trabajo que había sido su sustento durante seis años y con su reciente paternidad, pues solo un mes antes de que Suma de Letras publicara su primera novela nació su hija Gala. “Pasaba mucho tiempo fuera de casa trabajando. No podía disfrutar de lo que me estaba ocurriendo con mi novela ni podía ver a mi hija todo lo que quería. Fue una época dura en la que cuando cogía a Gala lloraba y me di cuenta de que no podía seguir así. Necesitaba un trabajo que me permitiera estar en casa para vivir al máximo los momentos como padre y el éxito que estaba teniendo como escritor”. Y así Javier Castillo se despidió de la estabilidad laboral para apostar por su nueva vida como escritor. “No sabía si esto iba a tener continuidad pero sí sabía que necesitaba intentarlo”.

»Tres años después de haber tomado esta decisión, el malagueño puede decir que hizo lo correcto pero no pierde la perspectiva y es consciente de que lo que a él le ha ocurrido no es lo normal. “Es muy complicado que a alguien le pase lo que me ha pasado a mí. Yo tengo buenos ingresos y vender las cantidades que vendo me permite vivir bien. Pero tengo muchos amigos autores que no pasan de los 10.000 ejemplares, que no deja de ser una barbaridad ahora mismo”, apunta Castillo, a la vez que reconoce que para tener un sueldo que a un escritor le permita sobrevivir debe vender unos 15.000 libros al año. “Por encima de eso te permite ahorrar y aún más por encima puedes permitirte espaciar los libros. Si vendes 100.000 ejemplares puedes plantearte escribir un libro cada tres años. Pero los que llegamos a esto somos unos afortunados, no es fácil. La mayoría lo que hacen es completar la escritura con su profesión”, matiza.

»Haber vendido más de medio millón de libros le ha dado la oportunidad de cumplir uno de los sueños que compartía con su mujer, la influencer Verónica Díaz (conocida como Just Coco): construirse una casa con piscina y jardín donde poder criar a sus dos hijos, Gala, de tres años, y Bruno, de un año. La pareja hace partícipes a sus seguidores de su día a día a través del canal de YouTube que Verónica se abrió en 2016. En él, Javier aparece muchas veces escribiendo en casa mientras su mujer muestra cómo es su vida cotidiana a los 900.000 seguidores que tiene en la red social.

»El canal de YouTube que gestiona Verónica ha permitido a Castillo llegar a un público que de otra forma no le leería. “Es indudable que el canal te acerca a gente que no te conocería si no fuera por él. Sobre todo lo siguen mujeres que suelen leer novela romántica y que se lanzan a leer novela negra por curiosidad al verme en los vídeos de Verónica. Además, YouTube nos permite mostrar cosas de nuestra familia y también enseñar qué es lo que hay detrás de la escritura”, opina el autor de La chica de nieve.

»En unos meses el fenómeno Javier Castillo traspasará las páginas de papel para colarse en las pantallas de televisores y ordenadores, pero de eso, aunque le ilusiona, no puede hablar mucho. “Se va a hacer una serie con mis dos primeras novelas y yo estoy ayudando en la parte preliminar de los guiones”. Cuándo y dónde podrá verla el más de medio millón de personas que han leído El día que se perdió la cordura y El día que se perdió el amor aún es un misterio».


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MUTEK Barcelona 2020



MUTEK


Más info:
Luis Hidalgo, «La tradición y lo digital. El festival de creatividad digital Mutek tendió puentes en Barcelona entre el mundo de los abuelos y el de sus nietos», El País (@el_pais)



VÍDEO. MUTEK Barcelona 2020.


«Acerca de MUTEK

»MUTEK es una organización sin fines de lucro dedicada a la difusión y el desarrollo de la creatividad digital en sonido, música y arte audiovisual. Su mandato es proporcionar una plataforma para los artistas más originales y visionarios que trabajan actualmente en sus campos, con la intención de proporcionar una salida de iniciación y descubrimiento para las audiencias que buscamos desarrollar.

»Desde su primera edición en 2000, el festival MUTEK se ha distinguido como un punto de encuentro internacional para la programación original y vanguardista. En términos de contenido, festival se esfuerza por ser diverso, con intereses tanto en lo experimental como en el lado más lúdico de la creatividad digital. Este es un mundo en constante evolución y refinamiento incesante. La “MU” en MUTEK se refiere conscientemente a la noción de “mutación”.

»Hoy existe una red MUTEK, con ramificaciones en América, Europa, Oriente Medio y Asia, que proporciona una plataforma esencial para promover y explorar contenidos artísticos de gran alcance, al tiempo que refleja una efervescencia cultural tanto real como global.



»Historia de MUTEK.ES

»MUTEK.ES es una organización sin fines de lucro fundada en 2009 en Barcelona, comprometida en mostrar lo más destacado de la creación digital al público local, tanto de artistas emergentes como ya más consagrados, impulsando al mismo tiempo a la comunidad artística española y local, y proporcionándoles una plataforma interconectada internacionalmente, en un entorno de descubrimiento, experimentación e intercambio.

»El programa principal del festival tiene como objetivo proporcionar a la comunidad de Barcelona estrenos, intercambios transcontinentales, proyectos especiales y encuentros inusuales en un amplio circuito de localizaciones de la ciudad.

»El único satélite MUTEK con base en Europa, MUTEK.ES proporciona un punto de aterrizaje único para la red internacional de MUTEK en el continente europeo. Por lo tanto, el festival tiene un fuerte enfoque en la presentación de nuevos artistas, proyectos y tendencias en la creatividad digital que están surgiendo en América y Asia, lo que resulta en un encuentro rico y único de artistas internacionales».




marzo 24, 2020

«Barnes & Noble’s New Plan Is to Act Like an Indie Bookseller. Can the world’s most feared hedge fund rescue the last big American bookstore?»


Thomas Buckley (@tgbuckley) and Scott Deveau (@scottdeveau)
Bloomberg Businessweek (@BW)



Photo illustration: 731; Photos: Getty Images; Alamy.


«Last fall, during a visit to Barnes & Noble’s (@BNBuzz) flagship store in New York City’s Union Square, the British bibliophile James Daunt strode about the ground floor in oxblood loafers deploring the bookshop’s hideous appearance. The carpets were dusty, and the escalators had broken down. A cheap pine table was littered with trinkets and scented candles. A vase was wedged between new titles, its bouquet of sunflowers sagging in brown water.

»“I like the idea of the flowers, but you have to change the water,” Daunt said. “And you have to put in decent flowers—you can’t just go down to the petrol station and grab a bunch. I mean, look at it.”

»Daunt has opened about 60 bookshops in his three-decade career, every one of them profitable, making him one of the Amazon era’s most successful booksellers. After founding Daunt Books, a popular, independent brand of stores in the U.K., he was credited with saving the country’s largest chain, Waterstones, from ruin by giving managers more agency over their inventory. Those credentials impressed Elliott Management Corp. (@Elliottmgmtcorp), a notorious $40 billion hedge fund better known for seizing an Argentine warship as collateral and berating corporate governance at Twitter Inc. and AT&T Inc. It acquired Barnes & Noble Inc. last year for $683 million including debt and appointed 56-year-old Daunt chief executive officer, the man in charge of its rescue.

»In its 1990s heyday, Barnes & Noble’s superstores blended the sociability of a Starbucks with the bargaining talent of a used-car dealer. But two decades after Amazon.com Inc. capsized the bookselling industry, America’s largest chain of bookstores was flirting with bankruptcy. By the time it was acquired by the hedge fund, its footprint had been slashed in half to a little more than 600 stores, sales were in their seventh straight year of decline, and the company was hemorrhaging cash.



»Elliott became traditional bookselling’s unlikely defender in 2018 after its buyouts of Waterstones and Foyles, a British chain that had been owned by the founding family for more than a century. For Paul Best, who runs a portion of the investment firm from its London office and has taken a shine to companies battered by the retail apocalypse, the distress at Barnes & Noble signaled that he was buying the clunker at exactly the right time. “The more disrupted the category, almost the better,” Best says. “Because if you’re still there after that, you probably have durability and you’ve demonstrated a reason to exist.”

»His research showed the book business had potentially reached a nadir: The e-book market had started shrinking in some countries; the overall value of physical books was rising; and America’s smaller bookshops were growing again. At three times the size of its closest competitor, and the only major chain left of its kind in the U.S., Barnes & Noble was the cockroach after the catastrophe.

»No corner of retail has been more disrupted by the decline of the physical shop than bookselling. In 1995, Jeff Bezos began selling books on Amazon.com because there were more items in the category than in any other. He aimed to sell the majority of the 3 million titles that were circulating in print, more than 20 times the number carried by the largest physical bookshops. Today about two-thirds of all books in the U.S. are sold online, almost exclusively through Amazon. Barnes & Noble is fighting to keep selling 1 in 5.

»It’s a dramatic reversal of fortune for a bookstore chain that itself was once considered the big, bad, ugly machine that corporatized the staid practice of bookselling. Founded 134 years ago as Arthur Hinds & Co., Barnes & Noble was acquired from U.S. conglomerate Amtel in 1971 by Leonard Riggio, a Bronx native who ran the business until 2002, expanding it from a single, now-defunct location on Fifth Avenue into a nationwide network. Under Riggio, the chain became the first bookstore to advertise on television in 1974 and, a year later, the first to steeply discount literature, selling New York Times bestsellers at 40 % off the publishers’ list price.

»In the 1980s, Barnes & Noble acquired 798 B. Dalton stores and 22 Bookstop superstores, making it the largest bookselling chain in the U.S. It used its scale to negotiate lucrative marketing agreements with publishers vying to display their books in every shop’s front window. Such deals infuriated independent booksellers, which were unable to match Barnes & Noble’s prices. By 1998 the company was fictionalized in Nora Ephron’s You’ve Got Mail as Fox Books, a totemic big-box chain that threatens the independent bookstore across the street.



»The chain’s clout in the publishing industry also meant it could comfortably fend off Amazon, which logged several years of financial losses before eventually turning a profit in 2001. Barnes & Noble was large enough that it could at least match the startup’s discounts as well as its breadth of inventory. Now Amazon’s bookselling operations account for only a fraction of the group’s annual sales of close to $300 billion, which are mostly derived from online retail and cloud computing services.

»“No one was really sure that Amazon was going to last or truly threaten brick-and-mortar-style bookselling, because all it did initially was what any bookstore could do, which was, in a sense, special-order any book in print,” says Laura Miller, a professor of sociology at Brandeis University and the author of Reluctant Capitalists: Bookselling and the Culture of Consumption. “The idea of getting it delivered on your doorstep was not necessarily so enticing that you would stop going to a bookstore.”

»Over the past two decades, that’s exactly what happened. Since Amazon’s founding, the number of bookstores in the developed world has collapsed. Crown Books entered bankruptcy for the second time in three years in 2001, and Borders filed for Chapter 11 in 2011, resulting in the closure of thousands of stores. Books-a-Million Inc., the second-largest chain in the U.S., went private in 2015 after losing 90 % of its market value. Barnes & Noble discontinued B. Dalton in 2013 after closing down all its bookshops.

»Barnes & Noble Education Inc., the college bookstore division that was separated into an independent public company five years ago, is expected to report its third consecutive fall in annual revenue this summer.



Barnes & Noble’s flagship store in New York City’s Union Square. Photographer‎: Richard Levine / Alamy.


»By 2015, Amazon opened the first of its own 21 bookstores in the U.S.—clinical data-driven spaces where titles are organized according to the bestseller list on its website. (“Not Built for People Who Actually Read,” read a New Yorker headline.) The company also sells some titles at its Amazon four-star stores, a bizarre and more extensive embodiment of its purchasing algorithm where books are mixed in with laundry bags, motion-activated doorbells, and other four-star-rated products.

»What really terrorized Barnes & Noble was the Kindle tablet. About 3 in 4 e-books in the U.S. are bought and read on a Kindle, giving Amazon enormous sway with publishers. In 2010 the company pulled books from Macmillan Publishers Ltd. in a dispute over the pricing of its e-books on Amazon.com. The fear that e-readers would soon kill the assembly of ink, paper, and glue fueled the development of Barnes & Noble’s own tablet, the Nook, which sought but ultimately failed—at a cost of more than $1 billion—to compete with the Kindle two years after Amazon introduced it in 2007.

»The experiment drastically weakened Barnes & Noble at a time when its commoditized approach to bookselling effectively rendered the chain a collection of charmless warehouses. Revenue peaked at $7.1 billion in 2012, which it attributed in an earnings call to a temporary rise in visits to its stores following the liquidation of Borders. Sales have been in free fall ever since. In 2018 revenue crashed to $3.7 billion, the lowest since 2000, and the company has consistently failed to turn a profit.

»That February, Barnes & Noble laid off almost a tenth of its employees, a majority of them full-time staff who’d worked at its bookshops for decades. It was one of several culls that saw the company’s onetime workforce of 56,000 slashed in half since the early 2000s. Months later an unnamed acquirer rescinded an offer to buy the chain when its then-CEO, Demos Parneros, described the business in a meeting as “an ugly mess” with “no realistic prospects for success,” according to court filings.



»Four CEOs have helmed Barnes & Noble in the past five years, two of them with mass-market retail experience—at Staples Inc. and Sears Holdings Corp. They sought to standardize Barnes & Noble’s network of shops into a single, transposable model—a national blueprint for how books should be sold everywhere. Daunt aims to undo that work, spending three weeks per month in New York running Barnes & Noble. He wants to encourage booksellers to arrange their local window displays with titles that will be relevant to the shoppers passing by. “Anybody will know that people don’t read the same way in Birmingham, Alabama, as they do in New York City,” he says.

»Promotional agreements, in which publishers pay bookstores to take on inventory and showcase it, are a common source of revenue in the bookselling industry, but they can be grossly inefficient. Months later shops have to return thousands of unsold copies to their suppliers if demand is weaker than expected. Barnes & Noble’s current return rate across all titles is about a quarter, roughly the same as when Daunt joined Waterstones. It’s worse for new releases: About half of the latest books Barnes & Noble stocks are returned unsold, he says.

»Daunt was also aghast at Barnes & Noble’s overzealous focus on in-line merchandising—shelves snaking through the checkout lines targeting impulse shoppers with irrelevant last-minute products such as stockings and sunglasses. The chain, which for years sold complementary but more profitable items including puzzles and calendars, was now hawking lukewarm bottles of Fiji water at its cash registers, along with essential oil diffusers and Himalayan salt lamps.

»Under Daunt, Barnes & Noble will shrink the space it allocates to miscellany, including its CD and DVD section, replacing it with expanded children’s and young adult sections. The company is also testing new layouts at some of its stores, such as lower tables instead of midlevel units, to speed up the traffic. Daunt says the New York flagship could start looking “pretty good” after an investment of $5 million. Elliott has agreed to front the initial cost of renovating Barnes & Noble’s stores until the bookshops are profitable enough to reinvest in themselves. “Ultimately it’s going to cost an immense amount,” Daunt says. If the return justifies his early initiatives, the total amount spent on renovating the branches will surpass $100 million.



»Beyond repairing the elevators, steam-cleaning the carpets, and swapping in sleeker fixtures, Daunt says, the company’s bookselling strategy needs a complete overhaul. In a misstep that attracted national headlines last month, critics accused Barnes & Noble’s Fifth Avenue store of “literary blackface” after it redesigned covers of classics, depicting Moby Dick’s Captain Ahab in various skin tones and casting Frankenstein with a black monster, all to celebrate Black History Month. The initiative, which Daunt says despite its good intentions was “a little bit daft” and that he knew nothing about until it was announced, was canceled within hours.

»Another major aspect of the strategy to revive the company will be to open new locations in “significantly under-bookstored” parts of the U.S. Daunt is aiming for a total of about 1,500 shops, which would match the company’s historical peak. He also sees an opportunity to relocate some of the bigger stores to smaller locations in high-end shopping malls and on street corners in affluent neighborhoods, where he says the brand would fit well alongside other targets of middle-class spending, like Aveda soaps and Peloton exercise bikes. Downsizing some branches, as Daunt did at Waterstones, would also save on rent—all but one of the company’s bookshops are leased.

»The test will be whether each bookshop can be mindful enough of the community it’s attempting to sell to and curate a stock appealing enough to bring back readers. At the New York flagship, changes as small as displaying more softcover books than hardbacks, which are less practical for reading on the subway or in a nearby park, can drive sales. “I don’t want every Barnes & Noble to become a version of Union Square,” Daunt says. “I want Union Square to be the obvious store to have on Union Square, in New York City, where it becomes really sophisticated, metropolitan, urgent, vibrant, young, energetic, sharp-elbowed—because that’s what’s going on in the city out there.”

»Daunt, who has a degree in history from the University of Cambridge, began selling books after his wife advised him to pursue a more spiritually rewarding career than investment banking. In 1990, after leaving J.P. Morgan, he opened his first store after acquiring the space of a former antiquarian bookshop in the affluent London neighborhood of Marylebone. The Edwardian interior is a spectacular corridor of oak banisters and herringbone floors lit through the stained glass of a large baroque window. At the store’s entrance, books lie flat on tables in a kaleidoscope of mismatched colors and fonts—the titles related to one another in diagonals of true crime, philosophy, and military history.



»This spring the independent chain will open its ninth shop. Each branch thrived by trusting the instincts of well-read employees rather than leaning on publishers’ payments to promote titles on desirable shelf space. Among London’s yuppie classes, Daunt Books is an institution—its tote bags are a staple accessory for cosmopolites affecting the highbrow mating-call look.

»That indie cachet made Daunt Books the polar opposite of Waterstones, which had soured under the ownership of stationery merchant WHSmith Plc and later music retailer HMV. Founded in 1982, the U.K.’s largest bookstore chain—with about 300 shops—had become a bland and unprofitable network of outlets staffed by scores of part-time employees. In 2011, hours before Waterstones was set to file for bankruptcy, Daunt was brought in by the Russian billionaire Alexander Mamut to lead the company’s turnaround.

»In his first weeks, Daunt scrapped the employees’ funereal black uniforms, replaced the furniture to make the shops feel more spacious, and angled spotlights on bookshelves tilted at a precise 3 degrees, the better to catch the eye while also protecting the book spines. He also ended Waterstones’ promotional contracts with publishers, which cost the chain millions of pounds in lost revenue but gave managers unprecedented agency. It allowed booksellers at the company’s stores outside London to promote more relevant titles to their individual locations. In the northern seaside resort town of Blackpool, managers devoted more shelf space to Japanese comics than fiction, and a book about a local soccer team was prominently displayed at a shop in the southern county of Surrey.

»It also helped reduce the return rate—Waterstones’ has since dropped from a quarter to between 3 % and 4 %, which has drastically cut labor and freight costs. (Daunt says lowering Barnes & Noble’s return rate is a major priority.) Another strategy was to open smaller and more discreet stores, without the Waterstones moniker, that passed off as independents in the bucolic market towns of Rye and Southwold.



»By 2016, Waterstones earned its first annual profit in eight years. But not all of Daunt’s decisions were celebrated. He removed 40 % of employees from Waterstones’ middle-management ranks and invested some of those savings in raising the pay of senior staff, but not of junior hires. Five Waterstones booksellers delivered a petition to him last April, with 9,300 signatures calling for salary increases, and later resigned from the position because of low pay. In February, Waterstones lifted the average compensation across the company by 6.2 %.

»The success also came at the expense of some publishers, which paid handsomely to pass their risk on to the sellers that would pile their books up to the gunnels everywhere. “But the reality was we weren’t selling them everywhere,” Daunt says. Last November, at the Bookseller magazine’s conference on the future of the industry, one attendee said her company was now having trouble selling books to Waterstones and Foyles. Daunt suggested the problem probably rested with the products’ appeal rather than the distribution channel. “We’re growing, we’re selling more books, and we’re making money,” he said. “We’ve also managed to sell ourselves to a hedge fund not renowned for making dud purchases.”

»If Daunt succeeds in rescuing Barnes & Noble, it would earn Elliott a stellar return. In typical hedge fund fashion, it’s already insulated itself against not earning anything at all from its bookstore empire. Corporate filings show that a £32,279,784.11 ($41,598,957) dividend was paid last year from Waterstones to Book Retail Holdco, an entity controlled by the firm and domiciled in a Channel Islands tax haven that indirectly owns the U.K. chain. “I’m not emotionally attached to the business,” Best says of Elliott’s investment. “I like bookshops. I like being in bookshops. I buy books in bookshops and, in so doing, I noticed there were a lot of other people in the bookshops I was in.”

»Daunt says he’s answering a higher calling. “There aren’t remotely enough independents to maintain our industry. Publishers won’t keep that infrastructure going, it will become a world completely dominated by Amazon, and the traditional bookshop will disappear,” he says. His life’s work now depends on saving the giants that were once the enemy. “If we can achieve that goal, the owner will also make a lot of money, so they’ll be happy as well.” ».


.../... Lee todo en Bloomberg Businessweek



El equipamiento de la imprenta local de Quiroga (siglos XIX-XX) se instala en su nueva casa: el museo etnográfico municipal, entre la demás historia del municipio


Ángel Arnáiz
El Correo Gallego (@elcorreogallego)



Maquinaria y muebles de tipografía de El Derroche que se muestran en una nueva sala del museo. Foto: ECG.


«El mundo actual, casi con seguridad, sería muy distinto sin el invento de la imprenta, un vehículo de comunicación fundamental, que se debe al orfebre alemán Gutenberg, allá por mediados del siglo XV. Y un viaje en el tiempo a ese pasado, al de la técnica de impresión con tipos (letras) móviles de plomo, se puede hacer en la actualidad en el museo etnográfico del Ayuntamiento de Quiroga.

»Sus instalaciones acaban de estrenar una nueva sala en la que se muestra al público una histórica imprenta vinculada a la vida de esta localidad lucense. Se trata de la maquinaria de los almacenes El Derroche, un popular establecimiento fundado en 1900, de cuya imprenta salieron a lo largo de décadas los trabajos impresos editados en la comarca quiroguesa, desde bandos municipales a carteles de fiestas, pasando por recordatorios de primeras comuniones, invitaciones de boda, tarjetas personales y necrológicas, programas de mano de cine o anuncios de casas comerciales, entre otros trabajos.

»Del material tipográfico que se exhibe en el museo de Quiroga, el más antiguo corresponde a finales del siglo XIX. A este se une otro más moderno, de principios del siglo XX. Además de las impresoras, guillotina, tipos móviles y composiciones de la época, destaca un clásico mueble de cajones para guardar los diferentes tipos de letras, conocido como chibalete en esos primeros tiempos modernos de la industria tipográfica.




Quiroga. Imagen publicada por el Concello en FB.


»CESIÓN AL CONCELLO

»Todo el material incorporado al centro etnográfico fue cedido al mismo por la familia de Eugenio Bobillo Rodríguez, último propietario de los almacenes El Derroche, que cerraron sus puertas en 1995, según informaron desde el organismo local quirogués.

»Eugenio Bobillo, fallecido en 2013, era hijo de Nilo Bobillo, quien a su vez fue hijo adoptivo de Ignacio Rodríguez Cid, fundador de los almacenes alrededor del año 1900 y también un reputado fotógrafo en su época.

»Desde el Concello resaltan que Eugenio Bobillo, conocido como “Genucho”, tuvo especial interés por conservar el equipamiento que había pertenecido a la imprenta. Gracias a esa sensibilidad por salvaguardar una parte de la historia de Quiroga, hoy puede verse en dicho museo y lo único que hubo que hacer para exhibirlo al público “fue darle una pequeña limpieza y un tratamiento a la madera de los muebles para protegerlos del ataque de insectos como la carcoma”, subrayan los responsables municipales.


»RELIQUIAS IMPRESAS

»Además de la maquinaria, “Genucho” conservó también una importante colección del material impreso salido de El Derroche. Una muestra de la tipografía de la época, de singular valor para la historia de la imprenta en el sur de Lugo y de Galicia, que se preservará en el museo para disfrute de las generaciones futuras.

»La familia de Eugenio Bobillo, además de esa donación, ya había cedido al museo una antigua pianola mecánica, junto con unos dos centenares de rollos de papel perforado con otras tantas piezas musicales, que puede admirarse en la sala de catas del museo.

»Tanto el museo etnográfico como el geológico abiertos en Quiroga se están convirtiendo en un referente en la Ribeira Sacra, como evidencian las 7.000 visitas recibidas a lo largo del pasado año. El centro etnográfico nació con nueve salas dedicadas a la vivienda tradicional (lareira); recreación de una ferrería; el pendello, con aperos de labranza; el aceite, donde se recrea una almazara; y la bodega, que da presencia al mundo del vino. Telares, pizarra y castaña también están presentes en el museo».


.../... Lee todo en El Correo Gallego



«It is shown that the students do not use email appropriately, do not know the requirements for a good composition or for appropriate behaviour in their interaction with teachers using email as a medium of communication»


Dimitrinka G. Níkleva
«Markers of politeness and impoliteness in student-teacher interaction in the discourse genre of emails»

Signos, vol. 51, n.º 97 (2018)

Revista Signos. Estudios de Lingüística | Pontificia Universidad Católica de Valparaíso | Viña del Mar | CHILE

Se incluye a continuación un extracto seleccionado de las páginas 214, 215 a 216 y 224 a 234 de la publicación en PDF. Las referencias pueden consultarse en la ubicación original.

Enlace HTML.



Campaign Creators, @campaign_creators. Unsplash.


«Abstract

»Politeness is a socio-pragmatic phenomenon that conditions the success or failure of communication. Consequently, this study aims to investigate the markers of politeness and impoliteness in pupil-teacher interaction at the university stage in Spain using email, one of the most used discourse genres today. The objectives formulated for this study are:
1) To study the opinion of a group of university students on their preparedness for the composing of emails;
2) to compare the perception that the participating subjects have about their ability in the different aspects related with email composition with the competence that is seen in the composition of such texts in the analysed corpus;
3) to design a didactic intervention to teach how to compose emails, and to put it into practice so as to improve the results;
4) to compare the results after the didactic intervention.

»Descriptive and inferential statistical analysis has been carried out on an opinion questionnaire of 160 students on the composition of emails and on a corpus of 120 emails. A didactic intervention was then designed, based on the results obtained. Subsequently, another corpus of 60 emails was selected to compare the results from before and after the intervention. The results demonstrate considerable improvement in many aspects.



»Introduction

»Politeness is a social behaviour, governed by social rules and conventions that a sociocultural community establishes in order to prescribe expected behaviour in determined contexts. It is a mode of behaviour established to maintain social order and harmonious relations between the members of a society. Consequently, it has a social function whose final objective is the negotiation of agreement.

»Within the framework of linguistics, its study belongs to pragmatics for being a linguistic strategy, and for being a socio-pragmatic phenomenon that conditions, among other things, the success or failure of communication. It is produced in a determined sociocultural context, the components of which guarantee the presence or absence of appropriateness in speech acts. It could also be defined as a form of social behaviour, governed by rules and principles, and therefore it can be considered a communication strategy.

»In the terms of Martín Zorraquino (1999), verbal politeness consists of the rights and obligations that arise for the interlocutors in every communicative situation. According to Leech (1983), politeness is a principle of the social regulation of interaction.

»Another significant feature is that politeness is a behaviour acquired in the process of socialization, brought about principally by parents and teachers. Think, for example, of the types of phrases with which a child is taught to give thanks or ask for something: ‘What do you say?, How do you ask nicely?’, etc.

»This article offers an approach to the phenomenon of politeness and impoliteness from a theoretical basis and an essentially pragmatic perspective, with a simultaneous focus on making the study applicable to language teaching. In order to do so, email is the discourse genre chosen to discern and analyse the markers of politeness and impoliteness in student-teacher interaction in the Spanish university sphere, with the added intention of helping the students to learn to compose emails adequately.



»Discussion

»The variables analysed in the corpus [corpus 1 (before the didactic intervention) and corpus 2 (after the didactic intervention)] were:

»Presentation/identification; subject heading (presence/absence) and appropriateness of the subject heading; greeting (presence/absence) and appropriateness of the greeting; signing off and appropriateness of the signing off; appropriateness to the topic; appropriateness to the addressee; register (formal/informal); form of personal address (tú/usted); appropriateness of the user address; modalizers and lexicalized expressions (gracias, por favor ‘thank you, please’, etc.); hedged expressions of illocutionary force (si no te importa; si no es mucha molestia; perdone las molestias; pido perdón ‘if you don’t mind; if it’s not too much bother; sorry for the bother; please excuse me’); hedging verbal tenses (me gustaría, podría ‘I’d like; I could/might’); intensifiers (quantifiers, etc.); fallacies.

»These variables were selected because appropriateness is a manifestation of politeness, since it considers the circumstances of the communicative situation: The roles of the participants, age, communicative purpose, etc. In this sense, to be appropriate means to be polite at the same time.

»Some variables related to spelling and linguistic correctness in general are included in the analysis because, in our opinion, correctness is also a marker of politeness that considers the characteristics of the addressee and of the roles at play in the communicative situation.

»After this first stage of the study, a didactic intervention was designed in order to teach the students to compose emails and achieve an improved pragmatic competence in which, most importantly, politeness and appropriateness are emphasized. The importance of linguistic correctness was also stressed.

»The methodology consisted of discussing various emails in class with different activities that promoted reflexion and group conversation. The teacher took the role of coordinator and centred the conversation on a few aspects that needed improving. It was observed that the students themselves spotted the errors, the impoliteness, the lack of appropriateness, etc. They even laughed at the inadequate and impolite behaviour. To begin with they were not conscious of the importance of many of the criteria, but together they formulated some pragmatic and linguistic rules for the composition of emails.

»[...]

»It must be stressed that in the questionnaire, the students answered various questions correctly, yet this did not correspond with what they do in reality (as seen in the corpus).

»Regarding the form of personal address, in the questionnaire 100 % answered that they use the usted form. Nevertheless, in corpus 1 only 53.33 % used it, and this number fell to 45 % in corpus 2. It is important to note that in corpus 2 the number of students who did not greet fell from 10 % to 1.7 %.

»As well as the greetings that have been collected in Table 4, one was found that was actually in the subject line: “Hola, hola X ‘hello, hello X’ [first name of the teacher]. Soy XXX ‘This is XXX’ [first name of the student]”. The reduplication of the informal greeting aims to establish a very relaxed and, at the same time, close and friendly tone, removing distance and abolishing their roles.

»The common formulas for signing off were:

»Un saludo y gracias. ‘Regards and thanks’.

»Un abrazo. ‘A hug’ – which is equivalent to ‘best wishes’ or ‘love’, depending on the register.

»Espero tu respuesta, gracias ‘I hope to hear from you, thanks’

»Sin más me despido. Un saludo y quedo a la espera de su contestación. ‘Without further ado, I’ll sign off. Regards and I await your reply’.

»Espero noticias suyas pronto!! ‘I hope to hear from you soon!!’

»Un Saludo y Muchísimas Gracias de Corazón. ‘Regards and Many Heartfelt Thanks.’

»Muchas Gracias. ‘Many Thanks.’

»Muchas gracias de antemano Un saludo. ‘Many thanks in advance. Regards.’

»Muchísimas gracias por adelantado. Le envío un cordial saludo. ‘Very many thanks in advance. I send you kind regards’.

»Muchas gracias, por todo. Perdone las molestias. ‘Many thanks, for everything. Sorry for the bother.’

»Nos vemos el viernes. Un saludo! ‘See you on Friday. Regards!’

»Atentamente. ‘Yours sincerely.’ (Used only twice in corpus 1 and 4 times in corpus 2).

»Le mando desde Burdeos un gran besito. Espero tener respuesta pronto. Muchas gracias. ‘A big ‘little’ kiss from Bordeaux. I hope to get a reply soon. Many thanks.’


»In the last example, the contradiction between the adjective gran [big] and the diminutive besito ‘little kiss’ is noteworthy. The combination between the two words, due to their semantics and the formal features of the diminutive, results in incoherence.

»In corpus 2 an improvement was also observed in the use of the ‘subject’ heading, signing off, in the appropriateness to the topic and addressee. The use of formal register increases, and therefore the signs of politeness too. The ‘subject’ heading is the space given for formulating the topic or subject matter of the message. It is a short phrase that sums up the contents of the text and, therefore, allows the formulation of a hypothesis concerning the relevance and interest of the message.

»In this way it determines the decision regarding its reading or, on the contrary, its deletion. Consequently it is a question of politeness to provide this information for the addressee. In professional emails the ‘subject’ is characterized by a greater obligatory nature that is explained with the highest degree of formality in the interaction and with the necessity of contextualizing the message. Moreover, it is impolite to try to impose upon the teacher the obligation of reading it with urgency without the students identifying themselves (in the case of the user address not being identifiable).

»Another variable included in the corpus analysis is the user address. It is convenient to choose an address that is informative about the sender. In the professional world the use of institutional email is recommended. However, very few students make use of it and, furthermore, the majority have an email address that does not identify them (despite the fact that normally they introduce themselves in the message body).

»It is inappropriate and impolite to use an email address like elmasguay@ [thecoolest@], lacabraloca@ [crazy@] o lamassexy@ [thesexiest@] in correspondence with teachers. It shows a lack of appropriateness and politeness. The data obtained reveal that 83.1 % of the emails in corpus 1 have an ‘unsatisfactory’ address that does not identify the user. Only 8.5 % use an appropriate address that identifies them or that is institutional. In corpus 2 the appropriateness of the user address has improved from 8.5 % to 21.7 %.

»Another example of impoliteness and lack of appropriateness in correspondence with a teacher is the use of smile emoticons or substitute-laughter verbal expressions like jeje [‘haha’]. In corpus 1 the following email was found, about which it is important to clarify that the student and the teacher have not yet met:

»“Muchísimas Gracias por la Rápida respuesta a mi mensaje!!! jeje Por último, me gustaría saber cuando será el examen o si va a haber varias posibilidades, el tipo del mismo (o solamente lo que me ha puesto de los textos) y poco más jeje creo que ha resuelto claramente mis dudas!! pero me faltaría eso por saber...
Un Saludo y Muchísimas Gracias de Corazón.”

»‘Many Thanks for the Quick reply to my message!!! haha Lastly, I’d like to know when the exam will be and if there are going to be various possibilities, its type (or only what you have told me about the texts) and not much more haha i [sic] think you have clearly resolved my doubts!! but I still need to know this...
Regards and Many Heartfelt Thanks’.


»It must be highlighted that after the didactic intervention the use of emoticons and paralinguistic substitutes of the type ‘haha’ disappear in corpus 2.

»It is important to emphasize that a marker of politeness is not only the use of formal register but also spelling, punctuation, the good use of upper- and lower-case letters, etc., whose degree of obligation varies depending firstly on the addressee and then on the roles between the participants of the communication. These features are not only examples of correctness but also of politeness. Since, regrettably, it seems very difficult to manage to get the students always to write well, one ought at least to insist on them knowing how to differentiate between different communication situations and all the rules that derive from their components and from the relationship between them.

»One can allow that they relax more with their friends and are careless with spelling, use many abbreviations and smile emoticons, but they should know how to use formal register and apply the rules of correctness according to the addressee (age, roles, etc.) and the communicative purpose.

»Some students who use informal register sometimes insert phrases from another language, such as tipical spanish [sic], criticizing the lack of punctuality of some teachers, but neglecting correctness both in Spanish and in English.

»[...]

»Another of the analysis variables was the use of modalizers and lexicalized expressions such as por favor ‘please’ and gracias ‘thank you’. It is confirmed that Spanish presents a lower frequency of their usage in comparison with English, for example. In the great majority of the emails the students ask for something: Information, favours, etc. Nonetheless, a high frequency in the use of por favor and gracias was not observed. It was observed that in corpus 1, in 79.7 % of the emails, the expression por favor was not used even once.

»The word gracias normally appears in the signing off formulas, but even so in 39 % of emails (corpus 1) it is not used once. It is fitting to add that the use of quantifiers occurs again with much frequency in the signing off: Muchísimas gracias ‘very many thanks’, mil gracias ‘a thousand thank yous’, etc.

»The use of formal register in the correspondence between students and teachers is a marker of politeness as well. In corpus 1, 72.9 % of the emails have used formal register compared to 27.1 % informal. Nevertheless, in the emails with formal register the informal greeting hola ‘hello’ predominates (53.3 %) over 13.3 % that use a formal greeting and 10 % that have no greeting.

»The formal greeting in Spanish is Estimado o Estimada ‘Dear’, followed by a colon, not a comma. In corpus 1 it was used correctly in only 5 emails (out of 60). In 3 emails it was used with a comma.

»In one email the diminutive of teacher was used, which is inappropriate and impolite, since the student and teacher barely know each other; moreover, the interaction roles do not allow this form of address, nor had it been permitted.

»To the three factors that determine politeness (Brown & Levinson, 1987) –power, social distance and cultural context– the emotional relationship between the interlocutors must be added (Kienpointner, 2008). Kienpointner establishes a relation between politeness and emotional arguments. The strategies of (im)politeness are often used to “create or modify more or less pleasant emotions during the interaction” (Kienpointner, 2008: 27).

»It was decided to include in the analysis one of these emotional arguments –fallacies– that has decreased in corpus 2: False reasoning or arguments. Following the classification of Copi (1969), only those that predominate in the student emails have been collected, which are fallacies that appeal to psychological and affective means. Among them, the most frequent in the analysed emails is of the argumentum ad misericordiam type –those that are used to provoke pity in the other person. For example: “¡Profesora, no me suspenda! Mi padre no me va a pagar más los estudios, si no apruebo”. (‘Don’t fail me, professor! My father won’t pay for my studies anymore if I don’t pass.’).

»Another group of fallacies that has been found in the student emails is of those based on pseudo-reasoning: False cause, accident, etc.

»Cultural differences that determine different behaviour and strategies must be considered. In other words, (im)polite strategies to create emotions are different in different languages and cultures.

»In some languages and cultures priority to the independence of the individual is given, and this brings about mutual distancing, as in Anglo-American, Dutch or Swedish culture, while in other cultures affiliation or closeness and group solidarity are more important, as in Spanish peninsular, Turkish, Chinese, and Japanese culture (Bravo & Briz, 2004; Briz, 2004; Haverkate, 2004).

»For example, regarding the rank of imposition, Kienpointner (2008: 26): states “the fear of intrusion in English culture or the desire for affiliation in Spanish culture”. Thus emotions become a communicative purpose.

»“The emotions (positive or negative) have a dialectic relationship with (im)politeness: On the one hand, certain emotions are the effect of (im)polite communicative acts; on the other, emotions can cause these same acts” (Kienpointner, 2008: 27).

»Following this line, fallacies have been included in the analysis, because they are a type of argumentation and therefore, as a strategy, the same as politeness.

»A dependency relationship has been established between the use of por favor ‘please’ and fallacies, because in the analysed emails the most used fallacy is the argumentum ad misericordiam type and therefore is usually used to try to provoke the teacher’s pity and request a favour, normally related to marks. This causes an increased use of por favor. However, its use in cases of requesting information is minimal.

»The students do not always give thanks for the information they request and receive. Neither do they apologise when asking for information that has already been given in the class or that is available on a virtual platform of the course and is available to everyone. They are not conscious of how much work is required for a teacher to have to reply individually about issues already dealt with in class and/or available online. It is, therefore, the author’s opinion that to educate the students on how to choose when to send the teacher an email would be an act of politeness and respect.

»Below are a few examples of fallacies in the analysed emails:

»“Sólo le pido que se ponga en mi lugar, voy a perder la plaza de profesor en un colegio con lo que eso cuesta conseguirlo y todo porque tuve un mal día a la hora de hacer la parte práctica su examen [sic]...”

»“I only ask that you put yourself in my shoes, I’m going to lose my position as a teacher in a school, after all the trouble it takes to get one, and all because I had a bad day at the time of doing the practical part your exam [sic]...”.

»“En serio X [Profesora], no soy alumno de rogar ni suplicar pero es que necesito el aprobado, no creo que me vuelva a salir la oportunidad de poder trabajar como profesor sin tener que hacer las oposiciones y si no me cree en que solo me queda su asignatura le puedo enviar una copia de mi expediente. [...] Perdóneme por la insistencia pero es que este suspenso trastoca todo por lo que he estado trabajando durante el curso académico además de mi futuro como docente”.

»“Seriously, X [Teacher], I am not the type of student to beg but I really need to pass, I don’t think I’ll get another opportunity to able to work as a teacher without having to do the public exams and if you don’t believe that I only have your subject left to pass I can send you a copy of my file. [...] Forgive me for insisting but this failure ruins everything that I have been studying for during the academic course as well as my future as a teacher”.

»“Me gustaría pues que me ayudase para conseguir aprobar la asignatura por fin, ya que es mi último año en la facultad y debido a la situación económica que vivimos no puedo permitirme seguir ningún año más aquí... además de que ya tenía que haber finalizado la carrera. Ruego pues que me ayude lo máximo posible para poder dar por finalizado este tema”.

»“So I’d like you to help me to finally pass the subject, given that this is my last year in the faculty and due to the current economic situation I can’t afford to carry on another year here... and also I should have finished my degree already. I implore you to help me as much as possible to finish this subject”.


»Politeness is not an automatic result of certain formulas. Let us look at the subject of a student who sent three messages. In the first two she requests information that she is refused, but she is told where she can look it up, given that there is a virtual platform online that is used for the subject, as well as having been provided in class. It is also suggested to her to go to a tutorial. The student does not attend classes even though they are compulsory, nor is she able to go to a tutorial. Her reaction to the teacher’s reply is to be upset at not receiving what she asked for and how she asked for it, so that in her last message she uses the formal greeting with the correct punctuation, but the entire message is ironic.

»Thus she utilizes another type of fallacy: Ad hominem (false reasoning used to attack the interlocutor or opponent). In the first sentence of the email there is this ironic ad hominem attack: Gracias por su comprensiva respuesta ‘Thank you for your understanding reply.’ Furthermore, she goes on to describe the teacher as inflexible and lacking understanding:

»“He leido [sic] que para hacer compatible tabajo [sic] y estudios en esta universidad, también depende de la flexibilidad y comprensión que el profesorado estime dar al alumno o alumna en cuestión, por eso yo buenamente pensaba que usted me podía responder a esas pequeñas dudas que tenía.”

»“I have read [original missing accent] that to make wok [sic] and studies compatible in this university also depends on the flexibility and understanding that teachers deem to give the student in question, so I honestly thought that you could reply to these small questions that I had”.


»The student tries to reinforce her positive face with the use of the qualifying adverb buenamente [honestly] and with the quantifier pequeñas [small], while the intention regarding the face of the teacher is exactly the opposite: She accuses her of inflexibility and lack of understanding. Moreover, in the rest of the message she reflects on what one earns, on the prices of university teaching, on “los precios que suben como la espuma a diferencia del sueldo del trabajador” ‘the prices that soar, unlike the pay of the worker.’

»If a favour is asked and this request is refused, one must know how to accept it and, depending on the communicative situation, know how to maintain polite style. It is a question not only of politeness but also of education, without which one tries not to request but to impose and demand. One must know when and with whom this can be done.

»Insistence on being granted a favour is by itself impolite, as in the case of these other emails:

»“Necesito que me diga mi nota en la mayor brevedad posible”. “I need you to tell me my mark as soon as possible”.

»“Necesito acabar ya”. “I need to finish now”. (Referring to finishing and passing the academic course).

»“Espero que me pueda ayudar con la mayor brevedad posible”. “I hope you can help me as quickly as possible”.


»In some emails the use of the captatio benevolentiae strategy is observed, normally in the days approaching the exam. An example would be:

»“Estoy haciendo todo lo que está en mis manos para poder sacar la asignatura hacia delante con el estudio intensivo...”

»“I am doing all that I can to be able to pass the subject, with intensive studying...”.


»On other occasions, face-flattering polite expressions are [emphasized]:

»“Me ha gustado mucho el trato que usted nos ha dado y lo interesante de cómo impartía las clases. Nos ha motivado mucho. Enhorabuena y espero que siga así. ¡Gracias!”.

»“I have really liked how you have treated us and how interesting your way of teaching has been. You have really motivated us. Congratulations and I hope it continues. Thank you!”.


»Among hedging strategies, the students introduce apologies for not accenting words when they send email from a mobile telephone or for possible spelling mistakes due to their state of mind, as in this message where a student informs that she cannot take the exam the next day because of the death of a family member:

»“Perdone si no me expreso muy bien, pero las circunstancias me lo impiden.”

»“Forgive me if I am not expressing myself well, but the circumstances make it difficult for me”.

»“...me gustaría tener una breve tutoría con usted si es posible [...] Si es posible le rogaría me constestase [sic] citándome cuando usted desee.”

»“...I would like to have a short tutorial with you if possible [...] If it is possible could you please replys [sic] making the appointment whenever you’d like”.


»To conclude the discussion of the results, it is worth highlighting that during the analysis of the data obtained it was noteworthy how the students filled out the questionnaire, answering what they believe is considered to be correct, and not what they think or do. Their questionnaire responses have been contrasted with the email corpus, where the record shows what they do in reality. They know that in theory they should identify themselves, state the subject or topic of the message, greet and sign off respectfully, use the form of personal address usted, utilize standard register in the emails they send to their teachers, consider the variable age of the addressee and the interaction roles, take care over correctness, etc.

»The reality is far removed. Errors of spelling, accenting, punctuation, morphology, etc. abound. The erroneous usage of upper- and lower-case letters is very worrying. Many students do not separate sentences, and they write the whole message without a break, which makes comprehension difficult.

»For all of these reasons, it is shown that the students do not use email appropriately, do not know the requirements for a good composition or for appropriate behaviour in their interaction with teachers using email as a medium of communication.



»Conclusions

»Despite the fact that university students are considered to be qualified to compose different text types, the markers of politeness in their emails –as part of their discourse and pragmalinguistic competence– do not meet the adequacy required for the teacher-student relationship type.

»The teacher-student relationship is a social relationship, in which a role difference exists that creates rights and obligations which require the use of formal or standard register, without neglecting the markers of politeness and correctness of expression. The message should be appropriate for the subject, appropriate for the addressee and appropriate for the communicative situation. All these aspects form part of politeness and affect the efficacy of the communication.

»A pragmatic competence is required for the composition of emails. The codification and decodification of an email form part of a polyphonic phenomenon that demands a collaborative (shared) and negotiated interpretation in which the sender and receiver are jointly responsible for the success or failure of the interaction.

»It can be concluded that politeness acts as an indication of the appropriateness of linguistic and social behaviour, and from the pragmalinguistic point of view contributes to the success or failure of the communicative interaction. It is a principle of the social regulation of interactions. Moreover, the illocutionary force (the intentional value) underlies the whole message and one must know the rules both to encode and decode it.

»The didactic intervention, as an essential part of this investigation, has improved the results in many aspects: The number of students who identify themselves and greet in a polite form has increased; the usage of the subject heading and of signing off has improved; the appropriateness to topic and addressee has improved, as has the appropriateness of user addresses; the use of emoticons and paralinguistic substitutes has disappeared; and spelling and linguistic correctness in general has also improved, although to a lesser extent.

»All this permits us to state that the email as discourse genre should be taught at several educational stages. Hence teachers will update the types of text and genres that they teach, corresponding to current demand, according to which email is a new discourse genre (Vela Delfa, 2008; Níkleva & Núñez, 2013).

»This will bring about improved competence for the students who, at the same time, will respond with greater interest and motivation, since email forms a part of their daily life.»