junio 03, 2020

«Una exposición virtual recorre el Geoparque de Granada y profundiza en su evolución»



GranadaDigital (@granadadigital)


«La Diputación de Granada (@dipgra), en colaboración con la Fundación Descubre (Fundación Andaluza para la Divulgación de la Innovación y el Conocimiento) (@FDescubre) y más de una veintena de entidades, ha producido la exposición virtual La identidad que nos da la tierra. Geoparque de Granada, que pretende ser una ventana hacia este singular patrimonio natural donde se mezclan paisajes y divulgación en un entorno que se extiende por 47 municipios de las comarcas de Guadix, Baza, Huéscar y Montes».

«La muestra tiene la geología y las personas que habitan el territorio como epicentros y conecta con otros aspectos de interés, como pueden ser el etnográfico o el cultural».



Pantalla de inicio de la exposición.


«Esta exposición está disponible para su visita desde la web del Geoparque de Granada (@GranadaGeopark) y de la Fundación Descubre y en breve estará disponible para visualizar en dispositivos móviles



»Con un lenguaje sencillo, sin tecnicismos

»Los responsables buscan una conexión más íntima entre el entorno y la sociedad, generando una mayor conciencia sobre su conservación y potenciando, además, el papel del Geoparque de Granada como elemento tractor dentro del turismo científico de la provincia.

»El paseo virtual cuenta con una doble faceta. De un lado, se ofrece una visita en formato de 360 grados a distintos parajes: el puntal de Don Diego, el mirador del Fin del Mundo, el acueducto del Toril, las sismitas y badlands de Galera y el mirador del río Castilléjar.

»Una experiencia inmersiva, que se irá ampliando con el tiempo para abarcar otros puntos de interés de este entorno que se extiende por 4.772 kilómetros cuadrados.

»A ello, se suma el acceso interactivo a 20 paneles donde el visitante puede profundizar en la evolución del Geoparque desde el punto de vista geológico y biológico, sin olvidar su relación con los seres humanos que lo habitan. Todo esto toma forma de sala panorámica, con corte realista, construida mediante la herramienta 3DVista Virtual Tour. Esta tecnología ha sido diseñada por la empresa granadina 3dVista.

»Asimismo, la exposición cuenta con cuatro niveles de lectura. El visual, que utiliza un recurso gráfico para llamar la atención, va acompañado de títulos llamativos para conectar con el visitante. A ello se suman “píldoras informativas” a modo de “¿Sabías que...?” y textos en detalle para ampliar conceptos.

»La muestra virtual forma parte de un proyecto más amplio, que incluye una versión física, que se exhibirá en diferentes emplazamientos del parque».


.../... Lee todo en GranadaDigital





mayo 27, 2020

«Cómo presentar tus proyectos» | Masterclass de Marco Creativo



Marco Creativo en YouTube


«En este vídeo os voy a dar un montón de tips y consejos basados en mi experiencia de más de 15 años como diseñador gráfico, para que podáis mejorar vuestras presentaciones con el cliente y conseguir el éxito en vuestras propuestas.



Marco Creativo (@marcoCreativo)


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mayo 26, 2020

«Cómo crear tu storytelling en 6 minutos» | Nacho Téllez



Nacho Téllez en YouTube


«El storytelling es una de las formas más antiguas de comunicación. ´

»Cuando no existían el marketing ni los anuncios, las personas contaban historias para alegrar, enseñar o atemorizar a los demás.



Nacho Téllez (@SoyNachoTellez)


»Hoy, las empresas han perfeccionado este arte para transmitir conocimientos y valores de una manera sutil, divertida y elegante.

»¿Quieres aprender a presentar tu producto, tu empresa o tu persona con una historia? En este vídeo te muestro cómo crear un storytelling en poco más de cinco minutos. Hacer un storytelling nunca había sido tan sencillo y rápido.».





mayo 22, 2020

«Universal Music Publishing Group Signs Kenny Chesney to Global Publishing Deal»



Billboard (@billboard)


Chesney follows publishing executive Troy Tomlinson over from Sony/ATV.



Kenny Chesney (@kennychesney): «Here And Now». Official Music Video.


«Country music superstar Kenny Chesney has signed an exclusive global publishing agreement with Universal Music Publishing Group (UMPG), the publishing giant announced today (May 19).

»Over his nearly 30-year career, Chesney has sold more than 30 million albums worldwide. Earlier this month, he marked his ninth No. 1 debut on the all-genre Billboard 200 albums chart with Here and Now, and has recorded 20 total albums. The 52-year-old known for hits like “American Kids,” “Get Along” and “You and Tequila” has been awarded entertainer of the year four times each by the Academy of Country Music and Country Music Association, and received BMI’s prestigious President’s Award in 2016.

»Chesney moves over from Sony/ATV Music Publishing. The switch reunites him with Troy Tomlinson, who left Sony/ATV last year to join UMPG Nashville as chairman and CEO.

»Tomlinson still remembers meeting Chesney when the artist was just 24 years old. “He played me four or five songs in my office on his guitar,” the executive said in a press statement. “I remember the vivid lyrics. I can still recite them today. We have enjoyed lots of success together and lots of fun times and lifelong memories. I am grateful to continue to represent him and his music and look forward to delivering outstanding opportunities through UMPG.”

»Adds Chesney: “Troy Tomlinson has been part of my creative life since I was a young dreamer hoping to capture some life in songs. To be reunited with him, as well as to work with Jody Gerson and the entire team at Universal Music Publishing inspires me to keep reaching for those same dreams, seeking truly special songs as a writer and an artist blessed to bring other people's songs to the world, too.”»


.../... Read all on Billboard





mayo 21, 2020

«Industrias culturales en tiempos de Covid-19» #Perú


Alan Fairlie Reinoso (@FairlieAlan)
La Mula (@lamula)


«El Banco Interamericano de Desarrollo (BID) define la “economía naranja”, como el conjunto de actividades que permiten que las ideas se transformen en bienes y servicios culturales con un valor determinado dado su contenido de propiedad intelectual (2007). Comprende una gama amplia de actividades artísticas e industrias creativas desde las artes escénicas y espectáculos hasta producciones de contenido digital. En la región de América Latina y el Caribe, la pandemia muestra estar afectando gravemente estas actividades y proyectos.



Pedro Felipe Buitrago Restrepo e Iván Duque Márquez, La Economía Naranja. Una oportunidad infinita


»Heterogeneidad del sector

»En principio, la creación y producción se han visto seriamente afectadas. En el mundo del cine está asumiendo pérdidas importantes, pues las medidas de confinamiento provocaron suspensión de grabaciones y aplazamiento de estrenos. Aún más preocupante es la situación que afrontan trabajadores independientes en otros sectores, en su mayoría jóvenes, y los trabajadores dependientes de sectores vulnerables a despidos en el corto plazo como la gastronomía, moda y entretenimiento (1). Los canales de distribución y acceso a los bienes y servicios culturales también han sido severamente golpeados. Incluso mucho antes que se dictaran las medidas de confinamiento social, espacios culturales como librerías, museos, galerías, cines tuvieron que cerrar sus puertas al público debido a las altas probabilidades de convertirse en focos de contagio.

»Contrariamente a lo que ocurre en las industrias culturales convencionales, otros sectores dedicados a la producción de contenido digital han mantenido o incluso beneficiado del aumento de la demanda. Dentro de este grupo se encuentran diseño de artes gráficas e ilustración, productores de contenido audiovisual, entre otros. Así, dadas las enormes oportunidades que ofrece la tecnología, las empresas muestran estar adaptándose a los nuevos patrones de consumo. Por ejemplo, productoras cinematográficas están intentando poner sus contenidos en plataformas streaming (2). La industria musical está haciendo uso de plataformas en línea para ofrecer eventos en vivo o grabados, y así obtener ingresos.

»Por su parte, los gobiernos en la región están apoyando al sector a través de recursos económicos y técnicos. Argentina aumentó el presupuesto de programa Punto de cultura para ayudar a colectivos y organizaciones para realizar proyectos culturales (3). Chile también anunció plan de emergencia que incluye la adquisición de contenidos culturales para difundirlos mediante plataformas audiovisuales (4). En tanto, Colombia lanzó paquete de ayuda para artistas y gestores culturales en condición de vulnerabilidad (5).

»Asimismo, destacan los esfuerzos de los gobiernos por recabar información sobre la industria. Como se sabe, aún es muy bajo el registro de información sobre el sector debido a los altos niveles de informalidad. Los sistemas de clasificación económicos convencionales no muestran ser adecuados para agrupar categorías de servicio y productos creativos bastante amplios (6). En esa línea, destaca la iniciativa de Mercosur Cultural, que, en colaboración con el BID y otras organizaciones, buscan sistematizar información, evaluar impacto de la pandemia y ayudar a gobiernos a diseñar políticas para la recuperación del sector.



»¿Cómo vamos por casa?

»Por lo expuesto, este es un sector fundamental para una estrategia de diversificación productiva, y particularmente relevante en países con la diversidad y riqueza cultural del Perú. Por eso presentamos al Parlamento andino, una propuesta de marco normativo para promover las industrias culturales, que fue aprobado en comisiones y espera ser programado para su debate en plenaria. Es indispensable que en esta situación crítica, se apoye a estas industrias, que constituyen fuente importante de empleos y son claves en una estrategia de desarrollo post covid-19.

»Lamentablemente, hay una inacción frente al sector, y a dos meses de la cuarentena y emergencia, no se le han canalizado recursos que son indispensables para su supervivencia. Nos sumamos a los pedidos y demandas, para que esto se corrija de inmediato.



Referencias

»1. Ver artículo de BID: https://blogs.iadb.org/industrias-creativas/es/economia-naranja-en-la-crisis-del-covid-19/

»2. Revisar artículo: https://aeg.pucp.edu.pe/tema-central/el-impacto-del-coronavirus-en-la-industria-cultural/

»3. Ver noticia en: https://www.cadenanueve.com/2020/03/20/en-tiempos-de-emergencia-cultura-de-la-solidaridad/

»4. Revisar comunicado en: https://www.cultura.gob.cl/institucional/ministerio-de-las-culturas-anuncia-plan-de-emergencia-en-apoyo-a-las-culturas-las-artes-y-el-patrimonio/

»5. Ver noticia en: https://www.eltiempo.com/cultura/arte-y-teatro/mincultura-dara-recursos-para-artistas-creadores-y-gestores-culturales-486320

»6. Revisar libro sobre Economía Naranja: https://publications.iadb.org/es/la-economia-naranja-una-oportunidad-infinita».


.../... Lee todo en La Mula





mayo 19, 2020

«La reconversión de las editoriales independientes ante el confinamiento por el coronavirus» | Marco Fajardo, el mostrador



En el mostrador (@elmostrador)


«Para poder afrontar esta crisis sanitaria, muchas editoriales se han volcado a la venta de libros digitales. Algunas ya tenían sus catálogos digitalizados, otras están ahora invirtiendo en digitalizarlos y apostando por este nuevo formato a largo plazo. “Lo que tengo claro es que la liberación o digitalización de un libro no va contra el libro físico, sino se complementa”, destaca un editor.




»Con liberación de libros, despachos a domicilios y clubes de lectores, las editoriales independientes han enfrentado el confinamiento causado por el coronavirus.

»Estas entidades han sido afectadas por el cierre de las librerías, pero también por la suspensión de lanzamientos y ferias.

»De esta manera, se han visto obligadas a incursionar en nuevas modalidades o profundizar algunas que ya existían, aunque se manera incipiente, vinculadas a Internet.



»Panorama general

»“La edición independiente es un rubro bastante precarizado, porque el trabajo en el ámbito cultural lo es en Chile”, explica Paula Gaete, presidenta de la Cooperativa Editores de la Furia, que agrupa a gran parte del gremio.

»“En general, los editores tienen otros trabajos y pocos viven solamente de la editorial, cosa que se agrava ahora que las librerías están casi todas cerradas y no hay ferias de libro”, puntualiza la editora, traductora y socia fundadora de la editorial Oxímoron.

»Para poder afrontar esta crisis sanitaria, muchas editoriales se han volcado a la venta de libros digitales. Algunas ya tenían sus catálogos digitalizados, otras están ahora invirtiendo en digitalizarlos y apostando por este nuevo formato a largo plazo, explica Gaete.

»Algunas también han decidido liberar ciertos títulos para ayudar a la circulación de libros y el acceso a ellos, a modo de apoyo solidario durante la pandemia. Otras editoriales se han enfocado en la venta directa de sus libros, ofreciendo despachos gratis o con descuentos especiales.

»“Ha sido difícil transformarse en tan poco tiempo y sin acceso a los canales de venta regulares como librerías y ferias del libro. En definitiva, el mundo editorial está replanteando los canales y formatos tradicionales, intentando reinventarse de una manera que sea natural”, reflexiona.

»“Ha sido bonito ver cómo se ha vuelto a valorar el consumo de libros y arte en general durante esta crisis, y es importante normalizar esto. Debemos sacar algo bueno de este encierro, que sea una oportunidad para transformar las relaciones sociales y culturales que nos rigen. Normalicemos que del arte sí se vive”, comenta.



»Caída de ventas

»Un ejemplo es Editorial Cuneta, como cuenta Carolina Ruiz, encargada de la coordinación editorial.

»“En Cuneta nos hemos tenido que adaptar y hace poco empezamos a vender libros online a través de nuestras redes sociales, porque las cuarentenas han mermado considerablemente las ventas en librerías y tenemos muy poca facturación”, cuenta.

»Ella además apunta a que hay un retraso en casi todos los pagos de la cadena del libro: librerías, distribuidoras, imprentas y editoriales.

»“Por lo tanto, el plan editorial que teníamos contemplado a principios de año lo hemos corrido y empezaremos a publicar nuevos títulos durante el segundo semestre, pero también a reimprimir algunos clásicos de Cuneta”, dice.



»Formatos

»Pequeño Dios Editor, Das Kapital, Cuadro de Tiza, Libros del Cardo, Narrativa Punto Aparte, Sangría Editora y Gol Triste son algunas de las editoriales socias de la Cooperativa Editores de la Furia que han liberado sin pago diferentes títulos en sus sitios web, generalmente en formato PDF o ISSUU.

»Otro ejemplo es la editorial Quimantú, que ya lleva 13 libros liberados de forma gratuita, entre literatura y textos académicos.

»De manera similar, la editorial Los Perros Románticos ha liberado de forma gratuita Anarquía explicada a los niños, con más de mil descargas.

»“Nos hemos adaptado a los modelos digitales, tratando de vender en línea, captando recursos desde los créditos del Estado, ahora más que nada enfocados en lo digital para mantener a nuestros lectores al tanto de las novedades. También tenemos despacho gratuito y un 20 % de descuento en nuestra tienda online”, cuenta Octavio Espinoza, editor de Los Perros Románticos.

»Por su parte, Cuneta recientemente compartió en formato ISSUU un fragmento del poemario “Migraciones” de Gloria Gervitz, Premio Iberoamericano de Poesía Pablo Neruda 2019.

»Ruiz además destaca la labor de la Biblioteca Pública Digital que ha funcionado perfectamente para prestar de forma gratuita miles de ejemplares a los ciudadanos. Allí se encuentran muchos de los catálogos de editoriales grandes e independientes para leer en computadores, celulares y tablets.

»Cuneta ha tenido cerca de 100 préstamos de sus libros en la Biblioteca Pública Digital y ahora está en proceso de incorporarse con ebooks a Bookmate y Scribd, dos aplicaciones de lectura digital.



»Reconversión

»Guido Arroyo es director de Editorial Alquimia. Como el resto del gremio, está sumido en el teletrabajo, lo cual en estricto sentido no ha afectado a la labor editorial. Sin embargo, admite que lo inédito del panorama le ha causado una angustia inicial y preocupación.

»“Ahora uno lo enfrenta más desde la reconversión. Esta realidad te ha obligado a tomar decisiones, a modificar los calendarios editoriales, a pensar en otras estrategias de difundir los libros”, añade.

»En términos económicos, en su caso las ventas disminuyeron un 45 % en marzo en relación con febrero, siendo que usualmente el tercer mes del año es mejor, y espera que en abril sea aún peor.

»“Lo que más nos preocupan son las librerías, tan esenciales para todo lector. A mí me toca por los dos lados ese dolor, ellas son quizás las más afectadas en este momento. Uno pasa de tener 120 posibles puntos de venta a tener quince”, ejemplifica.



»Liberación y libro físico

»Frente a las variadas liberaciones de libros en diversos formatos que ha habido, en su caso también lo han evaluado, pero están a la espera del armado de una plataforma de la distribuidora.

»“De momento hemos pensado más en el libro digital”, acota, mientras apunta al cierre de acuerdos con entidades como Amazon, Apple Store y Scribd, aunque reconoce que es otro tipo de lector.

»“Lo que tengo claro es que la liberación o digitalización de un libro no va contra el libro físico, sino se complementa. Nosotros hemos tenido experiencias antiguas, de liberar libros, como La poesía no es personal, que son fragmentos de entrevistas a Gonzalo Millán, y el libro terminó agotando su edición física, que era un tiraje muy alto”, recuerda.



»Club de lectores

»Otra experiencia está haciendo Claudia Apablaza, editora de Los libros de La Mujer Rota.

»Esta editorial armó en marzo un club de lectores, donde por una suscripción de diez mil pesos mensuales, el lector recibe la novedad del mes. Ya cuentan con más de 60 inscritos, lo que les ha permitido mantener la venta, junto a facturaciones en fechas puntuales, como el pasado Día del Libro.

»En su caso, la liberación de libros además ocurre a través de la distribuidora Ebooks Patagonia, con la cual trabaja esta editorial, y que liberan un libro al día. En su caso fue Quiltras, de Arelis Uribe.

»La liberación se debe tanto a la imposibilidad física para acceder a los libros, como “para que los lectores puedan familiarizarse un poco más con lo que son las plataformas virtuales de lectura”».


.../... Lee todo en el mostrador





mayo 15, 2020

«El difícil regreso de la industria del cine: “La clásica cadena de cines está en problemas, pero ya estaba en problemas de todas formas”»


Rachael Kennedy (@rkennedy228)
Euronews (@euronews)


«Las taquillas de todo el mundo se enfrentan a la pérdida de miles de millones, y los paros en los rodajes han dejado sin trabajo a miles de personas en un sector mayoritariamente independiente.

»Las fechas de estreno también se han visto afectadas. La última película de James Bond, No Time to Die, fue pospuesta hasta el final de este año, mientras que el remake en imágenes reales de Mulan, de Disney, no estará en las pantallas hasta julio.

»Pero algunos estudios han tomado un rumbo diferente: Trolls 2: Gira Mundial, de Universal, se estrenó en las plataformas digitales a principios de este mes, y ganó casi 100 millones de dólares (91,9 millones de euros) en sus primeras tres semanas, una cifra más alta que la que obtuvo la película original de los Trolls en cinco meses de exhibición en los cines, según The Wall Street Journal.



»“La clásica cadena de cines está en problemas, pero ya estaba en problemas de todas formas”, explica a Euronews el responsable de efectos visuales ganador de un premio Emmy, Doug Larmour (The Alienist; El Renacido). “Muchas de las producciones más pequeñas están optando por servicios de streaming. Para la gente que posee el servicio de streaming, eso es genial, pero no son los 10 dólares que se pagan en el cine”, asegura.

»El problema con la pandemia, según Larmour, es que algunas personas pueden ser “menos propensas” a ver nuevas películas en el cine a pesar de que las estrictas medidas de confinamiento comienzan a relajarse. Esto fue algo ampliamente comprobado en los días previos al encierro en algunos sitios e Europa, y mostró que la caída en picado de las ganancias en la taquilla se debía a una reticencia por parte de los cinéfilos.



»La distancia social y el cine

»Oliver Meek, director ejecutivo del Cine Río de Londres, ha anunciado que ya se estaba trabajando para preparar una reapertura en la que se mantuviera la distancia social.

»El cine independiente de Dalston, donde la sala principal tiene 400 asientos en un auditorio de los años 30, ha estado planeando varios escenarios diferentes para la vida después del cierre.

»“Estamos buscando formas de asignar los asientos para que todo el mundo pueda estar a dos metros de distancia”, afirma Meek a Euronews.

»“Esto podría significar que tenemos que escalonar a la gente que entra, lo que los mantiene más tiempo en la puerta. Entonces necesitaríamos proyectar más trailers. Queremos que la gente se sienta segura y cómoda, así que esperamos que el gobierno dé algunos consejos detallados sobre esto”.

»Los cines de otros países también buscan soluciones creativas. Una sala en Italia tomó la decisión cuando comenzó la desescalada para trasladar las proyecciones al exterior creando un autocine para varios cientos de coches.

»El Ayuntamiento de Madrid, sin embargo, ha financiado un cine móvil para que la gente vea películas desde sus balcones. Y en Vilnius, el aeropuerto ahora alberga un enorme autocine.

»Pero no todo son malas noticias. Sí, el distanciamiento social probablemente tendrá un mayor impacto en los ingresos de taquilla, pero Larmour sugiere que muchas películas de más presupuesto se seguirán estrenando en la gran pantalla. Ejemplos de estos éxitos podrían incluir los estrenos considerados “grandes eventos”, dijo Larmour, como cualquier producción del Universo Marvel o de la franquicia 007.



»Nadie está filmando en este momento

»Mientras tanto, se estima que cerca de 200.000 personas han perdido sus empleos debido a la pandemia, un efecto que podría prolongarse mientras se realizan cambios en la industria.

»“El gran problema es que nadie está rodando en este momento”, dijo Larmour. “Creo que están empezando de nuevo en Suecia y Dinamarca, pero no hay nadie trabajando en el Reino Unido, Estados Unidos. y la mayor parte de Europa continental”.

»The Last Duel de Ridley Scott, Shang Chi de Marvel, y Samaritan de Julius Avery son solo algunas de las producciones que han sido suspendidas por la covid-19.

»Respecto a los que se podría aprender del resultado de la huelga de guionistas de 2007-2008, por la que se frenó la actividad en Estados Unidos durante 100 días, Larmour señaló el retraso producido por el parón de una de las etapas de producción. “Supuso que no se filmara nada, luego hubo escasez de trabajo. Habrá un retraso ahora también así que no habrá trabajo en un par de meses para la posproducción.”



»“Me llevó una hora perder mis contratos”

»La diseñadora de producción y directora de arte Blair Barnette (Turistas, 2012) ha detallado a Euronews que solo fue necesaria “una hora” en un día a mediados de marzo para que sus cuatro próximos proyectos fueran cancelados. “Son casi 40.000 libras (46.000 euros) que desaparecieron en el aire. Como soy freelance, no tengo títulos de valores ni opciones, así que me quedé inmediatamente en el paro sin previo aviso y sin más dinero en mi cuenta”.

»Barnette dijo que le tomó un par de días para que “cundiera el pánico” al darse cuenta de que la naturaleza de su trabajo significaría que podría estar sin empleo por lo menos otros cinco meses. “Mucha gente no tiene un amortiguador, ya que es bastante difícil mantenerse en el punto álgido para la mayoría de la gente de la industria del cine. Así que muchos no tienen ahorros, pero si muchos gastos, por lo que necesitan estar trabajando.”.

»“El estrés siempre está ahí para que en llegue el dinero. Veo que esto lleva a la bancarrota a mucha gente o que obliga a las empresas a cerrar, lo que supone una dificultad para muchos de los independientes.”



»Los rodajes no serán lo mismo

»Tanto Barnette como Larmour están de acuerdo en que el proceso de producción y la industria en su conjunto tendrán que cambiar a medida que se recupere.

»Para Barnette, la industria no verá un “regreso a los años previos”, sino son posibles “más protocolos y redes de seguridad. Larmour es de la misma opinión, el rodaje “no sería lo mismo” debido al distanciamiento social, mientras que a los trabajadores que regresen se les podría exigir que llevaran máscaras y realizaran pruebas de COVID-19 al llegar cada mañana.

»“No vas a tener grandes multitudes y no necesitarás tantos extras porque no se podrá filmar eso. En cuanto a las restricciones, habrá más personal médico, más limitaciones en lo que se puede llevar al set en y en cómo interactuar con los actores. Si un actor enferma, toda la producción estará en problemas.”

»Respecto a la posproducción, Larmour dijo que era “realmente sorprendente” la rapidez con la que la industria ha sido capaz de pasar montaje remoto, a pesar de ser mostrar generalmente preocupación por la confidencialidad. Pero con el trabajo en marcha parado, los estudios han “roto el obstáculo” y la edición desde casa podría ser más aceptada en el futuro.



»Los estudios demandarán contenido

»Un gran avance en la creación de nuevos contenidos podría aumentar la demanda y causar un auge en la creatividad cuando la normalidad comience después del cierre.

»“Los servicios de streaming están pidiendo a gritos contenido”, dijo Larmour, “todo el mundo volverá a pedir a gritos contenidos, tenemos mucha suerte en el Reino Unido y Europa en muchos sentidos porque es un lugar muy atractivo para rodar”. También podría haber “mucha prisa” por filmar durante los meses de verano —un momento privilegiado para el rodaje debido a las largas horas de luz solar, y una época del año más barata.

»Pero ¿qué significa esto para los que están justo al principio del proceso de rodaje, es decir, los guionistas? Según Gordy Hoffman, fundador de la Competición de Guiones de BlueCat, una sensación de “tiempo desestructurado” en medio del encierro podría llevar a los escritores a ejercer una gran presión sobre sí mismos.

»Hoffman, guionista de Dog Bowl (2012) y Love Liza (2002), señaló entonces la anécdota familiar de Shakespeare usando la cuarentena en medio de los encierros por plagas de principios del siglo XVII para escribir El rey Lear.

»“Siento que los escritores se presionan a sí mismos en tiempos normales, la idea de que los escritores tienen deberes para el resto de sus vidas, así que con todo este tiempo desestructurado, hay aún más presión para escribir El Rey Lear. Cualquier lucha emocional que un escritor pueda estar enfrentando normalmente es ahora peor”.



»¿Hay alguna ventaja que se pueda sacar del confinamiento?

»Sí, según Barnette, quien notó que “la creatividad está saliendo de la nada. La gente realmente tiene tiempo para hacer y hacer cosas, extendiéndose en foros a los que nunca se habrían acercado”.

»“Las mamás se están inscribiendo en TikTok e inmediatamente consiguen miles de seguidores, la gente está haciendo cenas y artesanías con sus hijos. Haciendo jardinería, pintando, haciendo cosas que nunca pensaron que tendrían tiempo de hacer. Eso es algo hermoso de ver crecer y no creo que termine una vez que se nos permita salir.”

»En cuanto a los guionistas, Hoffman dijo que la demanda de historias puede estar en aumento, pero esta demanda también será de contenidos que “hablen de los valores con los que nos hemos reconectado” durante el encierro. “La gente se ha mirado en el espejo de una manera que no ha sucedido en la vida de nadie y esto cambiará lo que queremos de nuestros narradores. Necesitaremos risas y lágrimas, pero el público querrá honestidad y detalles del trabajo de los escritores”.

»Terminando con algunos consejos para aquellos que quieran crear durante la cuarentena, Hoffman recomienda: “Recuerden por qué empezaron. Todos empezaron en algún lugar. ¿Quién eras tú en ese entonces? Esa persona todavía está dentro de todos nosotros. Es un buen momento para redescubrir lo que nos hace agradecidos y mantener nuestras mentes alejadas cuando nuestras carreras se sientan cómodas. Concéntrese en cómo su historia será útil para su público. Hazte útil. Escribe para alguien más.

»“Si recordamos por qué las historias significan algo para los seres humanos, es fácil dejar nuestros 'desafíos' y empezar a escribir”, concluye.»


.../... Lee todo en Euronews





mayo 14, 2020

« Les pouvoirs de la rhétorique décryptés | Clément Viktorovitch | TEDxParisSalon 2019 »



TEDx (@TEDx)




Sous-titres en espagnol par Luis Izaguirre. TEDxParisSalon 2019


« Clément Viktorovitch (@clemovitch) est docteur en sciences politiques, auteur d’une thèse consacrée à la délibération parlementaire et spécialiste des dynamiques d’influence. Il enseigne, depuis dix ans, la rhétorique et la négociation à Sciences Po Paris. Il a également été chargé de cours à l’ÉNA, l’ESSEC, l’École de Guerre et l’Université Paris 13, et intervient régulièrement comme formateur et conférencier en entreprise.

» Clément Viktorovitch s’est par ailleurs engagé de longue date en faveur de l’éducation populaire. Il a fondé Politeia, l’Université des Savoirs Politiques (@PoliteiaUnipop), en partenariat avec Sciences Po et les bibliothèques de la ville de Paris, et coordonne le concours d’éloquence des lycéens de Montreuil. Il est enfin chroniqueur politique sur CNEWS et Yahoo Actu, après être passé par RTL et Deezer.

» This talk was given at a TEDx event using the TED conference format but independently organized by a local community. »


.../... Tout lire sur TEDx





mayo 13, 2020

«How to Publish a Book in 2020» | Chandler Bolt (Self-Publishing School)



Self-Publishing School (@Self_Pub_School)


«So many writers get overwhelmed with the abundance of information about the self-publishing process, what it’ll cost, how to do it right, how to come up with a good book idea, and more.

»I’ve created a step-by-step comprehensive self-publishing guide that will walk you through the beginning steps of how to write your book all the way to how to self-publish it on Amazon’s Kindle (KDP) Network.



What is Self-Publishing? How Does Self-Publishing Work - A Full Guide.


»Let’s get started so you can get started!



»#1 – Decide Why You Want to Learn How to Publish a Book

»What you need to decide first when self-publishing a book, is WHY you want to write a book.

»I encourage going through this brainstorming process as it’s the only way to ensure that you’re 100% committed to writing a book (and you’re doing it for the right reasons).

»This is a huge step that’s largely responsible for our Become a Bestseller students to write and publish so quickly.

»Here are some questions for you to decide why you want to publish a book:

»• Are you an entrepreneur or freelancer with a new business trying to get a leg up on your competition by publishing a book?

»• Do you want to leverage your skills and knowledge to become a paid speaker or coach?

»• Do you have a well-established business and you want to write a book to diversify your income streams and land speaking engagements?

»• Or do you already have a successful story, and want to build an asset that will share the knowledge and skills you’ve gained over decades of experience?

»• Do you have a larger number of book ideas or prompts you need to start writing?


»Action Plan:

»Come up with at least 10 valid reasons why you want to write a book. Use the questions above as a starting guide to brainstorm.



»#2 – Write Your Book

»If you’ve ever tried to start writing a book, you might have had moments where you’ve stared at a blank page for hours with nothing to show for it. Feeling frustrated, you resort to procrastinating and get nothing done!

»This is normal, writing a book is hard work.

»In fact, coming up with a book idea in general can be very tricky. But in order to start writing your book, you must develop a writing process.

»Here’s are some effective ways to write a book worth self-publishing:

»• Buy a calendar. The best way to have your book complete is to have a calendar that schedules your goals per day/week.

»• Create an outline. An outline is like a map of your book that provides direction to your story. It keeps you on track and ensures that your ideas are organized.

»• Develop a writing habit. Condition yourself to write at the same time every day. With this practice, it will soon become a habit that will make writing a book automatic.

»• Get an accountability partner. You can hold each other accountable to write and finish your by your “draft done” date.

»• Build your writing environment. Yes, this can be a blanket for if you choose to use “build” literally or you can simply find an area where your head is clear, there are no distractions, and where you can write in peace.

»To learn more tips on how to write faster, here’s a tutorial video of the simple process I use to write over 1500 words per hour:


I’m writing 1,500 words/hour with this NEW method...



»Action Plan:

»Create a resistance plan! Figure out which methods best filter out the negative noise to get you into the writing process.



»#3 – Get Feedback on Your Book Before Publishing

»When writing your book, it’s important to get as much feedback as early in the process as possible.

»It’s essential to get this feedback in order to improve your writing.

»Everything from creative writing to factual, non-fiction works needs feedback in order to produce a polished publication.

»As writers, it’s all too easy to retreat into your cave for a long period of time, spend countless hours writing what you think is the perfect first draft, only to find that a) your draft doesn’t make sense to anyone else or b) no one else is as interested in the topic as you originally thought.

»Writing tips can come from anywhere and the best usually come from those reading your book for the first time.

»Not only can a fresh set of eyes on your book help you catch typos and grammatical errors, but a new perspective can give you ideas for tightening up your story and making the theme more clear, like in the example below.

»Giving your book to one (or more) “beta readers” before giving it to an editor and self-publishing can also cut down on the time and cost of paying a professional editor.

»You can also use a beneficial piece of writing software like Grammarly or the Hemingway Editor so you can learn as you write!


»Action Plan:

»Reach out to a few friends who could provide good (preferably unbiased) feedback, and ask them if they’ll be willing to read a chapter or two (or the whole book!) as you finish writing



»#4 – Choose a Book Title

»Contrary to popular belief, you should never decide on a book title until after you are done writing your first draft.

»This is because choosing a book title first often results in you “writing yourself into a corner” because you’re trying so hard to align your story to the title of the book instead of writing what needs to be written.

»Don’t make this more complicated than it needs to be.


How to Title a Book | Finding the Perfect Book Title to Increase Sales.


»The key to choosing a perfect title is: the simpler the title, the better.

»As you’re brainstorming ideas, always remember to keep it simple.

»Your title should also be clear on what your readers will receive by reading your book. This is because experts state that a clear promise or a guarantee of results will further intrigue your readers.

»It’s certainly what’s made our Become a Bestseller students so successful during their launches.

»Here are some questions to consider when creating your memorable book title:

»• Is your title going to teach a high demand skill?

»• Can your title impact someone’s life?

»• Can your book solve a very difficult problem?

»• Is it short enough to read in a thumbnail image on Amazon?

»• Does it elicit an emotional response?


»Action Plan:

»Once you’ve narrowed down your book titles, send out an email to your friends and family or put a poll up to your audience asking what title they’d prefer. You could also ask a community of other authors what they think.



»#5 – Hire a Great Book Editor

»Hiring a great book editor can mean the difference between becoming a bestselling author, or self-publishing a mediocre book. Therefore, it’s important to take as much time as necessary during this stage of the process.

»To find an editor for your book, begin with your personal network.

»Do you personally know any qualified editors?

»Start there. If you don’t, then do you know someone who knows an editor? If you don’t have any luck finding an editor within your personal network, don’t worry!

»Depending on your budget, you can either hire a professional book editor or hire a more budget-friendly editor from Upwork. But be careful and always check references and portfolios of work.

»As a Self-Publishing School student, we will also provide you with a Rolodex of approved and vetted book editors who all do a great job, as you can see in the example below.

»No matter how you find your editor, make sure you’re a good fit before committing to the full book by paying them a small sum ($25 or so) to edit a few pages or a chapter of your book.

»Make sure the editor is interested in the subject matter, that they can get your whole book edited in 3.5 weeks or less including back-and-forth revisions, and that their edits are both accurate and make sense to you.

»If you don’t feel you’re a good fit following a sample edit, then let that $25 go and find an editor who’s going to work out rather than sinking more money into a relationship that might be a mistake.

»Whatever you do, don’t give up during the editorial process! If one editor isn’t working out for you or meeting your needs, find another.


»Action Plan:

»Find a friend or professional editor who can make sure your book is error-free, and start working with them sooner rather than later!



»#6 – Design a Book Cover that Converts

»When it comes to self-publishing, a high-quality book cover is one of the most important elements that will get your book to convert into sales!

»The reason is that your book cover design is what readers see first and will immediately determine whether they want to read your book or not.

»“Don’t judge a book by its cover” simply doesn’t apply to actual book covers, as much as we wish it did.

»The hard truth is that everyone judges a book by its cover whether they realize it or not.

»So you must make sure that it is created professionally and that it will stand apart from the rest of the books in your genre or category.

»What makes a good book cover?

»• Simplistic styling. Too much going on will make readers unable to figure out what your book is about. Keep the cover minimalistic and it will convert more readers.

»• Professionally designed. Book cover designers know how to create book covers that convert. They have industry knowledge and have studied what works and what doesn’t.

»• Clear title and subtitle. The title on your cover does matter. The easier it is to read, the better. This allows your readers to clearly see what your book is about as they scroll through Amazon or other book retailers.

»• A design style that fits your intended audience. If you’re writing a faith-based book intended for an audience of faith, having an overly dark, devilish cover doesn’t make sense.

»You can find amazing book cover designers on freelancing sites such as:

»• Ebook Launch

»• 99 Designs

»• Happy Self Publishing

»• 100 Covers

»• Fiverr

»• Upwork

»Prices will vary depending on what type of service you want, but the end result will be well worth the spend.


How to Use Fiverr to Outsource Book Cover Design.



»Action Plan:

»Find a book designer with any of these sites and your book will stand apart from the rest of its competition!



»#7 – Create Your Kindle Direct Self-Publishing Account

»Amazon has a self-publishing service called Kindle Direct Publishing where you can create and manage your Kindle eBook, paperback, and audio books.

»Amazon has recently acquired the well-known book printing company CreateSpace and they’re now merged as one.

»This means you can now offer print books to your audience. It’s the best way to learn how to publish a book and start selling quickly, and I’ve used it for all my self-published books.

»I highly recommend it for all new self-publishers!

»Here’s how to set up your KDP account on Amazon:

»1. Visit https://kdp.amazon.com and create an account with either your existing Amazon account or your email address.

»2. Next, you must complete your tax information. You will not be able to submit your published book if you do not complete this step.

»3. Once your tax information is complete, hit “Finished” and your account is complete!


»Action Plan:

»Follow these steps to create your KDP account! With this platform, you can figure out how to publish your book within minutes and soon have it appear worldwide!



»#8 – Format Your Self-Published Book

»If you’re on a budget, there are plenty of resources online that can tell you how to format your book yourself for free. You can start by looking at Amazon Kindle Direct Publishing forums where there are plenty of discussions on book formatting.

»You can also use KDP’s free resources to help format your book. Formatting can be a frustrating experience for the uninitiated though, so if you have a few bucks to spare, you might consider paying someone to help you.

»Also keep in mind that formatting will look different for fiction versus nonfiction books.

»Typically, nonfiction books don’t have an indent between paragraphs but instead, they have spaces whereas fiction books are indented with each new paragraph.

»Below are formatting examples from Jenna Moreci’s The Savior’s Champion and my book, Published.

»If you want to pay for formatting, Liber Writeris a low-cost, effective option for converting a Microsoft Word file to Amazon’s Kindle format. If $60 is too much, you can also find people on Fiverr to format your book for Kindle.

»Just be sure you hire someone who knows how to format your specific book genre.


»Action Plan:

»Make sure your book is formatted properly by using the free online resource above or hiring someone who can handle the formatting process for you.



»#9 – Self-Publish Your Book


Self-Publishing is the way (unless you're really well known)


»When you feel confident your book is ready for the public, you can create a KDP account and upload your book.

»This is how to upload your book on KDP:

»1. On the KDP mainpage, locate and click on “Your Bookshelf”.

»2. Locate and click on “Kindle eBook Actions”.

»3. Then, locate and click on “Edit eBook Content”.

»4. Finally, click on “Upload eBook Manuscript”, and upload your manuscript file from your computer.

»Amazon also allows you to select 7 keywords or keyword phrases to make sure your intended audience can find your book when searching on Amazon.

»It’s highly recommended you also select two different categories on Amazon your book might fit into so you can reach a broader audience.

»To select keywords and categories, look at other best-selling books in your niche and notice what keywords and categories those authors chose.

»Once Amazon finishes uploading your file, a confirmation message will be sent and you can preview the uploaded file to check for any errors. Create your Amazon author central account after uploading your book.

»Adicional tips:

»Include a bio, photo, and link to your website or blog to help you stand out among authors. After a few more steps, you’ll be ready to publish your book, at which time you’ll click “save & publish” in your KDP book dashboard.

»Afterward, you should be ready to publish your book! Just click “save & publish” in the book editing screen!


»Action Plan:

»Follow these steps to upload your book. You are allowed to upload your manuscript as many times as you want with each upload overriding the previous.



»#10 – Price Your Book

»One of the most important decisions when it comes to self-publishing a book is how to price it. The most common question I get from new writers is, “How much should my book cost?”

»To answer this, my general rule of thumb is to have your book priced is between $2.99 to $5.99. To be more specific, when beginning a launch, I would begin by pricing the book at $0.99 for the launch period.

»Then I would set the price to 2.99, and I would moderately increase the price by $1 every week and measure how well the new price performs. Once you see a sales dip, that will determine the exact price of your book that will guarantee book sales.


»Action Plan:

»Find the perfect price by using this strategy that will attract your readers and best drive long-term success.



»#11 – Form a Launch Team

»Your launch team is the group of people who are dedicated to helping make your book successful.

»They should be a passionate group of individuals who are eager to make your book launch successful. Remember, one highly skilled team member is better than a group of mediocre ones!

»Here’s a video detailing how to use a launch team effectively:


How to Launch a Book Effectively Using a Launch Team.


»To find quality candidates, here’s a questionnaire you can use to assess applicants and see if they’re qualified to market your book:

»• Why do you want to support my book?

»• What goals are you trying to reach with this project?

»• How would you market this book?

»• Which influencers would you reach out to and why?

»• Do you have a genuine interest in my book and its genre?


»Action Plan:

»Create an application with questions that align with your thought process. Try to be open-minded with those who think outside the box – they may be the perfect candidates that can get your book to become a bestseller.



»#12 – Maximize Book Launch Exposure with Reviews

»It’s not enough to learn how to publish a book and be done with it. You still have to take action even after your official launch.

»As soon as your book goes live on Amazon, be sure to leverage your launch team and your audience to help you market your book! It may be odd to ask your fans for help, but your fans are there to support your project and want to see you succeed.

»You might be surprised how willing they’ll be to help you if you just ask!

»Here are some marketing initiatives you can assign your team and audience to do:

»• Share content from your book as blog posts across social media

»• Submit reviews on Amazon (ensuring they don’t make the mistakes in the video below)

»• Help build your book’s website

»• Reach out to influencers for a future guest post or podcast feature

»• Share a book review on their YouTube channel

»• Buy extra copies to gift their friends

»The additional exposure generated from your launch team and audience will help push your book up Amazon’s rankings, which will drive more sales!


Amazon Book Review Guidelines (& Why Amazon Deletes Book Reviews!)



»Action Plan:

»Create your book marketing launch plan using these methods. Measure each of these methods to see which will best get your book in the hands of new readers and convert into sales.



»#13 – Celebrate Learning How to Self-Publish a Book!

»Publishing after writing a book is just the beginning. Depending on your goals for your book, self-publishing can get you more customers, free publicity, and establish you as an expert in your niche.

»This can help you land speaking gigs and build a business within your area of expertise.

»Your book sales can also help fund your lifestyle with passive income.

»Dream big about what you want your book to do for you. When you have a vision for where you want your book to take you, it will be easier to take advantage of opportunities as they arise.

»Getting clear on what you want will also help you to be more effective when expanding your network along on your journey.



»What to do Now

»Now that you’ve learned how to publish a book, it’s time to take action and bring yourself one step closer to your goals and dreams.

»If self-publishing a bestseller is something you want to do, and you’re serious about changing your life and your business for the better by getting your book out there in the world, then you need a step-by-step system to follow to take action.»


.../... Read all on Self-Publishing School





mayo 12, 2020

«O marketing digital demanda uma evolução natural nos tempos de hoje, afirma Flávio Muniz (Agência Espalhando)»



Terra Brasil (@Terranoticiasbr)


«O mercado digital possui a característica de se transformar com rapidez, mas se engana quem pensa que não existem estratégias para que essas transformações não possam ser acompanhadas calculadamente.

»Segundo dados da pesquisa Maturidade de Marketing Digital no Brasil, 94 % adotam esse tipo de estratégia para seu crescimento. Mas como será que isso é feito dada a dificuldade de acompanhar transformações de maneira tão rápida?



«Marketing digital, a oportunidade que você não pode deixar passar».


»O especialista em SEO e influenciador em marketing digital Flávio Muniz tem uma opinião bastante contundente sobre o assunto, segundo ele “o segredo é que precisamos nos atualizar com frequência, não apenas no que diz respeito às estratégias, mas também na maneira que lidamos com o nosso próprio negócio”.

»Flávio fundou a Agência Espalhando (@espalhandobr) no ano de 2009, quando o marketing digital no Brasil era praticamente inexistente e focado apenas em enviar e divulgar informações. É evidente que o pioneirismo, nesse sentido, é fundamental para o sucesso, mas segundo Flávio Muniz, há um componente a mais. “Se pegarmos há 10 anos atrás o mercado era totalmente outro. Eu não estaria aqui hoje se continuasse adotando o mesmo tipo de estratégia. E quem deseja trabalhar no mercado digital, precisa entender que o tipo de trabalho muda com o passar do tempo. É uma evolução natural dos tempos de hoje”.

»Uma aposta que Flávio Muniz vem fazendo é em seu canal do YouTube para conquistar novas audiências. Uma pesquisa recente da Think With Google afirma que a produção de vídeos faz com que uma empresa ou influenciador possa compreender melhor o público de afinidade, ou seja, aquele público que você alcança e que pode se converter em seguidores ou clientes mais facilmente.

»“O YouTube é uma ferramenta excelente para divulgar seu trabalho, principalmente quando seu público é de um nicho específico. Quanto mais conteúdo de qualidade você possui, mais autoridade no assunto você cria também. É uma das formas de acompanhar essas transformações”, afirma Flávio.

»Essa afirmação tem se confirmado como uma das poucas verdades imutáveis do marketing digital. Segundo o Statista, até setembro de 2019, o YouTube era o terceiro aplicativo mais utilizado no mundo inteiro, atrás apenas do Gmail e do Google Maps. Além disso, dados da própria Think With Google apontam que a maioria dos usuários da América Latina tem sua decisão de compra influenciada por vídeos da plataforma. Definitivamente não é algo que se deva ignorar.

»“É claro que não existe apenas uma resposta ou um caminho certo para se ter sucesso no marketing digital, mas existem ferramentas, estratégias e muito trabalho para que você possa se manter ativo depois de tantos anos”, conta Flávio Muniz. “A Agência Espalhando hoje em dia trabalha em diversas frentes, mas sempre sem perder o foco da qualidade do trabalho e da seriedade que o marketing digital precisa. Isso é uma coisa que nunca vai mudar”, completa ele.

»Seja através de estratégias em redes sociais ou com a produção de vídeo, a verdade é que a forma de se fazer marketing digital não é mais a mesma que conhecíamos no passado. E com base no histórico do segmento e nas recentes pesquisas, é seguro dizer que as mudanças continuarão acontecendo.

»Ainda assim, é possível apostar na produção de conteúdo de nicho e adotar estratégias e a longo prazo sem que sua empresa fique para trás em um mercado tão concorrido como esse. “Dentro desse segmento, se tem uma coisa que não muda, é a nossa necessidade de inovarmos. Estamos trabalhando com tecnologia, é isso que se espera de nós”, conclui o influenciador Flávio Muniz.».


.../... Ler tudo na Terra Brasil





mayo 07, 2020

«Gina Inverarity modernises a classic fable with Snow»


Lezly Herbert
OUT in Perth (@OUTinPerth)




Book cover designed by Gina Inverarity, author of the book too.


«ABC online news had a recent headline From the Burbs to the Bush, Animals are Reclaiming and Exploring the World During Coronavirus. Of course, Gina Inverarity wouldn’t have known about that when she wrote her recently published book that predicts that a global catastrophe releases animals that were previously kept in cages for people’s amusement and many of them now roam free.

»Inverarity takes the heart of the Snow White story and puts it in a post-global world where sea levels have risen, the fossil fuel industry has collapsed and the world-wide ban on shipping freight and air travel has meant the communities have been isolated. The human population has fallen dramatically, the sun has disappeared behind clouds and the temperature has plummeted.

»Snow is born into the world of cold but her mother died when she was born. Her father remarried, only to die 9 years later and Snow’s step-mother locked her away in a cold, dark cell. After 3 years, her step-mother gives orders for a hunter to take Snow into the forest, to kill her and to bring back her heart as proof of the deed.

»You know the story ... the hunter can’t kill the girl and returns to the chateau with the heart of an animal. In a bleak departure from Disney interpretations, Snow battles the elements and is even accompanied by a motherless bear cub as she heads off into the mountains.

»Snow and Little Bear come across a mining settlement and exchange safety for undertaking the domestic jobs while the miners go off to work. She named the men after their personalities – the boss, the clown, the drunk, the peace-maker, the smoker and Lazy. Then there was Leery, Surly and Sinister that she was particularly wary of.

»Snow eventually meets a princely fellow who could very well be her saviour. But this is a very modern fairytale and, having returned to live as one with nature, Snow is reluctant for trade her freedom for married city life. As she struggles to make her decision, Inverarity stays faithful to the ancient tale and Snow is killed and put in a glass coffin.

»Targeted at young adults, it is a story that no one will want to put down.»


.../... Read all on OUT in Perth



mayo 06, 2020

MURAL/LOCAL con Ed Oner



JISER (@JISER12)




Firma o tag del grafitero Ed Oner. Imagen en la web de JISER.




MURAL/LOCAL amb Ed Oner.



«El joven artista de Casablanca Ed Oner (Mohamed Touirs) visita Barcelona para participar en la tercera edición de MURAL/LOCAL que organiza Jiser Reflexions Mediterrànies. Su propuesta “Carte postale” se trata de una intervención en el muro de 80m², que se encuentra en el espacio interior de la Cooperativa de Viviendas Bac de Roda, y que contemplará distintos retratos de vecinos y vecinas del barrio. El proyecto incluye un libro de postales en paralelo, para entablar una mirada crítica sobre los imaginarios del turista y el viajero en el marco de las sociedades actuales.

»Nos introduce, por tanto, en el mundo mágico de las postales desde un enfoque urbano y artístico. Hoy día, que enviar una postal se ha convertido en un gesto irónico o nostálgico, esta acción nos brinda la oportunidad de poner sobre la mesa varias cuestiones que tienen que ver con la movilidad humana, con los privilegios y con las desigualdades.

»Es este un proyecto que se presenta en el marco de los Tallers Oberts y la Festa Major del Poblenou en Barcelona. Una oportunidad, por tanto, para encontrarnos con el arte urbano en un espacio poco conocido y al aire libre como es el patio interior de un edificio de construcción cooperativa de 1959.

»MURAL/LOCAL es una acción impulsada por Jiser, asociación con sede en la Cooperativa desde 2016, que desarrolla proyectos artísticos con impacto social en la región mediterránea. Se realiza gracias al comisariado de Salah Malouli, gestor cultural de Marruecos; la colaboración de Hangar; Montana Colors; la Cooperativa d’Habitatges Bac de Roda y Poblenou Crea. Cuenta también con el apoyo del Ayuntamiento de Barcelona y el Departament de Cultura de la Generalitat de Catalunya.



»Ed Oner (Mohamed Touirs), 1994

»Originario de Casablanca y formado en diseño gráfico, Mohamed Touirs, también conocido como Ed Oner, es uno de los pilares importantes de la escena graffiti en Marruecos. Fundador del primer Meeting of Moroccan Graffiti Writers y del colectivo de arte gráfico Taraza, Ed Oner tiene varias participaciones en eventos y festivales de Street Art en Marruecos y Túnez. Ed, como le dicen, explora con insistencia la mezcla entre la representación en dibujo sobre su libreta, la simplicidad del retrato a mano y la elocuencia del graffiti mural. Ed Oner explora constantemente varios universos gráficos y estéticos como el cómic, la ilustración y la pintura».



En savoir plus:

« Natif de Casablanca, Ed Oner pratique le dessin et la peinture dès son enfance. Titulaire d’un baccalauréat en arts appliqués et graphiste de profession, son style mêle portraits, lettres et formes géométriques. Basec, lui, est basé à Berrechid, il a découvert le graffiti à travers internet, ses œuvres sont principalement dédiées aux lettres et à la tipographie, inspirés par les plus grandes écoles et crew de grafitti en Europe et aux États-Unis.

» Ayoub explore toujours de nouvelles expériences graphiques et approche plusieurs techniques picturales en proposant un style qui lui est propre. Loin de se contenter d’un esthétisme parfait, ces artistes nous invitent à travers les couleurs fraîches et les illustrations réalistes géométriques à plonger dans une atmosphère naturelle, loin de l’environnement urbain du quartier. On y voit un groupe de jeunes qui s’approchent avec curiosité de Casablanca, une jolie façon d’inviter les Casaouis à la réflexion et au partage. » (LesEco.ma (@LesEcoMa))

.../... Lee más en JISER y en LesEco.ma





mayo 01, 2020

«Así será la nueva normalidad en el sector editorial» | Reportaje de Carles Geli y Juan Carlos Galindo en El País


Carles Geli (@carlesgeli) y Juan Carlos Galindo (@jcggolf)
El País (@el_pais)


«El mundo del libro se reactiva a partir del lunes con un tercio de títulos menos para 2020, nuevas estrategias y lo nunca visto: la temporada se alargará durante el verano».



«Las encargadas de una librería atienden a un cliente en Ponferrada el miércoles. ANA F. BARREDO / EFE».


«Algo empieza a cambiar desde el próximo lunes en uno de los sectores más castigados por las consecuencias de la pandemia de coronavirus. Las librerías pueden abrir “con cita previa para atención individualizada” y si cumplen con las condiciones establecidas por el Gobierno para la fase cero de la desescalada, con lo que vuelve a la actividad un engranaje esencial de la cadena del libro.

»Pero, ¿qué va a encontrar el lector en las librerías en las próximas semanas? ¿Cuál es la estrategia de las editoriales para evitar el temido colapso del mercado?

»La desescalada editorial consiste en dos fases: una primera en la que tendrán vida los libros que salieron justo antes del confinamiento o que no llegaron a circular pero ya estaban impresos y otra, a partir del 28 de mayo, con estrenos de calado para reactivar el sistema.

»“La vuelta a la normalidad implica sacar novedades, que es de lo que vive la industria. Pero no vamos a mantener el plan editorial como a principio de año; un 30 % de esos libros se publicarán en 2021”, asegura Pilar Reyes, directora editorial de Penguin Random House Grupo Editorial (PRHGE).

»“Los libreros quieren novedades fuertes para la reapertura, están ilusionados con que lleguen libros potentes que hagan que la gente se acerque a las librerías, pero no vamos a colapsar el canal con los libros que no hemos podido sacar”, remata, mostrando un temor compartido por editores, distribuidores y librerías.

»Las apuestas más literarias o arriesgadas, más de autor, sufrirán en esta inopinada rentrée editorial.

»“Soy consciente de que venderé menos, de que el libro no tendrá el recorrido deseable y que merecería, pero no podemos salir ahora con títulos que no sean potentes; a las librerías hay que darles lo que puedan vender bien; si no, ni los comprarían ellos ni los clientes”, arguye Diego Moreno, director y fundador de Nórdica Libros, a quien el estado de alarma de marzo le dejó, en imprenta o ya en el almacén, seis títulos.

»“Han de ser buenos, pero no difíciles, atemporales, que atrapen y que no sean demasiado complejos de comunicar, pero aun así, su vida será peor”, admite Luis Solano, creador de Libros del Asteroide, que de los siete títulos que tenía previsto lanzar antes de verano solo publicará cuatro y que para los del resto del año, de los 10 bajará a seis, una reducción de su programación “de un 30 %”, parecida a la del resto del sector.

»Esos libros, por el retraso en su salida, la proximidad de los títulos de finales de mes y de junio y las fechas de verano, en cualquier caso perderán “entre un 30 y un 40 % de sus potenciales ventas”, calcula Moreno.

»Pero no serán los más castigados, coinciden, una categoría que se llevarán los que aparecieron entre enero e inicios de marzo: “Se perdió el boca-oreja y la promoción que iban teniendo desde enero; se venderán la mitad de lo que deberían” resume Solano. Lo mismo ocurrió en Anagrama con Alejandro Zambra o en Alfaguara con su premio a Guillermo Arriaga.

»La incertidumbre juega un papel en esta primera parte del proceso “No sabemos si pueden abrir las cadenas de librerías y grandes cuentas, las que no son grandes superficies como tal, como la Casa del Libro o FNAC. Sin saber seguro cuándo están todos los clientes abiertos es muy difícil saber cuándo sacar un libro. Para los editores no es lo mismo”, explica Verónica García, de la distribuidora Machado Libros.



»El fantasma de las devoluciones

»“Los libreros serán más conservadores por partida doble: comprarán menos cantidad y solo lo que sepan que puede tener salida para ellos”, apunta Solano, que teme que mayo se convierta en “un mes con devoluciones muy potentes”.

»“Todos contamos con que mayo será un mes terrible para eso”, sostiene Moreno.

»“Estamos intentando evitar que la devolución se convierta en un método de los libreros para no pagar las facturas; preferimos posponer los vencimientos que incrementar las devoluciones”, plantea Martí Romaní, presidente del Gremio de Distribuidores de Publicaciones de Cataluña y miembro de la patronal estatal, sector donde ya trabajan “un 95 %, aunque aún con bastante servicio mínimo”.

»En esas negociaciones jugará mucho la musculatura editorial: “Los grandes grupos pueden dejarle todo al librero sin que pague nada en todo el año; o hasta pueden no sacar nunca un libro del almacén o no publicarlo jamás; para nosotros, es imposible”, dice Moreno, que ha trasladado el 15 % de su programación prevista a 2021. Son otras dimensiones: solo Grupo Planeta tiene un servicio medio de 200 novedades al mes. “Los títulos se reajustan en función de múltiples variables que van desde lo que permita su contrato a las mejores condiciones para una campaña de marketing; mayormente, cambiarán de mes y los menos, saltan a 2021”, apunta Jesús Badenes, director general de la División Libros de Planeta, que asegura que los títulos que ya están publicados “no se quedarán en los almacenes por compromiso y respeto con todos”, mientras garantiza que en su grupo “seremos todo lo prudentes que haya que ser en las tiradas para evitar una devolución alta”.

»Grandes y pequeños coinciden, sin embargo, en apostar por autores españoles, cuya promoción es más próxima y sencilla.

»La nueva normalidad editorial implica otro cambio esencial: el verano, hasta ahora época de barbecho, se convierte en territorio de lanzamientos, un espacio para recuperar el tiempo perdido en un contexto en el que habrá poco turismo.

»“Vamos a utilizar las ganas de la gente de que se muevan las cosas, de entrar en las librerías”, celebra Silvia Sesé, editora de Anagrama, cuyo calendario se ha retocado para publicar ahora libros que no salieron en marzo y, desde finales de mayo, empezar con lanzamientos que culminan en torno al 23 de julio, fecha a la que se trasladó Sant Jordi.

»“Muchas librerías y distribuidoras no van a cerrar en agosto, fuera de momentos puntuales”, apunta Romaní, con lo que los libros lanzados en junio y julio tendrán un mayor recorrido que otros veranos. “Habitualmente proponemos lecturas para el verano a partir de abril y mayo. Este año lo vamos a hacer también en junio y julio. Las fechas hasta el momento son provisionales porque nos estamos adaptando continuamente a la evolución de la desescalada”, asegura Juan Díaz, director editorial de PRHGE y coordinador del área de América Latina, el otro gran mercado de las editoriales en español, que se encuentra en una crisis similar.

»Pero si algo se ha visto durante el confinamiento es que la relación de los lectores con los escritores no volverá a ser igual. “Sabemos que en el futuro inmediato el formato clásico no es posible y eso nos obliga a reflexionar mucho”, asegura Reyes, que piensa en formatos mixtos entre lo presencial y lo virtual, surgidos de lo aprendido durante este tiempo. Bienvenidos a la nueva normalidad.».


.../... Lee todo en El País



abril 30, 2020

«Los retos de la cultura digital para artistas mexicanos» | Fernanda Muñoz, Reporte Índigo



Reporte Índigo (@Reporte_Indigo)


«En México ya hubo dos intentos de legislar en contra de la descarga de contenidos de manera ilegal, una en la Cámara de Diputados y otra en el Senado de la República; sin embargo, ambas fueron retiradas por la cantidad de comentarios y presión que comenzaron a surgir en contra de estos proyectos.

»“Para vender libros digitalizados se necesita más que solo una aplicación digital, se requiere una inversión en infraestructura que permita crear un concepto, una editorial, una producción; este trabajo es mucho más complejo que la venta del libro tradicional”, asegura la escritora Marlene Diveinz.



«“Más allá de tus labios, del sol y las estrellas...” #ContigoEnLaDistancia con #CulturaDesdeCasa: para niñas y niños, aplicaciones, recorridos virtuales, videos, libros, audios ¡y más!».


»En México, la cultura no ha desaparecido. Aunque los teatros, cines, librerías y museos cerraron sus puertas como medida de prevención ante el COVID-19, los artistas y creadores siguieron compartiendo su talento, pero esta vez a través de las plataformas digitales.

»De acuerdo con el Artículo 12 del Reglamento de la Ley General de Cultura y Derechos Culturales, con el uso de las tecnologías se tendrá el propósito de establecer estrategias digitales para el acceso a la cultura y el arte, una regla que ya se comenzó a implementar.

»La dependencia les prometió a los participantes un monto único de 20 mil pesos netos a cambio de la difusión de sus propuestas artísticas.

»Y aunque la Secretaría de Cultura (SC) les pagó a los artistas por su participación, hay puntos que las autoridades no les han dejado en claro a los espectadores: que la cultura no es gratuita.

»Carlos Lara, doctor en Derecho Cultural por la Universidad Carlos III de Madrid, explica que aunque los mexicanos tienen Contigo en la distancia es la plataforma digital que la Secretaría de Cultura (SC) lanzó en marzo pasado para difundir el arte y la cultura entre los mexicanos a la cultura y las artes, eso no significa que deban obtenerlas gratuitamente, como por años las han exigido.

»De acuerdo con el analista, por estar exigiendo el libre acceso a todas las artes, a la gente se le olvida el derecho que tienen los artistas a vivir de lo que producen. “Ahí es cuando volteamos la mirada al cielo”, dice.

»En entrevista con Reporte Índigo, el analista comparte que para que el gobierno pueda distribuir cultura correctamente en las plataformas, obligatoriamente debe lanzar una política digital bajo la cual se respeten tanto los derechos de los consumidores como los de los creadores.

»“Se trata de crear una política con todos sus pilares, con continuidad y transparencia. Una verdadera política orientada a difundir de manera estratégica estos bienes y servicios culturales, debe ser algo más estructural que solo coyuntural”, detalla.

»Lo cierto es que esta pandemia hace ver la necesidad de que tanto artistas como autoridades comiencen a trabajar y dejen las reglas claras; por un lado, los creadores tendrán que profesionalizarse más y preparar contenidos de calidad para estas plataformas, y por el otro, el Estado tendrá que crear leyes para un ejercicio justo.



»Librerías, sin inversión para el mundo digital de la cultura

»Debido a que las personas no han tenido la oportunidad de acudir a las librerías para comprar publicaciones en formato físico, algunos de estos comercios han tenido que subir sus ejemplares a las plataformas digitales, aun cuando no tienen la inversión para hacerlo.

»La escritora Marlene Diveinz asegura que para poder afrontar situaciones como la actual, las librerías deben contar con una inversión en infraestructura para seguir difundiendo sus libros a través de Internet.

»De acuerdo con la también maestra de escritura creativa, las autoridades deben invertir más en libros digitales porque prácticamente se tiene muy poca experiencia con ellos, a diferencia de los escritos en físico, que llevan siglos en el mercado.

»Por otra parte, la escritora declara que con la venta de libros digitalizados debe dejarse en claro que los escritores, así como otros creadores, deben recibir un pago por su trabajo, algo que a veces se queda en el olvido.

»“Hasta donde sé, cuando uno hace un contrato con editoriales medianas o grandes, cede la explotación de su libro sin derechos a regalías por contenidos derivados, entre ellos contenidos digitales o adaptación, eso es algo que tenemos que observar. Deberíamos establecer que el pago por escrito sea una condición para publicar”, señala Diveinz.

»Se debe hacer un llamado a los lectores para entender que escribir cuesta años de aprendizaje, de práctica y de oficio para que, al final, solo reciban lo mínimo de su gran esfuerzo, dice la escritora.

»“Seamos conscientes de este dilema del libro digital, debemos defender nuestros derechos, que la gente esté dispuesta a pagar por todo lo que hacemos con relación a la cultura, trabajamos ocho o 10 horas cada día para elaborar un texto”, añade.

»Asimismo, la doctora Lucy Acosta, coordinadora de Difusión Cultural de la Facultad de Estudios Superiores (FES) Acatlán, añade que si se llega a un balance entre lo que ofrece una plataforma digital y un recinto físico, como las librerías, las personas tendrán más alternativas de aprendizaje y desarrollo cultural.

»“Creo que después del confinamiento, si se invirtió bien en la cultura, tendremos escenarios híbridos, es decir, la gente tendrá la oportunidad de elegir entre hacer una actividad en línea o de manera física”».


.../... Lee todo en Reporte Índigo



abril 29, 2020

«Speech interruptions may occur within two communicative strategies: the cooperative and the intrusive (non-cooperative)»

«Each of these strategies has its own set of tactics, which help to realise speaker's intentions, for example, to dominate in the conversation, change the theme, define the status, take the initiative, humiliate a partner, or to continue the conversation, establish contact between communicants, cooperate, express consent and support, encourage further interaction.»



Conversation, debate, discussion.


Tetiana Kyrychenko
«A communicative-pragmatic analysis of interruption realisation in modern English dialogical discourse»

Lege Artis, Vol. 2, Issue 1 (2017)

Lege Artis. Language yesterday, today, tomorrow | University of SS Cyril and Methodius in Trnava (@UTrnava) | Trnava | SLOVAKIA

Se incluye a continuación un extracto seleccionado de las páginas 169 a 177 y 181 a 200 de la publicación en PDF. Las referencias pueden consultarse en la ubicación original.

Enlace HTML.



«Abstract

»The paper offers a study of speech interruptions on the basis of their communicative and pragmatic peculiarities. It provides a dynamic model of interruptions, where the development of the situation of interruption is revealed thanks to the dynamic character of speech interaction. The article presents the analysis of speech acts employed in the process of interruption. It also introduces a number of tactics of the interruption in terms of the cooperative and intrusive interruption strategy.



»Introduction

»In recent years, the key problem of linguistic studies with a communicative-pragmatic orientation is to describe the paradigm of verbal behavior. Up to now there is no single approach that would make it possible to describe communicative behaviour in its complexity. The communicative-pragmatic approach reveals the features of the language units, which are manifested in communication, i.e., in the interaction of communicative partners in the exchange of ideas to solve vital problems (Формановская 2002).

»Today, more and more researchers are turning to the problems of verbal interaction due to a growing interest in the nature of human communication and development of pragmalinguistics, a branch of linguistics, which deals with the “functioning of language” (Mey 2001: 10). The motivational component of communication, the targets set by the speakers, and the ways to achieve them are matters of utmost importance for pragmalinguistics.

»This implies that the impact on a recipient is one of the main goals in a communicative process and in the process of interruption in particular. The pragmalinguistic approach enables a detailed description of dialogical communication. This approach involves the use of language as a means of social interaction, which is based on a system of strategies, tactics, postulates, and rules (Демьянков 1981; Падучева 1982; Почепцов et al. 1981).



»Materials and methods

»The material of the article (2,357 fragments of dialogical discourse) consists of two subcorpora, i.e. discourse fragments taken from the prose texts of British and American writers (11,097 pages) and fragments taken from feature films / series (3078 minutes) of the XX – XXI centuries. All the interruptions from this corpus were analysed, some of the examples were presented in the paper to support the idea.

»The aim of the presented research is to study the interruption in the dialogical discourse. That is why in the course of my study I added video content to the written discourse with the aim to show the time limits and duration of the speaker's utterance. At the beginning of each turn I indicated the start time. In order to most accurately convey the speaker's turn I have applied literal recording that resembled scripting. In addition, visual support helped to distinguish the fragments containing speech interruptions.

»The methods of the investigation are the following: conversational analysis, speech act analysis, the method of interpretation, and the elements of quantitative analysis. Conversational analysis was applied to study the dynamics of interruptions, i.e., to study the phase development of interruptions, identify the basic structural components of the situation of interruption. This analysis enabled the identification of formal features of interruptions, the technology of communicative interaction within the interruption situation. This type of analysis helped to focus on the limits and transmission of the turn from one communicant to another, provided an opportunity to consider how communicative partners interpret the utterances of each other.

»Speech act analysis made it possible to identify illocutionary potential of interruptions in dialogical discourse, pragmalinguistic peculiarities of speech acts used to interrupt a partner. Speech act analysis helped to focus on pragmatic functions of speech interruptions, to reveal the intentional component of interruptions.

»The method of interpretation was used for the selection of fragments of dialogical discourse containing interruptions, the analysis and explanation of the realisation and functioning of interruptions in specific communicative situations.

»The elements of quantitative analysis were applied to determine the quantitative characteristics of discursive realisation of interruptions.



»Dynamic model of interruptions


»Basic stages of the interruption

»The mechanism of turn-taking is an important part of a communicative process. The ideal model of turn-taking implies the sequential change of the communicative roles. There are a lot of tactics of inclusion in the conversation, one of which is the interruption that violates the ideal model of turn-taking. This type of interaction is dynamic in its essence and demonstrates a desire of one of the speakers to adopt the communicative initiative.

»According to conversational analysis, speech is not chaotic, but has a clear structure and its own dynamics. The pre-verbal stage of the interruption is marked by formation of communicative goals, situation, and context development that will accompany the interruption, prediction of situation development.

»Analysing the interruption phenomenon in terms of its dynamics, I can distinguish three main phases of the verbal stage of the interruption: the pre-interruption, the interruption, and the post-interruption phase. To study these phases I will consider at least three communicative turns. The phase model “provides an opportunity to reveal the dynamics” (Морозова 2008: 22) of the interruption.



»The pre-interruption phase

»The first phase includes stimulus utterances that encourage the addressee to interrupt their partner. This phase is marked by the climax technique, intensification, aggravation of the situation, leading to emotional tension in the interruption phase. This stage of communicative interaction creates favourable conditions for the speech interruption. As far as the structure of this phase is concerned, it may embrace several turns. Consider this example:

»1) (а) “You know how I pretty much declared that all guys are scum?”
Tracy rolled her eyes. “Yeah.”
(b) “Well, I decided I'm not dating anymore–”
(с) “Penny.” Tracy interrupted.
“Tracy, can you just hear me out?” (Eulberg 2010: 28).

»The example illustrates a situation, where the pre-interruption phase is formed of two turns (a) and (b). The pre-interruption phase is the impulse to the speech interruption (с).



»The interruption phase

»Turn-taking may be of two kinds: a speaker selects the next speaker or the other speaker starts talking without the partner's permission to speak. The second type of turn-taking is a characteristic feature of the phenomenon of interruption. The interruption phase is marked by the inability of one of the speakers to complete their turn to an end. The interruption may be depicted with the help of a model that shows the components of the situation of interruption (an addressee, an addresser, their cognitive spaces, a social situation, which includes the conditions and characteristics of communication, the interruption, and chronotope (spatio-temporal continuity), in which the sender and the recipient are located (Fig. 1):


Figure 1. The base model of speech interruption in dialogical discourse. Picture made by the author with the use of standard Microsoft Office graphic tools.


»The interruption phase is characterised by the effect of defeated expectancy (Риффатер 1979). Linearity of speech is marked by the appearance of the next element, which is prepared by the previous one. The emergence of an unexpected element in a communicative situation, which is not prepared by the previous one, causes the effect of defeated expectancy. The interruption is the unexpected element of such kind.

»Depending on the communicative function of interruptions they may be cooperative (Кириченко 2015b; Li 2001; Murata 1994), which are aimed at cooperation and collaboration, and intrusive (Кириченко 2015a; Goldberg 1994; Kennedy et al. 1983; Li 2001; Murata 1994), which serve as an expression of superiority and dominance.

»It should be emphasised that very often interruptions, which serve as a feedback signal, acquire the status contact maintenance utterances. Such interruptions demonstrate a sincere concern, interest, and involvement in a communicative process.

»Taking into account the works of Dobrushina (Добрушина 2001), Sacks, Schegloff, Jefferson (Sacks et al. 1974) Li, Zhang, Yum, Lundgren, Pahal J. (Li et al. 2008), Schegloff (Schegloff 2007), Biber, Johansson, Leech, Conrad, Finegan (Biber et al. 1999) and considering the criteria of functional loading I single out the following types of interruptions that serve as a feedback signal and an indicator of sincere interest:

»• phatic reactive expressions that demonstrate interest in the topic of a conversation and immersion in the subject, reactive statements of agreement / disagreement / acceptance:

»2) “It's the principle of it, Nora. Don't you understand? We can forget about Christmas if we damned well choose, and–”
“Don't swear, Luther”
“And no one, not even Vic Frohmeyer, can stop us.” Louder. “I will not be forced into doing this!” He was pointing to the ceiling with one hand and waving the memo with the other. Nora retreated to the kitchen (Grisham 2001: 45).


»• expressions that carry out semantic connection and have the connotation of evaluation, such as: I know, I suppose, I think, I don't think, I agree, I don't agree, maybe, etc.:

»3) “First of all, I want to renew my motion for a change of venue–”
“We object,” interrupted Buckley
“Shut up, Governor! “ Jake yelled. “I'm not through, and don't interrupt me again!” (Grisham 1989: 379).


»• re-askings, echo questions, which are used to clarify, confirm, or disprove the information (often contain lexical entrainments):

»4) 00.09.29 Cook-boy: Thank you. Look, Mr. Jones, I just want to say, I...you've always been a hero of mine. We studied your menus and recipes–
00.09.36 Adam Jones: A hero or a god?
00.09.38 Cook-boy: I... I don't know the difference (Burnt, video).


»• repetitions, which are used with the same aim as re-askings, echo questions:

»5) “Yes, sir, we sure did. Charlene's sort of–”
“Sort of?”
“Well, sort of horny” (Woods 1991: 27-28).


»• completion of the utterance of the previous speaker:

»6) “A question. It seems to me that it's a long shot for Scully & Pershing to assign me to the litigation section that happens to be handling this case, and it's even more of a stretch to believe they would allow a green associate to get anywhere near it. I'm sure you've thought about this.”
“And the question is–?”
“What happens if I'm nowhere near this case?” (Grisham 2009: 43).


»The following extract of the dialogical discourse provides the example of the interruption, which serves as a feedback signal:

»7) “Funny you ask that. I actually just heard from a mutual friend that she got engaged.
(а) About a month after–” He stops, looks uncomfortable.
(b) “After you did?” (Giffin 2004: 90).

»In the fragment, the conversation happens between Rachel and Darcy. Rachel asks the man about his ex-girlfriends. When it is difficult for Darcy to complete the sentence (a), she interrupts him and finishes the utterance (b). The interruption in this case indicates full immersion into the conversation and awareness of the context, which limits the particular communicative situation.


»It should be emphasised that interruptions do not always break the conversation integrity and structuredness, but rather act as a repair device (Sacks et al. 1974: 724), especially in the case when something is not clear for one of the interlocutors. Thus, speech interruptions are characterised by not only a destructive function in speech, but also have a correcting purpose. So, the interruptions that serve as a feedback signal may have two functions, a disruptive and repair function, depending on the context and situation peculiarities.



»The post-interruption phase

»The post-interruption phase manifests itself in the form of folding of a communicative contact, full or partial change of a topic, and return to the topic, which was defined at the beginning of the conversation. There are two ways of development of the post-interruption phase: positive and negative. The phase will be positive, provided that there are no conflicts, communicative failures, or hostility, when the goals and interests of all participants are taken into consideration and understanding is achieved, otherwise the post-interruption phase will be marked by a negative tone.

»According to Bilmes (1997: 515), there are three ways of doing being interrupted: direct claims, interruption displays, and ignoring. Consider one of the types of reactions using an example:

»8) “Look, I already apologized–”
“You APOLOGIZED?”
“Penny, I'm so sorry–”
“SORRY?”
(а) “Please stop doing that and just listen to me, I can explain.”
“Fine, then.” I sat down on the couch, “Explain” (Eulberg 2010: 9).

»The above given example demonstrates the reaction for the interruption in the form of direct claims (а). The speaker does not like to be constantly interrupted as it is difficult to express the point of view. As a result, the speaker uses direct claims as a reaction to the interruption.


»The post-interruption phase can be executed verbally or nonverbally. In the following example we are dealing with the absence of the post-interruption phase, as the conversation ends with the interruption. Consider the case of the interruption 9), which consists of two phases: the pre-interruption (a) and the interruption phase (b):

»9) The bedroom was done in white, with all-white furniture, and a large mirrored ceiling over the bed. Tanner looked around and said, (а) “I'm impressed. This is the most–”
(b) “Shh.” Paula began to undress him (Sheldon 2004: 118).

»The post-interruption phase is omitted in the above given example for there is no need to continue the interaction any longer. The analysis of the post-interruption phase is rather important, because it helps to understand the speaker's reaction to the interruption and investigate what impact the interruption has on a communicative process as a whole.


»The post-verbal stage of the interruption begins when the conversation stops and is characterised by processing of the results of communication by the speakers. Summarizing: the speech interruption is not limited to one sentence. This is a complex communicative entity, which has the pre-verbal, verbal, and post-verbal stages that form the communicative situation of interruption.



»Strategies and tactics of the interruption depending on its functions


»Basic stategies of the interruption

»In a study of the interruption in verbal interaction taking as a basis communicative and cognitive-pragmatic nature of this phenomenon, I distinguish two overall communicative strategies: the cooperative (harmonious, aimed at rapprochement and cooperation) and the intrusive (confrontational, aimed at distancing) (Table 1).

»The boundary between the tactics is not very substantial, for one and the same interruption may have different purposes and functions. Moreover, the tactics presented in the previous section are used to implement different tactics depending on the communicative situation.

»One and the same tactic may be realised with the help of different speech acts. In this way the speech act classification and the tactics in the strategy list complement each other. The classification of tactics within each strategy is based on the main functions of intrusive (floor taking, disagreement / discontent, tangentialization, topic change) and cooperative (agreement, assistance, and clarification) interruptions.

Table 1. The use of strategies and tactics of speech interruption in the English dialogical discourse


»The cooperative strategy

»The cooperative speech strategy is a harmonious strategy that is aimed at collaboration and cooperation. The tactic of theme development (6 %) is the tactic of providing new information, earlier unknown facts that help to develop the interaction, following the Politeness Principle. To put emphasis on new information a speaker may use the following phrases: What is more, Moreover, Furthermore, Additionally, I want to add, Besides, but they are optional. The next example of the interruption shows how the introduction of new information contributes to the development the topic:

»17) I reached across the table and took her hands in mine. “You taking your meds?” She said they'd told her in Med Line that they couldn't dispense any more of her antianxiety medication until Woody okayed it. “Well, that's not a problem, is it? He knows your history. If you're having flashbacks, then–”
“The earliest appointment I could get is October,” she said.
“That's unacceptable. Did you explain it was an emergency?” (Lamb 2008: 393).


»The tactic of approval / confirmation (3 %) is associated with the approval of communicative behavior, actions, attitudes of a communicative partner and is characterised by willingness of the addresser of the interruption to make concessions, compromise, and solve problems, even if it may involve losses or negative consequences for themselves. In addition, this tactic is used to approve of the partner's position, attitudes, or beliefs. The following phrases are used to implement this tactic: Let it be, Yes, You may be right, I agree / partially agree, completely agree, Fine. Promisives and constatives are the most common speech acts used for the realisations of this tactic. Besides, the tactic of approval / confirmation is marked by the observance of the Politeness Principle:

»18) Diane was puzzled. “Paperwork–?”
“Yes. The courier brought it yesterday, with your letter.”
“I didn't send any–”
“Frankly, I was a little surprised, but, of course, it was your decision” (Sheldon 2004: 41-42).


»The tactic of compassion / empathy (2 %) consists in empathy with a communicative partner, their life situation, feelings, mental, and emotional state. This tactic involves active listening, absorption in the situation, and compliance with the Politeness Principle:

»19) “Nothing, fucking nothing–”
“You look like you feel awful.”
“I feel like fucking shit.” I was about to say what an idiot I was, not listening to her about the booze (Flynn 2012: 47).


»The main feature of the application of this tactic is the use of You-sentences – sentences with “you”, “your” and “you're”.

»The tactic of advice (1 %) is aimed at the regulation of the partner's communicative or nonverbal behavior according to personal vision of the situation, attitudes, and preferences. Interruptions involving this tactic include expressions, lexical units that express possibility (maybe, perhaps, possibly, very likely) and suggestion (I suggest, My offer is, I'm offering):

»20) “Oh. No, I don't think... but, like you said, in private, she could–”
“Perhaps you would like to speak directly to Maureen?”
“Oh. Sure” (Lamb 2008: 339).


»The tactic of understanding / interest (6 %) indicates communicant's immersion in a topic and interest:

»21) 00.47.43 Jamie: Well?
00.47.44 Dylan: We talked, we laughed, she's Belgian– v00.47.48 Jamie: Explains the reading (Friends with benefits, video).

»Such expressions as I see, I understand, Tell me more about it, I want to know more, That's interesting help to implement this tactic. It should be noted that the realisation of the tactic of understanding / interest requires compliance with the Politeness Principle.


»The tactic of offers / requests (3 %) consists in efforts of the addresser to persuade a communicative partner to perform some actions that can be profitable for one of the participants of the interaction or both. It should be mentioned that this tactic is realised exclusively within the Politeness Principle, considering the interests and opportunities of the partner. The following expressions make the realisation of this tactic possible: Promise you, Just promise you, Could / Would you do me a favour?, Would it be too much trouble for you + infinitive, Could I ask / bother / trouble you + infinitive, Could you possibly + verb, Would you mind + verb + ing, Could you please + verb. Here is an example of this tactic:

»22) And I knew this would be your reaction, I think, but instead I say, “I wouldn't call it 'sucked in'. For one, we haven't even made a final decision–”
Suzanne interrupts, “Just promise you won't start talking in a Southern accent.”
“Atlantans don't have much of an accent,” I say. “It's too transient ... Andy barely has an accent” (Giffin 2004: 79).


»The tactic of utterance completion (2 %) consists in logical completion of the utterance of a communicative partner because of their inability or unwillingness to finish it. The implementation of this tactic is only possible with full understanding of the relationship between the utterances of a communicative partner and their semantic loading:

»23) Dr. Patel nodded. “But I'm not sure about flashbacks, Mr. Quirk. More typically, vicarious traumatization manifests itself as hyper-vigilance or an inabilty to focus. Nightmares, sometimes. All classic symptoms of–”
“Posttraumatic stress,” I said.
“Yes, yes. Now I'm thinking the episode you experienced – vicarious flashback or not – may have triggered a rapid drop in your blood pressure. And that, in turn, may have been the reason you seem to have lost consciousness for a second or two. Were you alone when this happened?” (Lamb 2008: 457).

»This tactic may be realised with the help of one or two words, or even the whole sentence.


»The tactic of encouragement (1 %) is used to embolden or reassure a partner, to improve mood or moral state. For this purpose the speaker, who interrupts, may use compliments (You look / are great / perfect / fine / nice / beautiful / handsome, You weren't a loser. You were <...>), emphasise the strengths and positive qualities of the partner, suggest alternative opportunities encouraging to some verbal or nonverbal actions:

»24) “I'm sorry, Carolyn, but I just can't–”
Carolyn took Diane in her arms. “I know. But there are a lot of friends who want to see you.”
Diane shook her head. “No. It's im–”
“Diane, Richard's life is over, but yours isn't. Don't shut out the people who love you. I'll start making calls” (Sheldon 2004: 28-29).


»The tactic of assurance / conviction (2 %) implies the efforts of a speaker to convince a communicative partner of the positive development or insignificance of negative factors and an extraneous point of view:

»25) “No, wait!” I called. “Please just let me–”
“Don't listen to any of that stuff she said about you, Mom! I'm going to come visit you! I love you, Mom!” (Lamb 2008: 367-368).

»This tactic concerns also the conviction of a communicative partner in one's promising future or positive state of affairs:

»26) “Thanks. You sure you're going to be okay here by yourself? Because you could always call–”
“I'll be okay,” she said (Lamb 2008: 253).

»The implementation of this tactic involves the use of such phrases as: Believe me, Trust me, I'll be /everything will be okay / fine / great.


»The tactic of correction (2 %) is realised by providing the faithful informative explanation or correction of errors and inaccuracies (verbal or non-verbal) of a communicative partner:

»27) 00.09.29 Joey: There was a seen in Footloose–
00.09.31 Chandler: Flashdance.
00.09.32 Joey: Yeah-yeah, yeah, with that-that uh, plumber girl–
00.09.34 Chandler: She was a welder.
00.09.35 Joey: What? Were you like in the movie, or... Anyway, she takes off her bra under her shirt and pulls it out the sleeve. Very sexy, and classy (Friends 4/16, video).

»To realise this tactic the addresser of the interruption may use the phrases: You see / understand / know, The correct / accurate <...> is <...>, that contribute to the observance of the Politeness Principle.


»The tactic of providing information / clarification (4 %) is used to clarify the points of communicative interaction, which may be unknown or confusing for the addressee of the interruption from the position of the person who interrupts. This tactic is used to adjust communicative behavior of a partner. Such interruptions may be introduced by in order to, so that, in order that, so as, because, as, since, whereas, for, seeing, indicating the addresser's wish to as accurately as possible formulate their views, ideas, what illustrates the following example:

»28) “Wait a minute. The horrible boating accident that took the life of my wife and brother and four close friends was on the third of November that year. I was in the hospital until November twentyfourth. Are you daring to suggest that a week later, when I was still recovering from terrible injuries, that somehow I was involved in–?”
Ramsey interrupted him. “Mr. Connelly, we are suggesting nothing. We are here because that girl's skeletal remains were found on your property” (Clark 2013: 167).


»In addition, the phrases What I want to say is, What I mean, My idea is, and lexical units that express contradiction (but, on the other hand, yet, only, still, however, except for) help to convey the point of view clearly and correctly.


»The tactic of requesting information / clarification (7 %) is involved in a situation of inability of the addresser of the interruption to understand the wishes of a communicative partner, the main goal, key idea, or some points of the situation. This tactic is implemented mainly with the help of interrogative sentences, which may also be re-askings or echo-questions (often containing lexical entrainments) and questions that include reformulation of the utterance of a communicative partner. The phrases You think, Your idea is, What you mean is, Your point is, You saying, What you are saying is help to adhere to the Politeness Principle. The next example, on the other hand, shows that the Politeness Principle is not always maintained within this tactic:

»29) “Yes, sir. In Mrs. Quirk's case, what we'll do, what I'll do, probably – most women and girls seem to feel more at ease with another female – so what I'll do is get down on the floor with her. Have her get inside the cabinet and close the door. And then, while we're sitting there, I'll interview her. Record her recollections. We find that on-site interviews are effective in–” “Is it cleaned up?”
“The crime scene? No, sir. Everything has to be left as is while the investigation is ongoing. With the exception of the bodies. We've put cards down where the victims were” (Lamb 2008: 267).


»The tactic of drawing attention (2 %) consists in attempting to focus the partner's attention on what might be interesting or useful for him at some point of communicative interaction. This tactic involves the use of exclamatory sentences (Attention!), requestive speech acts, expressions such as Look, See, Pay your attention to <...>:

»30) “It's unsigned,” she said. “But my god, it looks an awful lot like–”
Annie interrupted her. “Look at the back.”
When she did, “Viveca read aloud what was written there.” This painting is a gift to Mr. and Mrs. Skloot. I call it “The Cercus People”. I hope you like it. Joe J. November 1957. Annie noted that he must have meant circus people (Lamb 2013: 246).



»The intrusive strategy

»The intrusive speech strategy (non-cooperative) is by nature confrontational, aimed at distancing and domination. The tactic of persuasion (2 %) is used by the communicants who are confident in the accuracy and consistency of their actions, decisions, attitudes, beliefs, and positions, in what they aim to reassure a communicative partner. The basis for the implementation of this tactic is clear and consistent argumentation, the use of prompting examples, accurate expressions / lexical units, modal verbs (must, could, may, might, can't – the order of these verbs shows the degree of probability), that indicate confidence, express logical conclusion (must – “logically possible”, can't – “logically impossible”), and expressions that help to demonstrate their own position clearly (I think, I'm sure, I mean, I'm certain):

»31) 00.03.50 Monica: He's not great umm, but he's dealing with it. Oh wait a minute, you're not gonna try–
00.03.55 Rachel: Oh, honey, please, no, I can't get started with all that Ross stuff again. I mean, he's gonna screwed up for a looong time. And besides y'know, I don't, I don't go for guys right after they get divorced.
00.04.05 Monica: Right, you only go for them 5 minutes before they get married (Friends 5/07, video).


»The tactic of self-presentation (1 %) is directed to create the desired impression of oneself and draw the attention of a partner:

»32) “Uh-huh. And are we going to have to wear matching T-shirts or chastity belts or something? I can't wait to see that logo.”
“Tracy–”
“I think having rules or guidelines or a mantra of some sort would be fun,”
Diane chimed in, interrupting what could've been the Club's first official fight (Eulberg 2010: 42).

»The phrases I think, I believe, I'm convinced, Knock knock, This is me (who), Here I am, It's me here + (a description of their own merits, advantages, position), and also I-sentences, me-sentences help to realise this tactic. The motive of power, domination, preservation of own interests, maintaining a good image, the need for approval and respect are at the core of this tactic. This tactic can also be implemented to avoid setbacks and failures:

»33) I ran downstairs just in time to hear Dad tell Ryan, “You know, I think it's good that bands want to keep the music alive, but the audience shouldn't kid themselves–”
“Here I am.” I interrupted. I was afraid that Ryan would bolt out the door if my parents kept this up (Eulberg 2010: 74).


»The tactic of threats / warnings (1 %) expresses willingness and readiness to perform verbal or non-verbal actions that may harm the addressee of the interruption. Such interruptions often contain phrases that indicate warning and threat (I warn you, I'm telling you), and utterances that express restriction and condition If you <...>, I <...>, Back off or I will, indicating the possibility of avoiding the presented scenario:

»34) “I've never heard such terrible lies in my whole life.” Eve's voice was quivering with indignation. “Don't think I'm not going to report this to my grandmother. When she hears–”
“I will spare you the trouble,” the headmistress interrupted. “I would prefer to avoid embarrassment to L'Institut Fernwood, but if you do not leave quietly, I have a list of names I intend to send to your grandmother” (Sheldon 1982: 142).

»In other cases the speaker, who interrupts their partner, expresses their resolve to take actions that are almost impossible to avoid (I will / I'm gonna kill you / hurt you / hunt you down). This tactic may be implemented without violating the Politeness Principle; a threat or warning will be expressed implicitly (My lawyer will call you). This tactic is embodied mainly by promisive and menasive speech acts.


»The tactic of demonstrating power / status (2 %) is manifested by the expression of the speaker's superiority, preferences, and priorities in relation to a communicative partner. The basis of this communicative behavior is asymmetrical relationship between speakers (the head – the subordinate, the judge – the accused, the man – the woman).

»The interruptions with this tactic are characterised be neglect of the Politeness Principle, the use of injunctive speech acts (Stop talking!), rhetorical questions, negative assessments of a partner (It does not make sense!), mockery (You are silly!), emphasis on failures (You didn't think; You can't do everything in time!). Interruptions of this kind are typical mainly for speech behaviour of the superiors in conversation with the subordinates, where the point of view of the subordinate is not taken into account:

»35) 00.06.44 Tom Stansfield: But, sir, l didn't say–
00.06.45 Jack Taylor: Audrey? Which file did l ask you for?
00.06.49 Audrey: Uh, the Platt file?
00.06.51 Jack Taylor: John Platt, Not Sam Platt.
00.06.53 Audrey: I'm sorry, I guess I didn't think that–
00.06.55 Jack Taylor: That's right, You didn't think. Now if it's not too much trouble, if you could fetch me the right file.
00.07.02 Audrey: OK (My boss's daughter, video).

»The interruptions involving this tactic are present in the speech of people who occupy high social level or hold high positions:

»36) 00.26.38 Joy McNally: I don't at the moment, Your Honor, but I will. You see, I... My ex-fiance and I broke up, and–
00.26.45 Judge:You know, Mrs. Fuller, you're not helping make your case here, okay? What about you, pretty boy? You got a crash pad?
00.26.53 Jack Fuller: Yes (What happens in Vegas, video).


»The tactic of pressure (1 %) is intended to force a communicative partner to make concessions in order to have a positive result for the addresser of the interruption. To realise this tactic a speaker may involve injunctive speech acts (Tell me the truth!), exclamatory sentences, violate the Politeness Principle, give an ultimatum (If you <...> I will <...>), or intimidate a communicative partner. A reaction to this tactic may be of two types: a defensive position or willingness to give up. The example shows the second scenario:

»37) “I uh – I'm sorry I should have called–”
“Tell me, goddamn it!”
“We c-can't find Amy,” I stuttered (Flynn 2012: 39).


»The tactic of reproach (3 %) is aimed at evoking the feeling of guilt often violating the Politeness Principle. This tactic may involve humiliation, emphasis on negative traits or inappropriate verbal / non-verbal behavior. Thus, a speaker does not care for the preservation of face. In the example the addresser of the interruption is reproaching his partner for mockery:

»38) “Maureen, you're what? Five-four? Klebold must have gone six-three, six-four. You would've had to stand on a chair before you hit him with one. And what was his buddy going to do? Stand there and wait his turn while Wonder Woman–”
“Don't make fun of me!”
“I'm not, babe. I'm sorry. I just... look, you have to give yourself a break here. You did the only thing you could do. You survived” (Lamb 2008: 200).

»This tactic can also be implemented by means of emphasising the verbs do / did: And you did nothing!, What you did was nothing!, That's all what you did.


»The tactic of accusation (1 %) consists in the expression of negative attitude to the actions or inactions of a communicative partner that could negatively affect the addresser of the interruption, their comfort. The following phrases help to implement this tactic: It's (all) your fault, You are bothering me / giving me headache. Blaming their partner a speaker may also use rhetorical questions, negative sentences (I don't <...>, You don't <...>), such stylistic figures as emphasis and antithesis, lexemes and utterances that express negation (never, dis + root, un + root, non + root, in + root, mis + root, im + root, ir + root, root + less) due to experiencing of negative emotions, modal verbs denoting the need to perform an action (I / we / you needed / should have had). Such interruptions force the addressee to apologise. The following example demonstrates the tactic of accusation:

»39) “I saw your – I read this article about you, and it say that you were born in Philadelphia.” His voice grew enthusiastic. “I was born there, too, and when I sat your pictures, I felt like I knew you and–”
Kelly said coldly, “You don't, and I don't like strange men bothering me.”
“Oh, I'm sorry.” He swallowed (Sheldon 2004: 71).


»The tactic of negative evaluation / insult (2 %) is associated with the expression of negative attitude towards a communicative partner, their verbal or non-verbal behavior, expression of disapproval of the views, decisions, beliefs, traits of character, actions, or appearance. Such a negative evaluation may also be accompanied by a commentary. This tactic may be implemented using the following phrases: I don't like your <...>, You (are) +adj. / noun expressing negative attitude, Your <...> is disgusting, hideous, stupid, And for you to <...>. To express a negative assessment one may use coarse language that expresses insult and humiliation (dull, idiot, stupid), mockery, and jeering. In the next example negative assessment is combined with contempt for the addressee of the interruption:

»40) 00.15.12 Officer: Ma'am–?
00.15.14 Lynette: (gets right in the policeman's face) And for you to stand there, and judge me.
00.15.27 Officer: Okay. I'm not gonna give you a ticket. I'm just gonna let you off with a warning (Desperate housewives 1/2, video).


»The tactic of censure (2 %) implies negative attitude towards verbal behavior, nonverbal actions, decisions, opinions, or inactions of the addressee of the interruption. Often this tactic involves the use of phrases like I can't understand why, What the hell, Why on Earth, How could you, quesitive speech acts, rhetorical questions, and vocabulary with negative connotation. Besides, this tactic involves the violation of the Politeness Principle:

»41) “We're not sure. I left this morning, a little after seven–”
“And you waited till now to call us?”
“I'm sorry, I didn't want to—”
“Jesus Christ. We played tennis tonight. Tennis, and we could have been… My God. Are the police involved? You've notified them?” (Flynn 2012: 39).


»The tactic of order (9 %) is aimed at prompting the addressee of the interruption to certain actions imposed by the addresser. This tactic is implemented mainly through injunctive speech acts and imperative forms of verbs: Don't do this, Go home!, Tell me the truth, and, as a result, the Politeness Principle is violated:

»42) “He doesn't have to go to school,” said Charles. “He can do whatever he fucking pleases. He can fail every single fucking class and his dad'll still send him that fat allowance check every month–”
“Don't say 'fuck' anymore,” said Henry, in a quiet but ominous voice.
“Fuck? What's the matter, Henry? You never heard that word before? Isn't that what you do to my sister every night?” (Tartt 1992: 379-380).


»The tactic of questioning (3 %) consists in asking questions ignoring the remarks of a communicative partner, his desires, and goals. This tactic is embodied mainly by the quesitive speech act. Since the addresser of the interruption does not care about the preservation of face and cooperation within the Politeness Principle, the questioning tactic is perceived by a partner as inappropriate and unacceptable:

»43) “Are you Mr. Quirk?”
“Yeah, but look. No telemarketing at this number. Take us off your–”
“Do you know who Maureen's out with?”
I uncapped my pen. Tore off a piece of some kid's blue book to jot down her number. “Excuse me,” I said. “Who'd you say this is?” (Lamb 2008: 8).


»The tactic of topic changing (7 %) implies a violation of the postulate of relevance or relation, the Politeness Principle and involves the change of a theme. Therefore, relevant to a communicative partner topic is being ignored:

»44) “Try sleeping when you're a single mom,” Layla said. “Last night–”
“Well, then,” Viv interrupted. “You're all set. Concourse B, gate thirty-six.”She handed me my boarding pass. “Have a nice flight” (Lamb 2008: 65).

»Interruptions within this tactic may be accompanied by expressions such as Well, then, Wait a minute, but they are optional because the shift is mainly made without any markers, with a sharp change of a theme vector.


»The tactic of resentment / dissatisfaction (2 %) implies the loss of self-control, restraint and, consequently, high emotional tension, dissatisfaction, irritation, and disapproving attitude due to actions of a communicative partner. For the realisation of this tactic the addresser of the interruption may use exclamations, orders (Don't talk about him any more!), questions (Why did you do that?), questions with exclamation marks (Why do you tell it to me?!), the vocabulary with negative connotation, which reflects the emotional state of a speaker (boring, disgusting, hideous, abominable, revolting, nasty, loathful, repellent), negative sentences (You can't (just) do (that)) and violate the Politeness Principle:

»45) “You are such a–” Alex threw his hand over my mouth. I thought about biting it, but then decided against it. I'm not sure why.
“Alex!” Aislin exclaimed. “You can't just do whatever you want with her” (Sorensen 2011: 454-455).


»The tactic of manifestation of doubt (1 %) is associated with hesitation concerning the veracity of the parner's point of view. For explicit manifestation of doubt communicants may use the following expressions: I doubt it, It's apparent / obvious / doubtful / clear that, I doubt if + that-clause, I am not certain + that-clause, It looks (to me) as if / as though; adverbs with negative meaning (hardly, scarcely), seem / assume to (be), might + Indefinite (Perfect) Infinitive (for a high degree of doubt); can, can't, will, would, should, ought to, have to, be to + Indefinite (Perfect) Infinitive (for a smaller degree of doubt); and lexemes that indicate fallacy of a communicative partner: mistake, be wrong, err, misunderstanding, oversight; adverbs maybe, perhaps, arguably. The next example shows the tactic of manifestation of doubt:

»46) “Madame–”
“There is some – some mistake,” Kelly said. “Mark wouldn't–”
“I am sorry.” The chief inspector was watching Kelly closely. “Are you all right, madame?” (Sheldon 2004: 47).


»The tactic of rejection / disagreement (14 %) consists in the manifestation of dissent in respect of the information or actions of a communicative partner that may occur with preservation of the Politeness Principle with the help of the following expressions: That's very kind / nice / sweet of you, but <...>, Thank you for your offer / present / invitation, but <...>. The embodiment of this tactic has two components: gratitude / highlighting the positive aspects / quality of a communicative partner + rejection / disagreement. Moreover, the refusal may be supported by the causative component (I don't think I can):

»47) When Alexandra and George returned from their honeymoon, Kate told them, “I'd like you to move in here with me. This is an enormous house, and we wouldn't be in one another's way. You–”
George interrupted. “That's very kind of you,” he said. “But I think it would be best if Alex and I had our own place” (Sheldon 1982: 174).

»However, most speakers disregard the Politeness Principle. In this case, the speaker who interrupts, uses the expression like No., No, I wouldn't do that, That's out of question, I don't want (to) / need (to) <...>, I don't think it's right / it will do, No way.


»The tactic of evasion from answer / theme (2 %) is associated with the lack of desire or capacity (due to the lack of sufficient experience or awareness) to maintain the conversation within a pre-selected theme. The tactic of evasion is realised in compliance with the Politeness Principle using the phrases Sorry, I don't want to discuss that, It's painfull for me to talk about that, or without the Politeness Principle using the phrases I don't think that's <...>, It's / this is none of your business, Stay out of it, and answering the question with a question:

»48) “Go sit down so I can look at that.” I shook my head, my hand still grasping at my wounded side. “Not until you tell me where we are? And how in the world we got here? And–”
Alex cut me off. “I really don't think that's the most important thing right now, considering you have a piece of glass sticking out of your rib.”
He had a point, I guess, but I deserved some answers. “Fine. I'll go sit down. But I'm not going to drop this. You are going to tell me what's going on” (Sorensen 2011: 250-251).


»The tactic of contact termination / ignoring (6 %) is related to the unwillingness or inability of the speaker, who interrupts, to continue the communication. Communicants, who interrupt their partners, force them finish the interaction without preservation of the Politeness Principle using the phrases: Stop!, Ring off!, Shut up!, Shhh, Go away!, Stay away!, Shut your mouth! Shut your trap!, Turn it up!; or preserving this principle, using arguments and alternative suggestions (I'm short of time. Let us discuss it next time. / Can we talk about it later?). The following example demonstrates the tactic of contact termination / ignoring:

»49) “That's not what I was told.” The smug look Laylen was giving Alex made me wonder if there was some kind of bad history between them. “From what Aislin said you–”
“Laylen,” Aislin hissed. “Shut up” (Sorensen 2011: 303-304).


»In conclusion, speech interruptions may occur within two communicative strategies: the cooperative and the intrusive (non-cooperative). Each of these strategies has its own set of tactics, which help to realise speaker's intentions, for example, to dominate in the conversation, change the theme, define the status, take the initiative, humiliate a partner, or to continue the conversation, establish contact between communicants, cooperate, express consent and support, encourage further interaction.



»Discussion and concluding remarks

»The situation of interruption is a micro situation within the sphere of communicative interaction, so it has its own structure. The pre-verbal stage of the interruption is marked by the formation of goals, situation and context development that will accompany the interruption. The verbal stage of the interruption has three phases: the pre-interruption, interruption, and post-interruption phase. The post-verbal stage of the interruption begins when the conversation is finished. It is marked by the results processing and sometimes by the alterations in the conceptual system of the speakers. These stages form the communicative situation of interruption.

»If we juxtapose the interruption with the speech act theory, we may notice that the most common speech acts that help to interrupt a person are injunctives and constatives. Injunctives are used mainly when the speaker, interrupting their partner, wants to turn the conversation in the needed direction, encouraging the addressee to perform some actions. Injunctives prevail in intrusive interruptions. Constatives, on the other hand, are the utterances that reflect facts. This speech act is common for both, intrusive and cooperative interruptions.

»Taking the cognitive-pragmatic nature of the phenomenon of interruption as a basis, we may single out two communicative strategies. These are the intrusive and cooperative strategy. The cooperative strategy of the interruption is characterised by adherence to the principle of cooperation and the Politeness Principle, and maximisation of efforts to preserve face. The intrusive strategy is aimed at achieving the goals regardless of the needs and wishes of a communicative partner.

»That is why this strategy is associated with a violation of the Politeness Principle and the principle of cooperation. The speakers, who interrupt in terms of this strategy, do not care for the preservation of their face. Within these strategies the speakers resort to certain tactics that comply with goals and peculiarities of a communicative situation. The perspective of the further research is the study of the interruption in homogeneous and heterogeneous communicative groups».