Over the course of history, the book and its environment have been in permanent transformation, undergoing changes that have affected its format, textual arrangement, form of reading, and production and distribution systems, as well as its social consideration as an instrument for the transmission of knowledge. One of the greatest changes has taken place in the 21st century with the emergence of digital formats throughout the publishing value chain. If in previous eras the transformations had affected one or other of the mentioned elements, the digital revolution has impacted on all of them simultaneously, as it has modified the ways in which works are created, produced, distributed, and consumed. Also, it has introduced for the first time an element of intermediation between the reader and reading: the device, which, in its different varieties, implies an element of additional complexity. At the present time, and after almost two decades, we can see the advances and setbacks that have occurred on this journey; the achievements and shortcomings from the publishing point of view, in which a strengthening of the big companies can be appreciated; and the emergence of a system of self-publishing that represents a rupture with traditional systems. From the point of view of authorship, the value of the brand, of charisma and prestige, has been emphasised, while a movement of creation is taking place on the fringes of the system that renounces posterity and recognition in favour of visibility. This approach to authorship is also subject to the influx and influence of social networks with their positive effects, in the form of projection, and negative ones, in the form of new ways of censure. Finally, in terms of reading, there is an ambivalent route that runs between the paths of a very strong tradition, linked to the printed book, and digital reading, established from the point of view of practices, but in its more conservative and imitative side with respect to analogue formats; in the digital sphere, new proposals and more innovative initiatives which are attracting the attention of growing but still minority sectors of society are emerging. The digital environment is progressing and consolidating, but it has not yet taken advantage of all the potential that technological advances could provide.
Uno de los productos mas conocidos de la industria editorial es el denominado como bestseller, esto es, el libro que ha gozado de una buena recepción y ventas, alcanzando, en su mayoría, las listas de los más vendidos. Presentes en los sitios preferentes de librerías, plataformas virtuales y sitios web de las editoriales, constituyen obras fácilmente reconocibles por su estética y su extensión. Su existencia está documentada desde los comienzos de la imprenta y representan un género en sí mismos. Caracterizados por su facilidad de lectura, consumo rápido y el empleo de fórmulas y estrategias narrativas que favorecen su comercialización, su naturaleza está vinculada más con lo económico que con lo literario. La atención académica que han recibido es escasa y, en su mayoría, de carácter crítico. Serían la contraposición al concepto de canon, entendido como la literatura por excelencia. Sin embargo, la aparición de las tecnologías de la información y las redes sociales ha suscitado la conformación de un nuevo tipo de bestseller, caracterizado tanto por el consenso académico, antes reservado solo a las obras del canon, y el consenso social, en el marco de un buen funcionamiento comercial. Es lo que hemos denominado como Bestseller canónico. El objetivo de este articulo es el estudio de los fundamentos terminológicos y normativos del bestseller, y la propuesta de un modelo estructural para la caracterización de esta nueva modalidad de obras.
Se estudia la importancia de la imagen de marca de un autor, y la importancia que tiene para su visibilidad. Se analiza del caso de J.K Rowling como ejemplo de migración desde su nicho original, la literatura infantil y juvenil, a la literatura de adultos, estudiando los indicadores de visibilidad como ediciones de su obra, presencia en las listas de más vendidos, presencia web, y aparición en bases de datos nacionales e internacionales. Se discute la viabilidad de salir del nicho de mercado amparado por estructuras editoriales y comunicativas consolidadas, empleando además el expediente del anonimato.
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